Commentary Quotes (displaying: 1 - 30 of 64 quotes )
Infuriatingly stupid analysts - especially people who called themselves Arabists, yet who seemed to know next to nothing about the reality of the Islamic world - wrote reams of commentary [after 9/11]. Their articles were all about Islam saving Aristotle and the zero, which medieval Muslim scholars had done more than eight hundred years ago; about Islam being a religion of peace and tolerance, not the slightest bit violent. These were fairy tales, nothing to do with the real world I knew.
Satellites can see your thoughts, but not through rock,' is like something they might say. In John William's case, it was conscious hyperbole and therefore commentary. At one level, it was reefer-inspired. It was partly for fun. It was other things, too-but not derangement. I give no credence to the interpretation, and I knew him better than anybody.
The score," the megaphone on the ferry around Manhattan said, from time to time, without further explanation, "is one to nothing." to the foreigners, unaware perhaps that a World Series was in progress, this may have seemed an obscure instruction, or a commentary on the sights. "In the top of the fifth," it said, with some excitement, as we rounded Wall Street, "the score is five to one.
A sophisticated human can become primitive. What this really means is that the human's way of life changes. Old values change, become linked to the landscape with it's plants and animals. This new existence requires a working knowledge of those multiplex and cross-linked events usually referred to as Nature. It requires a measure of respect for the inertial power within such natural systems. When a human gains this knowledge and respect, that is called "being primitive". The converse, of course, is equally true: the primitive human can become sophisticated, but not without incurring dreadful psychological damage.-The Leto Commentary, after Harq al-Ada
My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.
[O]ne has to have endured a few decades before wanting, let alone needing, to embark on the project of recovering lost life. And I think it may be possible to review 'the chronicles of wasted time.' William Morris wrote in The Dream of John Ball that men fight for things and then lose the battle, only to win it again in a shape and form that they had not expected, and then be compelled again to defend it under another name. We are all of us very good at self-persuasion and I strive to be alert to its traps, but a version of what Hegel called 'the cunning of history' is a parallel commentary that I fight to keep alive in my mind.
This exchange marked the beginning of Mr. Malfoy's long campaign to have me removed from my post as headmaster of Hogwarts, and of mine to have him removed from his position as Lord Voldemort's Favorite Death Eater. My response prompted several further letters from Mr. Malfoy, but as they consisted mainly of opprobrious remarks on my sanity, parentage, and hygiene, their relevance to this commentary is remote.
Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire. The emotion derives from a double contact: on the one hand, a whole activity of discourse discreetly, indirectly focuses upon a single signified, which is "I desire you," and releases, nourishes, ramifies it to the point of explosion (language experiences orgasm upon touching itself); on the other hand, I enwrap the other in my words, I caress, brush against, talk up this contact, I extend myself to make the commentary to which I submit the relation endure.
I have desired, like every artist, to create a little world out of the beautiful, pleasant, and significant things of this marred and clumsy world, and to show in a vision something of the face of Ireland to any of my own people who would look where I bid them. I have thereforewritten down accurately and candidly much that I have heard and seen, and, except by way of commentary, nothing that I have merely imagined.
As you make more and more powerful microscopic instruments, the universe has to get smaller and smaller in order to escape the investigation. Just as when the telescopes become more and more powerful, the galaxies have to recede in order to get away from the telescopes. Because what is happening in all these investigations is this: Through us and through our eyes and senses, the universe is looking at itself. And when you try to turn around to see your own head, what happens? It runs away. You can't get at it. This is the principle. Shankara explains it beautifully in his commentary on the Kenopanishad where he says 'That which is the Knower, the ground of all knowledge, is never itself an object of knowledge.'[In this quote from 1973 Watts, remarkably, essentially anticipates the discovery (in the late 1990's) of the acceleration of the expansion of the universe.]
It is a laborious madness and an impoverishing one, the madness of composing vast books - setting out in five hundred pages an idea that can be perfectly related orally in five minutes. The better way to go about it is to pretend that those books already exist, and offer a summary, a commentary on them." (From the Introduction of 1941's The Garden of Forking Paths)
Any good broadcast, not just an Olympic broadcast, should have texture to it. It should have information, should have some history, should have something that's offbeat, quirky, humorous, and where called for it, should have journalism, and judiciously it should also have commentary. That's my ideal.