Refer Quotes - page 12
If a man divides the whole of his work into two branches and delegates his responsibility, freely and properly, to two experienced heads of branches he will not have enough to do. The occasions when they would have to refer to him would be too few to keep him fully occupied. If he delegates to three heads he will be kept fairly busy whilst six heads of branches will give most bosses a ten hours' day. Those data are the results of centuries of the experiences of soldiers.
Ian Standish Monteith Hamilton
conventional terms such as service work, intellectual labor, and cognitive labor all refer to aspects of immaterial labor, but none of them captures its generality. As an initial approach, one can concieve immaterial labor in two principle forms. The first for refers to labor, that is primarily intellectual or linguistic such as problem solving, symbolic and analytical tasks, and linguistic expressions. This kind of immaterial labor produces ideas, symbols, codes, texts, linguistic figures, images and other such products. We call the other principle form of immaterial labor "affective labor."
Antonio Negri
In full accordance with the law - and in order to prevent terrorist attacks on the United States and to save American lives - the United States government conducts targeted strikes against specific al-Qa'ida terrorists, sometimes using remotely piloted aircraft, often referred to publicly as drones.
John O. Brennan
The idea of an art world forms the backbone of my analysis. "Art world" is commonly used by writers on the arts in a loose and metaphoric way, mostly to refer to the most fashionable people associated with those newsworthy objects and events that command astronomical prices. I have used the term in a more technical way, to denote the the network of people whose cooperative activity, organized via their joint knowledge of conventional means of doing things, produce(s) the kind of art works that art world is noted for.
Howard S. Becker
I understand that people refer to me as an icon and that sort of thing because there are certain guys who play a certain role. And horror fans are very passionate people. They love their genre. And they love the Saw films. So the fact that I played a central role in those films, that puts you in a position where people... You know, the screen is sixty feet across, and people sometimes forget that you're an actor and you play... Because you become established as a certain kind of character. But in fact, we continue to try and occupy the skins of different human beings. That's what you get involved in being an actor for in the first place.
Tobin Bell
The so-called pejorative tendency has yet another cause. It is in the nature of human malice to take pleasure in looking for a vice or a fault behind a quality. The French have the adjective prude, which had formerly a good and noble acceptation, since it is the feminine of preux. But the spirit of the narrators (perhaps also some feeling of rancour against the loftier virtues) turned this adjective aside towards the equivocal sense that it now bears. Words which refer to the relations of the sexes are especially exposed to changes of this kind. We remember what a noble signification amant and mattress still possessed in Corneille. But they are dethroned, as was Buhle in German. Here we see the inevitable results of a false delicacy; honourable names are dishonoured by being given to things which are dishonourable.
Michel Bréal
There is no need in these mathematical days to defend the use of symbolism. It is regarded by many schools of modern thought as the only safe form of language. Wittgenstein treats symbols as something more than conventional signs, and regards them as corresponding in some way to the reality to which they refer. He would probably accept Gurdjieff's dictum that:
Symbols not only transmit knowledge but show the way to it.
Even though other thinkers deny any objective reference to symbols, no one questions that symbolism has a power beyond that of ordinary language. It is different with the language of myth. This is despised by superficial thinkers, but the greatest philosophers have known its value.
John G. Bennett
My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements which can be eliminated have been eliminated. This was pointed out to me by somebody who referred to the paintings of Rembrandt and his use of light: some elements are highlighted while others are obscured or even pushed back into the dark. And it's something that we do - we bring out elements that we want to emphasise. I'm not claiming or denying that I have done such a thing but I do believe in [Robert] Bresson's method of creation through omission, not through addition.
Abbas Kiarostami
It is not certain whether Pāṇini used writing for the composition of his work, though it is generally agreed that he knew of a form of writing, based on references to words such as "script" and "scribe" in his Ashtadhyayi. These must have referred to Aramaic or early Kharosthi writing. It is believed by some that a work of such complexity would have been difficult to compile without written notes, though others have argued that he might have composed it with the help of a group of students whose memories served him as 'notepads' (as is typical in Vedic learning). Writing first reappears in India in the form of the Brāhmī script from the 3rd century BC in the Ashokan inscriptions.
Pāṇini
While Pāṇini's work is purely grammatical and lexicographic, cultural and geographical inferences can be drawn from the vocabulary he uses in examples, and from his references to fellow grammarians, which show he was a northwestern person. New deities referred to in his work include Vasudeva (4.3.98). The concept of dharma is attested in his example sentence dharmam carati "he observes the law"
Pāṇini
Grammars (vyākaraṇas) concern the description of speech forms (śabda) considered to be correct (sādhu) through derivation and thereby serve to make understood the usage found in the Vedas. The grammar that was granted the status of a Vedāṅga is that of Pāṇini. This work is referred to in toto as a śabdānuśāsana (means of instruction of correct speech forms); since the core of Pāṇini's work comprises the eight chapters of sūtras that serve to describe both the current language of his time and features particular to Vedic, it also bears the name Aṣṭādhyāyī.
Pāṇini
