Quotessence
Home / Topics / Elements Quotes

Elements Quotes

Browse 3364 quotes about Elements.

Related topics

Elements Quotes

“When I wrote Wakolda at first I wasn't conscious that I was writing about something so close to or that had so many similar elements with XXY. It was just after I was done writing that I noticed it. I think both teenagers in each film have many similarities, and Mengele is the extreme version of the plastic surgeon in XXY. Both stories definitely have several ideas connecting them.”

“There is a certain point of unity within the self, and between the self and its world, certain complicity and magnetic mating, a certain harmony, that conscious mind and will cannot direct. Perhaps analysis and the separate mastery of each element are required before the instincts are ready to assume command, but only at first. Command by instinct is swifter, subtler, deeper, more accurate, more in touch with reality than command by conscious mind. The discovery takes one's breath away.”

“[Parental] authority must be tempered...with loving kindness and patient encouragement. To temper authority with kindness is to triumph in the struggle which belongs to your duty as parents...All those who would advantageously rule over others, must as an essential element, first dominate themselves, their passions, their impressions.”

“The Latin American photographer has the possibility, and the means, for naming the things of our world, for demonstrating that there is another kind of beauty, that the faces of the First World are not the only ones. These Indian, black, plundered white and mestizo faces are the first element defining the demographic content of our photography.”

“As I have come to realize that we all live and move and have our being in God, the names of each person, species, creature, and element are superimposed over God's name. God is reality; God is the source of reality of each of us. Panentheism seeing the world as in God - puts God's "name" first, but each of our names are included and preserved in their distinctiveness within the divine reality.”

“If every element of the song doesn't come within the first hour of writing, then you're never going to get it - if that makes sense. It's kind of like you need to be in a mental state where everything is so reactionary that you don't double-think anything, and so if it's not immediate then it's probably not going to happen at all, and you should probably toss the song.”

“I decided to make myself a little less precious with my storytelling. I think you can see from the first three pieces in the book that I have a long term relationship with the short story as a form and I really love an elegantly crafted story that has several elements that come together in a way that is emotionally complex and different from when we started. That kind of crystalline, perfect, idealized thing that the short story as a genre has come to represent.”

“Radio, or at least the kind of radio we're proposing to do, can cut through that. It can reach people who would otherwise never hear your work, and of course I find that very notion inspiring. Radio stories are powerful because the human voice is powerful. It has been and will continue to be the most basic element of storytelling. As a novelist (and I should note that working my novel is the first thing I do in the morning and the very last thing I do before I sleep), shifting into this new medium is entirely logical. It's still narrative, only with different tools.”

“Perhaps this is an area where every generation starts from scratch. Although the crisis of the First World War inaugurated an especially strong period of disillusion with regard to the optimism of the previous age, the pattern has repeated itself in many ways in more recent times, e.g., the loss of faith in politics as a means of advancing human well-being. And perhaps this also has to do with basic elements in growing up.”

“The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.”

“What many people don't see is that there are abundant examples of phenomenal opacity: It is one of the most interesting features of the human conscious model of reality that, first, it can contain elements that are not experienced as mind-independent, as unequivocally real, as immediately given, and second, that there is a "gradient of realness" in which one and the same content can be experienced transparently or in an opaque fashion.”

“First you document your idea. You should be comprehensive, but that doesn't mean you have to produce a doctoral thesis length plan. Rather you want to make sure you have touched all the different things that have to happen to succeed. Then, you evaluate your approach. The goal here isn't to figure out if your idea is good or bad, but rather to begin to figure out what are some of its weakest elements.”

“I kind of started with this foundation, and tried to do all the research I could do for Alice [Cullen], and then every time a [new] director would come in, they have their own artistic take on things and add in new elements. And a lot of times they would ask, "What did you love that you portrayed, and what do you wish that you could show?" So I felt, with each installment, I got the opportunity to add on something. I think she was very - you know, really sweet, [laughs] a little odd in the first installment.”

“Femininity, yes, effectively there is more in The First Man, not only in terms of women but stylistically, in its elements, the notes he wrote. You can see a real love story in it, a childhood love story, [Albert] Camus' first. Meursault [protagonist of The Outsider] and Marie were never up to much really. There is Dora in The Just and others in his plays, but they aren't so well known.”

“Some innate capacity - some part of the human genetic endowment - enters into language acquisition. That much is uncontroversial among those who believe that humans are part of the natural world. If it were not true, would be a miracle that my granddaughter reflexively identified some elements of the blooming buzzing confusion as language-related and went on to acquire capacities of the kind that you and I are now exercising, while her pet kitten (chimp, songbird, bee...), presented with exactly the same data, could not take the first step, let alone the later ones.”

“The resulting texts always took a narrative term, enigmatic at first but ultimately explicit and often premonitory. The semantic distribution of these basic elements diverted them from their original meaning, thus revealing their real significance. Henceforth, every form of writing will consist of an operation of decoding, of contamination, and of sense perversion. All this because all language is essentially mystification, and everything is fiction.”

“Nothing can be sadder or more profound than to see a thousand things for the first and last time. To journey is to be born and die each minute...All the elements of life are in constant flight from us, with darkness and clarity intermingled, the vision and the eclipse; we look and hasten, reaching out our hands to clutch; every happening is a bend in the road...and suddenly we have grown old. We have a sense of shock and gathering darkness; ahead is a black doorway; the life that bore us is a flagging horse, and a veiled stranger is waiting in the shadows to unharness us.”

“All lives are composed of two basic elements," the squirrel said, "purpose and poetry. By being ourselves, squirrel and raven, we fulfill the first requirement, you in flight and I in my tree. But there is poetry in the meanest of lives, and if we leave it unsought we leave ourselves unrealized. A life without food, without shelter, without love, a life lived in the rain—this is nothing beside a life without poetry.”

“First, if it is true that a spatial order organizes an ensemble of possibilities (e.g., by a place in which one can move) and interdictions (e.g., by a wall that prevents one from going further), than the walked actualizes some of these possibilities. In that way, he makes them exist as well as emerge. But he also moves them about and he invents others, since the crossing, drifting away, or improvisation of walking privilege, transform, or abandon spatial elements.”