A Quote by Ross Bleckner

It almost seems that if you can describe it, you can change it. — © Ross Bleckner
It almost seems that if you can describe it, you can change it.
We cannot change, we cannot move away from what we are, until we thoroughly accept what we are. Then change seems to come about almost unnoticed.
I have to live, socially, in an almost unfinished society. Among the almost great, among the almost true, among the almost honest. That allows me to describe the anguish.
It seems to be almost a law of physics, that the winds of change awaken fear and fundamentalism.
The very word "change" has changed. When I was young--and not just because I was young--we looked forward with confident impatience to change. Planned, controlled, beneficent change would continue to clear slums, sweep up the remains of empire, raise living and educational standards, tidy away--firmly but kindly--the last aboriginals who still raved about martial glory or the pride of wealth. Now, as it seems to me, change is set almost exclusively in the minor key, change seen overwhelmingly as loss.
Nearly everyone I know seems to have a well-developed theory as to why this country is past redemption, or almost, and every theory seems almost right.
I tell you it's no joke to paint a portrait. I wonder that I am not more timid when I begin. I feel almost certain that I can do it. It seems very simple. I don't think of the time that is sure to come when I almost despair, when the whole thing seems hopeless.
Describing beauty is almost impossible because we perceive it, rather than describe it. If you look at a Rembrandt painting and start to try and describe what the beauty is you see, your words sound absolutely pathetic.
It almost seems as if autumn were the true creator, more creative than the spring, which is too even-toned, more creative when it comes with its will-to-change and shatters the much too ready-made, self-satisfied and really almost bourgeois-complacent image of summer.
The epithet beautiful is used by surgeons to describe operations which their patients describe as ghastly, by physicists to describe methods of measurement which leave sentimentalists cold, by lawyers to describe cases which ruin all the parties to them, and by lovers to describe the objects of their infatuation, however unattractive they may appear to the unaffected spectators.
To describe this film as dishonest and demagogic would almost be to promote those terms to the level of respectability. To describe this film as a piece of crap would be to run the risk of a discourse that would never again rise above the excremental. To describe it as an exercise in facile crowd-pleasing would be too obvious. Fahrenheit 9/11 is a sinister exercise in moral frivolity, crudely disguised as an exercise in seriousness.
It seems almost backwards to me that my music seems the more emotional outlet, and the art stuff seems more about ideas.
When your troops go to war, the prime minister or the president change overnight from an administrator, dealing with taxation and welfare and health and deteriorating roads, into the commander-in-chief. And it's just become almost unpatriotic to describe Bush's fallacious and ill-advised and mistaken and sometimes misleading actions.
With songs I almost see the images, see the action, and then all I have to do is describe it. It's almost like watching a scene from a film, and that's what I go about trying to catch in a song.
My parents are left-wing, and I would describe myself as that. But also, you know what? I wouldn't describe myself as that. Because I don't have to. Because I'm not a political party. Most people are a little bit of each, and we change our mind on various issues.
To describe this world is not to describe reality 'in itself', as it is independently of how we regard and describe it.
What caricature is in painting, burlesque is in writing; and in the same manner the comic writer and painter correlate to each other; as in the former, the painter seems to have the advantage, so it is in the latter infinitely on the side of the writer. For the monstrous is much easier to paint than describe, and the ridiculous to describe than paint.
This site uses cookies to ensure you get the best experience. More info...
Got it!