Quotes About Progression

Pensé que la letra minúscula al principio podía significar que nunca nada era en su comienzo realmente nuevo, con mayúscula, sino que todo fluía de lo anterior.

Elk begin is tenslotte niets meer dan een vervolg. en het boek der gebeurtenissen ligt altijd open in het midden.

My boyfriend keeps telling me I've got to own things. So, first I bought this car. And then he told me I oughta get a house. 'Why a house?' 'Well, you gotta have a place to park the car.'

There wasn't any other option. The summer was over, and autumn had begun.

In the morning movement is linear, in the afternoon circular, in the evening pendular, at night it retraces, restudies, reobserves, sidling backwards, and in the grey dawn briefly at 5:03 for a second it becomes a point, motionless.

Sin tener que inventar los puentes, o coser los diferentes pedazos del tapiz, que de golpe hubiera ciudad, hubiera tapiz, hubiera hombres y mujeres en la perspectiva absoluta de su devenir

One precedent creates another and they soon accumulate and constitute law. What yesterday was a fact, today is doctrine.

Ten years, a hundred years, a thousand - once passed, I thought, time was all the same, all over.

Progress is hard on history.

Pedacinho por pedacinho, desliguei-a. Vi luzes se apagando uma após a outra. Observei o espaço Cansino retroceder. Primeiro sumiram as galáxias, logo em seguida as estrelas, e então: trevas, somente o fundo das minhas pálpebras.

Weinberg, whom Oppenheimer had come to regard as one of his brightest students, observed that mathematical formulas were like temporary hand-holds for a rock-climber. Each hand-hold more or less dictates the position of the next hand-hold. "A record of that," Weinberg said, "is a record of a particular climb. It gives you very little of the shape of the rock.

Alguien ha dicho que el hombre es, a los diez años, un animal; a los veinte, un loco; a los treinta, un fracasado; a los cuarenta, un falsario y a los cincuenta, un criminal.

Stories, Vishnu, are like snarled threads, each connected with the other, and it's very tempting to want to tell them all at once. But time, linear, progressive, maddening time, won't let me.

I know that we're being inexorably taken over by the Americans. Without a doubt. I don't mean invaded or anything like that, just taken over. By degrees.

It's definitely true that law enforcement investigations expand over time in appropriate ways.

I think that Yes' music is kind of on its own out there, and it goes through different chapters, and that involves different people. I don't think it's a case of 'any year is better than any other.' They can all co-exist quite comfortably.

It's like after uni when you go to do a master's. Italy is like that for defenders.

When James Bond gets old, you get rid of him and bring a new James Bond in.

People ask me how could I go from country to jazz. It's been a natural convergence for me.

There is a modern take on certain things you can do that, to me, is still jazz.

I got my first set of drums when I was around 3. I went from band to marching band to Latin jazz band - it's like riding a bike.

I just think I started off like many composers, just in different fields of music I was doing. I started doing a lot of commercials and jingles, and then that led to doing TV and then films and games and TV.

Fresh out of college, you tend to join a company because it's a job. But, you tend to stay because it becomes a career; you start to feel at home. In the beginning of your career, you're focused on you: 'I like this place because I'm doing rewarding work; they take good care of me; the people are nice; there's runway for me,' etc.

I get on with Joe Hart really well. He joined Birmingham on loan when I was there and to see him working day-in, day-out was brilliant. As I've progressed I've tried to model myself on him.