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1 " To be born means being compelled to choose an era, a place, a life. To exist here, now, means to lost the possibility of being countless other potential selves.. Yet once being born there is no turning back. And I think that's exactly why the fantasy worlds of cartoon movies so strongly represent our hopes and yearnings. They illustrate a world of lost possibilities for us. "
― Hayao Miyazaki , Starting Point: 1979-1996
2 " Oh, man," Xavier groaned. " See what you've done--now I'm stressing." " You can't! You're the stable one!" Xavier laughed and I realized his distress had been feigned to illustrate a point. He wasn't worried in the slightest." Just relax. Go and run a bath or have a shot of brandy." " Okay." " That second bit was a joke. We both know you can't hold your liquor. "
3 " People enjoy inventing slogans which violate basic arithmetic but which illustrate “deeper” truths, such as “1 and 1 make 1” (for lovers), or “1 plus 1 plus 1 equals 1” (the Trinity). You can easily pick holes in those slogans, showing why, for instance, using the plus-sign is inappropriate in both cases. But such cases proliferate. Two raindrops running down a window-pane merge; does one plus one make one? A cloud breaks up into two clouds -more evidence of the same? It is not at all easy to draw a sharp line between cases where what is happening could be called “addition”, and where some other word is wanted. If you think about the question, you will probably come up with some criterion involving separation of the objects in space, and making sure each one is clearly distinguishable from all the others. But then how could one count ideas? Or the number of gases comprising the atmosphere? Somewhere, if you try to look it up, you can probably fin a statement such as, “There are 17 languages in India, and 462 dialects.” There is something strange about the precise statements like that, when the concepts “language” and “dialect” are themselves fuzzy. "
― Douglas R. Hofstadter , Gödel, Escher, Bach: An Eternal Golden Braid
4 " If you can't illustrate 'it', 'it' doens't belong in Physics as a noun! You can't put an article in front. You can't put a verb after! "
― Bill Gaede , Why God Doesn't Exist
5 " This was the species whose main excuse for not doing something was 'if only I had more time'. Perfectly valid until you realised they did have more time. Not eternity, granted, but they had tomorrow. And the day after tomorrow. And the day after the day after tomorrow. In fact I would have to write 'the day after' thirty thousand times before a final 'tomorrow' in order to illustrate the amount of time on a humans hands. "
6 " When animals make a stupid mistake, you laugh at them. A cat misjudges a leap. A dog looks overly quizzical about a simple object. These are funny things. But when a person doesn’t understand something, if they miscalculate and hit the brakes too late, blame is assigned. They are stupid. They are wrong. Teachers and cops are there to sort it out, with a trail of paperwork to illustrate the stupidity. The faults. The evidence and incidents of these things. We have entire systems in place to help decide who is what. Sometimes the systems don’t work. Families spend their weekend afternoons at animal shelters, even when they’re not looking for a pet. They come to see the unwanted and unloved. The cats and dogs who don’t understand why they are these things. They are petted and combed, walked and fed, cooed over and kissed. Then they go back in their cages and sometimes tears are shed. Fuzzy faces peering through bars can be unbearable for many. Change the face to a human one and the reaction changes. The reason why is because people should know better. But our logic is skewed in this respect. A dog that bites is a dead dog. First day at the shelter and I already saw one put to sleep, which in itself is a misleading phrase. Sleep implies that you have the option of waking up. Once their bodies pass unconsciousness to something deeper where systems start to fail, they revolt a little bit, put up a fight on a molecular level. They kick. They cry. They don’t want to go. And this happens because their jaws closed over a human hand, ever so briefly. Maybe even just the once. But people, they get chances. They get the benefit of the doubt. Even though they have the higher logic functioning and they knew when they did it THEY KNEW it was a bad thing. "
― Mindy McGinnis , The Female of the Species
7 " To illustrate the nature of this theandric reciprocity, Thomas invokes, as an example, the physical touch of Jesus’s hand: “he wrought divine things humanly, as when he healed the leper with a touch.” The touch of a human being is not in itself miraculous, and even in Jesus this human action is not humanly healing. The miraculous fact of the healing power of this human touch, rather, as Reginald Garrigou-Lagrange puts it, “proceeds from God as the principal cause and from Christ’s human nature as the instrumental cause.” Jesus works divine things humanly. More ultimately, Jesus wills the divine will of salvation humanly. And so he wills theandrically in the sense that what he wills has an “infinite value” that “derives from the divine suppositum that is the agent which operates”. The deifying effects of the Incarnation are thus contingent on the theandric fact of the interpenetrating unity of divine-human operations. "
― Aaron Riches
8 " Evolution,' proclaimed the Rev. Daniel Miner Gordon during his inaugural lecture at Presbyterian College in Halifax, 'with its concept of growth rather than mechanism, of life working from within rather than a power constructing from without, helps further illustrate the method of Him who is the life of all that lives.' Seen in this way, evolution gave evidence of God's existence and watchful Providence; it revealed that the Creator was omniscient and omnipresent. Christian evolution implied a God of immanence, a God who dwelled within and constantly guided the natural world. This contrasted sharply with the orthodox view of a transcendent God who ruled the world from afar and touched it only by the occasional intervention in nature or history - a miracle. It now seemed that God was within nature and history, and close to humankind. Moreover, God the harsh judge had been banished by scientific understanding. It was understood that God was an active benevolent spirit. Some of the mystery had been lifted. Evolution had cast new light upon nature, the destiny of humanity, and the ways of God. It seemed to have provided a more inspiring and certain Christian world-view. Ironically, the clergy could base their arguments regarding the existence and nature of God on science, the source of so much doubt regarding the truth of Christianity. "
― , Secularizing the Faith: Canadian Protestant Clergy and the Crisis of Belief, 1850-1940
9 " All the products of one period have something in common; the artists who illustrate the poetry of their generation are the same artists who are employed by the big financial houses. And nothing reminds me so much of the monthly parts of Notre-Dame de Paris, and of various books by Gérard de Nerval, that used to hang outside the grocer's door at Combray, than does, in its rectangular and flowery border, supported by recumbent river-gods, a 'personal share' in the Water Company. "
― Marcel Proust , In the Shadow of Young Girls in Flower
10 " I adore the elegance of botanical realism but I also can't help but dream of my very own neo-surrealistic fantasy flowers, and so I paint and illustrate both; I always find myself between both of those worlds. "
11 " It does appear that some parts of our evolutionary process seem inevitable. It is striking that throughout evolutionary history, the eye evolved independently fifty to a hundred times. This is strong evidence for the fact that the different rolls of the dice that have occurred across different species seem to have produced species with eyes regardless of what is going on around them. Lots of other examples illustrate how some features, if they are advantageous, seem to rise to the top of the evolutionary swamp. This is illustrated every time you see the same feature appearing more than once in different parts of the animal kingdom. Dolphins and bats, for example, use echolocation, but they evolved this trait independently at very different points on the evolutionary tree. "
― Marcus du Sautoy , What We Cannot Know: Explorations at the Edge of Knowledge
12 " You are the storyteller and the editor of your book of life. So write tales of imagination, tragedy, and adventure and illustrate it with the colors of beauty. "
13 " I grew it - sorry, drew it - for this book, if for no other reason than to illustrate the old saying that the apple doesn't fall far from the tree. "
― Connor Franta , A Work in Progress
14 " Two people can illustrate crudity to you.The first is the crude man, whom you see perceiving the diamond as a stone.The other is the refined man, who makes clear to you the crudity of the first one. "
― Idries Shah , Reflections
15 " On reflection, looking at shows like this and considering my own experiences, what fascinated me was that we have so many stories like this that help us empathize with monstrous men. “Yes, these men are flawed, but they are not as evil as this man.” Even more chilling, they tend to be stories that paint women as roadblocks, aggressors, antagonists, complications—but only in the context of them being a bitch, a whore, a Madonna. The women are never people.Stories about monstrous men are not meant to teach us how to empathize with the women and children murdered, but with the men fighting over their bodies.As a woman menaced by monsters, I find this particularly interesting, this erasure of me from a narrative meant to, if not justify, then explain the brokenness of men. There are shows much better at this, of course, which don’t paint women out of the story—Mad Men is the first to come to mind, and Game of Thrones—but True Detective doubled down.The women terrorized by monsters in real life are active agents. They are monster-slayers, monster-pacifiers, monster-nurturers, monster-wranglers—and some of them are monsters, too. In truth, if we are telling a tale of those who fight monsters, it fascinates me that we are not telling more women’s stories, as we’ve spun so many narratives like True Detective that so blatantly illustrate the sexist masculinity trap that turns so many human men into the very things they despise.Where are the women who fight them? Who partner with them? Who overcome them? Who battle their own monsters to fight greater ones?Because I have and continue to be one of those women, navigating a horror show world of monsters and madmen. We are women who write books and win awards and fight battles and carve out extraordinary lives from ruin and ash. We are not background scenery, our voices silenced, our motives and methods constrained to sex.I cannot fault the show’s men for forgetting that; they’ve created the world as they see it. But I can prod the show’s exceptional writers, because in erasing the narrative of those whose very existence is constantly threatened by these monsters, including trusted monsters whose natures vacillate wildly, they sided with the monsters.I’m not a bit player in a monster’s story. But with narratives like this perpetuated across our media, it wouldn’t surprise me if that’s how my obituary read: a catalogue of the men who sired me, and fucked me, and courted me.Stories that are not my own.Funny, isn’t it? The power of story.It’s why I picked up a pen.I slay monsters, too. "
― Kameron Hurley , The Geek Feminist Revolution
16 " I should point out, creating one's own style, as much as is required to illustrate one of the aspects, the golden seam of language, involves beginning again at once, in a different manner, adopting the guise of a pupil when one risked becoming pedantic - thus by a shrugging of one's shoulders, disconcerting some with their genuflecting stance, and immortalizing oneself in multiple, impersonal, or even anonymous forms in response to the gesture of arms raised in stupefaction. "
― Stéphane Mallarmé , Mallarmé in Prose
17 " Since you act as though God is dead, I wanted to join you in the mourning." The reply of Martin Luther's wife, in full funeral regalia, in trying to illustrate the folly of his depressed state. "
18 " The truth is that what fascinates me is not so much being in a place as not being there: how places live in the mind once you have left them, how they are imagined before you arrive, or how they are seemingly called out of nothing to illustrate a thought or story like my tree down yonder. These mental spaces map our Innes lives more fully than any " real" map, delineating the borders of here and there that also shape what we see in the present. "
19 " Today, acknowledgement of the prevalence and harms of child sexual abuse is counterbalanced with cautionary tales about children and women who, under pressure from social workers and therapists, produce false allegations of ‘paedophile rings’, ‘cult abuse’ and ‘ritual abuse’. Child protection investigations or legal cases involving allegations of organised child sexual abuse are regularly invoked to illustrate the dangers of ‘false memories’, ‘moral panic’ and ‘community hysteria’. These cautionary tales effectively delimit the bounds of acceptable knowledge in relation to sexual abuse. They are circulated by those who locate themselves firmly within those bounds, characterising those beyond as ideologues and conspiracy theorists. However firmly these boundaries have been drawn, they have been persistently transgressed by substantiated disclosures of organised abuse that have led to child protection interventions and prosecutions. Throughout the 1990s, in a sustained effort to redraw these boundaries, investigations and prosecutions for organised abuse were widely labelled ‘miscarriages of justice’ and workers and therapists confronted with incidents of organised abuse were accused of fabricating or exaggerating the available evidence. These accusations have faded over time as evidence of organised abuse has accumulated, while investigatory procedures have become more standardised and less vulnerable to discrediting attacks. However, as the opening quotes to this introduction illustrate, the contemporary situation in relation to organised abuse is one of considerable ambiguity in which journalists and academics claim that organised abuse is a discredited ‘moral panic’ even as cases are being investigated and prosecuted. "
― , Organised Sexual Abuse
20 " The studies of women's lives over time portray the role of crisis in transition and underline the possibilities for growth and despair that lie in the recognition of defeat. The studies of Betty and Sarah elucidate the transitions in the development of an ethic of care. The shifts in concern from survival to goodness and from goodness to truth are elaborated through time in these two women's lives. Both studies illustrate the potential of crisis to break a cycle of repetition and suggest that crisis itself may signal a return to a missed opportunity for growth. These portraits of transition are followed by depictions of despair, illustrations of moral nihilism in women who could find no answer to the question " why care? "