There are two kinds of terrorism. Rational terrorism such as Palestinian terrorism and apocalyptic terrorism like Sept. 11. You have to distinguish between the two.
I was in a movie called 'Vanishing on 7th Street,' and that was my first leading role in a movie. It's an apocalyptic thriller, and it's really cool. It's the first movie I ever shot.
It was one of those sort of apocalyptic moments. I remember within ten minutes of seeing the graphical user interface stuff, just knowing that every computer would work this way someday. It was so obvious once you saw it. It didn't require tremendous intellect. It was so clear.
When Dylann Roof walked into a black church, he wanted to start a race war. We didn't let him do that because we didn't cast him as a representative of the white race. We didn't give into his narrative. We did the exact opposite. And I think that we have to be careful not to give into the apocalyptic narrative of ISIS that wants to start a war between Muslims and everybody else.
Another thing we wanted to do, a lot of shows or movies that are in the future or the post-apocalyptic are very bleached, desaturated desert environments and we wanted to do the opposite of that. There's always talk about Chernobyl and the world that environment has recovered has become this idyllic, bizarrely refuge for wildlife.
Various Horsemen are abroad, doing their various Apocalyptic things.
You turn on the shower or you do whatever, but especially right now with the drought in California, there are so many resources that we are depleting so quickly. And so, I thought it would be an interesting skill set to have if something were to go down, or even if it weren't. It's not post-apocalyptic idealism. It's more just like a fun hobby.
When I went to Israel, it was a little disorienting, because there are so many people who look crazy and were dressed like me. There, I was just one of the apocalyptic crowd.
American decline is real, though the apocalyptic vision reflects the familiar ruling class perception that anything short of total control amounts to total disaster.
There are real threats but there's a difference between recognizing real threats and an irrational kind of apocalyptic threat.
If you look back in history, as the barbarians were invading the gates of Rome, people were consulting fortunetellers and worrying about the end of the world and all sorts of other apocalyptic notions. When the tsars were finally overthrown, they were all reading tarot cards even as the revolutionaries were banging at the gates.
This outbreak is moving ahead of efforts to control it.
It is the world's first Ebola epidemic, and it's spiraling out of control. It's bad now, and it's going to get worse in the very near future. There is still a window of opportunity to tamp it down, but that window is closing. We really have to act now.
I could not possibly overstate the need for an urgent response.
When a friend of mine introduced me to the music of Luca C & Brigante I was stuck with an apocalyptic feeling, as if I were listening to the sound of a party at the end of the world. And with such strong imagery coming to mind I was only too happy to write with them when they asked. Flash of Light is about that last night on earth, a forewarning of the end of an era and a last chance to Love.
...we hope to stop the transmission in six to nine months
This is different than every other Ebola situation we've ever had. It's spreading widely, throughout entire countries, through multiple countries, in cities and very fast.
George Eliot has the heart of Sappho; but the face, with the long proboscis, the protruding teeth of the Apocalyptic horse, betrayed animality.
What I find interesting and heartening, though, is that there does seem to be a shift in the subject matter being written about by women that is doing well in the culture. We're seeing more women writing dystopian fiction, more women writing novels set post-apocalyptic settings, subjects and themes that used to be dominated by men.
The strange thing about the apocalypse is that it's uneven. For some people, it goes one way and for others another way, so that there's always this shifting relation to the narrative of the disaster. Sometimes apocalypses are just structural fictions, and sometimes they're real. Sometimes a narrative requires an end - the fact that the beginning was always leading somewhere becomes clear at the end. There's an idea that we're always in the middle, but we posit this apocalyptic end in order to also be able to project into the past or the beginning. I think that's true and false.
Emergency rooms are closed, many hospital wards are as well leaving people who are sick with heart disease, trauma, pregnancy complications, pneumonia, malaria and all the everyday health emergencies with nowhere to go.
People are hungry in these communities. They don't know how they are going to get food.
I am glad it's [California novel] resonated with people because, for me, most apocalyptic novels aren't scary, because they feel so very far off.
Great sex is apocalyptic. There is no such thing as great sex unless you have an apocalyptic moment.
In a sense, a cyborg has no origin story in the Western sense – a ‘final’ irony since the cyborg is also the awful apocalyptic telos of the ‘West’s’ escalating dominations of abstract individuation, an ultimate self untied at last from all dependency, a man in space.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: