Real Quotes - Page 444

During photography's first decades, exposure times were quite long... So, similar to the drawings produced with the help of a camera obscura, which depicted reality as static and immobile, early photographs represented the world as stable, eternal, unshakable.

To a large degree, we are still bound to the modern scientific spirit, that characterizes reality merely by its material and mechanic aspects, without including life, consciousness and the intimate communion with that which poets, musicians and artists bring us in their magnificent works.

What [Louis Armstrong] does is real, and true, and honest, and simple, and even noble. Every time this man puts his trumpet to his lips, even if only to practice three notes, he does it with his whole soul.

The fundamental flaw of vulgar thought lies in the fact that it wishes to content itself with motionless imprints of a reality which consists of eternal motion.

This disaster did not force us to abandon our ideal; on the contrary, from the very first months of the conflict, it led us to define precisely the conditions for its realization.

If you look in real life, it is very hard to describe people as good people, bad people, heroes or villains. People aren't bad people. They all have their justifications.

I always feel that there are two choices for women. Either be totally confident about your non-size-zero body and say, 'I love what I look like and this is who I am,' or be the person who is obsessed with diet and exercise and keeping toned. What feels more realistic to me is that some days I wake up and think I love how I look. On other days I say, 'If I had real self-control, I would be 10 pounds lighter.' That contradiction is, to me, what being a girl actually feels like.

The Beatles had an influence on everybody. You have to realize what an incredible explosion the Beatles were.

Perception is reality.

We may win when we lose, if we have done what we can; for by so doing we have made real at least some part of that finished product in whose fabrication we are most concerned: ourselves.

I'm not against art fairs, in fact this last one I even made money, but the concept is really disgusting. If you're that rich to be able to hang out for two or three days, you're certainly rich enough to get on a plane and go to Munich or Düsseldorf or wherever and see somebody's real show instead of this stuff just stacked around.

I would imagine, a very large percentage of people who get something for art and they do something else, and they have some excess resources. And they trade those resources with artists whose work makes them feel good, or feel better, or question. And the artist, if they're smart, they use it to buy the most expensive thing in the world: time to make more. The more that come, the better it is for these people, their children, the people they care about, fills the society with a real constant thing.

It’s only with great vulgarity that you can achieve real refinement, only out of bawdry that you can get tenderness.

This life is a process of learning.

We are the last generation with a real opportunity to save the world.

I'm very interested in making the photographs look real, but a lot of them are highly synthetic. They're hybrids, located somewhere between the found and the constructed.

The only way we'll have real pride is when we demand recognition of a culture that isn't just sexual. It's all there--all throughhistory we've been there; but we have to claim it, and identify who was in it, and articulate what's in our minds and hearts and all our creative contributions to this earth. And until we do that, and until we organise ourselves block by neighborhood by city by state into a united visible community that fights back, we're doomed.

No real fairytale scared me, but Freddy Krueger did. 'Nightmare on Elm Street' scared the living hell out of me, but no fairytale. Maybe 'Hansel and Gretel' a little bit when they were walking through the forest and they met the witch. But I liked being scared, I really enjoy being scared.

When I was just a kid, growing up in Brooklyn, I was constantly making home videos with my family – real silly high-concept productions like, 'Attack of the Killer Handkerchief.' I guess I knew even then that I wanted to be an actress.

Possibly worst of all, from the standpoint of the dedicated enemies of freedom, the Internet is a world that libertarians - having been marginalized for three decades by the establishment media - have made their own, almost without effort. It's an alternative reality (unlike 'meat-space' we live in) in which - exactly like intelligence, bravery, or virtue - the human capacity for violence is not additive, and in which it's impossible to initiate force against anybody.

There is no definition of terrorism and there is still the reality that one person's terrorist is another person's freedom fighter.

We only hear success stories. You don't hear about the hundreds and hundreds - the overwhelming majority that don't go anywhere. This is a more realistic portrayal of what happens in startups.

Of course, we knew that the official reports were sketchy, if not falsified. But, in terms of information theory, this is precisely where the problem lay: How were we to reconstruct reality from incomplete or false reports? It is not true that virtually all news in a totalitarian state is false. On the contrary, most news is completely correct, albeit tendentiously slanded; it is just that certain information is suppressed. One can adjust for the political slanting of the news, but there is virtually no way to fill in the omissions.

The reality is that no group of countries has any grounds for complacency about its own human rights performance and no group of countries does itself justice by automatically slipping into the "victim" mode . . . .

I try not to do scenes a certain way, because then I become conscious of it, and it dosen't come off as realistic. I try to make it so that I'm not really aware of what I'm doing.