A Quote by Terry Tempest Williams

Landscape shapes culture — © Terry Tempest Williams
Landscape shapes culture
The landscape of childhood shapes us as it shapes the characters in our stories. You never forget the sacred places of your childhood.
Language both reflects and shapes society. Culture shapes language and then language shapes culture. Little wonder that the words we use to talk to each other, and about each other, are the most important words in our language: they tell us who I am, they tell us who you are, they tell us who 'they' are.
Overall, the anarchy was the most creative of all periods of Japanese culture for in it there appeared the greatest landscape painting, the culmination of the skill of landscape gardening and the arts of flower arrangement, and the No drama.
Design creates culture. Culture shapes values. Values determine the future.
Early in my career, I tried to bring an artistic feeling to architecture. That's really the intent and impression of what I think about: context, space, shapes, and landscape.
Lanscape shapes culture.
Crime shapes how we think about the world; it shapes social decisions that we make; it shapes our base of knowledge. But we don't talk about it intelligently.
The term [Americanization] invokes the transformation of the landscape into unnatural mechanical shapes, of night into day, of speed for its own sake, an irrational passion for novelty at the expense of quality, a worship of gimmickry.
Whoever tells the best story shapes the culture.
How to paint the landscape: First you make your bow to the landscape. Then you wait, and if the landscape bows to you, then, and only then, can you paint the landscape.
All my early memories are of forms and shapes and textures. Moving through and over the West Riding landscape with my father in his car, the hills were sculptures; the roads defined the form. Above all, there was the sensation of moving physically over the contours of fullnessess and concavities, through hollows and over peaks - feeling, touching, seeing, through mind and hand and eye. This sensation has never left me. I, the sculptor, am the landscape. I am the form and the hollow, the thrust and the contour.
I started to draw desert islands. They were just rough, shapes in the middle of the page. Then I began drawing shapes within those shapes and I was amazed how quickly the islands got better. It took off from there.
Chauvet Cave is rather like the awakening of the modern human soul or I would say the awakening of modern human culture. Because Neanderthal men who still rode the landscape parallel to the people who did these paintings didn't have culture. There's no evidence of culture, no symbolic depiction, no evidence of music, no evidence of sculptures, no evidence of religious beliefs.
It shapes my reality, where I was born, in two ways. One, I was burdened by the culture I was born in. And secondly, it gave me a context with which to actually see with wise eyes as well. So culture is both a burden as well as an opportunity for us to look at the world through eyes of wisdom.
A town, a landscape are when seen from afar a town and a landscape; but as one gets nearer, there are houses, trees, tiles leaves, grasses, ants, legs of ants and so on to infinity. All this is subsumed under the name of landscape.
The natural world is the only one we have. To try to not see the natural world - to put on blinders and avoid seeing it - would for me seem like a form of madness. I'm also interested in the way landscape shapes individuals and populations, and from that, cultures.
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