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Space Quotes

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Space Quotes

“The Buddha is your real body, your original mind. This mind has no form or characteristics, no cause or effect, no tendons or bones. It's like space. You can't hold it. It's not the mind of materialists or nihilists. If you don't see your own miraculously aware nature, you'll never find a Buddha, even if you break your body into atoms.”

“Writing a novel is a very hard thing to do because it covers so long a space of time, and if you get discouraged it is not a bad sign, but a good one. If you think you are not doing it well, you are thinking the way real novelists do. I never knew one who did not feel greatly discouraged at times, and some get desperate, and I have always found that to be a good symptom.”

“I think now that maybe true sweetness can only happen in limbo. I don't know why. Is it because we are so unsure, so tentative and waiting? Like it needs that much room, that much space to expand. The not knowing anything really, the hoping, the aching transience: This is not real, not really, and so we let it alone, let it unfold lightly. Those times that can fly.”

“I believe that space travel will one day become as common as airline travel is today. I'm convinced, however, that the true future of space travel does not lie with government agencies -- NASA is still obsessed with the idea that the primary purpose of the space program is science -- but real progress will come from private companies competing to provide the ultimate adventure ride, and NASA will receive the trickle-down benefits.”

“The biochemistry and biophysics are the notes required for life; they conspire, collectively, to generate the real unit of life, the organism. The intermediate level, the chords and tempos, has to do with how the biochemistry and biophysics are organized, arranged, played out in space and time to produce a creature who grows and divides and is.”

“That is what is so marvelous about Europe; the people long ago learned that space and beauty and quiet refuges in a great city, where children may play and old people sit in the sun, are of far more value to the inhabitants than real estate taxes and contractors' greed.”

“Darren Hardy has written a new bible for the self-improvement space. If you are looking for the real deal-a real program, with real tools that can change your life and make your dreams a reality-The Compound Effect is it! I plan to use this book to go back and look at what I need to again work on in my own life! Buy ten copies, one for yourself and nine more for those you love, and pass them out now-those who get it will thank you!”

“While my chosen form of story-writing is obviously a special and perhaps a narrow one, it is none the less a persistent and permanent type of expression, as old as literature itself. There will always be a certain small percentage of persons who feel a burning curiosity about unknown outer space, and a burning desire to escape from the prison-house of the known and the real into those enchanted lands of incredible adventure and infinite possibilities which dreams open up to us, and which things like deep woods, fantastic urban towers, and flaming sunsets momentarily suggest.”

“Art lives on the mental plane (the real painting is not the set of dry pigments on the canvas nor is a symphony the sequence of sound waves that convey it to our ear) but, as the post-modernists insist, is reinterpreted in new contexts by each appreciator. As for gossip, which includes the vast majority of our thoughts, its essence is its relation to a unique local part of time and space.”

“I wondered whether the scientific modern brain could not get to the stage of realising that Space is not an empty homogeneous medium, but full of intricate differences, intelligible and real, though not with our common reality.”

“You honor your writing space by recovering, if you are an addict. You honor your writing space by becoming an anxiety expert, a real pro at mindfulness and personal calming. You honor your writing space by affirming that you matter, that your writing life matters, and that your current writing project matters. You honor your writing space by entering it with this mantra: “I am ready to work.” You enter, grow quiet, and vanish into your writing.”

“...It's all sort of dreams and it's all illusion. It's theater; it's not real. We're making up stories, you know, and people tend to run into you and believe you are your characters. And I suppose the funny thing is the longer you go, you do become sort of some version of [your characters]. You both diverge from them - you know - you live, but you also permanently inhabit that geography and that mental space - and so you do morph a little bit. We do become what we imagine.”

“I have a song I wrote called “Autobiography.” I came from a very intense living situation, with having a parent on drugs and not having a lot of money. So I always want to talk about the real things. But I think 90 percent of my music, I want it to be 'feel-good music'. I'm already recording tracks for my album, but when it comes time to actually say, 'this is the album,' I may be in a completely different space than I'm in right now.”

“I've come to this belief that, if you show me a woman who can sit with a man in real vulnerability, in deep fear, and be with him in it, I will show you a woman who, A, has done her work and, B, does not derive her power from that man. And if you show me a man who can sit with a woman in deep struggle and vulnerability and not try to fix it, but just hear her and be with her and hold space for it, I'll show you a guy who's done his work and a man who doesn't derive his power from controlling and fixing everything.”

“The 10 or 12 artists I have known really well all my life are at least as competitive as professional athletes. They may express it in slightly different terms, but you look at the Jackson Pollocks et al., and they are as interested in wall space in the galleries as Joe Montana is in the percentage of completed passes. So the notion that symphonic conducting, or stage play, or pure art, is not a competitive business is real bullshit.”

“A real friendship should not fade as time passes, and should not weaken because of space separation.”

“I landed on Gay Pride and I couldn't believe my eyes! Not only were gay people real - I had only heard rumours - but they had parades. There were men covered in glitter bound together with furry handcuffs. I felt like I was in outer space, I honestly thought I had arrived at the happiest place on earth.”

“I like the little chess match of how people move through space. I'm not comparing myself to Michelangelo with this analogy, but he said when he sculpts it's like finding the sculpture within. It feels that way when you are with actors, too. There's a natural way to do this with a natural language that flows and feels like real people talking. And you've just got to find it. So I enjoy that part of the process.”

“It was very definitely architectural. I was using the words on the page as some kind of equivalent of a physical model. But I never thought at that point that I wanted to move toward architecture. I wanted to move toward real space. Sure, that's probably another way of saying, I want to move toward architecture. But I didn't define real space in terms of architecture, then.”

“Sci-fi uses the images that sf - starting with H.G. Wells - made familiar: space travel, aliens, galactic wars and federations, time machines, et cetera, taking them literally, not caring if they are possible or even plausible. It has no interest in or relation to real science or technology. It's fantasy in space suits. Spectacle. Wizards with lasers. Kids with ray guns. I've written both, but I have to say I respect science fiction enough that I wince when people call it sci-fi.”

“I started getting really curious about art. I read about the Dadaists and the Futurists and the Constructivists - those kind of movements which were reflecting the angst of the people of their times. Their work was trying to lead a movement. I began thinking about what was happening, with painting on the streets and painting on the trains as being similar but also coming from a real, pure space. It wasn't being created by academies. It was a spontaneous combustion of ideas that just happened.”

“To a large extent: it's about economy of space. You have so little real estate when you're writing a half hour show. It's really twenty minutes. So you have to with a pilot introduce all your characters, set up the premise in a way that shows the potential for a series and make it funny and do it all in about thirty-five or forty pages. It's very hard.”