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I draw a distinction between traditional Islam and Islamism. Islamism emerged in its modern form in the 1920s and is driven by a belief that Muslims can be strong and rich again if they follow the Islamic law severely and in its entirety. This is a response to the trauma of modern Islam.
Ever since the Industrial Revolution, investments in science and technology have proved to be reliable engines of economic growth. If homegrown interest in those fields is not regenerated soon, the comfortable lifestyle to which Americans have become accustomed will draw to a rapid close.
I used to love to draw. I didn't want to go to art class because I felt that would be too corny when I was young, but architectural drafting was the cool thing to do because there was more precision. It taught me a lot about building and structures and doorways and frames and windowsills.
I can draw pencil lines to show something is moving, but if I'm writing, I struggle with how to write it. The boy ran down the hallway? The boy ran quickly down the hallway? The boy ran down the marble hallway? I agonize over the words. So my editor works very hard. I'm lucky to have her.
Well, I definitely have an artistic side to me as well. I write, I act, I draw. With that artistic mind I have, a lot of doors have opened for me. I can try to pursue, like - if it's something using my writing skills, maybe a book. Or maybe if it's my drawing skills, some clothing designs.
Everybody makes money for a living, but most of us actually do something that has a point, in addition to just making money. We examine and treat patients, we teach students, we draw up contracts and wills, we write for newspapers, magazines, and web sites, we clean floors, or we serve meals.
We wanted to make a powerful cello sound in order to show to the world the possibilities of the cello and to use it in a different way than the classical way they are used to. We wanted to play something exciting, something crazy, something to draw younger generations to this great instrument.
In college, I was a cartoonist at 'The Daily Northwestern.' So I draw myself. I was an animator. But basically, I went to Northwestern to major in English, wound up in college for two years. Studied animation there. Came to Disney. My first week at Disney was the week that 'Star Wars' came out.
I'm a big fan of Clint Eastwood, but the Westerns I draw from most directly come from an earlier period in Hollywood. I actually look back at movies like 'Rio Bravo' and others I've liked over the years, and I capture pictures from the movies and use them as a reference for the scenes I create.
Aesthetics - rather than reason - shapes our thought processes. First comes aesthetics, then logic. 'Thinking in Numbers' is not about an attempt to impress the reader but to include the reader, draw the reader in, by explaining my experiences - the beauty I feel in a prime number, for example.
Like a tracer running through the veins of the city, networks of air quality sensors attached to bikes can help measure an individual's exposure to pollution and draw a dynamic map of the urban air on a human scale, as in the case of the Copenhagen Wheel developed by new startup Superpedestrian.
I loved 'A Tree Grows in Brooklyn.' I read it later as an adult, but I loved 'We Have Always Lived in a Castle.' And that brings you around to 'The Lottery.' You can't pretend - it's a lottery in which you draw a name and people die. That's a short story, but it's such an incredible short story.
I give thanks for the fact that I can get this stick with a bit of steel nib on the end, dip it in some black carbon stuff, and draw on paper. Now, people did it the same way 2,000 years ago. And there's something lovely about that play, and making mud pies and a mess. That's a lovely privilege.
To me, the magic of photography, per se, is that you can capture an instant of a second that couldn't exist before and couldn't exist after. It's almost like a cowboy that draws his gun. You draw a second before or after, you miss and you're dead - not them. To me, photography's always like that.
So when you do your family tree and Margaret Cho does hers, and... Wanda Sykes and John Legend... we're adding to the database that scholars can then draw from to generalize about the complexity of the American experience. And that's the contribution that family trees make to broader scholarship.
I was my mom's oldest child, so she was like, watching closely and taking notes, like, 'Okay, this is what she gravitates towards,' and she gave me all the tools to keep me focused. I liked to write; she got me notebooks. I wanted to draw; she got me sketch books and crayons and coloured pencils.
I used to play chess when I was a kid and participate in national-level tournaments with the geekiest guys. This one time, I was losing terribly, so I batted my eyelashes and flirted as I asked for a draw. My dad just couldn't believe it. He thought, 'What have I created, a floozy?' But it worked!
Pirates did not store all their treasures in treasure chests, then bury them and draw maps to them. That's a movie invention. In reality, pirates spent their money as fast as they could steal it because they knew they were living on borrowed time. They didn't want to wait around to enjoy the money.
We may be more sophisticated in how we hide it, but there are still so many phobias in this world, whether it's Islamophobia, xenophobia or homophobia. I've been trying to do things that expose and help teach and draw attention to all of the 'isms' and how we do or don't deal with them in our world.
I came to think that nobody from England could draw American comic books, because they were clearly all done by this sort of Mafia, all these guys with Italian and Irish names who had the whole thing sewn up. It was actually seeing a comic book drawn by Barry Smith, who was about my age, and English.
I think it's brain chemistry. I'm a positive, cheerful person, and I think it is absolutely the luck of the draw. I think the life I have had has come largely from the chemicals in my head. I see my life as good, and I think, a lot of times, if you see your life as good, then that's how it turns out.
My dream was to draw for 'The Beano.' When I was 10 years old, I started drawing cartoon strips with 'The Beano' in mind. I lived in that world. You own a comic, it's yours and adults don't understand it. You could pile them up under the bed, and if you were off school ill, you'd go through them all.
Even companies that do big business online struggle to be noticed by Google users. The Web, after all, is home to some 120 million Internet domains and tens of billions of indexed pages. But every company, big or small, can draw more Google traffic by using search-engine optimization - SEO, for short.
It's always difficult with the superhero stuff because you're working with characters who have been written by 100 to 200 people over the past 20 years, at least, so they never sound the same or act the same. The best approach is to try to draw the best fitting line through all of the interpretations.
I don't think you can set up a computer to do a strike zone on a guy who's 6-foot-5 and then a guy who's 5-8. Where does it draw the line? One guy stands tall, and another squats down, and it changes the lines. Nah. I still love the umpires; they do a great job. I don't have a problem with any of that.
Even if America entered the war, it is improbable that the Allied armies could invade Europe and overwhelm the Axis powers. But one thing is certain. If England can draw this country into the war, she can shift to our shoulders a large portion of the responsibility for waging it and for paying its cost.
When Dickens arrives in the United States in November of 1867, he's already in questionable health. So by the end of the trip, he was really in failing condition, and really, he would never recover completely after this point, and you could sort of draw a straight line to his ultimate decline and death.
There is a danger for Britain as we perceive ourselves, or as we are - less wealthy, facing economic austerity - that we essentially draw back. I think there is a recoil in parts of the country, and in parts of the government actually, from the multilateral system, and I think that's dangerous and wrong.
By itself, just to draw crazy creatures has limited appeal - if I had to give up one thing, it would be the wild imagination. When the work becomes too detached from ordinary life, it starts to fall apart. Fantasy needs to have some connection with reality, or it becomes of its own interest only, insular.
The more I draw and write, the more I realise that accidents are a necessary part of any creative act, much more so than logic or wisdom. Sometimes a mistake is the only way of arriving at an original concept, and the history of successful inventions is full of mishaps, serendipity and unintended results.
If a portion of a redwood is rotting, the redwood will send roots into its own form and draw nutrients out of itself as it falls apart. If we had redwood-like biology, if we got a touch of gangrene in our arm, then we could just, you know, extract the nutrients and the moisture out of it until it fell off.
I have a lot of real life experience that I can draw on. And I think that shows in the characters that I play because I'm always trying to find somebody - or find characters to play that I can identify with on a personal level or relate to. And I think it makes for a little bit more of an honest portrayal.
Every collaboration I do, I feel like I've benefitted in so many different ways; it all depends on the organization. With Moncler, there is such a heritage to the brand and to the way that they work. With Brooks Brothers, in the same way, having the heritage to draw from in that collaboration is invaluable.
I think that music opens portals and doorways into unknown sectors that it takes courage to leap into. I always think that there's a potential that we all have, and we can emerge, rise up to this potential, when necessary. We have to be fearless, courageous, and draw upon wisdom that we think we don't have.
I do all my work by storyboard, so as I draw the storyboard, the world gets more and more complex, and as a result, my North, South, East, West directions kind of shift and go off base, but it seems like my staff as well as the audience, doesn't quite realize that this has happened. Don't tell them about it.
Anyone who agrees to be interviewed must decide where to draw the line between what is public and what is private. But the line can shift, depending on who is asking the questions. What puts someone on guard isn't necessarily the fear of being 'found out.' It sometimes is just the fear of being misunderstood.
There are two things I will always remember. First, a shot against Derby that hit the inside of the post but didn't go in, and we could only draw 2-2. And then the really big chance against Bayer Leverkusen, two minutes from the end of the Champions League semi-final, when I shot over the bar. That hurt a lot.
When I'm drawing, I'm drawing with the light, being completely open and creative. I can't draw in the evening. I need light and I need warmth if it is a summer thing, and I need cold if it is a winter collection. The good thing is that I have houses to go to whenever I'm working. I draw according to the place.
I guess Twitter is the first thing that has been attractive to me as social media. I never felt the least draw to Facebook or MySpace. I've been involved anonymously in some tiny listservs, mainly in my ceaseless quest for random novelty, and sometimes while doing something that more closely resembles research.
I don't think your personal life has anything to do with your professional life. They are separate things. Whatever is happening at home shouldn't be carried to work. Everyone has his/her own journey. Some revel in the fact that they derive that from personal contentment, and others draw it from extreme sorrow.
We live in capitalism, and capitalism is defined by the production line, and the production line is defined by specificity. If you see yourself as an artist, which I do, then you can't be limited by that. You can't let somebody tell you, 'Well, you can only draw this kind of picture or write that kind of book.'
You can draw inspiration from anything. If you're a good storyteller, you can take a dirty look somebody gives you, or if a guy you used to have flirtations with starts dating a new girl, or somebody you're casually talking to says something that makes you so mad - you can create an entire scenario around that.
I paint and I draw and I write and I do other things too, and recently some people at school were asking if I'd ever publish any of my work. But I almost feel like I would have to publish it under another name because there's a definition of me out there that feels kind of stuck in the moment when it was formed.
When Kate Spade New York told me that we would be going to Dubai to celebrate the opening of two stores there, I was so thrilled - Dubai has been a place that I have wanted to visit for quite some time. There was something mysterious about Dubai that I wanted to see for myself so I could draw my own conclusions.
There are those who would draw a sharp line between power politics and a principled foreign policy based on values. This polarized view - you are either a realist or devoted to norms and values - may be just fine in academic debate, but it is a disaster for American foreign policy. American values are universal.
I don't paint, and I can't draw, but I see things, I think, quite well, and I love being able to freeze things with the camera, particularly the children. Then I discovered with the camera that you can tell a whole story with just freezing a moment in reality. I find it a very good way, a very satisfying feeling.
I used to be really cute. I could send you earlier photos where I'm stunning. But I've gained about twenty pounds over the past two years, and the more weight I've put on, the more success I've had. If you drew a diagram of weight gain and me getting more work, a mathematician would draw some conclusions from that.
As a filmmaker, I believe in trying to make movies that invite the audience to be part of the film; in other words, there are some films where I'm just a spectator and am simply observing from the front seat. What I try to do is draw the audience into the film and have them participate in what's happening onscreen.
Folk music usually has an emphasis on the lyrics and melody. And those lyrics are usually relevant in some way. And it's populist in scope, which is also true of Bad Religion. So it's more meant to draw some parallels between the two. And I think even my voice and my delivery can be thought of as a little bit folky.
Texas has no income tax, which is a big draw for corporate executives who do business there. But it's hardly tax-free. The property taxes are high for a Southern state. The sales taxes are high. One study found that the bottom 20 percent of the Texas population pays 12 percent of its income in state and local taxes.