Quotes About Place

I love to say that not only is the throne room of God a place of reverence, it's always a place of refuge. So when everything else in life seems to be shifting, or breaking and shaking apart, there's a place that is always stable, safe, and constant. When we draw near to God in worship, and approach His throne, we tap into that. It's a very re-assuring place, where we're reminded that there's a God on His throne, and even when we don't understand everything, we can trust it to Him.

Whatseems to take place outside ideology (to be precise, in the street), in reality takes place in ideology. What really takes place in ideology seems therefore to take place outside it. That is why those who are in ideology believe themselves by definition outside ideology: one of the effects of ideology is the practical denegation of the ideological character of ideology by ideology: ideology never says, 'I am ideological.'

There are some incredible television shows. It seems a sort of succumbed place to be. At the moment, I'm quite happy sort of flitting from place-to-place. I wouldn't want to relocate from where I am right now in terms of where I live.

In a mad moment, my family and I purchased a home in Maine because it's the place in the world that my wife loves better than any other place or any other human, and so I have committed my life and what had once been my economic security that has now returned to insecurity, to a patch of painful, rocky land on the shores of horrible, cold waters to a place where people go in the summer to experience autumn because leaves start falling on August 1.

Every area had their own superstar. The TV was not national, it was localized. So you could develop in one place, or the next place and be a better star, go to the next place and be a superstar.

Each hamlet or village or town should be a place, its own place. This is not a matter of fake historicism or artsy-craftsy architecture. It is a matter of respect for things existing, subtle patterns of place woven from vistas and street widths and the siting and color and scale of stores, houses, and trees... If the countryside is to prosper, it must be different from city or suburb... The difference is in part the simple business of containing our towns and giving them boundaries.

The middle of the road is a poor place to walk. It is a poor place to drive. It is a poor place to live.

There is a foundation for our lives, a place in which our life rests. That place is nothing but the present moment, as we see, hear, experience what is. If we do not return to that place, we live our lives out of our heads. We blame others; we complain; we feel sorry for ourselves. All of these symptoms show that we're stuck in our thoughts. We're out of touch with the open space that is always right here.

Photography, precisely because it can only be produced in the present and because it is based on what exists objectively before the camera, takes its place as the most satisfactory medium for registering objective life in all its aspects, and from this comes its documental value. If to this is added sensibility and understanding and, above all, a clear orientation as to the place it should have in the field of historical development, I believe that the result is something worthy of a place in social production, to which we should all contribute.

People never hurt others in moments of personal strength and bravery, when they are feeling good about themselves, when they are strong and confident. If we spent all of our waking moments in that place, then fighting for social justice would be redundant; we would simply have social justice and be done with it, and we could all go swimming, or fishing, or bowling, or dancing, or whatever people do. But it is because we spend so much of our time in that other place, that place of diminished capacity, of flagging energy, or wavering and somewhat flaccid commitment, that we have to be careful.

I’ve had that kind of experience myself: I’m looking at a map and I see someplace that makes me think, ‘I absolutely have to go to this place, no matter what’. And most of the time, for some reason, the place is far away and hard to get to. I feel this overwhelming desire to know what kind of scenery the place has, or what people are doing there. It’s like measles - you can’t show other people exactly where the passion comes from. It’s curiosity in the purest sense. An inexplicable inspiration.

To be changed by ideas was pure pleasure. But to learn ideas that ran counter to values and beliefs learned at home was to place oneself at risk, to enter the danger zone. Home was the place where I was forced to conform to someone else’s image of who and what I should be. School was the place where I could forget that self and, through ideas, reinvent myself.

If you go around a time when you're hungry, around mealtime, then you have a desperate search to find something to eat and you have this interplay between approach and avoidance. You go in a place, you smell, if it doesn't smell so good you go to the next place, you look at all the people, they're happily eating, and then you choose that place. So having to reconnoiter, having to go on a kind of treasure hunt for food is one of my favorite things.

You knew that she wanted me to marry somebody else,and you never told me?" He appeared confused by my reaction. "It wasn't my place." "Maybe it wasn't your place as a tracker, but as the guy making out with me in this bed, yeah,I think it was your place to tell me that I'm supposed to marry someone else.

In the dark that followed - Lucy said; "where I was born, the trees were always in the sun. And I left that place because it was intolerant of rain. Now, we are here in a place where there are no trees and there is only rain. And I intend to leave this place - because it is intolerant of light. Somewhere - there must be somewhere where darkness and light are reconciled. So I am starting a rumour, here and now, of yet another world. I don't know when it will present itself - I don't know where it will be. But - as with all those other worlds now past when it is ready, I intend to go there.

With the films, it starts off with certain coordinates in the world and seeing what happens. What happens if you place yourself at an oil refinery in the Middle East? What happens if you place yourself in the White House Cabinet Room? What happens if you place yourself with Brad Pitt on the set of a film? And so on. And no matter what I capture, there is a sense of déjà vu to it, like you might have come across this visual before.

There are many people who live in what I call 'No-man's Land,' a place where you're not really happy, but you're not unhappy enough to do anything about it. That's a dangerous place. It's a place where people numb themselves to their dreams. It's where they dismiss hope and accept what's in front of them instead of driving toward what they really want in life.

My theory is that church used to be that place. Instead of being a place where you went to look good, it was a place where you could risk going every week to look your worst.

When I'm standing in the middle of the salt flats, where you swear that the pupils of your eyes have turned white because of the searing heat that is rising from the desert, I think of my childhood, I think of my mother, my father, my grandparents; I think of the history that we hold there and it is beautiful to me. But it is both a blessing and a burden to be rooted in place. It's recognizing the pattern of things, almost feeling a place before you even see it. In Southern Utah, on the Colorado plateau where canyon walls rise upward like praying hands, that is a holy place to me.

When I'm with my parents, that's the place I can unplug. That's the place I can shut down and not worry about work or what's going on. I go home and hang out with them. I sleep more there than any place else ever.

One journalist said that everybody in Russia is miserable. Russia is a terrible place. And I'm going to end up miserable and I'm going to be a drunk and I'm never going to do anything. I don't drink. I've never been drunk in my life. And they talk about Russia like it's the worst place on earth. Russia's great.

Memory and the imagination are almost identical. It's the same place in the brain and the same thing is happening. When you think about your own life, there are no memories without place. You are always situated somewhere. I think the imagination - the narrative imagination at least - situates you in a specific space when you start to think of a story. I often use places I know. I put my characters inside rooms and houses that I'm familiar with - sometimes the houses of my parents or grandparents or previous apartments I've lived in.

When gods die, they die hard. It's not like they fade away, or grow old, or fall asleep. They die in fire and pain, and when they come out of you, they leave your guts burned. It hurts more than anything you can talk about. And maybe worst of all is, you're not sure if there will ever be another god to fill their place. Or if you'd ever want another god to fill their place. You don't want the fire to go out inside you twice.

Never eat at a place called 'Moms', but if the only other place in town has a sign that says 'Eats', go back to Moms.

Some may belittle politics, but we know - who are engaged in it - that it is where people stand tall. And, although I know it has its many harsh contentions, it is still the arena that sets the heart beating a little faster. And if it is, on occasions, the place of low skulduggery, it is more often the place for the pursuit of noble causes.

I am the family face; flesh perishes, I live on, projecting trait and trace through time to times anon, and leaping from place to place over oblivion.

A building does not have to be an important work of architecture to become a first-rate landmark. Landmarks are not created by architects. They are fashioned by those who encounter them after they are built. The essential feature of a landmark is not its design, but the place it holds in a city's memory. Compared to the place it occupies in social history, a landmark's artistic qualities are incidental.

Spirit of place! It is for this we travel, to surprise its subtlety; and where it is a strong and dominant angel, that place, seen once, abides entire in the memory with all its own accidents, its habits, its breath, its name.

In the United States, the immigrant experience occupies a very central place in American mythology. And sometimes, that place wavers between acceptance and rejection.

Sometimes with these things all the pieces fall into place. I mean, we've been talking about this for years and we don't have the script now, but sometimes things fall into place very quickly, and if everything lines up it could happen.

I realize that having a style would be very beneficial for my practice from a marketing standpoint, but I can't do it. I believe my responsibilities as an architect are to design the most appropriate building for the place. Each place has a distinct culture and function, which for me requires an appropriate answer.

I think a lot of people do have questions about life, 'What's the purpose of my life?', 'What's the meaning of my life?', 'Why am I here?' ... It's hard to find a place where you can discuss those issues. You can't go down to the pub and say, 'What do you think the meaning of life is?' But actually, most people have those questions, somewhere in the back of their minds. And if you can find a place where you can discuss it with a group of people who, like you, are outside of the Church, and it's a non-threatening, relaxed environment, quite a lot of people want to do that.

Having a place in this society is far less important than creating a society in which one would want to have a place.

You have to remember that writing those sorta songs is not reality, it's more like trance, dream, y'know, like dreamwork. The mythical thing can enter the creating but there's the mythical place and the real place. And there's both...I get it between waking and sleeping. Or, when I'm doing something else. I don't sit down and think I'm gonna write about subject X or subject Y. I could be doing something and an impression comes in from outside and the song emerges out of that. It's never thought about or contrived.

I would answer with the words of the Stasi alumnus Wolfgang Schmidt, who was asked that question: "What about these Americans who say, I have nothing to hide?" And he said, and I quote: "This is very naïve. This is the reason that the government collects the information in the first place to use against you. The only way to prevent that is to prevent the information from being collected in the first place." End quote.

Old age is another country, a place of strangeness, sometimes, and dislocation. There's a lot to be done in this country, and a great deal of pleasure there. There are friends, some of whom are sick and needful of you, as you will be of them someday. The world itself is very beautiful. It's a place where you have a lot to do. But you have to do it knowing that sometimes you will be afraid of this new country.

In London, I've always lived within 10 miles of where I was born. You see, there is something called a spirit of place, and my place happens to be London, at least once a fortnight.

The Internet is such a paradoxical space - it's limitless and totally bounded, apparently free yet corporate-controlled, apparently invisible yet surveilled, a place of disembodiment where bodies are policed and enviolenced, a place that is apparently 'nowhere'.

The event of creation did not take place so many eons ago, astronomically or biologically speaking. Creation is taking place every moment of our lives.

My revision methods are chipping things away and moving them around and trying to get things right. I'm also open in my own writing to failure. I want to fail. I want to go to a place where I don't know what I'm doing, where maybe I'm lost. And in that uncertain space, I make decisions, and I know all those decisions are going to change everything else. And at a certain point, you just come to a place of rest. In revising, you reduce your options so that nothing is possible, and you just think, I can't change this anymore because I've already passed that decision point.

It is impossible to be submissive and religiously patient, if ye stay your thoughts down among the confused rollings and wheels of second causes, as, O, the place! O, the time! O, if this had been, this had not followed! O, the linking of this accident with this time and place! Look up to the master motion and the first wheel.

I feel like I'm dropping such a long way down again." "I seem to be dropping into a cold dark wet place, where no one's been before and noone can every follow. There's no future there; just a past that sometimes fools you into thinking it's the future. It's the most alone place you can ever be and, when you go there, you not only cease to exist in real life, you also cease to exist in their consciousness and in their memories.

The world is a dangerous place. And it's a more dangerous place than it was seven years ago [before Obama].

The home is the first and most effective place to learn the lessons of life: truth, honor, virtue, self control, the value of education, honest work, and the purpose and privilege of life. Nothing can take the place of home in rearing and teaching children, and no other success can compensate for failure in the home.

Nathaniel Philbrick's 'In the Heart of the Sea' has rightfully taken its place as a classic for its literary merits. It has a special place in the cannibalism canon as well.

A poet is deeply conflicted and it's in his work that he reconciles those deep conflicts. The place is the harbor. It doesn't set the world in order, you know, it's the place of reconciliation. It's the Consolamentum, the kiss of peace.

I saw what I had been fighting for: It was for me, a scared child, who had run away a long time ago to what I had imagined was a safer place. And hiding in this place, behind my invisible barriers, I knew what lay on the other side: Her side attacks. Her secret weapons. Her uncanny ability to find my weakest spots. But in the brief instant that I had peered over the barriers I could finally see what was finally there: an old woman, a wok for her armor, a knitting needle for her sword, getting a little crabby as she waited patiently for her daughter to invite her in.

I was always shocked in prison because it's a scary place. It's not natural to lock that many people up like that, in such a tiny place. There's something disturbing about it.