Quotes of All Topics . Occasions . Authors
The temperatures required for caramelization and browning almost always far exceed the boiling point of water. So the presence of water on the surface of a food, or on the bottom of a pan, is a signal that browning can't yet occur.
The artist one day falls through a hole in the brambles, and from that moment he is following the dark rapids of an underground river which may sometimes flow so near to the surface that the laughing picnic parties are heard above.
Drums all have their own particulars - each drum has a place where they sound the best - where they ring out and resonate the best, and the head surface isn't too loose or too tight, mainly so you get a good rebound off of the head.
When the music industry started collapsing, the logical people understood that the only place to go for shelter was the underground. If the world on the surface is burning up, and you know people that have bunkers, go to the bunkers.
We are like ignorant shepherds living on a site where great civilizations once flourished. The shepherds play with the fragments that pop up to the surface, having no notion of the beautiful structures of which they were once a part.
I want to be a man who serves my family, a man who increases justice in my community. I want to be all of those things, and yet it is just below the surface that I want to strangle somebody when they cut in front of me on the freeway.
What these satellites do is they record light radiation that's reflected off the surface of the Earth in different parts of the light spectrum. We use false color imaging to try to tease out these very subtle differences on the ground.
Do not hover always on the surface of things, nor take up suddenly with mere appearances; but penetrate into the depth of matters, as far as your time and circumstances allow, especially in those things which relate to your profession.
And that format was - we'd been using that format, I guess, since the late '70s, and it was starting to get very predictable. In other words, certain songs would surface in the same points in the set every so often; it was like rotation.
Mars, we know, was once wet and warm. Was it home to life? And what can living and learning to work on its rust-colored surface teach us about the future of our own planet, Earth? Answering those mysteries may hold the key to our future.
I like to treat paint as material - to daub it, drop it, let it slide. There was Action Painting, but I also compare it to paint effects found on the streets. This approach is superimposed on a sculptural surface that is also 'painterly.'
I don't know who said that novelists read the novels of others only to figure out how they are written. I believe it's true. We aren't satisfied with the secrets exposed on the surface of the page: we turn the book around to find the seams.
Players who win on a clay surface are those who can control the ball, playing steadily and accurately from the back-court, keeping the ball in play and moving it around with changes of speed and spin, and resisting the temptation to over-hit.
It's not very interesting to establish sympathy for people who, on the surface, are instantly sympathetic. I guess I'm always attracted to people who, if their lives were headlines in a newspaper, you might not be very sympathetic about them.
In the shallow parts of many Swiss lakes, where there is a depth of no more than from 5 to 15 feet of water, ancient wooden piles are observed at the bottom sometimes worn down to the surface of the mud, sometimes projecting slightly above it.
One of my ongoing projects is to expand third-eye technology whereby two people can watch two different things on a screen or type in two different languages on the same surface - all they have to do is wear a pair of hi-tech glass spectacles.
Redwoods have an enormous surface area that extends upward into space because they have a propensity to do something called reiteration. A redwood is a fractal. And as they put out limbs, the limbs burst into small trees, copies of the redwood.
When I paint, I seriously consider the public presence of a person - the surface facade. I am less concerned with how people look when they wake up or how they act at home. A person's public presence reflects his own efforts at image development.
Before movies, memory unspooled differently in the mind, trailing off in dust-blasted fade-out rather than spliced-together flashback; before photography, memory rippled like a reflection on water's surface, less precise but more profoundly true.
Clay is so challenging as a surface because you want to be playing aggressively but the margins are so small and it's easy to get the balance wrong and start making errors. Getting your movement right and preparing correctly to hit your shots is key.
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.
Water covers about 70 percent of the Earth's surface. Of this total, only about 2.5 percent is fresh water, and most of this is frozen in the ice caps of Antarctica and Greenland, in soil moisture, or in deep aquifers not readily accessible for human use.
Since the Gothic, European sculpture has become overgrown with moss, weeds - all sorts of surface excrescences which completely concealed shape. It has been Brancusi's special mission to get rid of this overgrowth and to make us once more shape-conscious.
The planet's spinning a thousand miles an hour around this gigantic nuclear explosion while these people roll these machines with rubber tires over this hard surface that we've laid down over the planet so that we can easily move ourselves back and forth.
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.
The most common and most important result of them is that the nature and size of the effect on corresponding series of different elements are largely an expression of the peculiarity of their atomic structure - or, at least, of the structure of the surface.
Surface R&B doesn't work any more. The whole heartthrob thing, songs about unrealistic love and tearing your shirt off every show - that's not really where it's at any more. It's becoming harder for those guys to sell records, and harder for them to succeed.
It feels like a game, this work I do. It is totally heartfelt, and I love the sticky terrain, the straight-up cartoons, how the irrepressible and icky rise to the surface. But I am not just trying to call forth bugaboos and demons for the sake of it, for fun.
Just under the surface I shall be, all together at first, then separate and drift, through all the earth and perhaps in the end through a cliff into the sea, something of me. A ton of worms in an acre, that is a wonderful thought, a ton of worms, I believe it.
You know how fighting fish do it? They blow bubbles and in each one of those bubbles is an egg and they float the egg up to the surface. They keep this whole heavy nest of eggs floating, and they're constantly repairing it. It's as if they live in both elements.
In days gone by, scientists would speak solemnly about our solar system's 'habitable zone' - a theoretical region extending from Venus to Mars, but perhaps not encompassing either, where a planet would be the right temperature to have liquid water on its surface.
Beauty is only skin deep. If you go after someone just because she's beautiful but don't have anything to talk about, it's going to get boring fast. You want to look beyond the surface and see if you can have fun or if you have anything in common with this person.
As a card-carrying space nerd and NASA's chief scientist, I love space movies, from 'Star Trek' to 'Star Wars' to my all-time favorite - 'The Dish', an Australian comedy that celebrates that first moment when Neil Armstrong stepped down onto the surface of our moon.
I'm of that generation of Jews still deeply influenced by the Holocaust. Certainly the notion that the state power to kill can be subject to such extraordinary abuse is always lurking beneath the surface for me. Certainly my experience and identity as a Jew is there.
After college, I became a geologist, mapping what lay beneath the earth's surface. I thought I had my life pretty figured out and all my boxes checked. But then, I was laid off - along with thousands of other geologists. I lost not only my job, but also my profession.
Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.
My art is an attempt to reach beyond the surface appearance. I want to see growth in wood, time in stone, nature in a city, and I do not mean its parks but a deeper understanding that a city is nature too-the ground upon which it is built, the stone with which it is made.
I have a ton of Slipknot demos that I have at home. Maybe some day they'll surface; maybe they'll never be heard, but I don't translate them to any other band: they still stay in the Slipknot safe. I won't use them for anyone else besides Slipknot, if that ever happens again.
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.
The coming and going of the seasons give us more than the springtimes, summers, autumns, and winters of our lives. It reflects the coming and going of the circumstances of our lives like the glassy surface of a pond that shows our faces radiant with joy or contorted with pain.
As Earth's climate changes, we can expect more destructive hurricanes. As sea level and surface temperatures rise, more solar energy is trapped in the atmosphere, revving up the hydrological cycle of evaporation and precipitation and sometimes manifesting in terrifying storms.
Of course I want to have a deliciously seductive story on the surface which will keep people engaged and amused, but primarily, I'm interested in other things. It's the texture of any given moment that fascinates me: what is really going on between people or in somebody's mind.
I was a nursery school teacher, and I worked with youth groups. I loved that job. It was exhausting, but you got a lot back - all their purity and insight and innocence is so on the surface, and they're so unrepressed; they'd really scream at you and then give you a massive kiss.
What's a space elevator? Simply described, it's a thin ribbon, about 3 feet wide and 60 thousand miles long, stretching upwards from the surface of the Earth. The lower end is bolted to a heavy anchor (think of an oil drilling platform), and the top is capped with a counterweight.
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.
The sea does not belong to despots. Upon its surface men can still exercise unjust laws, fight, tear one another to pieces, and be carried away with terrestrial horrors. But at thirty feet below its level, their reign ceases, their influence is quenched, and their power disappears.
We know humans have most flourished during times of what? Warming trends. So I think there's assumptions made that because the climate is warming, that that necessarily is a bad thing. Do we really know what the ideal surface temperature should be in the year 2100, in the year 2018?
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.
Avoid the 'squeaky wheel gets the grease' habit of overreacting to the loudest feedback. The first time you hear a particular piece of feedback, treat it like a clue and do some investigating. Find out how deep it goes - maybe it stops at the surface and won't be an issue, maybe not.
I'm not personally connected to the Internet, although nearly everyone that I know is, and many of them have a great time and no problems with it. And on the surface you can see that the Internet could go an awful long way to educating, enlightening, informing and connecting the world.