Top 1200 Surface Quotes & Sayings - Page 2

I think we are affected so much by mythical stories and biblical stories, our society being based on the Bible - at least the old society is based on biblical terms and laws - that there's more of it in art than people realize. Sometimes it comes to the surface, but sometimes it's below the surface, but certainly, it does influence some of my movies.

I work on stretched linen canvas, sized so that the surface already has a sense of tension when I begin. It is a very rich and reactive surface. I begin by drawing on the canvas with a kind of loose line, very simply and freely. I paint very thinly, which allows me to change the drawing if I want to.

Whenever we think of the body as a vessel for artistic ideas, we somehow always focus on the surface of the body. But the truth is that there is no surface of the body independent of its interior. It's obvious that the outside of the body is always connected to the inside, to thought processes and to an internal anatomy.

Although my stories are all very different on the surface, I like to write stories about characters struggling with big problems. I'm always reminded, no matter how different from me one of my characters is from me on the surface, how we're all pretty much the same underneath.

A lot of times, my work is looked at very much on the surface. It's very easy to just want to put something in a box - to say, 'Oh, since this work deals with surface desires at times, this is about consumerism.' And of course, the base of the work is... not about economics at all.

If we fully trust that God is as beautiful as he reveals himself to be on the cross, we must regard the ugly surface appearance of these portraits to reflect the sinful way his people imagined God, not the way God actually is. But when we by faith look through the ugly surface of these portraits, we can see God stooping out of love to meet his people where they are at and to bear their sin, which is why in Scripture he takes on an ugly surface appearance that reflects the ugliness of their sin.

All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex and vital.

The usual metric for whether a planet is habitable or not is to ascertain whether liquid water could exist on its surface. Most worlds will either be too cold, too hot or of a type (like Jupiter) that may have no solid surface and be swaddled in noxious gases.

For a man who finds life tolerable only by staying on the surface of himself, it is natural to be satisfied with offering no more than his surface to others. There are few demands to be met, and no commitment is required. Marriage, on the other hand, closes the door. Your existence is confined to a narrow space in which you are constantly forced to reveal yourself – and therefore, constantly obliged to look into yourself, to examine your own depths.

In a photograph, if I am able to evoke not alone a feeling of the reality of the surface physical world but also a feeling of the reality of existence that lies mysteriously and invisibly beneath its surface, I feel I have succeeded. At their best, photographs as symbols not only serve to help illuminate some of the darkness of the unknown, they also serve to lessen the fears that too often accompany the journeys from the known to the unknown.

I would say that the fundamental question of geography is about how humans shaped the Earth's surface and how we, in turn, are shaped by the ways in which we have shaped the Earth's surface. So, for me, geography was just a set of tools that allowed me to ask these kinds of questions and to try to think through them.

While it is becoming increasingly obvious that the fundamental architecture of a system has a profound Influence on the quality of its human factors, the vast majority of human factors studies concern the surface of hardware (keyboards, screens) or the very surface of the software (command names, menu formats).

Knowing means to penetrate through the surface, in order to arrive at the roots, and hence the causes; knowing means to "see" reality in its nakedness. Knowing does not mean to be in the possession of the truth; it means to penetrate the surface and to strive critically and actively in order to approach truth ever more closely.

One way to think about a pure hyperbolic surface is that it's the geometric opposite of a sphere. If you look at a sphere, the curvature is the same everywhere, as opposed to, say, an egg, which clearly does not curve the same everywhere. This is what makes spheres geometrically important. Mathematically speaking, a sphere has positive curvature and a hyperbolic surface has negative curvature, but both have constant curvature everywhere.

Thus we can get the correct answer for the probability of partial reflection by imagining (falsely) that all reflection comes from only the front and back surfaces. In this intuitively easy analysis, the 'front surface' and 'back surface' arrows are mathematical constructions that give us the right answer, whereas .... a more accurate representation of what is really going on: partial reflection is the scattering of light by electrons inside the glass.

Storytelling is more like a skin. You start with the outermost layer, what it's going to look like, then you kind of get deeper into it. What's actually going on beneath the surface is not really dictated by or related to the surface genre. It's more about what's going to happen between the characters and what's taking place in the story.

When you find peace within yourself, you become the kind of person who can live at peace with others. Inner peace is not found by staying on the surface of life, or by attempting to escape from life through any means. Inner peace is found by facing life squarely, solving its problems, and delving as far beneath its surface as possible to discover its verities and realities.

I should hate to be a regular girl with a sugar-plum voice. I should hate to have swan-like lashes, and a thick, sooty neck. I sound as though I’m joking, I know, but I should truly hate to be like Leanne, so charming and ordinary and stuffed with clichéd feelings. I’m glad I’m the ice maiden. Who wants to be crying over every stray dog? Not I. Scratch my surface and what do you see? More surface.

The surface of the moon is like nothing here on Earth! It's totally lacking any evidence of life. It has lots of fine, talcum-powderlike dust mixed with a complete variety of pebbles, rocks, and boulders. Many pebbles, fewer rocks, and even fewer boulders naturally make up its surface. The dust is a very fine, overall dark gray. And with no air molecules to separate the dust, it clings together like cement.

To build a character like Henry Warnimont required a few weeks and months of work. It turned out he was basically a very kind and generous man, which he covered up with his surface gruffness and surface bluster. And the kind of hopeless quality, that 'everything goes wrong' kind of thing.

A painting is nothing more than light reflected from the surface of a pigment-covered canvas. But a great painter can make you see the depth, make you feel the underlying emotion, make you sense the larger world. That, too, is the power of science: to sense and convey the depth and dimensionality of nature, to glance at the surface and to divine the shape of the universe around us.

Our first-party devices will light up digital work and life. Surface Pro 3 is a great example -- it is the world's best productivity tablet. In addition, we will build first-party hardware to stimulate more demand for the entire Windows ecosystem. That means at times we'll develop new categories like we did with Surface. It also means we will responsibly make the market for Windows Phone, which is our goal with the Nokia devices and services acquisition.

The girls said she was too cynical about love, but how could you not be? On the surface, relations between men and women were all soft kisses and white gowns and hand-holding. But underneath they were a scary, complicated, ugly mess, just waiting to rise to the surface.

Now imagine that you are going beneath the surface of the ocean. Below the surface all is calm, silent, and serene. As you visualize yourself going deeper and deeper into the depths of the ocean, feel that a profound peace is entering you.

As far as Europa goes, Europa very likely has an ocean under its surface. In that regard, Europa and Enceladus are on equal par. But on Europa, the ocean is at least several kilometers under the surface, and the moon is bathed in an intense radiation field.

Gravity is so strong that space is bent round onto itself, making it rather like the surface of the earth. If one keeps traveling in a certain direction on the surface of the earth, one never comes up against an impassable barrier or falls over the edge, but eventually comes back to where one started.

The reason you see so many volcanoes on Venus is partly due to the fact that there's virtually no erosion there. So on Venus, you're seeing features, some of which are hundreds of millions of years old on the surface. On Earth, we do not see any surface features nearly that old - you only see much more recent features.

The surface of Mars is bathed in ultraviolet light, bathed in radiation. Mars's magnetic field is essentially gone, so the surface of Mars is essentially sterilized.

But my vote for Venus's most peculiar feature is the presence of craters that are all relatively young and uniformly distributed over its surface. This innocuous-sounding feature implicates a single planetwide catastrophe that reset the cratering clock... turning Venus's entire surface into the American automotive dream-a totally paved planet.

Everything - a bird, a tree, even a simple stone, and certainly a human being - is ultimately unknowable. This is because it has unfathomable depth. All we can perceive, experience, think about, is the surface layer of reality, less than the tip of an iceberg. Underneath the surface appearance, everything is not only connected with everything else, but also with the Source of all life out of which it came. Even a stone, and more easily a flower or a bird, could show you the way back to God, to the Source, to yourself.

Usually when I draw, I try to be in a contemplative mood. I try to keep my mind as empty, vacant and tranquil as possible. The outer mind is like the surface of the sea. On the surface, the sea is full of waves and surges; it is all restlessness. But when we dive deep below, the same sea is all peace, calmness and quiet, and there we find the source of creativity.

Clever people, people who are cunning, do not know what love is because their minds are so sharp, because they are so clever, because they are so superficial - which means to be on the surface, and love is not a thing that exists on the surface.

We believe that introducing surface-to-air missiles in Syria is going to change the balance of power on the ground. It will allow the moderate opposition to be able to neutralize the helicopters and aircraft that are dropping chemicals and have been carpet-bombing them, just like surface-to-air missiles in Afghanistan were able to change the balance of power there.

You have to be aware that whenever you leave your house, you're probably going to be photographed by someone somewhere. Maybe those pictures will surface. Maybe they won't. Maybe those videos will surface. Maybe they won't. But you have to always be aware that it could be happening.

I think when tragic things happen it is on surface. It is like the ocean. One the surface a waves and sometimes the wave is very serious and strong. But it comes and goes, comes and goes, and underneath, the ocean always remains calm. Tibetans have a saying: "If bad news comes to you listen here" (points to the right ear) "and let it our here" (points to the left ear).

My reason [for making my own paint] is to force a real-time experience of the work. Most work today is experienced by reproduction, and more specifically by computer screen, like jpegs, but an RGB simulation of fluorescent will never fully accurately depict some colors. For example, our eyes are a lot more sophisticated than you might assume. You can feel a lot more going on on the surface of a canvas than you can on the surface of a screen.

You have to get inside the people you are writing about. You have to go below the surface. And that's to a very large degree what all writers are doing - they're trying to get below the surface. Whether it's in fiction or poetry or writing history and biography. Some people make that possible because they write wonderful letters and diaries. And you have to sort of go where the material is.

All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself.

The strength that we want is not a brute, unregulated strength; the beauty that we want is no mere surface beauty; but we want a beauty on the surface of life that is from the central force of principle within, as the beauty on the cheek of health is from the central force at the heart.

There are certain conceptual powers in this project, like the relationship of glass to sand, and the idea of putting glass back into the earth, which is where it comes from, which are related to the whole concept of I Am. So there's that one below-surface idea, and then there's these other practical and more pragmatic ideas about how the light functions and the geometry and mathematics behind the reverberation of light from the surface outward.

A line partakes of the simplicity of a point more than does a surface; and a surface [partakes thereof more] than does a material object-as was evident. From this consideration of a point and a material object elevate yourself unto a likeness of True Being and of the universe; and by means of [this] quite clear symbolism [of a point] make a conjecture about what has been said.

In Texas, years ago, almost all of the oil came from surface operations. Then someone got the idea that there were greater sources of supply deeper down. A well was drilled five thousand feet deep. The result? A gusher. Too many of us operate on the surface. We never go deep enough to find supernatural resources. The result is, we never operate at our best. More time and investment is involved to go deep but a gusher will pay off.

Men are weak now, and yet they transform the Earth's surface. In millions of years their might will increase to the extent that they will change the surface of the Earth, its oceans, the atmosphere, and themselves. They will control the climate and the Solar System just as they control the Earth. They will travel beyond the limits of our planetary system; they will reach other Suns, and use their fresh energy instead of the energy of their dying luminary.

There are two sorts of curiosity - the momentary and the permanent. The momentary is concerned with the odd appearance on the surface of things. The permanent is attracted by the amazing and consecutive life that flows on beneath the surface of things.

I've always been interested, - if you look back at my work from the beginning, really - I've always been interested in the idea of the artificial landscape. Reforming the landscape. Architecture being a method of reforming the earth's surface. We reshape the earth's surface, from architecture to paving streets, to parking lots and buildings that are really reforming the surface of the earth. Reforming nature, taking over what we find. And we're mushing it around and remaking a new earth - or, what we used to call Terra Nova.

Words came out of the womb of matter; And whether a man dispassionately Sees to the core of life Or passionately Sees the surface, The core and the surface Are essentially the same, Words making them seem different . . .

Rise above the dualities, the opposites. See this whole world as the bubbles on the surface of water. See people as bubbles on the surface of the Brahman, of the Infinity...Water bubbles up, rises up. Like that, everybody is rising and having their own games and plays and dissolving back into the Infinite.

My photographs don't go below the surface. They don't go below anything. They're readings of the surface. I have great faith in surfaces. A good one is full of clues. But whenever I become absorbed in the beauty of a face, in the excellence of a single feature, I feel I've lost what's really there been seduced by someone else's standard of beauty or by the sitter's own idea of the best in him. That's not usually the best. So each sitting becomes a contest.

It seems to me absolutely true, that our world, which appears to us the surface of all things, is really the bottom of a deep ocean: all our trees are submarine growths, and we are weird, scaly-clad submarine fauna, feeding ourselves on offal like shrimps. Only occasionally the soul rises gasping through the fathomless fathoms under which we live, far up to the surface of the ether, where there is true air.

We have the tendency to judge others by their surface appearance, and to find only their negative qualities. But if we search beneath the surface we discover that a myriad of strains mix together to create a particular person's nature. The faults we perceive are likely to be the effect of circumstances, the psychological response to trauma, abuse, rejection, heartbreak, insecurity, pain, confusion, or disease.

Early in my career I discovered that there was something really special about photographing at night that places your mind on the surface of the planet. You’re no longer just a human being walking around in the regular world. You’re a human animal striding around on the surface of the planet that’s out in the middle of the galaxy. We as a culture, we’re forgetting that we are actually natural organisms and that we have this very deep connection and contact with nature. You can’t divorce civilization from nature. We totally depend on it.

What we are after is the root and not the branches. The root is the real knowledge; the branches are surface knowledge. Real knowledge breeds 'body feel' and personal expression; surface knowledge breeds mechanical conditioning and imposing limitation and squelches creativity.

Gentlemen, four-fifths of the earth's surface is covered by seas; that is unquestionably too much; the world's surface, the map of oceans and dry land, must be corrected. We shall give the world the workforce of the sea, gentlemen. This will no longer be the style of Captain van Toch; we shall replace the adventure story of pearls by the hymnic paean of labour.

Donald Judd spoke of a 'neutral' surface, but what is meant? Neutrality must involve some relationship (to other ways of painting, thinking?) He would have to include these in his work to establish the neutrality of that surface. He also used 'non' or 'not' - expressive - this is an early problem - a negative solution or - expression of new sense - which can help one into - what one has not known. 'Neutral' expresses an intention.

The happiness of man is: I will. The happiness of woman is: he wills. 'Behold , just now the world ... entire love. And woman must obey and find a depth for her surface. Surface is the disposition of woman: a mobile, stormy film over shallow water. Man's disposition, however, is deep; his river roars in subterranean caves: woman feels his strength but does not comprehend it.

The skin is no more separated from the brain than the surface of a lake is separate from its depths; the two are different locations in a continuous medium...The brain is a single functional unit, from cortex to fingertips to toes. To touch the surface is to stir the depths.

It hadn't really percolated through my brain that I was going to see real, live TV from the surface of the Moon, and boy, oh, boy, had that Saturn V launch been exciting! And then, there it was - late at night, sitting up, watching, and there was Neil Armstrong actually standing on the surface of the Moon.

No matter how many stones you throw at the water's surface, no matter how much you step on a shadow, the water's surface does not disappear, the shadow does not disappear.

I found that gloss paint suited me entirely, and its qualities still intrigue me. It's viscous and fluid and feels like a pool. It's highly reflective, which means there are layers of looking. You look at the picture, and you look at the surface, then you look at the reflection in the surface behind you, then you look at yourself.

I'm tired of my life, my clothes, the things I say. I'm hacking away at the surface, as at some kind of gray ice, trying to break through to what is underneath or I am dead. I can feel the surface trembling—it seems ready to give but it never does. I am uninterested in current events. How can I justify this? How can I explain it? I don't want to have the same vocabulary I've always had. I want something richer, broader, more penetrating and powerful.