Depicted Quotes (displaying: 1 - 30 of 76 quotes )
... depict your sorrows and desires, your passing thoughts and beliefs in some kind of beauty- depict all that with heartfelt, quiet, humble sincerity and use to express yourself the things that surround you, the images of your dreams and the objects of your memory. If your everyday life seems poor to you, do not accuse it; accuse yourself, tell yourself you are not poet enough to summon up its riches; since for the creator there is no poverty and no poor or unimportant place.
[pitching the proposal for Mononoke-hime (1997)] There cannot be a happy ending to the fight between the raging gods and humans. However, even in the middle of hatred and killings, there are things worth living for. A wonderful meeting, or a beautiful thing can exist. We depict hatred, but it is to depict that there are more important things. We depict a curse, to depict the joy of liberation. What we should depict is, how the boy understands the girl, and the process in which the girl opens her heart to the boy. At the end, the girl will say to the boy, "I love you, Ashitaka. But I cannot forgive humans." Smiling, the boy should say, "That is fine. Live with me.
The enemy is typically depicted as a dangerous octopus, a vicious dragon, a multiheaded hydra, a giant venomous tarantula, or an engulfing Leviathan. Other frequently used symbols include vicious predatory felines or birds, monstrous sharks, and ominous snakes, particularly vipers and boa constrictors. Scenes depicting strangulation or crushing, ominous whirlpools, and treacherous quicksands also abound in pictures from the time of wars, revolutions, and political crises. The juxtaposition of paintings from non-ordinary states of consciousness that depict perinatal experiences with the historical pictorial documentation collected by Lloyd de Mause and Sam Keen offer strong evidence for the perinatal roots of human violence.
A great European master miniaturist and another great master artist are walking through a Frank meadow discussing virtuosity and art. As they stroll, a forest comes into view before them. The more expert of the tow says to the other: 'painting in the new style demands such talen that if you depicted one of the trees in the forest, a man who looked upon that painting could come here, and if he so desired, correctly select that tree from among the others.'I thank Allah that I, the humble tree before you, have not been drawn with such intent. And not because I fear that if I'd been thus depicted all the dogs in Istanbul would assume I was a real tree and piss on me: I don't want to be a tree, I want to be its meaning.
The staunchest conservatives advocate a range of changes which differ in specifics, rather than in number or magnitude, from the changes advocated by those considered libera?change, as such, is simply not a controversial issue. Yet a common practice among the anointed is to declare themselves emphatically, piously, and defiantly in favor of 'change.' Thus those who oppose their particular changes are depicted as being against change in general. It is as if opponents of the equation 2+2=7 were depicted as being against mathematics. Such a tactic might, however, be more politically effective than trying to defend the equation on its own merits.
A comparably capacious embrace of beauty and pleasure - an embrace that somehow extends to death as well as life, to dissolution as well as creation - characterizes Montaigne's restless reflections on matter in motion, Cervantes's chronicle of his mad knight, Michelangelo's depiction of flayed skin, Leonardo's sketches of whirlpools, Caravaggio's loving attention to the dirty soles of Christ's feet.
Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid it is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this dark world AND to illuminate the possibilities for being alive and human in it. You can defend "[American] Psycho" as being a sort of performative digest of late-eighties social problems, but it's no more than that.
All real art is, in its true sense, is a religious impulse; there is no such thing as a non-religious subject. But much bad or downright sacrilegious art depicts so-called religious subjects…Conversely, much great religious art has been written or painted or composed by people who thought they were atheists.
Die young, stay pretty. Blondie, right? We think of it as a modern phenomenon, the whole youth thing, but really, consider all those great portraits, some of them centuries old. Those goddesses of Botticelli and Rubens, Goya's Maja, Madame X. Consider Manet's Olympia, which shocked at the time, he having painted his mistress with the same voluptuous adulation generally reserved for the aristocratic good girls who posed for depictions of goddesses. Hardly anyone knows anymore, and no one cares, that Olympia was Manet's whore; although there's every reason to imagine that, in life, she was foolish and vulgar and not entirely hygienic (Paris in the 1860s being what it was). She's immortal now, she's a great historic beauty, having been scrubbed clean by the attention of a great artist. And okay, we can't help but notice that Manet did not choose to paint her twenty years later, when time had started doing its work. The world has always worshipped nascence. Goddamn the world.
He had never been interested in stories at any age, and had never quite understood the basic concept. He'd never read a work of fiction all the way through. He did remember, as a small boy, being really annoyed at the depiction of Hickory Dickory Dock in a rag book of nursery rhymes because the clock in the drawing was completely wrong for the period.
Adam Smith FRSE (baptised June 5, 1723 O.S. / June 16 N.S.? July 17, 1790) was a Scottish moral philosopher and a pioneering political economist. He is also the founder of economics. One of the key figures of the intellectual movement known as the Scottish Enlightenment, he is known primarily as the author of two treatises: The Theory of Moral Sentiments (1759), and An Inquiry into the Nature and Causes of the Wealth of Nations (1776). The latter was one of the earliest attempts to systematically study the historical development of industry and commerce in Europe, as well as a sustained attack on the doctrines of mercantilism. Smith's work helped to create the modern academic discipline of economics and provided one of the best-known intellectual rationales for free trade, capitalism, and libertarianism. Adam Smith is now depicted on the back of the Bank of England 20 note. Source: Wikipedia
What leads me to accredit the truth of what great Savonati has conveyed to us is the way in which he conscientiously tells us everything. In novels written nowadays, writers pay little heed to their heroes' stomachs. They send them off on errands, embroil them in adventures which leave them as breathless as the reader, and yet they are never hungry. In this respect, they bear little resemblance to the author. In my opinion, this, more than anything else, serves to discredit this type of work. Does anybody eat in Ren? ... Whatever period you depict, you will find that people had dinner.
If one wanted to depict the whole thing graphically, every episode, with its climax, would require a three-dimensional model, perhaps four-dimensional, or, rather, no model: every experience is unrepeatable. What makes lovemaking and reading resemble each other most is that within both of them times and spaces open, different from measurable time and space.
Ever since he repented of religion and shaved off his clerical beard and mustache, he has had the constant feeling that he has taken off his trousers, and that his nose protrudes altogether indecently and must at all cost be covered. It's sheer torment! With one hand over his nose, the deacon knocks again and again. No one responds. And yet Martha is home; the gate is locked from within. And that means - what? It means that she is with someone else... The deacon punctuates the scene inwardly with the three dots we have graphically depicted just above, and, tripping over them at every second step, he proceeds to Rosa Luxemburg Street. ("X")
In this world, there is no absolute good, no absolute evil," the man said. "Good and evil are not fixed, stable entities, but are continually trading places. A good may be transformed into an evil in the next second. And vice versa. Such was the way of the world that Dostoevsky depicted in The Brothers Karamazov. The most important thing is to maintain the balance between the constantly moving good and evil. If you lean too much in either direction, it becomes difficult to maintain actual morals. Indeed, balance itself is the good.
Early June, Providence, Rhode Island, the sun up for almost two hours already, lighting up the pale bay and the smokestacks of the Narragansett Electric factory, rising like the sun on the Brown University seal emblazoned on all the pennants and banners draped up over campus, a sun with a sagacious face, representing knowledge. But this sun--the one over Providence--was doing the metaphorical sun one better, because the founders of the university, in their Baptist pessimism, had chosen to depict the light of knowledge enshrouded by clouds, indicating that ignorance had not yet been dispelled from the human realm, whereas the actual sun was just now fighting its way through cloud cover, sending down splintered beams of light and giving hope to the squadrons of parents, who'd been soaked and frozen all weekend, that the unseasonable weather might not ruin the day's activities.
They take the circuits out of people’s brains that make it possible for them to think for themselves. Their world is like the one that George Orwell depicted in his novel. I’m sure you realize that there are plenty of people who are looking for exactly that kind of brain death. It makes life a lot easier. You don’t have to think about difficult things, just shut up and do what your superiors tell you to do.
You have to question a cinematic culture which preaches artistic expression, and yet would support a decision that is clearly a product of a patriarchy-dominant society, which tries to control how women are depicted on screen. The MPAA is okay supporting scenes that portray women in scenarios of sexual torture and violence for entertainment purposes, but they are trying to force us to look away from a scene that shows a woman in a sexual scenario which is both complicit and complex. It’s misogynistic in nature to try and control a woman’s sexual presentation of self. I consider this an issue that is bigger than this film
The mass depiction of the modern woman as a "beauty" is a contradiction: Where modern women are growing, moving, and expressing their individuality, as the myth has it, "beauty" is by definition inert, timeless, and generic. That this hallucination is necessary and deliberate is evident in the way "beauty" so directly contradicts women's real situation.
I’m trying in all my stories to get the feeling of the actual life across—not to just depict life—or criticize it—but to actually make it alive. So that when you have read something by me you actually experience the thing. You can’t do this without putting in the bad and the ugly as well as what is beautiful. Because if it is all beautiful you can’t believe in it. Things aren’t that way.
All the demons of Hell formerly reigned as gods in previous cultures. No it's not fair, but one man's god is another man's devil. As each subsequent civilization became a dominant power, among its first acts was to depose and demonize whoever the previous culture had worshipped. The Jews attacked Belial, the god of the Babylonians. The Christians banished Pan and Loki anda Mars, the respective deities of the ancient Greeks and Celts and Romans. The Anglican British banned belief in the Australian aboriginal spirits known as the Mimi. Satan is depicted with cloven hooves because Pan had them, and he carries a pitchfork based on the trident carried by Neptune. As each deity was deposed, it was relegated to Hell. For gods so long accustomed to receiving tribute and loving attention, of course this status shift put them into a foul mood.