A Quote by Nicolas Chamfort

Almost the whole of history is but a sequence of horrors. — © Nicolas Chamfort
Almost the whole of history is but a sequence of horrors.
If you strip the horrors of history from history, the flip side of that is you strip the nobility of rising above such horrors.
In a way, the whole notion of a blueprint of a building is not that different from a script for a movie. A sequence of spaces, which is what you do as an architect, is really the same as a sequence of scenes.
It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
We normally think of history as one catastrophe after another, war followed by war, outrage by outrage - almost as if history were nothing more than all the narratives of human pain, assembled in sequence. And surely this is, often enough, an adequate description. But history is also the narratives of grace, the recountings of those blessed and inexplicable moments when someone did something for someone else, saved a life, bestowed a gift, gave something beyond what was required by circumstance.
Thought of the incomprehensible sequence of changes and chances that make up a life, all the beauties and horrors and absurdities whose conjunctions create the uninterpretable and yet divinely significant pattern of human destiny.
A random sequence is one that cannot be algorithmically compressed : the shortest description of a random sequence is simply the sequence itself.
The laws of animality govern almost the whole of history.
Written history may, in the course of its narrative, use some of the laws established by the various sciences, but its own task remains that of relating the essential sequence of historical action and, qua history, to tell what happened, not why.
Obviously, movies don't almost ever shoot in sequence.
The history of art is a sequence of successful transgressions.
The true horrors of human history derive not from orcs and Dark Lords, but from ourselves.
Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to; art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language.
The whole history of my life, and in essence the whole history of the working class consists of this: that we have lived and fought under the leadership of Lenin and Stalin.
In its history, Europe has committed so many massacres and horrors that it should bow its own head in shame.
That's the power of music, a key sequence or a chord sequence or even a note can do something to you physically that's uncontrollable.
One of my many horrors is to become the man with the frayed jacket and unfastened flies standing at the Co-op counter with egg on his shirt and more too because the mirror in the hall has given up the ghost. A shipwrecked man without an anchor in the world except in his own liquid thoughts where time has lost its sequence.
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