Description Quotes

The less serious running of any description which an athlete indulges in before eighteen, the better for his future prospects.

We are looking for a complete, coherent, and simple understanding of reality. Given what we know about the universe, there seems to be no reason to invoke God as part of this description.

The world is out there, but descriptions of the world are not.

A good game has to have a fun core, which is a one-sentence description of why it's fun.

To take a journey of a thousand miles, you have to begin with the first step from the place where you stand; the romantic description of the journey and the things the body sees on the way and the description of the scenery are of no use unless you lift your foot and take the first step.

We live in a description of reality.

In painting one must search rather for suggestion than for description, as is done in music.

There is no description, no image in any book that is capable of replacing the sight of real trees, and all of the life to be found around them in a real forest.

In descriptions of nature one must seize on small details, grouping them so that when the reader closes his eyes he gets a picture.

We must do away with all explanation, and description alone must take its place.

Descriptions of my work depress me. They make me feel pinned down.

First of all, principles should be general. That is, it must be possible to formulate them without use of what would be intuitively recognized as proper names, or rigged definite descriptions.

Western traditions of education have emphasized knowledge analysis, description and debate. They all have a part to play, but today there is a whole vast aspect of doing that has just been left out. Operacy is what keeps society going.

For better or worse, I've been involved in the description of political conflict.

Art is revelation instead of information, expression instead of description, creation instead of imitation or repetition. Art is concerned with the HOW, not the WHAT; not with literal content, but with the performance of the factual content. The performance - how it is done - that is the content of art.

The Da Vinci Code may well be the only novel ever written that begins with the word 'renowned'... I think what enabled the first word to tip me off that I was about to spend a number of hours in the company of one of the worst prose stylists in the history of literature was this. Putting curriculum vitae details into complex modifiers on proper names or definite descriptions is what you do in journalistic stories about deaths; you just don't do it in describing an event in a narrative... Why did I keep reading? Because London Heathrow is a long way from San Francisco International.

We can think of descriptions almost as computer languages, an operative description that only deals with very simple operations. Its code is sex - Male, female, dark, light, up down, in out - its the language of duality.

In late 2011 there is an internal document called the Libya Tick Tock that was produced for Hillary Clinton, and it's the chronological description of how she was the central figure in the destruction of the Libyan state, which resulted in around 40,000 deaths within Libya; jihadists moved in, ISIS moved in, leading to the European refugee and migrant crisis.

Stanford may be the best university in the world, but you can get all the way through here without knowing where your food came from, without being able to say where we came from, without being able to give a coherent description of why the climate is changing and why we should be concerned about it. So I started teaching a course in human evolution and the environment that's open to all Stanford students, no prerequisites.

When philosophers try to understand consciousness, much of what they claim is not conceptual analysis at all, though it may be shopped under that description.

There arent many great passages written about food, but I love one by George Millar, who worked for the SOE in the second world war and wrote a book called Horned Pigeon. He had been on the run and hadnt eaten for a week, and his description of the cheese fondue he smells in the peasant kitchen of a house in eastern France is unbelievable.

How can love be worthy of its name if one selects solely the pretty things and leaves out the hardships? It is easy to enjoy the good and dislike the bad. Anybody can do that. The real challenge is to love the good and the bad together, not because you need to take the rough with the smooth but because you need to go beyond such descriptions and accept love in its entirety.

A photograph is the illusion of a literal description of how the camera 'saw' a piece of time and space.

Learning how to live in the greatest peace, partnership, and brotherhood with all men and women, of whatever description, is a moving and fascinating adventure.

It takes talent to please the people in a sermon by a flowery style, a cheerful ethic, brilliant sallies and lively descriptions; but such a talent is inadequate. A better sort of talent neglects these extraneous ornaments, unworthy to be used in the service of the Gospel: such a preacher's sermon will be simple, strong and Christian.

Few novels truly deserve the description 'rollicking' in the way Mary Novik's Conceit does. A hearty, boiling stew of a novel, served up in rich old-fashioned story-telling. Novik lures her readers into the streets of a bawdy seventeenth-century London with a nudge and a wink and keeps them there with her infectious love of detail and character. A raunchy, hugely entertaining read that will leave you at once satiated and hungry for more.

The condition of visibility as it relates to black people was crucial. Connected to that, I've always been interested in science fiction and horror films and was acutely aware of the political and social implications of Ralph Ellison's description of invisibility as it relates to black people, as opposed to the kind of retinal invisibility that H.G. Wells described in his novel Invisible Man.

In a universe that defies description, all systems of belief can only be false.

Overt intelligent performances are not clues to the workings of minds; they are those workings. Boswell described Johnson's mind when he described how he wrote, talked, ate, fidgeted and fumed. His description was, of course, incomplete, since there were notoriously some thoughts which Johnson kept carefully to himself and there must have been many dreams, daydreams and silent babblings which only Johnson could have recorded and only a James Joyce would wish him to have recorded.

I'd like to be seen as an average Australian bloke. I can't think of... I can't think of a nobler description of anybody than to be called an average Australian bloke.

Sit not down without assurance. Get alone, and bring thy heart to the bar of trial; force it to answer the interrogatories put to it; set the qualifications of the saints on one side, and the qualifications of thy soul on the other side, and then judge what resemblance there is between them.

Alternative descriptions of the same reality evoke different emotions and different associations.

The modern version of Buridan's ass [a figurative description of a man of indecision] has a Ph.D., but no time to grow up as he is undecided between making a Leonardo da Vinci in the test tube or planting a Coca Cola sign on Mars.

To call a posit a posit is not to patronize it. A posit can be unavoidable except at the cost of other no less artificial expedients. Everything to which we concede existence is a posit from the standpoint of a description of the theory-building process, and simultaneously real from the standpoint of the theory that is being built.

The challenge of abating one with a genuine ego problem is to not try to put him down. Any and all antagonization, in his mind, is merely compensated for by his own descriptions: his feelings of persecution by the envious and his ideals of worth. Arguably, the genuine ego is more of a circumstantial defense mechanism rather than a steady arrogance in need of starvation.

Kant's description of most ethical duties reads more like a description of moral virtues and vices. Once we see this, we see that Kantian ethics is indeed a kind of virtue ethics, and that it does not "divide the heart from the head" (to anticipate one of your later questions) but instead recognizes the deep truth that reason and emotion are not opposites.

We turned an anthem into an assignment, a poem into a job description.

A zeal for different opinions concerning religion, concerning government, and many other points, as well of speculation as of practice; an attachment to different leaders ambitiously contending for pre-eminence and power; or to persons of other descriptions whose fortunes have been interesting to the human passions, have, in turn, divided mankind into parties, inflamed them with mutual animosity, and rendered them much more disposed to vex and oppress each other than to co-operate for their common good.

The prescription of the equality of human beings is not a description of an alleged actual equality among humans: it is a prescription of how we should treat human beings.

Mathematics is one of the deepest and most powerful expressions of pure human reason, and, at the same time, the most fundamental resource for description and analysis of the experiential world.

Wave particle duality is a core feature of our world. Or rather, we should say, it is a core feature of our mathematical descriptions of our world. But what is critical to note here is that, however ambiguous our images, the universe itself remains whole and is manifestly not fracturing into schizophrenic shards. It is this tantalizing wholeness and the thing itself that drives physicists onward like an eternally beckoning light that seems so teasingly near. It is always out of reach.

I admire anyone who can come up with something original. But not originality alone, because there can be originality in stupidity, with no musical description of any emotion or any beauty the man has seen, or any kind of life he has lived.

For generations, field guides to plants and animals have sharpened the pleasure of seeing by opening our minds to understanding. Now John Adam has filled a gap in that venerable genre with his painstaking but simple mathematical descriptions of familiar, mundane physical phenomena. This is nothing less than a mathematical field guide to inanimate nature.

It is not a nature cure, a system of faith healing, or a physical culture, or a medical treatment, or a semi-occult philosophy. As to what it is, Dewey's brief but striking description appeals most and has the least chance of being proved incorrect: 'It the Alexander Technique bears the same relation to education that education itself bears to all other human activities.'

The photograph [of Che Guevara], for a civilization now accustomed to thinking in images, was not the description of a single event... it was an argument.

Photographs have the kind of authority over imagination to-day, which the printed word had yesterday, and the spoken word before that. They seem utterly real. They come, we imagine, directly to us without human meddling, and they are the most effortless food for the mind conceivable.

Any person of any philosophic persuasion who sits on a hot stove will verify without any intellectual argument whatsoever that he is in an undeniably low-quality situation: that the value of his predicament is negative. This low quality is not just a vague, woolly-headed, crypto-religious, metaphysical abstraction. It is an experience. It is not a judgment about an experience. It is not a description of experience. The value itself is an experience. As such it is completely predictable. It is verifiable by anyone who cares to do so.

It is hubris, claim the critics of 'absolutism', to suppose that we could ever even approximate to a true description of how the world anyway is. It is bad faith or 'bullshit', respond 'absolutists', to suppose - as the rhetoric of postmodernism implies - that we could seriously live and act with the thought that truth and value are simply our own projections. An attractive feature of 'ineffabilism', as I see it, is that it evades these accusations.

I think that as a playwright, if I detail that environment, then I'm taking away something from them [designers]. I'm taking away their creativity and their ability to have input themselves, not just to follow what the playwright has written. So I do a minimum set description and let the designers create within that.

Each of us have things and thoughts and descriptions of an amazing universe in our possession that kings in the 17th Century would have gone to war to possess.