Top 1200 Storage Space Quotes & Sayings - Page 19

I'm not sure if I could tell the difference—between just staring into space and thinking. We're usually thinking all the time, aren't we? Not that we live in order to think, but the opposite isn't true either—that we think in order to live. I believe, contrary to Descartes, that we sometimes think in order not to be. Staring into space might unintentionally have the opposite effect.

Good evening, Lord Corwin,' said the lean, cadaverous figure who rested against a storage rack, smoking his pipe, grinning around it. Good evening, Roger. How are things in the nether world?' A rat, a bat, a spider. Nothing much else astir. Peaceful.' You enjoy this duty?' He nodded. I am writing a philosophical romance shot through with elements of horror and morbidity. I work on those parts down here.

We need a barn or one of those storage areas for the Broken vehicles." "A garage?" He gave her a short nod. "A private, relatively remote location, with thick walls to dampen the sound and preferably a sturdy door I could bolt from the inside, keeping your grandmother, your brothers, and all other painfully annoying spectators out..." Rose began to laugh. A make-out bunker... "I'm glad you find our dilemma hilarious.

I realize that the 2020s are going to be completely different than this decade has been. There's going to be rapid progress. One of the most important aspects is going to be cheaper access to space. It changes everything. We have the ideas and the technology to do a lot of things, but we're limited financially, so, by reducing the cost of access to space, the whole problem is changed. Ultimately, the pieces that are coming together are going to allow us to send humans to Mars - and bring them back.

The immaterial blue colour shown at Iris Clert's in April had in short made me inhuman, had excluded me from the world of tangible reality; I was an extreme element of society who lived in space and who had no means of coming back to earth. Jean Tinguely saw me in space and signaled to me in speed to show me the last machine to take to return to the ephemerality of material life.

T I was doing Predators, this new movie for FOX simultaneously, and this character that I play in the movie is "Walter Stands," and I had a plethora of ink all up and down my skin.Once you have ink on your body, how it informs you as an actor, and you kind of get in that space and occupy that space of that character, when you're without them, when I'm just Walton Goggins in the world and I'm without my tattoos, I feel a little naked.

But in order to survive in this foreign world, I had to teach myself that love was very much like a painting. The negative space between people was just as important as the positive space we occupy. The air between our resting bodies, and the breath in our conversations, were all like the white of the canvas, and the rest our relationship- the laughter and the memories- were the brushstroke applied over time.

Whatever an artist's personal feelings are, as soon as an artist fills a certain area on the canvas or circumscribes it, he becomes historical. He acts from or upon other artists. An artist is someone who makes art too. He did not invent it. How it started — "to hell with it." It is obvious that it has no progress. The idea of space is given him to change if he can. The subject matter in the abstract is space. He fills it with an attitude. The attitude never comes from himself alone.

Superhero science has taught me this: Entire universes fit comfortably inside our skulls. Not just one or two but endless universes can be packed into that dark, wet, and bony hollow without breaking it open from the inside. The space in our heads will stretch to accommodate them all. The real doorway to the fifth dimension was always right here. Inside. That infinite interior space contains all the divine, the alien, and the unworldly we’ll ever need.

I define Inner Space as an imaginary realm in which on the one hand the outer world of reality, and on the other the inner world of the mind meet and merge. Now, in the landscapes of the surrealist painters, for example, one sees the regions of Inner Space; and increasingly I believe that we will encounter in film and literature scenes which are neither solely realistic nor fantastic. In a sense, it will be a movement in the interzone between both spheres.

... the only other place comparable to these marvelous nether regions, must surely be naked space itself, out far beyond atmosphere, between the stars, where sunlight has no grip upon the dust and rubbish of planetary air, where the blackness of space, the shining planets, comets, suns, and stars must really be closely akin to the world of life as it appears to the eyes of an awed human being, in the open ocean, one half mile down.

Over the past 50 years we got versions of X-ray specs and space vacations, and even death rays. But the X-ray specs don't fit on your face - they're big things that screen your luggage for guns. Space vacations are real, but they cost $20 million. We have death rays, but you have to be a triple Ph.D. to play with them.

Individuals inherit a particular space within an interlocking set of social relationships; lacking that space, they are nobody, or at best a stranger or an outcast. To know oneself as such a social person is however not to occupy a static and fixed position. It is to find oneself placed at a certain point on a journey with set goals; to move through life is to make progress - or to fail to make progress - toward a given end.

World War Two was a world war in space. It spread from Europe to Japan, to the Soviet Union, etc. World War Two was quite different from World War One which was geographically limited to Europe. But in the case of the Gulf War, we are dealing with a war which is extremely local in space, but global in time, since it is the first 'live' war.

Speculation in oil stock companies was another great evil ... From the first, oil men had to contend with wild fluctuations in the price of oil. ... Such fluctuations were the natural element of the speculator, and he came early, buying in quantities and holding in storage tanks for higher prices. If enough oil was held, or if the production fell off, up went the price, only to be knocked down by the throwing of great quantities of stocks on the market.

There is a beautiful expression of this in the Chandogya Upanishad: 'There is this City of Brahman, (that is the body), and in this city there is a shrine, and in that shrine there is a small lotus, and in that lotus there is a small space, (akasa). Now what exists within that small space, that is to be sought, that is to be understood.' This is the great discovery of the Upanishads, this inner shrine, this guha, or cave of the heart, where the inner meaning of life, of all human existence, is to be found.

It has always been my experience that, whatever groupings I choose for my books, the space in which I plan to lodge them necessarily reshapes my choice and, more important, in no time proves too small for them and forces me to change my arrangement. In a library, no empty shelf remains empty for long. Like Nature, libraries abhor a vacuum, and the problem of space is inherent in the very nature of any collection of books.

A thinking mind is not swallowed up by what it comes to know. It reaches out to grasp something related to itself and to its present knowledge (and so knowable in some degree) but also separate from itself and from its present knowledge (not identical with these). In any act of thinking, the mind must reach across this space between known and unknown, linking one to the other but also keeping visible to difference. It is an erotic space.

The seemingly insuperable difficulties of deep-space travel suggest an intention to keep us fixed at home in our own solar system, and the physical nature of our part of the Universe, as well as the basic rules of physics and chemistry, have a warning look about them, like barriers designed to isolate intelligent life. This means that for us, unlike the situation for humble microorganisms, deep-space travel is probably a stark impossibility.

So my message is in whichever realm, be it going into space or going into the deep sea, you have to balance the yin and yang of caution and boldness, risk aversion and risk taking, fear and fearlessness. No great accomplishment takes place, whether it be a movie or a deep ocean expedition, or a space mission, without a kind of dynamic equipoise between the two. Luck is not a factor. Hope is not a strategy. Fear is not an option.

We are at the moment looking at space as something to be entered by the tremendous thrust of a rocket because that is the attitude of attacking the unknown. And that causes us not to realize that we are already on the most magnificently equipped spaceship, which could hardly be improved upon. It has got a source of temperature and energy just at the right distance from it. It's beautifully equipped with oxygen, with food supplies, with all kinds of delightful things to do while on the journey.... and it's traveling through space at a colossal speed... and it's called the planet Earth.

One of the things that makes it so challenging is that we're constructing the Station hundreds of miles above the surface of the Earth and we're doing it one piece at a time For the International Space Station we do not have the privilege of assuming the Space Station is on the ground before we take it up one piece at a time. So we have to be very clever about the testing that we do and the training that we do to make sure that each mission is successful, and that each piece and each mission goes just as it's planned.

Dancing is surely the most basic and relevant of all forms of expression. Nothing else can so effectively give outward form to an inner experience. Poetry and music exist in time. Painting and architecture are a part of space. But only the dance lives at once in both space and time. In it the creator and the thing created, the artist and the expression, are one. Each participates completely in the other. There could be no better metaphor for an understanding of the mechanics of the cosmos.

I sometimes ask myself how it came about that I was the one to develop the theory of relativity. The reason, I think, is that a normal adult never stops to think about problems of space and time. These are things which he has thought about as a child. Bu t my intellectual development was retarded,as a result of which I began to wonder about space and time only when I had already grown up.

Too many of us have lost the passion and emotion of the remarkable things we-ve done in space. Let us not tear up the future, but rather again heed the creative metaphors that render space travel a religious experience. When the blast of a rocket launch slams you against the wall and all the rust is shaken off your body, you will hear the great shout of the universe and the joyful crying of people who have been changed by what they-ve seen.

A reporter called on Edison to interview him about a substitute for lead in the manufacture of storage batteries that the scientist was seeking. Edison informed the man that he had made 20,000 experiments but none had worked. "Aren't you discouraged by all this waste of effort?" the reporter asked. Edison: "Waste! There's nothing wasted. I have discovered 20,000 things that won't work."

It was very definitely architectural. I was using the words on the page as some kind of equivalent of a physical model. But I never thought at that point that I wanted to move toward architecture. I wanted to move toward real space. Sure, that's probably another way of saying, I want to move toward architecture. But I didn't define real space in terms of architecture, then.

We forget about the space between the stars, the pure and perfect space that's also the eye of God. To penetrate the mystery is to become the mystery; to penetrate infinity is to become infinity; to penetrate light is to become light.

All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself.

The food of thy soul is light and space; feed it then on light and space. But the food of thy body is champagne and oysters; feed it then on champagne and oysters; and so shall it merit a joyful resurrection, if there is any to be.

R&D generally has been a bipartisan thing, because in the IT space, in the medical space, the U.S., the benefits to ourselves and the world and our economy have been very, very clear. I'm hopeful we can make a very strong case there. Energy is actually harder; it takes more time to get a product, but if you do it's a very, very big market and the constraints of doing that in a clean way are more obvious all the time.

I only ever really follow the music, that's what I'm about, I don't think about it too much. I just wanted to make a piece to sleep through, to sort of explore that sleeping space as a listening space and to have a different encounters between our listening minds or hearing minds and music. I think that's really interesting. After that I feel I've done my job.

Digiphrenia - how technology lets us be in more than one place - and self - at the same time. Drone pilots suffer more burnout than real-world pilots, as they attempt to live in two worlds - home and battlefield - simultaneously. We all become overwhelmed until we learn to distinguish between data flows (like Twitter) that can only be dipped into, and data storage (like books and emails) that can be fully consumed.

This is how space begins, with words only, signs traced on the blank page. To describe space: to name it, to trace it, like those portolano-makers who saturated the coastlines with the names of harbours, the names of capes, the names of inlets, until in the end the land was only separated from the sea by a continuous ribbon of text. Is the aleph, that place in Borges from which the entire world is visible simultaneously, anything other than an alphabet?

Space travel is the only technology that is more dangerous and more expensive now than it was in its first year. Fifty years after Yuri Gagarin, the space shuttle ended up being more dangerous and more expensive to fly than those first throwaway rockets, even though large portions of it were reusable. It's absurd.

In fact, when Bernard [Leach] would be called away to go up to London for something and we'd be living alone for a couple of days, we would dig into the storage areas in the house and we'd get out all the pots that we might not see in the course of our daily life, because we weren't using them in the house on a steady basis. But we found some fantastic pots in there tucked away, and we could look at them and examine them and handle them.

I was fortunate enough, after many visits to many wonderful, weird people to come across Burt Rutan, who is a genius in the Mojave Desert. And SpaceShipOne was born and had three flights into space that won something called the X Prize. And from there, we're building SpaceShipTwo, which is ... a beautiful spaceship that is very, very, very nearly completed and will be ready from about next Christmas onwards to start taking people into space.

Everyone who's been in space would, I'm sure, welcome the opportunity for a return to the exhilarating experiences there. For me, a flight in a shuttle, though most satisfying, would be anticlimactic after my flight to the moon. Plus, if I pursued a flight myself, people would think that was the reason I am trying to generate interest in public spaceflight. And that's not the purpose - I want to generate interest in long-range space exploration.

I have no views as to where it will be, but the one thing I can tell you is it won't do anything between now and then except look at you. Whereas, you know, Coca-Cola (KO) will be making money, and I think Wells Fargo (WFC) will be making a lot of money and there will be a lot - and it's a lot - it's a lot better to have a goose that keeps laying eggs than a goose that just sits there and eats insurance and storage and a few things like that.

At two-tenths the speed of light, dust and atoms might not do significant damage even in a voyage of 40 years, but the faster you go, the worse it is--space begins to become abrasive. When you begin to approach the speed of light, hydrogen atoms become cosmic-ray particles, and they will fry the crew. ...So 60,000 kilometers per second may be the practical speed limit for space travel.

Mankind's journey into space, like every great voyage of discovery, will become part of our unending journey of liberation. In the limitless reaches of space, we will find liberation from tyranny, from scarcity, from ignorance and from war. We will find the means to protect this Earth and to nurture every human life, and to explore the universe. . . .This is our mission, this is our destiny.

Henry turned as if to dart out of the room, then swung around and stared at them, a look of confusion passing over his freckled face, as if he had only now had cause to wonder why Will, Tessa, and Jem might be crouching together in a mostly disused storage room. "What are you three doing in here, anyway?" Will tilted his head to the side and smiled at Henry. "Charades," he said. "Massive game.

I am in a space now where I can try anything; and with Pink Floyd we've always been in a space where we were able to try out anything. I think we were very young then and we were very keen to experiment and try things out. It seems to me that this sort of experimenting is like working yourself towards something and trying to find what you like and what you want.

I was transformed by picking up a pair of binoculars and looking up, and that's hard to do for a city kid because when you look up you just see buildings - and really, your first thought is to look in people's windows. So to look out of the space - out of living space - and look up to the sky, binoculars go far, literally and figuratively.

I don't think poetry will die, but I think that poetry does demand a certain kind of attention to language. It does demand a certain space in order to read it, and I think that space is somewhat threatened by the lack of attention that people have and the amount of time that they give to things.

If you are walking down the street, camera in your hand, loaded and ready to shoot. You see a person falling from a high building, either having fallen or jumped. That person is falling through space. You don't shoot that photograph unless the theme you are working on has to do with the effects of space on the human figure. If you simply photograph that event because it is an event that is happening, you're doing photojournalism.

I regard any behavior we indulge in as a game. The soul is beyond not only three-dimensional space but beyond the illusion of linear time. Any method we use to move through three- or four- dimensional space is a game. It doesn't matter how serious we take it, or how serious its consequences are.

Charles Bernstein's pairs of jingles of 'public discourse' are 'simultaneous double narrative / the space between's the other narrative/as if they're opposite.' In the space between, outside representation but in the 'presence' of it, we are provoked to laugh. Bernstein alters our language to open a double range that's public and mind at once and inseparable, that is 'Poetry is patterned thought in search of unpatterned mind.' Girly Man is doing it.

...The unconscious has no time. There is no trouble about time in the unconscious. Part of our psyche is not in time and not in space. They are only an illusion, time and space, and so in a certain part of our psyche time does not exist at all.

Perhaps the safest thing to do at the outset, if technology permits, is to send music. This language may be the best we have for explaining what we are like to others in space, with least ambiguity. I would vote for Bach, all of Bach, streamed out into space, over and over again. We would be bragging of course, but it is surely excusable to put the best possible face on at the beginning of such an acquaintance. We can tell the harder truths later.

Bistromathics itself is simply a revolutionary new way of understanding the behavior of numbers. Just as Einstein observed that space was not an absolute but depended on the observer's movement in space, and that time was not an absolute, but depended on the observer's movement in time, so it is now realized that numbers are not absolute, but depend on the observer's movement in restaurants.

The bread which you hold back belongs to the hungry; the coat, which you guard in your locked storage-chests, belongs to the naked; the footwear mouldering in your closet belongs to those without shoes. The silver that you keep hidden in a safe place belongs to the one in need. Thus, however many are those whom you could have provided for, so many are those whom you wrong.

I am, a stride at a time. A very short space of time through very short time of space.

How to live simply? It is a big question. Let the answer come into the empty space that one must create in oneself. Trying to live simply is not the way - we don't know how. Trying to fix it is filling the space with activity, when what is needed is to empty oneself and allow an answer to appear.

Any time you do something, you make decisions about time and space. I wanted those decisions to be out of my hands. I could be dragged, carried along by another person, I could be a receiver. I could be the agent of the overall scheme, but I didn't want to be the agent of the particular action. I could make the ultimate decision that my space is going to change now, but I don't know where it's going to go.

People will come back and influence their communities to get excited about space. Space funding will increase because people will see the benefit it has to the way people relate to the world, the way people relate to problems, and the way people view themselves.

In order to understand, it is immensely important for the person who understands to be located outside the object of his or her creative understanding—in time, in space, in culture. For one cannot even really see one's own exterior and comprehend it as a whole, and no mirrors or photographs can help; our real exterior can be seen and understood only by other people, because they are located outside us in space, and because they are others.

Vocal music is an attempt to take the whole human being and project it into space. It is the ultimate gesture of getting out of yourself. You take a part of you that is most private, most personal, most inward and you hurl it out into space - you project it as far as you can. That gesture of opining this whole region of the body results in an enormous spiritual release, and is felt by other people with tremendous impact.

We must acknowledge that we made a huge error in satisfying the lowest common denominator of the available human potential in Nigeria and we elevated what I call the reign of mediocrity. Quite frankly, I think it is about repudiating the past, creating space for new thinking for the best of the new generation, creating both political and geographical space and going at it with single mindedness that says, 'enough of buttering, sentiments and massaging the ego of the old brigade'.

Space exploration must be undertaken not only out of simple human curiosity but also to further the survival of the species. The twentieth century has seen the unprecedented development and proliferation of magnificent technologies. Many of them, through design, ignorance, or misuse, are capable of destroying life as well as enhancing it. Space exploration alone holds the promise of eventual escape from a dying planet, provided we wisely manage our resources in the meantime and actually survive that long.