Top 1055 Shapes Quotes & Sayings - Page 17

Like an explorer returned from a distant planet or another dimension, Suki Kim has many extraordinary tales to tell, among them how different--and how awful--life is for those who live in North Korea. The devil is in the details here, for her gritty narrative focuses on everyday events to reveal how repression shapes daily life, even for the most privileged. Yet Kim also bears witness to that part of the human soul that no oppressor can ever claim.

Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purpose through him. As a human being he may have moods and a will and personal aims, but as an artist he is "man" in a higher sense— he is "collective man"— one who carries and shapes the unconscious, psychic forms of mankind.

Man, Sub-creator, the refracted light through whom is splintered from a single White to many hues, and endlessly combined in living shapes that move from mind to mind. Though all the crannies of the world we filled with Elves and Goblins, though we dared to build Gods and their houses out of dark and light, and sowed the seed of dragons, 'twas our right (used or misused). The right has not decayed. We make still by the law in which we're made.

I love the book. I love the feel of a book in my hands, the compactness of it, the shape, the size. I love the feel of paper. The sound it makes when I turn a page. I love the beauty of print on paper, the patterns, the shapes, the fonts. I am astonished by the versatility and practicality of The Book. It is so simple. It is so fit for its purpose. It may give me mere content, but no e-reader will ever give me that sort of added pleasure.

If you are engaging rationality, you are already engaging a place that makes you unavailable. Only when I recognize that inspiration has announced itself to my availability will I then say I need to use my mind to calculate exposure, my emotions to position myself and arrange a configuration of shapes that need to come into being, my body to put it all in place because we have been given a message and it has come through inspiration through being available.'

The historian Arthur Schlesinger has pointed out that people tend to get interested in politics again every 30 years. The universe moves in cycles of three. The number figures in everything from Pythagoras's theory that the universe is based on three to the Father-the-Son-and-the-Holy- Ghost to the three-sided pyramidal shapes that intersect in the Jewish Star of David. The notion of the mystical three, metaphysically, spiritually, and even politically, is quite interesting to me.

I always have the feeling that my subjects are the same - I'm just changing my point of view. I'm going to move a little bit this time and watch it a different way. But at the end, I think I'm always fascinated by the same things, except I will express them over and over again, with different words, with different colors, with different shapes. But strangely it will always be the same topics or subjects that are so important to me.

I conceived, developed and applied in many areas a new geometry of nature, which finds order in chaotic shapes and processes. It grew without a name until 1975, when I coined a new word to denote it, fractal geometry, from the Latin word for irregular and broken up, fractus. Today you might say that, until fractal geometry became organized, my life had followed a fractal orbit.

Whether it's a pebble in a riverbed or a soaring mountain peak, I see everything in the world as the handiwork of the Lord. When I paint, I try to represent the beauty of God's creation in my art. Many modern painters see the world as a jumble of random lines and shapes with no divine beauty or order, and their works reflect their viewpoint. Because I see God's peacefulness, serenity, and contentment, I work to capture those feelings on the canvas. My vision of God defines my vision of the world.

There are so many different kinds of people in America, with so many different boiling points, that we don't know how to fight with each other. The set piece that shapes and contains quarrels in homogeneous countries does not exist here. The Frenchman is an expert on the precise gradations of espèce de and the Italian knows exactly when to introduce the subject of his other's grave, but no American can be sure how or when another will react, so we zap each other with friendliness to neutralize potentially dangerous situations.

Once we remember that all that takes place during the first days of life on the emotional level shapes the patterns of all future reactions , we cannot but wonder why such a torture has been inflicted on the child. How could a being who has been aggressed in this way, while totally helpless, develop into a relaxed, loving, trusting person? Indeed, he will always never be able to trust anyone in life. He will always be on the defensive, unable to open up to others and to life.

Every artist of importance creates his own world, with its own laws - creates and shapes it in his own shape and image, and no one else's. This is why it is difficult to fit the artist into a world that has already been created, a seven-day, fixed and solidified world: he will inevitably slip out of the set of laws and paragraphs, he will be a heretic.

Nature is a greater and more perfect art, the art of God; though, referred to herself, she is genius; and there is a similarity between her operations and man's art even in the details and trifles. When the overhanging pine drops into the water, by the sun and water, and the wind rubbing it against the shore, its boughs are worn into fantastic shapes, and white and smooth, as if turned in a lathe. Man's art has wisely imitated those forms into which all matter is most inclined to run, as foliage and fruit.

There whil'st the world prov'd prodigal of breath, the headless trunks lay prostrated in heaps; this field of funerals sacred unto death, did paint out horror in most hideous shapes: whil'st men unhors'd, horses unmast'red, stray'd, some call'd on those whom they most dearly lov'd, some rag'd, some groan'd, some sigh'd, roar'd, promis'd, pray'd, as blows, falls, faintness, pain, hope, anguish mov'd.

Why do any of us act the way we do? Is it our beliefs or our biology that shapes us? Lauren Grodstein considers this eternal question through the story of Andrew Waite, scientist, father, widower, struggling to raise two daughters, living with the ghost of his wife, facing a test of his faith in science. There are no easy answers here, just the honest complexity of human beings trying their best to be good people. The Explanation for Everything is moving, beautiful, and wonderfully funny.

I want to see 61, and one day I want to see 90, so that means I have to keep having birthdays. So what am I supposed to do? Be ashamed because I'm getting older? No, how about I embrace myself, my age, the space that God has put me in, and learn from and teach other people and we support each other as women, because we're all beautiful - different sizes, shapes, colors - and we celebrate ourselves as we grow older and become better.

This deliberately nurtured hatred then spreads to all that is alive, to life itself, to the world with its colors, sounds, and shapes, to the human body. The embittered art of the twentieth century is perishing as a result of this ugly hate, for art is fruitless without love. In the East art has collapsed because it has been knocked down and trampled upon, but in the West the fall has been voluntary, a decline into a contrived and pretentious quest where the artist, instead of attempting to reveal the divine plan, tries to put himself in the place of God.

Brackets come in various shapes, types and names: 1 round brackets (which we call brackets, and the Americans call parentheses) 2 square brackets [which we call square brackets, and the Americans call brackets]

Our presuppositions shape our perspective, our perspective shapes our priorities, and our priorities shape our practice.

The world of shapes, lines, curves, and solids is as varied as the world of numbers, and it is only our long-satisfied possession of Euclidean geometry that offers us the impression, or the illusion, that it has, that world, already been encompassed in a manageable intellectual structure. The lineaments of that structure are well known: as in the rest of life, something is given and something is gotten; but the logic behind those lineaments is apt to pass unnoticed, and it is the logic that controls the system.

Birth Matters... It matters because it is the way we all begin our lives outside of our source, our mother's bodies. It's the means from which we enter and feel our first impression of the wider world. For each mother, it is an event that shakes and shapes her to her innermost core. Women's perceptions about their bodies and their babies' capabilities will be deeply influenced by the care they receive around the time of birth.

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.

After all, is it not the way we humans shape the universe, shape time itself? Do we not take the raw stuff of chaos and impose a beginning, middle, and end on it, like the simplest and most profound of folktales, to reflect the shapes of our own tiny lives? And if the physicists are right, that the physical world changes as it is observed, and we are its only known observers, then might we not be bending the entire chaotic universe, the eternal, ever-active Now, to fit that familiar form?

"Humanism" is to be human, to think, to analyze, and to probe. To respond and to be stimulated by all living things - beasts, fowl, and fishes. To respond through touch, sight, smell, and sound to all things in nature - both organic and inorganic-to colors, shapes, and textures - to not only look at a blade of grass but to really see a blade of grass. These things, to me, are what life and living are all about. I would call it "Humanism."

In youth it is the outward aspect of things that most engages us; while in age, thought or reflection is the predominating qualityof the mind. Hence, youth is the time for poetry, and age is more inclined to philosophy. In practical affairs it is the same: a man shapes his resolutions in youth more by the impression that the outward world makes upon him; whereas, when he is old, it is thought that determines his actions.

It's impossible to say a thing exactly the way it was, because of what you say can never be exact, you always have to leave something out, there are too many parts, sides, crosscurrents, nuances; too many gestures, which could mean this or that, too many shapes which can never be fully described, too many flavors, in the air or on the tongue, half-colors, too many.

Those who aren't following Jesus aren't his followers. Its that simple. Followers follow, and those who don't follow aren't followers. To follow Jesus means to follow Jesus into a society where justice rules, where love shapes everything. To follow Jesus means to take up his dream and work for it.

It seems to me, that this, too, is how memory works. What we remember of what was done to us shapes our view, molds us, sets our stance. But what we remember is past, it no longer exists, and yet we hold on to it, live by it, surrender so much control to it. What do we become when we put down the scripts written by history and memory, when each person before us can be seen free of the cultural or personal narrative we've inherited or devised? When we, ourselves, can taste that freedom.

In those same decades, most UFO sightings were made in the daytime and frequently at close range, when shapes and surface features could be distinguished, thus making positive identification of normal sights easier and the descriptions of unusual sights more detailed. When all normal explanations had been eliminated, the witnesses could concentrate on those aspects of the experience which were most abnormal.

When adults say, "Teenagers think they are invincible" with that sly, stupid smile on their faces, they don't know how right they are. We need never be hopeless, because we can never be irreparably broken. We think that we are invincible because we are. We cannot be born, and we cannot die. Like all energy, we can only change shapes and sizes and manifestations. They forget that when they get old. They get scared of losing and failing. But that part of us greater than the sum of our parts cannot begin and cannot end, and so it cannot fail.

Since the purpose of reading, of education, is to become good, our most important task is to choose the right books. Our personal set of stories, our canon, shapes our lives. I believe it is a law of the universe that we will not rise above our canon. Our canon is part of us, deeply, subconsciously. And the characters and teachings in our canon shape our characters--good, evil, mediocre, or great.

For a bag of pepper, they could cut each other's throats without hesitation, and would forswear their souls... The bizarre obstinacy of that desire made them defy death in a thousand shapes; the unknown seas, the loathsome diseases; wounds, captivity, hunger, pestilence and despair. It made them great! By heavens! It made them heroic; and it made them pathetic, too, in their craving for trade with the inflexible death levying its toll on young and old

This is the awe-inspiring universe of magic: There are no atoms, only waves and motions all around. Here, you discard all belief in barriers to understanding. You put aside understanding itself. This universe cannot be seen, cannot be heard, cannot be detected in any way by fixed perceptions. It is the ultimate void where no preordained screens occur upon which forms may be projected. You have only one awareness here—the screen of the magi: Imagination! Here, you learn what it is to be human. You are a creator of order, of beautiful shapes and systems, an organizer of chaos.

There are people in poverty who, if they have the gumption, say, "I'm leaving here. I'm gonna take three jobs and make it." There are definitely people who do that, and it shapes the rest of their life. And that's almost as unfortunate as someone who says, "Why bother? I'm not even gonna try." There are people consumed by that, and I've been affected by it. It's been a detriment for sure. It was ridiculous, and I don't want to see anyone go through that again. It makes me compassionate, and when I see it, it makes my shoulders tense up, and you remember it.

Luckily for me, most of my work is through a brand or client who approaches my agent. Before I began modeling, I never realized how many barriers there were for people with disabilities within the industry. I didn't realize how much prejudice and ignorance existed. That made me even more determined to break down the barriers and to wake up the industry to the fact that beauty shows up in all different shapes, sizes and abilities.

Consider prejudice. Once a person begins to accept a stereotype of a particular group, that "thought" becomes an active agent, "participating" in shaping how he or she interacts with another person who falls in that stereotyped class. In turn, the tone of their interaction influences the other person's behaviour. The prejudiced person can't see how his prejudice shapes what he "sees" and how he acts. In some sense, if he did, he would no longer be prejudiced. To operate, the "thought" of prejudice must remain hidden to its holder

He was beautiful, that was always affirmed, but his beauty was hard to fix or to see, for he was always glimmering, flickering, melting, mixing, he was the shape of a shapeless flame, he was the eddying thread of needle-shapes in the shapeless mass of the waterfall. He was the invisible wind that hurried the clouds in billows and ribbons. You could see a bare tree on the skyline bent by the wind, holding up twisted branches and bent twigs, and suddenly its formless form would resolve itself into that of the trickster.

I think whatever you believe in affects whatever you express, whatever you create. It shapes your morality in some way. But I don't think that's something that you have to shove down people's throats. I'd rather keep it in the background, and I'd rather people came to the music in an unprejudiced way. I'm glad, in a sense, that most people don't know about me, what I do, much. I'd rather they hear the music, and then say, "I wonder what kind of person created this."

And all over the countryside, he knew, on every crest and hill, where once the hedges had interlaced, and cottages, churches, inns, and farmhouses had nestled among their trees, wind wheels similar to those he saw and bearing like vast advertisements, gaunt and distinctive symbols of the new age, cast their whirling shadows and stored incessantly the energy that flowed away incessantly through all the arteries of the city. ... The great circular shapes of complaining wind-wheels blotted out the heavens.

We know great Nature's pow'r, Mother of things, whose vast unbounded sway From the deep centre all around extends Wide to the flaming barriers of the world. We feel her power; we strive not to repress (Vainly repress'd, or to deformity) Her lawful growth: ours be the task alone To check her rude excrescencies, to prune Her wanton overgrowth, and where she strays In uncouth shapes, to lead her gently back, With prudent hand, to form and better use.

When the rich build bigger, they shift the frame of reference that shapes the demands of the near rich, who travel in the same social circles. Perhaps it's now the custom in those circles to host your daughter's wedding reception at home rather than in a hotel or country club. So the near rich feel they too need a house with a ballroom. And when they build bigger, they shift the frame of reference for the group just below them, and so on, all the way down.

It has been said that the essence of teaching is causing another to know. It may similarly be said that the essence of training is causing another to do. Teaching gives knowledge. Training gives skill. Teaching fills the mind. Training shapes the habits. Teaching brings to the child that which he did not have before. Training enables a child to make use of that which is already his possession.

Ancient worship . . . does truth. All one has to do is to study the ancient liturgies to see that liturgies clearly do truth by their order and in their substance. This is why so many young people today are now adding ancient elements to their worship. . . . This recovery of ancient practices is not the mere restoration of ritual but a deep, profound, and passionate engagement with truth—truth that forms and shapes the spiritual life into a Christlikeness that issues forth in the call to a godly and holy life and into a deep commitment to justice and to the needs of the poor.

Grandad taught me that the alien signs and symbols of algebraic equations were not just marks on paper. They were not flat. They were three-dimensional, and you could approach them from different directions, look at them from different ways, stand them on their heads. You could take them apart and put them back together in a variety of shapes, like Legos. I stopped being scared of them.

Obviously a garden is not the wilderness but an assembly of shapes, most of them living, that owes some share of its composition, it’s appearance, to human design and effort, human conventions and convenience, and the human pursuit of that elusive, indefinable harmony that we call beauty. It has a life of its own, an intricate, willful, secret life, as any gardener knows. It is only the humans in it who think of it as a garden. But a garden is a relationship, which is one of the countless reasons why it is never finished.

The need of black conservatives to gain the respect of their white peers deeply shapes certain elements of their conservatism. In this regard, they simply want what most people want, to be judged by the quality of their skills, not by the color of their skin. But the black conservatives overlook the fact that affirmative action policies were political responses to the pervasive refusal of most white Americans to judge black Americans on that basis.

Seems," madam? Nay, it is; I know not "seems." 'Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected 'havior of the visage, Together with all forms, moods, shapes of grief, That can denote me truly: these indeed seem, For they are actions that a man might play: But I have that within which passeth show; These but the trappings and the suits of woe.

From building a fire one can learn something about artistic composition. If you use only small kindling and large logs, the fire will quickly eat up the small pieces but will not become strong enough to attack the large ones. You must supply a scale of sizes from the smallest to the largest. The human eye also will not make its way into a painting or building unless a continuum of shapes leads from the small to the large, from the large to the small.

The teacher not only shapes the expectations and ambitions of her pupils, but she also influences their attitudes toward their future and themselves. If she is unskilled, she leaves scars on the lives of youth, cuts deeply into their self-esteem, and distorts their image of themselves as human beings. But if she loves her students and has high expectations of them, their self-confidence will grow, their capabilities will develop, and their future will be assured.

Monsters come in all shapes and sizes, Some of them are things people are scared of. Some of them are things that look like things people used to be scared of a long time ago. Sometimes monsters are things people should be scared of, but they aren't.

What I need is perspective. The illusion of depth, created by a frame, the arrangement of shapes on a flat surface. Perspective is necessary. Otherwise there are only two dimensions. Otherwise you live with your face squashed up against a wall, everything a huge foreground, of details, close-ups, hairs, the weave of the bedsheet, the molecules of the face. Your own skin like a map, a diagram of futility, criscrossed with tiny roads that lead nowhere. Otherwise you live in the moment. Which is not where I want to be.

When I look at a wildlife or nature subject, I dont see the feathers in the wings, I just count the wings. I see exciting shapes, color combinations, patterns, textures, fascinating behavior and endless possibilities for making interesting pictures. I regard the picture as an ecosystem in which all the elements are interrelated, interdependent, perfectly balanced, without trimming or unutilized parts; and herein lies the lure of the painting; in a world of chaos, the picture is one small rectangle in which the artist can create an ordered universe.

When I play a good guy, I try to explore them and figure out what shapes them and makes them interesting. When I'm playing a bad guy, I try to explore everything that makes them good. No one ever really thinks that they're a bad guy.

What people don't understand about making a film is sometimes your experience on the film shapes who you are. You're gone to another country for five months, maybe more, there's training leading up to it... It's a whole life experience that people don't see because they just see the final product wrapped up in a couple hours. You don't see everything that happens around it. I think it's hard to say one movie or one thing; I think they all shape who you are.

I always took a great interest in my clothes. My sister, who was 13 months older, and I always dressed alike, but as I got a little bit older, I didn't like that because I wanted to dress differently. So our mother would put Patty in blue and Polly in pink, or we would wear complementary colors, but the shapes we were wearing were always the same, and I was very interested in that. I also took great interest in my dolls and their clothes.

If writing is language and language is desire and longing and suffering . . . then why when we write, when we make shapes on paper, why then does it so often look like the traditional, straight models, why does our longing look for example like John Updike's longing?

His markings, month by month, became more beautiful, lines of autumn bracken colours with shapes which reminded me of currents on a quiet sea. True that at times his head, because of his youth, looked scraggy, even his body sometimes looked scraggy, but suddenly for some reason like the change of light, or of mood, he looked his potential. This was going to be a champion cat.

But then, Cap'n Crunch in a flake form would be suicidal madness; it would last about as long, when immersed in milk, as snowflakes sifting down into a deep fryer. No, the cereal engineers at General Mills had to find a shape that would minimize surface area, and, as some sort of compromise between the sphere that is dictated by Euclidean geometry and whatever sunken treasure related shapes that the cereal aestheticians were probably clamoring for, they came up with this hard-to-pin-down striated pillow formation.

But it didn't stop him from loving her just a little. From loving all women-all shapes, all sizes, all walks of life. Their soft skin and softer curves, the way they gasped and giggled and sighed, the way the wealthy ones played their coy games, and the less fortunate ones looked at him, stars in their eyes, eager for his attention. Women were, without a doubt, the Lord's finest creation. And, at twenty-three, he had plans for a lifetime of worshipping them.

Real, constructive mental power lies in the creative thought that shapes your destiny, and your hour-by-hour mental conduct produces power for change in your life. Develop a train of thought on which to ride. The nobility of your life as well as your happiness depends upon the direction in which that train of thought is going.