Archives exist because there's something that can't necessarily be articulated. Something is said in the gaps between all the information.
Without archives many stories of real people would be lost, and along with those stories, vital clues that allow us to reflect and interpret our lives today.
Silences enter the process of historical production at four crucial moments: the moment of fact creation (the making of sources); the moment of fact assembly (the making of archives); the moment of fact retrieval (the making of narratives); and the moment of retrospective significance (the making of history in the final instance).
There’s a level at which words are spirit and paper is skin. That’s the fascination of archives. There’s still a bodily trace.
Everyone keeps asking you for pictures, and after a while you get tired of that. I always say, They are in the archives.
I don't think that there has been a film that I've done that hasn't been influenced by libraries and archives.
It’s important to have relationships with the people at the archives.
Language is the archives of history.
Today with the Internet, I search for film and video archives online. It's an ever-growing moveable visual feast of delicacies from all around the world.
My library is an archive of longings.
People can burn archives; people can destroy evidence, but to say that history is perishable, that historical evidence is perishable, is different than saying that history is subjective.
Every living thing is an elaboration of a single original plan. As humans we are mere increments - each of us a musty archive of adjustments, adaptations, modifications and providential tinkerings stretching back to 3,8 billion years. Remarkably we are even quite closely related to fruit and vegetables. About half the chemical functions that take place in a banana are fundamentally the same as the chemical functions that place in you. It cannot be said too often: all life is one. That is, and I suspect will ever prove to be, the most profound true statement there is.
The Carnegie Foundation is well aware of the fact that their reports frequently find their way to dusty archives in academic institutions, but occasionally people pick up a segment of a report and act upon it.
Courage is not the absence of fear, but rather the judgement that
In my opinion, the continued popularity of these gross distortions of Iran in the U.S. seems to reveal more about certain aspects of America than about Iran. It seems that the popularity of these memoirs is largely due to the fact that, while claiming to do the opposite, they regularly reinforce the dominant representations of Iran in America by constructing an exotic, backward, and barbaric Iran principally based on U.S. archives.
I play a curator, the most American part you can think of. My work is to protect the Declaration of Independence. I work at the National Archives in Washington.
Bohemia is nothing more than the little country in which you do not live. If you try to obtain citizenship in it, at once the court and retinue pack the royal archives and treasure and move away beyond the hills.
Over the last two years, I have been able to comb through The Prince's archives. I have been free to read his journals, diaries and many thousands of the letters.
There's an institution here called the National Sound Archive, and there's a character who works there, Paul Wilson. He takes a very special interest in the history of the music and advised Martin Davidson of the existence of these tapes.
If you are working 50 hours a week in a factory, you don't have time to read 10 newspapers a day and go back to declassified government archives. But such people may have far-reaching insights into the way the world works.
Courage is not the absence of fear...
Courage is not the absence of fear, but rather the assessment that something else is more important than fear.
Courage is not the absence of fear, but the mastery of it.
I realized the importance of archiving. So I save key pieces from my collections, as well as any red-carpet things that become iconic. I always ask for that stuff back. I'm like, "It's going in my archives."
When I took the job as Estée Lauder's creative director, the first thing I did was go into the archives! I love taking our heritage and making it modern.
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