A Quote by Jim Morrison

The spectator is a dying animal. — © Jim Morrison
The spectator is a dying animal.
If 'Spectator Business' works, we will continue this brand extension strategy and look at everything from 'Spectator Arts' to 'Spectator Style and Travel' or 'Spectator Connoisseur.'
Man is a thinking animal, a talking animal, a toolmaking animal, a building animal, a political animal, a fantasizing animal. But, in the twilight of a civilization he is chiefly a taxpaying animal.
A sound of cornered-animal fear and hate and surrender and defiance . . . like the last sound the treed and shot and falling animal makes as the dogs get him, when he finally doesn't care about anything but himself and his dying.
I fear animals regard man as a creature of their own kind which has in a highly dangerous fashion lost its healthy animal reason - as the mad animal, as the laughing animal, as the weeping animal, as the unhappy animal.
I died as a mineral and became a plant, I died as a plant and rose to animal, I died as an animal and I was Man. Why should I fear? When was I less by dying?
The Spectator' has to be managed and people have to report. We all have bosses in this world and that's true of 'The Spectator' too.
The truth is that works of art test the spectator much more than the spectator tests them.
We are fastened to a dying animal.
What is a country? A country is a piece of land surrounded on all sides by boundaries, usually unnatural. Englishmen are dying for England, Americans are dying for America, Germans are dying for Germany, Russians are dying for Russia. There are now fifty or sixty countries fighting in this war. Surely so many countries can't all be worth dying for.
The artist invites the spectator to take a journey within the realm of the canvas... Without taking the journey, the spectator has really missed the essential experience of the picture.
The human animal is a beast that dies but the fact that he’s dying don’t give him pity for others.
My thinking was that today's spectator is so well-versed in film language that all theories about suspense, as argued by Dreyer and Hitchcock, on what makes you scared in cinema, can be ditched. It's the spectator, finally, who's going to construct the menace and the fear.
Out of the blending of human and animal stories comes the theme that I hope is inherent in all my books: that man is an inescapable part of all nature, that its welfare is his welfare, that to survive, he cannot continue acting and regarding himself as a spectator looking on from somewhere outside.
The more elaborate your narrative, the more the spectator shuts up and listens obediently. And if the filmmaker keeps quiet, the spectator will himself project his own assumptions and sentiments onto the screen.
Consume my heart away, sick with desire And fastened to a dying animal It knows not what it is, and gather me Into the artifice of eternity.
Not only are the philosophies of animal rights and animal welfare separated by irreconcilable differences... the enactment of animal welfare measures actually impedes the achievement of animal rights... Welfare reforms, by their very nature, can only serve to retard the pace at which animal rights goals are achieved.
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