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“Though he avoided outright endorsement of the view, fifth-century Church Father Saint Augustine was clearly familiar with the theory of the spherical earth: "They [those who believe that "there are men on the other side of the earth"] fail to observe that even if the world is held to be global or rounded in shape, or if some process of reasoning should prove this to be the case, it would still not necessarily follow that the land on the opposite side is not covered by masses of water."”

“It is the business of thought to define things, to find the boundaries; thought, indeed, is a ceaseless process of definition. It is the business of Art to give things shape. Anyone who takes no delight in the firm outline of an object, or in its essential character, has no artistic sense. He cannot even be nourished by Art. Like Ephraim, he feeds upon the East wind, which has no boundaries.”

“One's philosophy is not best expressed in words; it is expressed in the choices one makes. In stopping to think through the meaning of what I have learned, there is much that I believe intensely, much I am unsure of. In the long run, we shape our lives and we shape ourselves. The process never ends until we die. And, the choices we make are ultimately our own responsibility.”

“Active liberty is particularly at risk when law restricts speech directly related to the shaping of public opinion, for example, speech that takes place in areas related to politics and policy-making by elected officials. That special risk justifies especially strong pro-speech judicial presumptions. It also justifies careful review whenever the speech in question seeks to shape public opinion, particularly if that opinion in turn will affect the political process and the kind of society in which we live.”

“The quintessential revolution is that of the spirit, born of an intellectual conviction of the need for change in those mental attitudes and values which shape the course of a nation's development. A revolution which aims merely at changing official policies and institutions with a view to an improvement in material conditions has little chance of genuine success. Without a revolution of the spirit, the forces which produced the iniquities of the old order would continue to be operative, posing a constant threat to the process of reform and regeneration.”

“We [Frisch and Lise Meitner] walked up and down in the snow, I on skis and she on foot (she said and proved that she could get along just as fast that way), and gradually the idea took shape that this was no chipping or cracking of the nucleus but rather a process to be explained by Bohr's idea that the nucleus was like a liquid drop; such a drop might elongate and divide itself.”

“With non-fiction writing I feel like I'm confined and driven by what actually happened. That makes the "plot". So it's a process of getting all of my notes typed up, then scanning through the notes, trying to extract or find certain vignettes that seem like they might write well - that might have a potential for good energy, shape, etc. And then at some point I start stringing these together, keeping an eye on the word count.”

“I didn’t like it [computer] when I first began using it. Where it’s helped me a lot is in nonfiction which is a kind of different process. You’ve got research, you’ve got your notes, You can block out what you want to work on for the next 10 pages and put it in another file, and then you can kind of carve it into shape”

“I often prefer the shapes within the raw materials to ‘do their thing’, as this makes it movre interesting for me. Sometimes a piece of hubcap fits in such a way that the shark becomes almost alive in my hands, climbing, twisting or just hanging motionless and predatory, and this gives me a buzz. It makes me feel like a vehicle for the creation process rather than a controller, and not knowing the exact outcome is exciting.”

“I can't describe it in words, but I can see it in my head, its color, its light, its shapes, and I've managed to synthesize my love for myself by way of many different reasonings and processes, and I've been able to really synthesize my own satisfaction and things that do it for me. They've usually been self-taught, self-instructed, self-refined. So to be with anybody else has to somewhat lie in that comfort zone I've created with myself so well.”

“I cannot always sympathize with that demand which we hear so frequently for cheap things. Things may be too cheap. They are too cheap when the man or woman who produces them upon the farm or the man or woman who produces them in the factory does not get out of them living wages with a margin for old age and for a dowry for the incidents that are to follow. I pity the man who wants a coat so cheap that the man or woman who produces the cloth or shapes it into a garment will starve in the process.”

“And as particles are living digital elements, moving on their own according to the various attributes (such as weight, speed, shape) given to them by the animator, we don't know what the visual result will be until everything is completed. This result can often be unsatisfying, obliging us to repeat the process all over again, with new features.”

“The biggest challenge in the research process is to let go, to stop, to say enough, and then to reduce all of that beloved labor down to a few succinct paragraphs that shape the background to your narrative. I love research - that's all the fun, especially in the field. To write, however, is to suffer, and my pieces usually come in thousands of words over the assigned length. That's a serious flaw in my writing process - shaping and disciplining the footlockers of material one has so happily gathered.”

“Writing, for me, is a little like wood carving. You find the lump of tree (the big central theme that gets you started), and you start cutting the shape that you think you want it to be. But you find, if you do it right, that the wood has a grain of its own (characters develop and present new insights, concentrated thinking about the story opens new avenues). If you're sensible, you work with the grain and, if you come across a knot hole, you incorporate that into the design. This is not the same as 'making it up as you go along'; it's a very careful process of control.”

“Fundamental questions are being asked about the future of the Eurozone and therefore the shape of the EU itself. Opportunities to advance our national interest are clearly becoming apparent. We should focus on how to make the most of this, not pursue a parliamentary process for a multiple choice referendum.”

“What we can do is to shape how that process of global integration proceeds, so that it's increasing opportunity for ordinary people, so that it's creating better jobs, so that we are strengthening protections for workers, so that we are addressing some of the environmental challenges that come with rapid growth.”

“Teaching is an instinctual art, mindful of potential, craving of realizations, a pausing, seamless process, where one rehearses constantly while acting, sits as a spectator at a play one directs, engages every part in order to keep the choices open and the shape alive for the student, so that the student may enter in, and begin to do what the teacher has done: make choices.”

“In the long run, we shape our lives, and we shape ourselves. The process never ends until we die. And the choices we make are ultimately our own responsibility.”

“When I write I am trying to express my way of being in the world. This is primarily a process of elimination: once you have removed all the dead language, the second-hand dogma, the truths that are not your own but other people's, the mottos, the slogans, the out-and-out lies of your nation, the myths of your historical moment - once you have removed all that warps experience into a shape you do not recognise and do not believe in - what you are left with is something approximating the truth of your own conception.”