Quotes About Interpretation

Without the Oxford comma, you can give people the wrong idea. Famously, the London Times newspaper once ran a brief description of a television documentary featuring Peter Ustinov, promising: Highlights of his global tour include encounters with Nelson Mandela, an 800-year-old demigod and a dildo collector.

Some people believe that it was while studying the niceties of British and American spelling that the Norwegian artist Edvard Munch painted his masterpiece, 'The Scream'.

Las leyes son tan malas, tienen tantos agujeros, que el espacio de arbitraje de la Suprema Corte se multiplica al infinito.

This is what writing is: I one language, I another language, and between the two, the line that makes them vibrate; writing forms a passageway between two shores.

In a way, art is a theory about the way the world looks to human beings. It's abundantly obvious that one doesn't know the world around us in detail. What artists have accomplished is realizing that there's only a small amount of stuff that's important, and then seeing what it was.

Feigenbaum persuaded himself that Goethe had been right about color. Goethe's ideas resemble a facile notion, popular among psychologists, that makes a distinction between hard physical reality and the variable subjective perception of it. The colors we perceive vary from time to time and from person to person—that much is easy to say.

The fundamental problem of communication is that of reproducing at one point either exactly or approximately a message selected at another point.

The birth of information theory came with its ruthless sacrifice of meaning—the very quality that gives information its value and its purpose.

There is no line between fine art and illustration; there is no high or low art; there is only art, and it comes in many forms." (p. 12)

There is not a single brand of realism. Your paintings can be true to nature but emphasize different aspects of visual truth compared to another artist. The way you paint is a record of how you see. It will still be accepted as realism. This explains why Vermeer or Gérôme are instantly recognizable. Each is attentive to different facts of nature. Those who describe realism as slavish imitation miss this point.

If the interpreters are willing to say what the people have to say about their struggle and the reality of Jesus in the fight for freedom, and proceed to develop their tools of critical analysis in the light of their identification with the goals and aspirations of the people, then and only then are they prepared to ask the right questions and hear the right answers.

art stirred the imagination – my God, it allowed the imagination! – in a way that reality rarely does.

Those were dreadful words. "Not many minutes" was a common phrase in Yorkshire and could mean anything up to two hours.

Pentru imaginea final?, faptul c? pictorul a aÈ™ezat mai întâi tonurile roÈ™ii sau pe cele gri sau faptul c? dedesubtul picturii se pot observa linii ale unui desen anterior nu are nicio importan?? — ce se vede acum este chiar imaginea în ansamblul ei, dintr-odat?. La fel È™i în cazul figurii umane; complexitatea È™i tr?s?turile formeaz? o singur? expresie, o imagine singular? ce se livreaz? în întregul ei.

The first way has been excellently presented by David Holt in his lecture on "Jung and Marx." [1] There Holt shows that Jung imagined his work to be theoretically and historically substantiated by alchemy, and that Jung spent a

the connection between psychology and literature, to suggest their interchangeability.

Every person has a right to their own opinion, but your opinion is not my reality.

It's not the face, but the expressions on it. It's not what you say, but the tone of your voice, that hurts the most.

When someone does a weird thing, or two weird things, there may be a meaning to it, but when everything the do is weird, then you begin to wonder.

With regard to the work itself, I dare not venture a judgment, for I do not understand it.

He was not saying that external reality does not exist; rather, that we can only know it subjectively.

There are some people," she said, smiling at him, "whose weaknesses seem to be strength, instead of weakness.

They were like two philosophers starting from the same initial premise of life and each, by irrefutable argument, arriving at a diametrically opposite conclusion. Yet these two conclusions were like twin brothers of the same flesh and heritage and blood.

The object of the artist is the creation of the beautiful. What the beautiful is is another question.