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Response Quotes

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Response Quotes

“Well, I do think, particularly the way I work, the better images occur when you're moving to the fringes of your own understanding. That's where self-doubt and risk taking are likely to occur. It's when you trust what's happening at a non-intellectual non-conscious level that you can produce work that later resonates, often in a way that you can't articulate a response to.”

“For me, the creation of a photograph is experienced as a heightened emotional response, most akin to poetry and music, each image the culmination of a compelling impulse I cannot deny. Whether working with a human figure or a still life, I am deeply aware of my spiritual connection with it. In my life, as in my work, I am motivated by a great yearning for balance and harmony beyond the realm of human experience, reaching for the essence of oneness with the Universe.”

“If Confucius can serve as the Patron Saint of Chinese education, let me propose Socrates as his equivalent in a Western educational context - a Socrates who is never content with the initial superficial response, but is always probing for finer distinctions, clearer examples, a more profound form of knowing. Our concept of knowledge has changed since classical times, but Socrates has provided us with a timeless educational goal - ever deeper understanding.”

“Global warming is not a threat. But environmentalism's response to it is....Even if global warming is a fact, the free citizens of an industrial civilization will have no great difficulty in coping with it-that is, of course, if their ability to use energy and to produce is not crippled by the environmental movement and by government controls otherwise inspired.”

“The insistence on complete certainty about the full details of global warming-the most serious threat we have ever faced-is actually an effort to avoid facing the awful, uncomfortable truth: that we must act boldly, decisively, comprehensively, and quickly, even before we know every last detail about the crisis. Those who continue to argue that the appropriate response is merely additional research are simply seeking to camouflage timidity or protect their vested interest in the status quo.”

“Faith is not a light which scatters all our darkness, but a lamp which guides our steps in the night and suffices for the journey. To those who suffer, God does not provide arguments which explain everything; rather, his response is that of an accompanying presence, a history of goodness which touches every story of suffering and opens up a ray of light.”

“Death is not a blotting-out of existence, a final escape from life; nor is death the door to immortality. He who has fled his Self in earthly joys will not recapture It amidst the gossamer charms of an astral world. There he merely accumulates finer perceptions and more sensitive responses to the beautiful and the good, which are one. It is on the anvil of this gross earth that struggling man must hammer out the imperishable gold of spiritual identity.”

“If any of you on your journeys see her-shout to me, whistle...he sang, and it became a habit for audiences to shout and whistle in response to those lines. There was nowhere he could hide in such a song that had all of its doors and windows open, so that he could walk out of it artlessly, the antiphonal responses blending with him as if he were no longer on stage.”

“It is an understatement to say that the time has arrived for a serious and open international dialogue regarding the possibility of future interplanetary relations. In no other area of human experience has so much evidence existed for so long, and yet been attended by such a paucity of serious research and analysis - at least in the civilian domain. While the subject matter of UFOs itself is extraordinary, it is the absence of a serious human response to it that is most extraordinary.”

“That's the thing I want to make clear about depression: It's got nothing at all to do with life. In the course of life, there is sadness and pain and sorrow, all of which, in their right time and season, are normal-unpleasant, but normal. Depression is an altogether different zone because it involves a complete absence: absence of affect, absence of feeling, absence of response, absence of interest. The pain you feel in the course of a major clinical depression is an attempt on nature's part (nature, after all, abhors a vacuum) to fill up the empty space.”

“Travel compels you to discover your spiritual side by elimination: Without all the rituals, routines and possessions that give your life meaning at home, you're forced to look for meaning within yourself Indeed, if travel is a process that helps you 'find yourself', it's because it leaves you with nothing to hide behind - it yanks you out from the realm of rehearsed responses and dull comforts, and forces you into the present. Here, in the fleeting moment, you are left to improvise, to come to terms with your raw, true self.”

“I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.”

“Of course, to avoid getting stuck in that convo with someone you dislike or feel uncomfortable around, don't be passive, be proactive. Do not let them direct your interaction on their terms, do it on yours. Ask a Misdirection Question--something too difficult to answer quickly--e.g., 'What's Congress up to?' or 'You ever learn any cool science?' When you ask the question, don't make eye contact, keep moving and get out of there. Do not wait for a response and deny ever asking it. Repeat these actions until you are never again spoken to by that individual (about four times).”

“I'm often asked by younger filmmakers, 'Why do I need to look at old movies?' I've made a number of pictures in the last 20 years and the response I have to give them is that I still consider myself a student. The more pictures I've made in 20 years, the more I realize I really don't know. And I'm always looking for something or someone that I could learn from. I tell the younger filmmakers, and the young students, that do it like painters used to do—that painters do—study the old masters, enrich your palette, expand the canvas. There's always so much more to learn.”