A Quote by Sarah Parcak

We can tell from the imagery a tomb was looted from a particular period of time, and we can alert INTERPOL to watch out for antiquities from that time that may be offered for sale.
I loved Interpol when they came out, but I never wanted to be in Interpol.
I think it [Trouble In Mind] was the only time Divine didn't appear in drag, or certainly one of the few times, anyway. Alan created a time and place that was no time and no place, so it was not identifiable with any particular period or any particular city or any particular country, for that matter. I mean, everybody spoke English, but that was about it. So you couldn't pigeonhole that film.
We have Russia, on a serial basis, abusing Interpol... The moral of this story is that if a country wants to abuse Interpol they can just keep abusing Interpol and it doesn't really matter how many times they do it.
I am a tomb robber who is robbing my own tomb. Things from my tomb are exhibited under the radiant sun. Every time it happens I feel crude.
Tolstoy may not be showing that much of Russia at that time even. It's hard to tell. You tend to associate the quality of the period with what's lasted - what's still good. And that quality becomes the whole period.
A good watch may serve to keep a recconing at Sea for some days and to know the time of a Celestial Observ[at]ion: and for this end a good Jewel watch may suffice till a better sort of Watch can be found out. But when the Longitude at sea is once lost, it cannot be found again by any watch.
The human mind has a natural tendency to explore what has passed in distant ages in scenes with which it is familiar: hence the taste for National and Local Antiquities. Geology gratifies a larger taste of this kind; it inquires into what may appropriately be termed the Antiquities of the Globe itself, and collects and deciphers what may be considered as the monuments and medals of its remoter eras.
The itinerary of most antiquities from their source - tomb, temple, quarry - to the shelves of museums or private collectors is murky and often purposely concealed.
A period of time is as much an organising principle for a work of fiction as a sense of place. You can do geography, as Faulkner did, or you can dwell on a particular period. It provides the same framework.
From time to time, from the endless flow of our mental imagery, there emerges unexpectedly something that, vague though it may be, seems to carry the promise of a form, a meaning, and, more important, an irresistible poetic charge.
The judgment may be compared to a clock or watch, where the most ordinary machine is sufficient to tell the hours; but the most elaborate alone can point out the minutes and seconds, and distinguish the smallest differences of time.
I begin with understanding the intentions of the story. That helps me to zero in. Then I gather research for each individual character and analyze the time period with comparisons to the figure and the facial structure. It helps to be comfortable with computers because the massive amount of research is kept electronically and shared with my staff this way. Very little is printed out. I work with an illustrator to come up with the proper silhouettes and details of the clothing from the time period to time period. And on and on.
I have a rule now that I can only watch a movie twice. By the third time I was watching 'The Guest,' I was hating everything about it, but the first time, I loved it. The first time you watch it, you watch it as a whole. And the second time, I think you can learn a lot. By the third time, you are just picking everything apart.
The synagogues of late antiquity and the early medieval period were built around imagery: imagery of remembering the Temple, but also of the celestial zodiac, too.
I always thought that art that is produced somehow has to reflect the zeitgeist or the ambiance and the time and the history in which it is produced. I think it's inescapable. It's like we look back now, at work done savoring the thirties, and you can almost tell it was done during that period of time. Now maybe, that's a style of period or something, I don't know. I think my work, or the things that interest me, come out of my reaction to history.
My interest in time emerged out of an engagement with the media that I was working with. Film and performance are temporal media. They rely on time. When I'm carrying out a performance, it matters, for example, how long I hold one particular gesture or posture. Seriality is very important too. Performance can be used to dilate time or to repeat time. And video, in turn, has its own time.
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