... the blinding Hiroshima flash... literally photographed the shadow cast by beings and things, so that every surface immediately became war's recording surface, its film.
It's easy to look at the vampires as a metaphor for any feared or misunderstood group. It's also easy to look at them as a metaphor for a shadow organization that says one thing and has a completely different agenda on their mind, and anybody who gets in their way, they just get rid of them. Does that sound familiar?
We're talking about an extremely prolific poet and songwriter and lyricist. That stuff comes off the top of her head. She [Joni Mitchell] will write exactly what she lives. If she puts some money in the soda machine, she'll write about putting money in the soda machine. "Dry Cleaner from Des Moines," on the Shadows & Light album, was about sitting next to a dry cleaner from Des Moines, playing a slot machine.
And I was very successful at baby photography... Strange isn't it? Because some of my portraits of babies were - I used dramatic lighting, shadow lighting, and I didn't use flash. We didn't have flash in those days, we just had floodlights, and I was photographing babies as I would an object - an inanimate object, for that matter.
... I began showing the black border of the negative as part of the image, something I'd never done before. I began to realize that the edge of the negative represents the shadow of the camera, the opaqueness of matter. It casts a shadow on the negative, so it's a photogram as well.
Godly fear is loving and trusting in Him. As we fear God more completely, we love Him more perfectly. And "perfect love casteth out all fear." I promise the bright light of godly fear will chase away the dark shadows of mortal fears as we look to the Savior, build upon Him as our foundation, and press forward on His covenant path with consecrated commitment.
I have a two year old. Just turned two a couple weeks ago, and he is my main man, he is my shadow. Every spare second, I am hanging with him.
An interlude of false innocence has passed. Today, as we enter the post-photographic era, we must face once again the ineradicable fragility of our ontological distinctions between the imaginary and the real, and the tragic elusiveness of the Cartesian dream. We have indeed learnt to fix the shadows, but not to secure their meanings or to stabilize their truth values; they still flicker on the walls of Plato's cave.
I read anything I could get my hands on: science fiction, fantasy, horror, thrillers. I even became hooked on the Bantam reprints of the old pulp novels from thirties and forties: Doc Savage, The Shadow, The Avenger.
There are dark shadows on the earth, but its lights are stronger in the contrast. Some men, like bats or owls, have better eyes for the darkness than for the light. We, who have no such optical powers, are better pleased to take our last parting look at the visionary companions of many solitary hours, when the brief sunshine of the world is blazing full upon them.
A screen... the scenery and the figures of life were perfectly represented, but with that bewitching, yet indescribably difference, which always makes a picture, an image, or a shadow, so much more attractive than the original.
In the orchard and rose garden I long to see your face. In the taste of Sweetness I long to kiss your lips. In the shadows of passion I long for your love.
When the sunset of life arrives, and its twilight shadows fade away; while dreams of the next begin to appear more vividly; may the inner-light essence of the Buddha, and all the radiant awakened ones, continuously guide us onwards and upwards, on the path of spiritual enlightment.
We dwell in shadow or in sunlight . . . according to our belief.
What unnerves so many liberals about talk radio? Simple: It's the unapologetic nature of the conversation, the unwavering sense of certainty. Where's the nuance? The shades of gray? We all know truth is a fragile butterfly dancing in and out of shadow and light, and these guys act as though truth is a rhino charging across a sunlit veldt.
My past is my shadow, it follows me everywhere I go. Well, all those things come from when I had no other choice. They put my back against the wall. I do what I gotta do.
If someone says 'Give me one word of advice,' I say 'be fearless.' And knowing without any shadow of a doubt that what they have to give - who they are - is totally unique and not shared by anybody else. And to believe in that uniqueness. It took me decades before I developed courage as an actor.
There's the concept that dreams are as important - if not more important - than reality. The attention that one pays to those things in the shadows is very much a part of the Indian experience.
Before my book, the most common assessment of Eleanor Marx is "Yes, she's great but basically she's in the shadow of her father." Absolute bollocks. She fought him, she resisted, and she was not a kind of trocadateur of his ideas.
My fictional worlds were those of a fabulist, of an intellectual fantasist. I was the lawgiver, and the countries and inhabitants of my imagination were answerable to me. If I wished for a man to levitate; to enter another's story by rowboat or by intoning a sentence or by performing a shadow-puppet play; if I wanted him to become a swarm of intelligent elementary particles and enter the Internet and travel into the past and far into the future, it was so.
I went on tours with [Bob] Dylan - the big one was in 1975 and called Roaring Thunder Review. I knew him well because I met him around the time he did his second album, in 1963. He recorded one of my songs called Shadows. In the 1970s, it was suggested that we do a duet, because we had the same manager, Albert Grossman, who also managed Odetta and Peter, Paul and Mary. Dylan and I respected what each other did, but I just decided not to do it.
I've been asked if I'd consider doing Ropes as a straight novel - which is flattering, I suppose - but I can't imagine why I'd want to limit myself that way. There's a certain immediacy we gain from that specific image of Fred being struck by a revelation, of those union workers appearing from the shadows in an alley, of a lonely woman wondering for just a moment if she should make a pass at this young man in her hotel room
We live on planet earth, we have the sun, and it's the most beautiful thing, the way the sun dances and the way shadows are cast.
So basically, it just really represents our band and we didn't even think about that when we decided to call it 'Warpaint'. And then through getting asked questions about "why is that song called 'Warpaint'?" - then we realised, "oh my god! THAT'S why!" And we didn't even know why... but that's why! And then 'Shadows' is just... I love that song and it's personal to me. I love how it turned out!!
In fact, in the history of a lot of cultures there is a theater. For example, there are the theaters in Java, [Indonesia] and of that area where they use puppets and they have backgrounds and shadows.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: