Moving Quotes - Page 235

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What I think has been wonderful about my life is that it has been diverse, and that I've been able to do so many different things. I was able to evolve from modeling into acting. And then when acting opportunities became limited because of my age, I was able to become a writer and director and author. So, I am grateful to myself that I didn't just sit around and become nostalgic about the past that has been and can't come back, but that I instead decided to move on.

Race is the great taboo in our society. We are afraid to talk about it. White folks fear their unspoken views will be deemed racist. People of color are filled with sorrow and rage at unrighted wrongs. Drowning in silence, we are brothers and sisters drowning each other. Once we decide to transform ourselves from fearful caterpillars into courageous butterflies, we will be able to bridge the racial gulf and move forward together towards a bright and colorful future.

One of the things that was really influential early on was Ezra Pound's Cantos, one poem he worked on for 50 years. It's epic. I had a great deal of difficulty understanding it. One of the problems was you'd be reading along in English and he would move to a Chinese ideogram or French-he actually used seven different languages in a given poem. And for somebody who's not fluent in different languages it has the impact of rupturing your way of understanding something.

The grey nurse resumed her knitting as Peter Walsh, on the hot seat beside her, began snoring. In her grey dress, moving her hands indefatigably yet quietly, she seemed like the champion of the rights of sleepers, like one of those spectral presences which rise in twilight in woods made of sky and branches. The solitary traveler, haunter of lanes, disturber of ferns, and devastator of hemlock plants, looking up, suddenly sees the giant figure at the end of the ride.

I have no sense of direction; I never know where I am. When I back up a car, I'm more likely to hit what's behind me than not, because I have no vision for it. I've never been able to play games or play cards because I can't in my head get the next move. I've never been able to balance a checkbook. So there's some brain damage, but it may be that very brain damage that allows me to do the work I do. I've never met a cartoonist who isn't quirky or weird in some ways.

The truly still mind, with which you were born, is the mind that moves freely. Without ignoring anything, it reacts wholeheartedly to everything it encounters, to everything on which it reflects. And yet, for all that, it is the mind that is never seized by anything, but is always ready to react on the spot to whatever it encounters next. The mind that is still is the mind that never forfeits its freedom and is able to constantly keep rolling androlling and rolling.

Once you know it, you move as a nonbeing. Nobody can make you angry, nobody can make you happy, unhappy, miserable. No! In that emptiness all dualities dissolve: happy, unhappy, miserable, blissful - all dissolve. This is buddhahood. This is what happened under the bodhi tree to Gautam Siddhartha. He reached emptiness. Then everything is silent. You have gone beyond opposites. A master is to help you to go to your inner emptiness, the inner silence, the inner temple.

You are saying, are you not, I said to Manuelito, that stories have more room in them than ideas? [...] He laughed. That is correct, Señor. It is as if ideas are made of blocks. Rigid and hard. And stories are made of a gauze that is elastic. You can almost see through it, so what is beyond is tantalizing. You can't quite make it out; and because the imagination is always moving forward, you yourself are constantly stretching. Stories are the way spirit is exercised.

Consider a man riding a bicycle. Whoever he is, we can say three things about him. We know he got on the bicycle and started to move. We know that at some point he will stop and get off. Most important of all, we know that if at any point between the beginning and the end of his journey he stops moving and does not get off the bicycle he will fall off it. That is a metaphor for the journey through life of any living thing, and I think of any society of living things.

To have peace and not war, the drift toward a war economy, as facilitated by the moves and the demands of the sophisticated conservatives, must be stopped; to have peace without slump, the tactics and policies of the practical right must be overcome. The political and economic power of both must be broken. The power of these giants of main drift is both economically and politically anchored; both unions and an independent labor party are needed to struggle effective.

He always reminded us that every atom in our bodies was once part of a distant star that had exploded. He talked about how evolution moves from simplicity toward complexity, and how human intelligence is the highest known expression of evolution. I remember him telling me that a frog's brain is much more complex than a star. He saw human consciousness as the first neuron of the universe coming to life and awareness. A spark in the darkness, waiting to spread to fire.

Egypt is the mind of the Earth. The heart actually is in Mexico, and some say in Columbia. Tahiti/Morea sits in the feminine South Pole of the Christ grid and that is why they did the nuclear experiments there. The area inside the tube torus that moves up through there enters into the very center of the beam of the Earth. That's why I called it the womb - it goes right into the private personal aspect of the Earth. And they exploded the bombs, right down this center.

Perhaps I shall not write my account of the Paleolithic at all, but make a film of it. A silent film at that, in which I shall show you first the great slumbering rocks of the Cambrian period, and move from those to the mountains of Wales...from Ordovician to Devonian, on the lush glowing Cotswolds, on to the white cliffs of Dover... An impressionistic, dreaming film, in which the folded rocks arise and flower and grow and become Salisbury Cathedral and York Minster.

But if, indeed, there be a nobler life in us than in these strangely moving atoms; if, indeed, there is an eternal difference between the fire which inhabits them, and that which animates us,--it must be shown, by each of us in his appointed place, not merely in the patience, but in the activity of our hope, not merely by our desire, but our labor, for the time when the dust of the generations of men shall be confirmed for foundations of the gates of the city of God.

Villages and woods, meadows and chateaux, pass across the moving scene, out of which the whistling of locomotives throws sharp notes. These faint, piercing sounds, together with the yelping and barking of dogs, are the only noises that reach one through the depths of the upper air. The human voice cannot mount up into these boundless solitudes. Human beings look like ants along the white lines that are highways; and the rows of houses look like children's playthings.

The manufacturing industry is starting to press for some kind of national healthcare. Now it's beginning to put it on the agenda. It doesn't matter if the population wants it. What 90% of the population wants would be kind of irrelevant. But if part of the concentration of corporate capital that basically runs the country - another thing we're not allowed to say but it's obvious - if part of that sector becomes in favor then the issue moves onto the political agenda.

It is not simply that these two cities are perched side by side at the edge of the Pacific; it is that adolescence sits next to middle age, and they don't know how to relate to each other. In a way, these two cities exist in different centuries. San Diego is a post-industrial city talking about settling down, slowing down, building clean industry. Tijuana is a preindustrial city talking about changing, moving forward, growing. Yet they form a single metropolitan area.

The marriage of reason and nightmare which has dominated the 20th century has given birth to an ever more ambiguous world. Across the communications landscape move the specters of sinister technologies and the dreams that money can buy. Thermonuclear weapons systems and soft drink commercials coexist in an overlit realm ruled by advertising and pseudoevents, science and pornography. Over our lives preside the great twin leitmotifs of the 20th century-sex and paranoia.

To me, writing is a very physical process. I lay out the entire book with the two narratives side by side on my bedroom floor, and just get down on my hands and knees and start looking at it in that physical space. "Does this really follow from this? Should this be here or elsewhere?" I will literally cut the paper into paragraphs. I'll cut it into segments and move the segments around from one narrative to the other until I feel that I've found the natural structure.

The journey to wholeness requires that you look honestly, openly, and with courage into yourself, into the dynamics that lie behind what you feel, what you perceive, what you value, and how you act. It is a journey through your defenses and beyond, so that you can experience consciously the nature of your personality, face what it has produced in your life, and choose to change that. Words lead to deeds. They prepare the soul, make it ready, and move it to tenderness.

A gentleman of ambition is aware of the people he wishes to be associated with both socially and commercially. He knows that moving through different levels of society is akin to stepping through different rooms in an enormous house, each door leading to a grander environment than the last. He may, of course, settle for the comfort of any room he reaches. Alternatively, he may continue through successive doors to surround himself with even greater fineries and riches.

The capacity for imaginative reflex, for moral risk in any human being is not limitless; on the contrary, it can be rapidly absorbed by fictions, and thus the cry in the poem may come to sound louder, more urgent, more real than the cry in the street outside. The death in the novel may move us more potently than the death in the next room. Thus there may be a covert, betraying link between the cultivation of aesthetic response and the potential of personal inhumanity.

Zbigniew Brzezinski, who was really one of the - whose name is impossible to pronounce - who was really one of the architects of this very aggressive American interventionist foreign policy, you know, really stand up to Russia, challenge them, not only Russia but China. He's changed his tune now and is basically advocating for a much more diplomatic and collaborative approach to the other power centers of the world that are just kind of moving on without us right now.

Sculpture, for me, provides that environmental discipline where you actually move in and around it. And if you have a good collaboration with an architect, to combine those aspects of color - I'm talking about color becoming a form within the building - that is a very different approach. I love contemporary architecture, which makes collaboration more interesting-and you have to be able to collaborate. It's like making a film, in a way: Everyone is a part of the team.

To think that the affairs of this life always remain in the same state is a vain presumption; indeed they all seem to be perpetually changing and moving in a circular course. Spring is followed by summer, summer by autumn, and autumn by winter, which is again followed by spring, and so time continues its everlasting round. But the life of man is ever racing to its end, swifter than time itself, without hope of renewal, unless in the next that is limitless and infinite.

Going from Army base to base as a kid taught me to be a man of all nations. I'd go to the Jewish people and say, 'Shalom, brother.' I go to the Muslim people and say, 'Salaam aleikum.'I go to the Chinese people and say, 'Nee hao mah,' which means, 'How you doin'?' I go to the Japanese people and say, 'Konnichiwa.' I go to San Antonio, Texas, and I get along with Mexicans. Then I go to Louisiana and hang with the Creoles. Moving around a lot made me a man of all people.

We have a choice. We can live in the past and be miserable and unhappy, or we can pick ourselves up and move ahead in life. When we choose to focus forward, we can find the energy and ability to remove any obstacles that may appear to be hindering our smooth progression. If you take stock of yourself and find you may be spending time frequently reliving unhappy experiences of the past, make the decision to rid yourself of the ties that bind you to a former way of life.

I saw my job [as president] as to try to move the world from an unstable condition of interdependence toward more integrated cooperative world community. Therefore, my approach was to cooperate wherever possible and to build institutions of cooperation, an expanded NATO, the World Trade Organization, the Summit of the Americas, the Asian Pacific Leaders, all those, the coalition to fight in Bosnia and Kosovo, to cooperate wherever possible but to act alone if we had to.

Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear. Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.

It's funny how film is the slowest art form to adapt to freedom. It's had freedom all along. It could've done whatever it wanted to. You know the same freedom that do-it-yourself punk and post-punk musicians had in the late 70s and ever since. That's about the time I started getting interested in film, and I assumed that film would be moving along with the other pop culture forms. Its finally done it but it's taken decades for it to catch up just to basement band level.

I think the President's decision to withdraw the United States, to keep a campaign promise in Iraq, without leaving a stay-behind force was a mistake, and I hear that from veterans in Wyoming and from parents who lost children fighting in Iraq. We're seeing it, though, around the world. When we, the United States leads a vacuum anywhere, that emboldens others to go in, when there is no sense of deterrence by the United States that lets bad actors move and fill the void.

I don't like that we repeat a certain expression over and over again because I think it narrows the way that we look on the world. I also think that there is a certain responsibility if you work with moving images because it's so strong in creating behaviour; it's so strong in creating the way that we look on the world, so for me it's very important that I create images that I have an experience of or is something that I think exists in the world and not just in cinema.

The idea of the Overton Window is that there`s a fairly narrow window of proposals in any particular policy area that people will take seriously that wouldn`t get you written off as a kook. The way to move or expand that window is to advocate super extreme positions which change the realm of what`s politically possible because after something super nuts has been . floated, thereafter, slightly less nuts positions will start to look acceptable and moderate by comparison.

Notice carefully every word here. It is not our prayer which draws Jesus into our hearts. Nor is it our prayer which moves Jesus to come in to us. All He needs is access. He enters in of His own accord, because He desires to come in. To pray is nothing more involved than to let Jesus into our needs, and permitting Him to exercise His own power in dealing with them. And that requires no strength. It is only a question of our wills. Will we give Jesus access to our needs?.

Housing in New York seemed to fit Norman Lear. In addition, his shows confronted all kinds of social issues - racial separation and prejudice being foremost among them. The Evans of Good Times were the first black family to be the focus of a primetime American TV show. A lot of the people we came across in filming were familiar with the role Norman played in catalyzing important national conversations about race. They seemed grateful to him for trying to move the needle.

Standing on the bridge, looking across at that empty city, everything in the compass of my gaze had been set there by a human hand. Somehow those pylons had been strung with wire, and those towers raised, and roofs tiled. There had been food and drink for millions of mouths. I don't cry easy, but my vision blurred as I stared on the ruins of what we had been, and I watched the small band of men in rags move toward it to pick at it like birds on the carcass of some giant.

America does, in the future, need to have a conversation with and try to move forward with Russia. But what we don't need is to do that in a manner that seems to approve or not hold them accountable for some pretty wrong actions that they have taken across the past, starting in '08 with the invasion of Georgia and then in '14, the invasion of Crimea, and then subsequently, the invasion of the Donbass - and frankly, some of the way they have conducted their self in Syria.

There are areas using what's called the "checkerboard strategy." They are different cities where you can move around the "checkerboard," doing things you can't do in every square, that you can do in some of them, building a mosaic of these kinds of practices. There are about 400 cable television networks, for example, that are publicly owned. That's a big fight for big private companies. In some areas, this is a political struggle, in some it's conventional common sense.

Rather than going after our walls and barriers with a sledgehammer, we pay attention to them. With gentleness and honesty, we move closer to those walls. We touch them and smell them and get to know them well. We begin a process of acknowledging our aversions and our cravings. We become familiar with the strategies and beliefs we use to build the walls: What are the stories I tell myself? What repels me and what attracts me? We start to get curious about what’s going on.

It's a mystery to me why comics have been so despised for so long. Obviously, it has to do with the history of the medium - arising out of cheaply-reprinted booklets of newspaper strips, just out to make a quick buck, followed by mostly-crappy original work. It took a while for really talented artists to move into the comic-book world from the newspapers. It really is strange that even TV commercials got respect before comics did. I have never been able to figure it out.

When we talk about economic growth, we're not talking about bringing a bunch of companies in that can make a bunch of bucks and hope they spend 'em in our city. We're talking about creating jobs, creating new companies and then we move from there to talk about cooperatives which can become some of those jobs, some of the solidarity economy where we can begin to band together people so they'll understand that a job is not a single individual affair but a collective affair.

Be contemporary. Have impact. Strive for it. Be of the world. Move it. Be bold, don’t hold back. Then the moment you think you’ve been bold, be bolder. We are all alive today, ever so briefly here now, not then, not ago, not in some dreamworld of a hypothetical future. Whatever you do, you must make it contemporary. Make it matter now. You must give us a new path to tread, even if it carries the footfalls of old soles. You must not be immune to the weird urgency of today.

Recognizing the good, not just in one's own personal circumstances, but in the world, makes anything possible. When I am asked about the important characteristics of leadership, being of good, positive mind is at the top of my list. If a leader can focus on the meritorious characteristics of other people and try to play to their strengths as well as find value in even the most difficult situation, she can inspire hope and faith in others and motivate them to move forward.

The eyes are witnesses that the heavens revolve in the space of twenty- four hours. But certain men, either from the love of novelty, or to make a display of ingenuity, have concluded that the earth moves; and they maintain that neither the eighth sphere nor the sun revolves....Now, it is a want of honesty and decency to assert such notions publicly, and the example is pernicious. It is the part of a good mind to accept the truth as revealed by God and to acquiesce in it.

Events that have happened during the past month have confirmed me in the opinion that the Imperial Government have acted in the Khilafat matter in an unscrupulous, immoral and unjust manner and have been moving from wrong to wrong in order to defend their immorality. I can retain neither respect nor affection for such a Government. The attitude of the Imperial and Your Excellency's Governments on the Punjab question has given me additional cause for grave dissatisfaction.

I appreciate a slight yield, lightness of weight, some motion if possible, because in moving about, the human body determines... the comfort and the measurements of its environment... the human measure is still the strongest factor. But coming back to the chair, there are certain motions we go through - we like to lean back, like to toss things - and if the chair's adaptable it responds and it's almost like wearing a comfortable coat; you really don't know you have it on.

Some spiritual traditions view the moment of birth as a passage from a state of wholeness and knowledge to a state of forgetting. In this view of the world, we spend the rest of our lives searching for wholeness and knowledge, wellness and health-the balance and harmony we lost when we were born. If our wholeness is interrupted, then our health suffers, and we need to find a way to restore our sense of meaning. When we move in the direction of that meaning, we're healing.

From this, one can make a deduction which is quite certainly the ultimate truth of jigsaw puzzles: despite appearances, puzzling is not a solitary game: every move the puzzler makes, the puzzlemaker has made before; every piece the puzzler picks up, and picks up again, and studies and strokes, every combination he tries, and tries a second time, every blunder and every insight, each hope and each discouragement have all been designed, calculated, and decided by the other.

In this world, time has three dimensions, like space. Just as an object may move in three perpendicular directions, corresponding to horizontal, vertical, and longitudinal, so an object may participate in three perpendicular futures. Each future moves in a different direction of time. Each future is real. At every point of decision, the world splits into three worlds, each with the same people, but different fates for those people. In time, there are an infinity of worlds.

For time not only moves inexorable forward, as the underlying grid to our personal chronicle, but is manipulated by our psychic needs and natures into various images of timelessness and timeliness. Transient moments suddenly expand, visions of infinity intervene, notes and phrases become outlets of fantasy, escape, recollection, or omen. The music travels on two planes, chronological time and psychological time. Both planes are essential and must be abundantly represented.

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