Top 1200 Text Quotes & Sayings - Page 3

I really like the interplay between thinking of text as ephemeral and thinking of it as a concrete, physical thing. With almost anything that I write, I'll stay completely immersed in the electronic text of it for a period of time and in another period, I'll stay immersed in it as a physical thing that can cut your skin. So with the apocalypses, I had them taped all over the wall and they had codes on them. Sometimes I would color code them in terms of thematic elements, sometimes in terms of voice, sometimes visual forms or images.

Tone can be as important as text.

Better known as the Secret of the Golden Flower, this is a famous neidan text that the Western world came to know through Richard Wilhelm's 1929 translation. The Chinese text used by Wilhelm was edited by Zhanran Huizhen zi in 1921. Besides this, at least five more versions are available, all of which date to the late Qing dynasty (1644-1911) and are ascribed to Lu Dongbin, who revealed them through spirit writing.

Apply yourself wholly to the text; apply the text wholly to yourself.

I live for the text. It's my job.

It is well documented that the same text, indexed by several indexers, will result in as many slightly or even substantially different indexes, and even the same indexer will produce varying indexes for the same text at different times.

A text is evolutionary by its very nature.

Great speeches have always had great soundbites. The problem now is that the young technicians who put together speeches are paying attention only to the soundbite, not to the text as a whole, not realizing that all great soundbites happen by accident, which is to say, all great soundbites are yielded up inevitably, as part of the natural expression of the text. They are part of the tapestry, they aren't a little flower somebody sewed on.

The physics of undergraduate text-books is 90% true.

As I recall, you promised to CALL when you finished the book, not text.

Occasionally, I come to moments of anguish in the text.

To say that an author is a reader or a reader an author, to see a book as a human being or a human being a book, to describe the world as text or a text as the world, are ways of naming the readers craft.

This is too much madness to explain in one text.

Ultimately, as an actor, it comes down to committing to the text in the script.

You know, kids text a lot today. It's phenomenal.

Quotes are like prompts. A way of searching, connecting the dots. Other people's thinking has always - both positively and negatively - jumpstarted my thinking. Quotes are also a way of acting out not just a text, and not just thinking, but the making of a text. The construction of thinking. The quotes are part of those constructions and reflections. Thinking through quotes, which to say scouring a range of texts for insight, is one way to outline the process of thinking/feeling through a subject.

I'll always geek for a Ric Flair text.

I learn as much from a turtle as from a religious text.

The facts of life are to the biographer what the text of a novel is to the critic.

We had collaborated with Allen Ginsberg on one of his last projects just before he died in the spring of '97, a book called Illuminated Poems - it was Allen's poems and songs and I illustrated them. Or, I illuminated them with paintings and drawings that bounced off of them. You want the picture to relate to the text without it slavishly regurgitating it or merely illustrating it, because that's redundant. You want to show another angle of what the text is saying.

I can't text. My fingers are too big.

A lot of my work is about text taken to the point of abstraction.

Based on research into the Picture Superiority Effect, when we read text alone, we are likely to remember only 10 percent of the information 3 days later. If that information is presented to us as text combined with a relevant image, we are likely to remember 65 percent of the information 3 days later.

I read the text; and then I come to the Shirat ha-Yam, to the Song of the Sea [Exodus 15], to the poetry. Who could have written such a poem except someone who went through it? It is so full of life, so full of truth, of passion, of concern. And the thousands and thousands of commentaries in the Talmudic tradition that have been written on it. It had to have happened. But even if not, I would attribute the same beauty to the text as I do now.

Here the only genuine conflict is between true believers. Of a given text in Holy Writ one faction may say this thing and another that, but both agree unreservedly that the text itself is impeccable, and neither in the midst of the most violent disputation would venture to accuse the other of doubt. To call a man a doubter in these parts is equal to accusing him of cannibalism. Even the infidel Scopes himself is not charged with any such infamy.

Illustrations have as much to say as the text. The trick is to say the same thing, but in a different way. It's no good being an illustrator who is saying a lot that is on his or her mind, if it has nothing to do with the text. . . the artist must override the story, but he must also override his own ego for the sake of the story.

The text is your greatest enemy.

A key text for me is James Baldwin's essays. And, in particular, his essay Stranger in the Village. It's a text that I've used in a lot of paintings. The essay is from the mid-'50s, when he's moved to Switzerland to work on a novel, and he finds himself the only black man living in a tiny Swiss village. He even says, "They don't believe I'm American - black people come from Africa." The essay is not only about race relations, but about what it means to be a stranger anywhere.

To seek in the great accumulation of the already-said the text that resembles "in advance" a later text, to ransack history in order to rediscover the play of anticipations or echoes, to go right back to the first seeds or to go forward to the last traces, to reveal in a work its fidelity to tradition or its irreducible uniqueness, to raise or lower its stock of originality, to say that the Port -Royal grammarians invented nothing, or to discover that Cuvier had more predecessors than one thought, these are harmless enough amusements for historians who refuse to grow up.

Acting doesn't bring anything to a text. On the contrary, it detracts from it.

Some people study a text very deeply. The people are my text. I study their words and what their words sound like, over and over again. When I was a kid, my grandfather said that "if you say a word often enough, it becomes you." Thinking of that later in life gave me this idea that I could try to become America by learning the words of people from many aspects of the country. It doesn't matter how educated they are. By living in the world and living their experiences, they bring extraordinary truths. I try to do those truths justice.

The text has disappeared under the interpretation.

The text is a limited field of possible constructions.

Silence is a text easy to misread.

There is nothing outside the text

Objects are better than text at conveying narrative

I’ll respond to your text message, baby.

We have cut the text, but what remains are Shakespeare's words.

Footnotes -- little dogs yapping at the heels of the text

People who text a lot are not my favorite thing.

Text first, rhythm second, melody third.

If you text someone, and you just get an emoticon back, it's over.

There are usually multiple messages that could be preached from the same text.

Most of the early Christian writers thought the text "I and my Father are one," was to be understood of an unity or harmony of disposition only. Thus Tertullian observes, that the expression is unum , one thing, not one person; and he explains it to mean unity, likeness, conjunction, and of the love that the Father bore to the Son. Origen says, "let him consider that text, 'all that believed were of one heart and of one soul,' and then he will understand this, 'I and my Father are one".

Once upon a midnight dreary, while I pondered weak and weary, O’er a plan to venge myself upon that cursed Thursday Next- This Eyre affair, so surprising, gives my soul such loath despising, Here I plot my temper rising, rising from my jail of text. “Get me out!” I said, advising, “Pluck me from this jail of text- or I swear I’ll wring your neck!

When you post something, when you text something, you lose ownership of it when you hit enter or send. Who you send it to, where you post it, they take ownership of that information whether you like it or not. Unfortunately, you don't lose responsibility for that text or post.

I'm hopeless by e-mail, by phone, by text.

Music is the melody whose text is the world.

Text is the gateway drug to real time marketing.

Of the properties of mathematics, as a language, the most peculiar one is that by playing formal games with an input mathematical text, one can get an output text which seemingly carries new knowledge. The basic examples are furnished by scientific or technological calculations: general laws plus initial conditions produce predictions, often only after time-consuming and computer-aided work. One can say that the input contains an implicit knowledge which is thereby made explicit.

It's funny how intimate it feels to get a text.

I really enjoy fusing text and music.

Text without context is pretext.

Every text assumes a reader.

So much of my game is owed to Thierry. We text regularly.

I'm not naive. Sometimes interpretation is more of an art than a science. There are those who would label interpretation absolutely anything a judge might do or, two, the text of a statute or the Constitution. But it seems to me there comes a point where a judge is using his own creativity and purpose and crosses the line between interpreting a text written by somebody else and in a sense creating something new.

And so, when I began to read the proffered pages, I at one moment lost the train of thought in the text and drowned it in my own feelings. In these seconds of absence and self-oblivion, centuries passed with every read but uncomprehended and unabsorbed line, and when, after a few moments, I came to and re-established contact with the text, I knew that the reader who returns from the open seas of his feelings is no longer the same reader who embarked on that sea only a short while ago.

If children are studying the 20th century, I'm in their text books.

The Text is not a definitive object.

It's a wonderfully democratic method, publishing a text on the Internet.