Best 372 quotes in «landscape quotes» category

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    Wyman's overpopulated universe is in many ways unlovely. It offends the aesthetic sense of us who have a taste for desert landscapes.

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    You cannot, in human experience, rush into the light. You have to go through the twilight into the broadening day before the noon comes and the full sun is upon the landscape.

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    You conquered the landscape with the soles of shoes, not the tires.

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    You can domesticate your body, but you can't domesticate your face - even by having a lift or having your nose bobbed. A face bears the reflection of our nature, which in the beginning is veiled by the attractiveness of youth. But as soon as youth begins to go, everything written on the face starts to come to the surface, and pretty soon it's engraved there. No landscape can equal a human face that's been molded by its own owner.

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    You know what's truly weird about any financial crisis? We made it up. Currency, money, finance, they're all social inventions. When the sun comes up in the morning it's shining on the same physical landscape, all the atoms are in place.

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    You can put a gardener behind the wheel, but you can't keep her eyes off the landscape.

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    You don't go to a town to present the play and have applause at the end of it, but that's benign conquest. It's a glorious way of exploring other landscapes and other cultures in a very life-affirming way.

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    You like it, that's all, whether it's a landscape or abstract. You like it. It hits you. You don't have to read it. The work of art-sculpture or painting-forces your eye.

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    You pick up a camera because something has been revealed to you in the landscape or in the human-scape. And you have no choice because it's a gift. And it's like, oh right, I better start doing this!

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    You must have something new in a landscape as well as something old, something that's dying and something that's being born.

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    You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.

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    You're an animal that needs to move across the landscape, you can't anymore, and that's another way we're just changing the surface of the Earth in very dramatic ways.

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    You really, really feel like you have no control [participating in franchise] . I mean, it's a huge juggernaut, especially when something becomes part of the cultural landscape in a way as well. It's really scary because you get trapped and you get scared of changing, which is the worst thing that can happen if you want to be any kind of artist.

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    A high upland common was this moor, two miles from end to end, and full of furze and bracken. There were no trees and not a house, nothing but a line of telegraph poles following the road, sweeping with rigidity from north to south; nailed upon one of them a small scarlet notice to stonethrowers was prominent as a wound. On so high and wide a region as Shag Moor the wind always blew, or if it did not quite blow there was a cool activity in the air. The furze was always green and growing, and, taking no account of seasons, often golden. Here in summer solitude lounged and snoozed; at other times, as now, it shivered and looked sinister. ("The Higgler")

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    You're actually inside the surfboard... you're inside the landscape around you and the ocean is surging, you get totally inside the moment and it's so intense that time disappears, you disappear.

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    An imagined landscape, then, is a landscape not of being but of becoming: a composition not of objects and surfaces but of movements and stillness, not there to be surveyed but cast in the current of time.

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    ...architecture was what you had instead of landscape, a signal of loss, of imitation. Europe had it in spades...

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    As Elizabeth Blackmar and Ray Rosenzweig wrote in their magisterial history of [Central Park in NYC]: 'The issue of demoncratic access to the park has also been raised by the increasing number of homeless New Yorkers. Poor people--from the 'squatters' of the 1850s to the 'tramps' of the 1870s and 1890s to the Hooverville residents of the 1930s--have always turned to the park land for shelter...The growing visibility of homeless people in Central Park osed in the starkest terms the contradiction between Americans' commitment to democratic space and their acquiescence in vast disparities of wealth and power.

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    Adam Nicolson has written of the 'powerful absence[s]' that remembered landscapes exert upon us, but they exist as powerful presences too, with which we maintain deep and abiding attachments. These, perhaps, are the landscapes in which we live the longest,warped though they are by time and abraded though they are by distance

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    As she gobbled up the miles, big ravines appeared before her, their starving mouths open for the swallow.

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    As I envisage it, landscape projects into us not like a jetty or peninsula, finite and bounded in its volume and reach, but instead as a kind of sunlight, flickeringly unmappable in its plays yet often quickening and illuminating. We are adept, if occasionally embarrassed, at saying what we make of places -- but we are far less good at saying what place makes of us. For some time now it has seemed to me that the two questions we should ask of any strong landscape are these: firstly, what do I know when I am in this place that I can know nowhere else? And then, vainly, what does this place know of me that I cannot know of myself?

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    Brentwood stands on that fine and wealthy slope of country, one of the richest in Scotland, which lies between the Pentland Hills and the Firth. In clear weather you could see the blue gleam-like a bent bow, embracing the wealthy fields and scattered houses of the great estuary on one side of you; and on the other the blue heights, not gigantic like those we had been used to, but just high enough for all the glories of the atmosphere, the play of clouds, and sweet reflections, which give to a hilly country an interest and a charm which nothing else can emulate. Edinburgh, with its two lesser heights - the Castle and the Calton Hill - its spires and towers piercing through the smoke, and Arthur's Seat lying crouched behind, like a guardian no longer very needful, taking his repose beside the well-beloved charge, which is now, so to speak, able to take care of itself without him - lay at our right hand. From the lawn and drawing-room windows we could see all these varieties of landscape. The colour was sometimes a little chilly, but sometimes, also, as animated and full of vicissitude as a drama. I was never tired of it. Its colour and freshness revived the eyes which had grown weary of arid plains and blazing skies. It was always cheery, and fresh, and full of repose. ("The Open Door")

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    By now, at the end of a sloping alley, we had reached the shores of a vast marsh. Some unknown quality in the sparkling water had stained its whole bed a bright yellow. Green leaves, of such a sour brightness as almost poisoned to behold, floated on the surface of the rush-girdled pools. Weeds like tempting veils of mossy velvet grew beneath in vivid contrast with the soil. Alders and willows hung over the margin. From where we stood a half-submerged path of rough stones, threaded by deep swift channels, crossed to the very centre. ("The Basilisk")

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    By shifting his gaze slightly, he saw frame in the sitting room window, a landscape aloof from man. Its beauty was perfectly articulate yet utterly remote. Against his will he was moved by it as an unmusical listener may be profoundly disturbed by sound forms that he is unable to comprehend.

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    ... and isn't the world a treasure in itself? A spectacle glittering every single day, without a concern if anyone's watching or not. It simply goes on, elegantly, letting nature have its way. We only need to open our eyes to witness the biggest masterpiece ever created, the ticket is already in your hand.

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    At the time of Lewis and Clark, setting the prairies on fire was a well-known signal that meant, ‘Come down to the water.’ It was an extravagant gesture, but we can’t do less. If the landscape reveals one certainty, it is that the extravagant gesture is the very stuff of creation. After the extravagant gesture of creation in the first place, the universe has continued to deal exclusively in extravagances, flinging intricacies and colossi down aeons of emptiness, heaping profusions on profligacies with ever fresh vigor. The whole show has been on fire from the word go. I come down to the water to cool my eyes. But everywhere I look, I see fire: that which isn’t flint is tinder, and the whole world sparks and flames.

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    Building a museum case and filling it with types of mussels is one way of knowing mussels; but on the shore, a mussel leads to a crab or a curious stone, which leads to another thing and eventually leads back to mussels, which is another and perhaps a more far-reaching way to know mussels. The sea that always seems like a metaphor, but one that is always moving, cannot be fixed, like a heart that is a like a tongue that is like a mystery that is like a story that is like a border that is like something altogether different and like everything at once. One thing leads to another, and this is the treasure that always runs through your fingers and never runs out.

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    But here, the rain was just another part of the landscape. Like it was the thing that lived here and we were merely visitors.

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    DAD (Decide-Announce-Defend) remains the order of the day, with only a few inspiring models of EDD (Engage-Deliberate-Decide) available to us to demonstrate how very different things could be.

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    Cruelty is a mystery, and the waste of pain. But if we describe a world to compass these things, a world that is a long, brute game, then we bump against another mystery: the inrush of power and light…unless all ages and races of men have been deluded by the same mass hypnotist (who?), there seems to be such a thing as beauty, a grace wholly gratuitous…we don’t know what’s going on here. If these tremendous events are random combinations of matter run amok, the yield of millions of monkeys at millions of typewriters, then what is it in us, hammered out of those same typewriters, that they ignite? We must somehow take a wider view, look at the whole landscape, really see it, and describe what’s going on here. Then we can at least wail the right question into the swaddling band of darkness, or, if it comes to that, choir the proper praise.

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    Colorado and Wyoming are America’s highest states, averaging 6,800 feet and 6,700 feet above sea level. Utah comes in third at 6,100 feet, New Mexico, Nevada, and Idaho each break 5,000 feet, and the rest of the field is hardly worth mentioning. At 3,400 feet, Montana is only half as high as Colorado, and Alaska, despite having the highest peaks, is even further down the list at 1,900 feet. Colorado has more fourteeners than all the other U.S. states combined, and more than all of Canada too. Colorado’s lowest point (3,315 feet along the Kansas border) is higher than the highest point in twenty other states. Rivers begin here and flow away to all the points of the compass. Colorado receives no rivers from another state (unless you count the Green River’s’ brief in and out from Utah).Wyoming’s Wind River Range is the only mountain in North America that supplies water to all three master streams of the American West: Missouri, Colorado, and Columbia rivers.

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    Don’t forget that the land is always out there, making its way, doing everything it can so you can breathe fresh air; so you can eat fresh food; so you can move and see and feel and think, and it’s on your side. The world is out there doing what it’s been doing way before you came here, it’s firm and strong and it takes a lot to bring it down. so from time to time, just go outside and look at this spectacle. This pure painting right in front of your eyes. No one created it. No one owns it. It doesn’t want anything. It doesn’t need to prove anything to anyone. It simply is. So maybe, try a little tenderness. Just give it a chance to do what it can do. Just let it help you breathe and eat and move and see and maybe just try to live your life in a way that doesn’t kill this force of nature that is just trying to give you a world worth living in. A clean world. A fresh world. Paths, forests, oceans, animals, oxygen, water. That’s all it takes. Just try a little tenderness towards this world we’ve been lucky enough to build our homes on. If you take care of it, it will take care of you.

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    Feminism has both undone the hierarchy in which the elements aligned with the masculine were given greater value than those of the feminine and undermined the metaphors that aligned these broad aspects of experience with gender. So, there goes women and nature. What does it leave us with? One thing is a political mandate to decentralize privilege and power and equalize access, and that can be a literal spatial goal too, the goal of our designed landscapes and even the managed ones -- the national parks, forests, refuges, recreation areas, and so on.

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    Dare to explore the beautiful places of the world.

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    Do all people have that? A face, a phrase, a landscape, an air bubble from the past suddenly floating up as if released by the head warden's child from a cell in the brain while the mind is at work on some totally different matter? Something of the sort also occurs just before falling asleep when what you think you are thinking is not at all what you think. Or two parallel passenger trains of thought, one overtaking the other.

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    Every voyage is self-awaken.

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    For years, walking round London, I had been aware of the actual land, lying concealed but not entirely changed or destroyed, beneath the surface of the nineteenth- and twentieth-century city. It has been said that 'God made the country and man made the town', but that is not true: the town is simply disguised countryside. Main roads, some older than history itself, still bend to avoid long-dried marshes, or veer off at an angle where the wall of a manor house once stood. Hills and valleys still remain; rivers, even though entombed in sewer pipes, still cause trouble in the foundations of neighbouring buildings and become a local focus for winter mists. Garden walls follow the line of hedgerows; the very street-patterns have been determined by the holdings of individual farmers and landlords, parcels of land some of which can be traced back to the Norman Conquest. The situation of specific buildings - pubs, churches, institutions - often dates from long distant decisions and actions on the part of men whose names have vanished from any record.

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    Fifteen feet away, the wide River Thames rolled past, dark and deep and mysterious is the sullen-not-quite sunrise.

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    Glacier National Park in Montana is steadfastly considered to be one of the most beautiful places in the country.

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    Great places, great memories.

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    He had been thinking of how landscape moulds a language. It was impossible to imagine these hills giving forth anything but the soft syllables of Irish, just as only certain forms of German could be spoken on the high crags of Europe; or Dutch in the muddy, guttural, phlegmish lowlands.

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    He loved to meditate on a land laid waste, Britain deserted by the legions, the rare pavements riven by frost, Celtic magic still brooding on the wild hills and in the black depths of the forest, the rosy marbles stained with rain, and the walls growing grey.

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    He remembered the feel of No Man's Land, the vast, unimaginable space. By day, seen through a periscope, this immensity shrank to a small, pock-marked stretch of ground, snarled with wire. You never got used to the discrepancy. Part of its power to compel the imagination lay precisely in that. It was the difference between seeing a mouth ulcer and probing it with your tongue.

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    How can you care about the image of a landscape, when you show by your deeds that you don't care for the landscape itself?

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    Gardens and chocolate both have mystical qualities.

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    (I dreamt of a long trip) I dreamt of contemplating Your eyes, your hair - their colors The sun would leave in his hours. I dreamt of your seasons -Your body leaned against my horizon. I dreamt of your face I dreamt of your hands I dreamt of your kisses I dreamt of a symphony Just few notes accompanied -I dreamt of your wrists. I dreamt of your heart Of everything you emanate The perfume that your soul wears I dreamt of your smile To hear you laugh, and cry -I dreamt of seeing you alive I dreamt of your presence From your silence And all your metamorphoses (I dreamed of a long trip) Around your closed eyelids.

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    I have before now experienced that the best way to get a vivid impression and feeling of a landscape is to sit down before it and read, or become otherwise absorbed in thought; for then, when our eyes happen to be attracted to the landscape, you seem to catch Nature at unawares, and see her before she has time to change her aspect. The effect lasts but for a single instant, and passes away almost as soon as you are conscious of it; but it is real for that moment. It is as if you could overhear and understand what the trees are whispering to one another; as if you caught a glimpse of a face unveiled, which veils itself from every willful glance. The mystery is revealed, and, after a breath or two, becomes just as much a mystery as before.

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    I grow into these mountains like a moss. I am bewitched. The blinding snow peaks and the clarion air, the sound of earth and heaven in the silence, the requiem birds, the mythic beasts, the flags, great horns, and old carved stones, the silver ice in the black river, the Kang, the Crystal Mountain. Also, I love the common miracles-the murmur of my friends at evening, the clay fires of smudgy juniper, the coarse dull food, the hardship and simplicity, the contentment of doing one thing at a time… gradually my mind has cleared itself, and wind and sun pour through my head, as through a bell. Though we talk little here, I am never lonely; I am returned into myself. In another life-this isn’t what I know, but how I feel- these mountains were my home; there is a rising of forgotten knowledge, like a spring from hidden aquifers under the earth. To glimpse one’s own true nature is a kind of homegoing, to a place East of the Sun, West of the Moon- the homegoing that needs no home, like that waterfall on the supper Suli Gad that turns to mist before touching the earth and rises once again to the sky.

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    I am no scientist. I explore the neighborhood. An infant who has just learned to hold up his head has a frank and forthright way of gazing about him in bewilderment. He hasn’t the faintest clue where he is, and he aims to find out. In a couple of years, what he will have learned instead is how to fake it: he’ll have the cocksure air of a squatter who has come to feel he owns the place. Some unwonted, taught pride diverts us from our original intent, which is to explore the neighborhood, view the landscape, to discover at least where it is that we have been so startlingly set down, if we can’t learn why.

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    I am no scientist. I explore the neighbourhood. An infant who has just learned to hold his head up has a frank and forthright way of gazing about him in bewilderment. He hasn't the faintest clue where he is, and he aims to learn. In a couple of years, what he will have learned instead is how to fake it: he'll have the cocksure air of a squatter who has come to feel he owns the place. Some unwonted, taught pride diverts us from our original intent, which is to explore the neighbourhood, view the landscape, to discover at least WHERE it is that we have been so startlingly set down, if we can't learn why.