Quotes About Text

Our approach to reality, our sense of reality, cannot assume that the text of nature, the book of life, is a cryptogram concealing just a single meaning. Rather, it is an expanding riddle of a multiplicity of resonating images.

For, if we shift our focus, it is possible to see that these ripples and ruptures within the text, far from counting against the work as something divinely inspired, are exactly what we would expect to find from that which is marked by and born out of the very depths of God.

The Bible itself is a dynamic text full of poetry, prose, history, law and myth all clashing together in a cacophony of voices. We are presented with a warrior God and a peacemaker, a God of territorial allegiance and a God who transcends all territorial divides, an unchanging God and a God who can be redirected, a God of peace and a God of war, a God who is always watching the world and a God who fails to notice the oppression against Israel in Egypt.

it would seem almost impossible to argue that the biblical narrative is a calm, clear, and uncontentious text. Rather, the Scriptures reach our ears in an often ominous and scandalous tone. From the opening pages of this ancient text, we are confronted with a shocking series of ambiguous stories and complex conflicts that defy easy categorization and interpretation.

The point of second naïveté is not to reach a position where one rejects academic debates but rather to provide a space in which readers can place these ongoing debates to one side so that they can attend to the transforming source of the text itself. It is this transforming source that we speak of when we speak of the Word of God.

For the idea of the Word of God as a description of the central Event that dwells within the words and yet is not of them (just as Jesus was in the world but not of it) helps us to understand that however interesting the work of the biblical scholars, the theologians, the fundamentalists, or the intellectual skeptics may be, the true depth of the text is not to be discovered by following their exacting methods.

Seibel: How do you read code you didn't write? Crockford: By cleaning it. I'll throw it in a text editor and I'll start fixing it. First thing I'll do is make the punctuation conform; get the indentation right; do all that stuff. I have programs that can do that for me, but I find doing that myself is more efficient in the long run because it gets me more acquainted with the code.

A deconstructed text is tantamount to a forgery.

La mia letteratura è emotiva, le mie storie sono emotive; l'unico spazio che ha il testo per durare è quello emozionale. ... Dopo due righe, il lettore deve essere schiavizzato, incapace di liberarsi dalla pagina; deve trovarsi coinvolto fino al parossismo, deve sudare e prendere cazzotti, e ridere, e guaire, e provare estremo godimento. Questa è letteratura.

Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.

If I give a book as a gift, it is invariably a children's book with beautiful artwork and a simple text. I adore the feel of them, the care taken in the artwork, and the high visual stimulation that sets off the simple but often powerful message the text conveys.

The small visual inconvenience of e-books is made up for with find and search functions, and the fungibility of digital text.

As a visual storyteller, a lot is learning what to include so you're not being redundant between images and text.

I understand the visual media very well, as I used to write comic books for Walt Disney, and I've written a graphic novel. How you carry a story in pictures is different than how you do it in text.

Oceans of emotion can be transmitted through a text message, an emoji sequence, and a winking semicolon, but humans are hardwired to respond to visuals.

When I choose child actors, I chose them for their personalities. And then I work with their own vocabulary, so I'm not imposing text or dialogue on them: I'm just receiving.

With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.

Vast volumes of mixed media surround us, from music to games and videos. Yet almost all of our online actions still begin and end with writing: text messages, status updates, typed search queries, comments and responses, screens packed with verbal exchanges and, underpinning it all, countless billions of words.

Literature is not exhaustible, for the sufficient and simple reason that a single book is not. A book is not an isolated entity: it is a narration, an axis of innumerable narrations. One literature differs from another, either before or after it, not so much because of the text as for the manner in which it is read.

De Quincey says that man's brain is a palimpsest. Every new text covers the previous one, and is in turn covered by the text that follows—but all-powerful Memory is able to exhume any impression, no matter how momentary it might have been, if given sufficient stimulus.

History is an immense liturgical text where the iotas and the dots are worth no less than the entire verses or chapters, but the importance of one and the other is indeterminable and profoundly hidden.

The most intriguing aspect of the Hawara Homer, and other papyri of the same era, is how close they are to the text of Homer as it was transmitted to the Byzantine scholars who were assembling the Venetus A manuscript eight hundred years later.

Re-vision—the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction—is for women more than a chapter in cultural history: it is an act of survival.

Quienes no han leído el texto [La historia me absolverá de Fidel Castro], suelen conformarse con la cita de su frase final, , afirmación, por cierto, que también hiciera Adolfo Hitler en circunstancias parecidas durante la formación del partido nazi.