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Viewpoints Quotes

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Viewpoints Quotes

“I love science, and it pains me to think that so many are terrified of the subject or feel that choosing science means you cannot also choose compassion, or the arts, or be awed by nature. Science is not meant to cure us of mystery, but to reinvent and reinvigorate it.”

“Truth is truth, you are who you are, and though your viewpoint might change, and though you might possess a different perspective about something, your heart and what you believe and who you are inside is only ever you...and you have to follow your heart, you have to believe what you're doing is right, and no matter what anyone might say or think or do you have to trust yourself to make the right decision.”

“The greatest book is not the one whose message engraves itself on the brain, as a telegraphic message engraves itself on the ticker-tape, but the one whose vital impact opens up other viewpoints, and from writer to reader spreads the fire that is fed by the various essences, until it becomes a vast conflagration leaping from forest to forest.”

“Thanksgiving dinner's sad and thankless. Christmas dinner's dark and blue. When you stop and try to see it From the turkey's point of view. Sunday dinner isn't sunny. Easter feasts are just bad luck. When you see it from the viewpoint of a chicken or a duck. Oh how I once loved tuna salad Pork and lobsters, lamb chops too Till I stopped and looked at dinner From the dinner's point of view.”

“Change, development and progress, according to the Islamic viewpoint, refer to the return to the genuine Islam enunciated and practised by the Holy Prophet (may God bless and give him Peace!) and his noble Companions and their Followers (blessing and peace be upon them all!) and the faith and practice of genuine Muslims after them; and they also refer to the self and mean its return to its original nature and religion (Islam).”

“Yes, we have different viewpoints represented among us," she continued. "Yes, we have a displacer in our number, and a half giant, and a seedman who publicly disgraced us." "She's talking about you," Drake muttered to Nollin, loud enough to draw a laugh. "No, Drake, I'm talking about you," Farfalee corrected.”

“Don't take anything personally. Even when a situation seems so personal, even if others insult you directly, it has nothing to do with you. Their point of view and opinion come from all the programming they received growing up. When you take things personally, you feel offended and your reaction is to defend your beliefs and create conflict. You make something big out of something so little because you have the need to be right and make everybody else wrong.”

“It's like everybody's sitting there and they have some kind of veil over their face, and they look at each other through this veil that makes them see each other through some stereotypical kind of viewpoint. If we're ever gonna collectively begin to grapple with the problems that we have collectively, we're gonna have to move back the veil and deal with each other on a more human level.”

“My paintings are inspirational for they allow the observer to experience infinite viewpoints and perceptions. They are not abstract for they represent what is actually more real than what our eyes are able to see. They allow the viewers to be inspired by taking their own perception beyond their senses and their surroundings.”

“I welcome opposing viewpoints, but I should warn you that you'll be facing off against the 2nd-place finisher at the 1981 Charleston County High-School Debate Tournament. And whatever became of that county champ who argued in favor of tractor safety modifications? Last time I checked, she didn't have her own show.”

“I don't like the strictly objective viewpoint [in which all of the characters' actions are described in the third person, but we never hear what any of them are thinking.] Which is much more of a cinematic technique. Something written in third person objective is what the camera sees. Because unless you're doing a voiceover, which is tremendously clumsy, you can't hear the ideas of characters. For that, we depend on subtle clues that the directors put in and that the actors supply. I can actually write, "'Yes you can trust me,' he lied." [But it's better to get inside the characters' heads.]”

“I'm a strong believer in telling stories through a limited but very tight third person point of view. I have used other techniques during my career, like the first person or the omniscient view point, but I actually hate the omniscient viewpoint. None of us have an omniscient viewpoint; we are alone in the universe. We hear what we can hear... we are very limited. If a plane crashes behind you I would see it but you wouldn't. That's the way we perceive the world and I want to put my readers in the head of my characters.”

“From where I sit, battles are hard. I’ve written my share. Sometimes I employ the private’s viewpoint, very up close and personal, dropping the reader right into the middle of the carnage. That’s vivid and visceral, but of necessity chaotic, and it is easy to lose all sense of the battle as a whole. Sometimes I go with the general’s point of view instead, looking down from on high, seeing lines and flanks and reserves. That gives a great sense of the tactics, of how the battle is won or lost, but can easily slide into abstraction.”

“I know that it is a hopeless undertaking to debate about fundamental value judgements. For instance, if someone approves, as a goal, the extirpation of the human race from the earth, one cannot refute such a viewpoint on rational grounds. But if there is agreement on certain goals and values, one can argue rationally about the means by which these objectives may be obtained.”

“One might think this means that imaginary numbers are just a mathematical game having nothing to do with the real world. From the viewpoint of positivist philosophy, however, one cannot determine what is real. All one can do is find which mathematical models describe the universe we live in. It turns out that a mathematical model involving imaginary time predicts not only effects we have already observed but also effects we have not been able to measure yet nevertheless believe in for other reasons. So what is real and what is imaginary? Is the distinction just in our minds?”

“No matter how advanced society becomes, institutionally or technologically, a house in which nature can be sensed represents for me the ideal environment in which to live. From a functional viewpoint, the courtyard of the Rowhouse in Sumiyoshi forces the inhabitant to endure the occasional hardships. At the same time, however, the open courtyard is capable of becoming the house's vital organ, introducing the everyday life and assimilating precious stimuli such as changes in nature.”

“The way you talk about yourself and your life-your story-has a great deal to do with what shows up in your day-to-day experience. Your thoughts create filters through which you view your life. If you think of yourself as a Victim, you filter all that happens to you through the lens of DDT, and you find plenty of evidence to support that viewpoint. That's why the orientation you adopt is so important: it exerts a powerful influence on your life direction.”

“Whether the type of old sea captain that I have portrayed in my stories is gone forever, is a question. Certainly each summer I find that the ranks have perceptibly thinned. The longshore captain is still there, many of the men who are not any older than myself, but their viewpoint is not that of a man who sailed his square rigged ship out one morning with China as his destination.”

“The main condition for the achievement of love is the overcoming of one's narcissism. The narcissistic orientation is one in which one experiences as real only that which exists within oneself, while the phenomena in the outside world have no reality in themselves, but are experienced only from the viewpoint of their being useful or dangerous to one. The opposite pole to narcissism is objectivity; it is the faculty to see other people and things as they are, objectively, and to be able to separate this objective picture from a picture which is formed by one's desires and fears.”