Landscape Quotes - page 11
![I will use these last pages to sum up our circumstances. A map of the world. [...]
I seldom see Lytton; that is true. The reason is that we don't fit in, I imagine, to his parties nor he to ours; but that if we can meet in solitude, all goes as usual. Yet what do one's friends mean to one, if one only sees them eight times a year? [...]
I use my friends rather as giglamps: there's another field I see; by your light. Over there's a hill. I widen my landscape. (Virginia Woolf)](https://cdn.quotesdtb.com/img/quotes_images_webp/76/virginia-woolf-eight-field-445276.webp)
There is in the lovely Martian landscape not a footprint, not an artifact, not even an old beer can, not a blade of grass, not a kangaroo rat, not even, so far as we can tell, a microbe. Mars and the Moon and Venus... the only planets that we've landed on-are utterly lifeless. ...in our solar system we may discover that there is life only on this world. This says that life is not guaranteed, that life requires something special, something improbable.
Carl Sagan
The kinds of landscape I try to find in my films...exist only in our dreams. For me a true landscape is not just a representation of a desert or a forest. It shows an inner state of mind, literally inner landscapes, and it is the human soul that is visible through the landscapes presented in my films.
Werner Herzog
[I]f self-deception has to be risked anyhow, it might be better to risk it to take a broad view than a narrow view. It may be foolish, perhaps even dangerous, to wander too far from the highway and then be the dupe of fantasies; but it may be even more foolish, even more dangerous in the end, to be so determined to keep to the well-tested road that you wear blinkers, see nothing of the surrounding landscape, and find the road itself, all that you can see, more and more wearisome and detestable.
J. B. Priestley
Ikenobo Sen'o, a master of flower arranging, once said (the remark is to be found in his Sayings): "With a spray of flowers, a bit of water, one evokes the vastness of rivers and mountains." The Japanese garden too, of course symbolizes the vastness of nature. The Western garden tends to be symmetrical, the Japanese garden asymmetrical, and this is because the asymmetrical has the greater power to symbolize multiplicity and vastness. The asymmetry, of course, rests upon a balance imposed by delicate sensibilities. Nothing is more complicated, varied, attentive to detail, than the Japanese art of landscape gardening. Thus there is the form called the dry landscape, composed entirely of rocks, in which the arrangement of stones gives expression to mountains and rivers that are not present, and even suggests the waves of the great ocean breaking in upon cliffs.
Yasunari Kawabata
If I should be, where I no more can hear
Thy voice, nor catch from thy wild eyes these gleams
Of past existence, wilt thou then forget
That on the banks of this delightful stream
We stood together; And that I, so long
A worshipper of Nature, hither came,
Unwearied in that service: rather say
With warmer love, oh! with far deeper zeal
Of holier love. Now wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves, and for thy sake.
William Wordsworth
Self-satisfaction is scarcely unfamiliar in Europe. But the contemporary mood is something different: an apparently illimitable narcissism, in which the reflection in the water transfigures the future of the planet into the image of the beholder. What explains this degree of political vanity? Obviously, the landscape of the continent has altered in recent years, and its role in the world has grown. Real changes can give rise to surreal dreams, but they need to be calibrated properly, to see what the connections or lack of them might be.
Perry Anderson
Over this landscape, Göran Therborn's Between Sex and Power rises up like some majestic volcano. Throwing up a billowing column of ideas and arguments, while a lava of evidence flows down its slopes, this is a great work of historical intellect and imagination, the effect of a rare combination of gifts. Trained as a sociologist, Therborn is a highly conceptual thinker, allying the formal rigour of his discipline at its best, with command of a vast range of empirical data. The result is a powerful theoretical structure, supported by a fascinating body of evidence. But it is also a set of macro-narratives that compose perhaps the first true example of a work of global history we possess.
Perry Anderson
Yet the fact remains that there is a dream reality with a "structure," "landscape" and images that appear to be made of matter -- but matter that obeys different rules than those with which we are familiar. Dreams are not just psychological events. There is a dimension of reality (an "objective" dimension, if you prefer), in which all dream events happen. There are rules: Seth calls them root-assumptions that operate in all realities, our own included. We have to learn what root-assumptions govern dream reality.
Robert Butts
Most high and important Signor, Having recently obtained a 'Queen of Persia' of some quality, which I thought worthy of appearing before your Highness' [= Prince Philip II] exalted presence, I had her sent, pending the time when other works of mine were drying, to take embassies from me to your Highness, and be company to the landscape and [a] St. Margaret, previously sent by Ambassador [Fransesco] Vargas.... Most high and potent Signor's servant, who kisses your feet, Titiano Vecellio.
Titian
Like the postcard collages, the colors are shapes in a landscape. In this case [his collage 'Napoleon at Würtsburg'] it is a painting of a landscape, not a photo as in the postcards [collages], and therefore a contrast of the traditional painting and a presentation of literal space on top of depicted space.
Ellsworth Kelly
![The three horizontal bands at the top [ in his collage: landscape with paintings 1954] correspond to sea, sand and sky, while the yellow/white and red/white shapes at the bottom are the paintings – though of a kind I actually painted only later. It was the collage that suggested the idea of doing such paintings. (Ellsworth Kelly)](https://cdn.quotesdtb.com/img/quotes_images_webp/55/ellsworth-kelly-bottom-horizontal-296055.webp)
The American settlers came to take and shape the land. The first occupants of the land - the "Indians" whom the European migrants encountered - would not be treated, in the pattern of the Romans, as people to be incorporated into an empire. Instead, they were treated as part of the landscape. Most of them were simply cleared away, like the forest, or pushed back, like the wilderness.
Daniel J. Boorstin
The century after the Civil War was to be an Age of Revolution-of countless, little-noticed revolutions, which occurred not in the halls of legislatures or on battlefields or on the barricades but in homes and farms and factories and schools and stores, across the landscape and in the air-so little noticed because they came so swiftly, because they touched Americans everywhere and every day. Not merely the continent but human experience itself, the very meaning of community, of time and space, of present and future, was being revised again and again, a new democratic world was being invented and was being discovered by Americans wherever they lived.
Daniel J. Boorstin
A bird's-eye view of centralised and disempowered societies will reveal a strictly rectilinear network of streets, farms, and property boundaries. It is as though we have patterned the earth to suit our survey instruments rather than to serve human or environmental needs. We cannot perhaps blame Euclid for this, but we can blame his followers. The straight-line patterns that result prevent most sensible landscape planning strategies and result in neither an aesthetically nor functionally satisfactory landscape or stretscape. Once established, then entered into a body of law, such inane (or insane) patterning is stubbornly defended. But it is created by, and can be dismantled by, people.
Bill Mollison
