Best 4474 quotes in «space quotes» category

We should read history as little critically as we consider the landscape, and be more interested by the atmospheric tints and various lights and shades which the intervening spaces create than by its groundwork and composition.

We should not have assumed that a political space station could be built.

We should not measure our space-faring era by where footprints have been laid.... We should measure our era by how many people take no notice at all. A legacy rises to become culture only when its elements are so common that they no longer attract comment.

Westward, beyond the still pleasant, but, even then, no longer solitary, hamlet of Charing, a broad space, broken here and there by scattered houses and venerable pollards, in the early spring of 1467, presented the rural scene for the sports and pastimes of the inhabitants of Westminister and London.

We talk about politicians being in public life, but they seldom appear in the public space where everyone is free to appear as a citizen.

We (the indivisible divinity that works in us) have dreamed the world. We have dreamed it resistant, mysterious, visible, ubiquitous in space and firm in time, but we have allowed slight, and eternal, bits of the irrational to form part of its architecture so as to know that it is false.

We think about sitting in a space and hearing some music by having our ears pointed forward towards the musicians sitting opposite us. I'm really not following that paradigm at all.

We think about project's public nature and how that can be enhanced, how the spaces we create can enliven the experience of being there.

We think the managed security services opportunity is enormous and so we have been an active participant and probably the largest firm in this space outside of an IBM or EDS, which does large outsourcing contracts.

We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the desire between us and the object of desire that fills the space in between with the blue of longing.

We used to joke about canned men, putting people in a can and seeing how far you can send them and bring them back. That's not the purpose of this program... Space is a laboratory, and we go into it to work and learn the new.

We've got to reinvest in space travel.  We should have never left the moon.

We've let too much time go by. We've been busy with war instead of being busy with peace. And that's what space travel is all about. It's all about peace and exploration and wonder and beauty.

We've made too many compromises already; too many retreats. They invade our space and we fall back. They assimilate entire worlds and we fall back. Not again! The line must be drawn here! This far, no further! And I will make them pay for what they've done!

We've never lost an American in space, we're sure as hell not gonna lose one on my watch! Failure is not an option.

We want to build colonies on the Moon, Mars, the Moons of other planets, and even nearby asteroids. We want to make space tourism and commerce routine.

We went to the Moon as technicians; we returned as humanitarians.

We were the people who were not in the papers. We lived in the blank white spaces at the edges of print. It gave us more freedom. We lived in the gaps between the stories.

... we weren't very professional; she could have gone to almost any town and put together a smoother ensemble, but we were pioneers, and professional musicians probably wouldn't have come up with what we did ... professional musicians probably wouldn't have given Janis Joplin the space to be herself, which was probably our greatest gift to her

We who walk the narrow line have stood for free thinking for thousands of years. Let us continue balancing within the world as we try to understand the space between.

We were talking about the space between us all and the people who hide themselves behind a wall of illusion. Never glimpse the truth - then it's far too late when they pass away.

We will certainly see teachers, journalists, artists and poets in space. Whatever it takes to the be the best is what it will take to get you into space.

We will create life from inanimate compounds, and we will find life in space. But the life that should more immediately interest us lies between these extremes, in the middle range we all inhabit between our genes and our stars.

We will be producing supersonic planes which will go far, far faster than Concordes. New York to Tokyo could be less than an hour. You could be traveling at 19,000 miles an hour orbitally.

We will never be an advanced civilization as long as rain showers can delay the launching of a space rocket.

We will soon create intelligences greater than our own ... When this happens, human history will have reached a kind of singularity, an intellectual transition as impenetrable as the knotted space-time at the center of a black hole, and the world will pass far beyond our understanding.

What a frightful weapon is human thought! It is our defense and our safeguard, the most precious gift that God has made us. It is ours and it obeys us; we may launch it forth into space, but, once outside of our feeble brains, it is gone; we can no longer control it.

What are we, the inhabitants of this globe, least among the many that people infinite space? Our minds embrace infinity; the visible mechanism of our being is subject to merest accident.

What are we doing here? We're reaching for the stars!

(What are your ghosts like?) (They are on the insides of the lids of my eyes.) (This is also where my ghosts reside.) (You have ghosts?) (Of course I have ghosts.) (But you are a child.) (I am not a child.) (But you have not known love.) (These are my ghosts, the spaces amid love.)

What can there be concerning outer space but ignorance?

What could not be denied was that in vast segments of the animal world natural selection of the most qualified individuals took place not by competition for females but by competition for space.

What do you do after you go to space, more importantly? You can't go to a more intense, awesome thing. That's the end.

Whatever an artist's personal feelings are, as soon as an artist fills a certain area on the canvas or circumscribes it, he becomes historical. He acts from or upon other artists. An artist is someone who makes art too. He did not invent it. How it started — "to hell with it." It is obvious that it has no progress. The idea of space is given him to change if he can. The subject matter in the abstract is space. He fills it with an attitude. The attitude never comes from himself alone.

Whatever the emotion is, I have learned over the years to give it space, which is also why I love acting.

What four realms? (Amanda) Time, space, earth, and dreams. (Talon) Okay, now that is scary. Some of you guys walk through time? (Amanda) And space and dreams. (Talon) Ah. So Rod Sterling was a Were-Hunter? (Amanda)

What feeling feels like over time. An attempt to screw up what feeling feels like over time. Heartbreak and a high C.... The often welcome melodic lie.... The soul's undersong. The orchestration of randomness, a flirtation with the boundaries of silence and space.... a reminder that the self wants to disappear, be taken away from itself and returned.

Whatever torch we kindle, and whatever space it may illuminate, our horizon will always remain encircled by the depth of night.

What happens at the beginning of any creative process? Nothing! Creativity requires that we create space and wait for something to emerge.

What haunts me is not exactly the absence of literal space so much as a deep craving for metaphorical space: release, escape, some kind of open-ended freedom.

What I like about organizing things that way is that each story gets nearly full reign over its own space, but all of them are hung on a single string - the loosely-reined voice mentioned above. Thus the collection jogs away from suzerainty and past federation toward, I guess, alliance. Or maybe call each story a separate house on a single street? Or it's all a line of dive bars on some wharf front? What the hell, let's call reading the collection a pub crawl, but with words.

What I love most about playing in front of people has something to do with a certain kind of energy exchange. The attention and appreciation of my audience feeds back into my playing. It really seems as if there is a true and equal give and take between performer and listener, making me aware of how much I depend on my audience. And since the audience is different every night, the music being played will differ too. Every space I performed in has its own magic and spirit.

What I love about what I get to do is that I'm allowed to create the stories that I want to tell with minimal interference by some very big corporations like Microsoft and Sprint and EA and BioWare. The advantage that these tech companies have is that they understand the space organically, versus traditional media companies.

What interests us in operations of striation and smoothing are precisely the passages or combinations: how the forces at work within space continually striate it, and how in the course of its striation it develops other forces and emits new smooth spaces.

What interests me is the opportunity for all of us to become something different from what we are, by constructing spaces that contribute something to the experience of who we are.

What is a fantasy map but a space beyond which There Be Dragons?

What is a fear of living? It's being preeminently afraid of dying. It is not doing what you came here to do, out of timidity and spinelessness. The antidote is to take full responsibility for yourself - for the time you take up and the space you occupy. If you don't know what you're here to do, then just do some good.

What is such a resource worth? Anything it costs. If we never hike it or step into its shade, if we only drive by occasionally and see the textures of green mountainside change under wind and sun, or the fog move soft feathers down the gulches, or the last sunset on the continent redden the sky beyond the ridge, we have our money's worth. We have been too efficient at destruction; we have left our souls too little space to breathe in. Every green natural place we save saves a fragment of our sanity and gives us a little more hope that we have a future.

What I see is teeming cohesion, contained dispersal... For him, to sculpt is to take the fat off space.

What I so like about Poussin and Cezanne is their sense of organization. Ilike the way in which they develop space and shape in architecturalcontinuity - the rhythm across their paintings. When I paint a landscape, Iget the greatest pleasure out of composing it. As I paint, I try to work outa visual sonata form or a fugue, with realistic images.