Brian Boyd Quotes
There's a young Danish guy who has done a lot of work from an evolutionary perspective, Mathias Clasen. Basically, his argument is we've evolved to fear the monstrous, to be very wary of large, unknown, life-threatening forces. In art, we can play with these things in ways that allow us to feel the intensity of the horror, but in "safe mode," if you like, detached from real consequences.
Quotes to Explore
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Tolerance, openness to argument, openness to self-doubt, willingness to see other people's points of view - these are very liberal and enlightened values that people are right to hold, but we can't allow them to delude us to the point where we can't recognise people who are needlessly perpetrating human misery.
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Neither irony or sarcasm is argument.
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I can make the argument that people who don't have the biggest ranges but have very unique voices, even if they may be pitchy at times... with the right record that's really unique and distinct, they can have big hits.
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I'm not going to get in to an argument with anyone about the relative merits of Judaism and Christianity, and what it means for a Jewish kid to be a Christian - I'm just not interested in that argument.
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There is something about guns that inhibits understanding. It is not just that they can put an end to argument. They somehow generate beliefs that are obviously contrary to observable fact.
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I used to buy into a former Supreme Court justice's argument that you can't scream fire in a crowded theater. Well, I think you can.
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Pentagon dollars are essentially seen as a different kind of funding that doesn't have to stand for itself and make an argument for itself in the house of Congress.
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I was having an argument with my stepfather, and he was like, 'Why don't you join the Marine Corps?' And I was like, 'Noooo! Well, maybe, actually... ' I went and saw the recruiter, who was like, 'Are you on the run from the cops? Because we've never had someone want to leave so fast.'
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Don't take the wrong side of an argument just because your opponent has taken the right side.
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If you pick up an eighteenth-century play, at the top it says 'The Argument,' and then you have a list of characters, and then you have the play. I was just always struck by that - that, of course, good drama is about conflict.
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Marriage is a series of desperate arguments people feel passionately about.
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History is either a moral argument with lessons for the here-and-now, or it is merely an accumulation of pointless facts.
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A master salesman is one who takes the offensive and never the defensive sale of an argument, if argument arises.
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Such exaggerations have been so common that the public takes them with a grain of salt and partly excuses them as being due to the advertiser's license of self-assertiveness. Nevertheless, the fact remains that superlative generalities are weak arguments and far less convincing than a statement of facts. Much advertising copy would be improved immensely by doing away with brag and substituting actual facts about the merits of the article.
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A silly row which got out of hand.
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The Jewish sages also tell us that God dances when His children defeat Him in argument, when they stand on their feet and use their minds. So questions like Anne's are worth asking. To ask them is a very fine kind of human behavior. If we keep demanding that God yield up His answers, perhaps some day we will understand them. And then we will be something more than clever apes, and we shall dance with God.
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I always cheer up immensely if an attack is particularly wounding because I think, well, if they attack one personally, it means they have not a single political argument left.
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I like plays where people talk a lot. Conversation is sustained. Argument is sustained.
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What does it mean to be a self-conscious animal? The idea is ludicrous, if it is not monstrous. It means to know that one is food for worms.
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It is beneath human dignity to lose one's individuality and become a mere cog in the machine.
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I'm an 18-year-old boy, and I'm having fun. I'm just not having as much fun as people make out.
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There's a young Danish guy who has done a lot of work from an evolutionary perspective, Mathias Clasen. Basically, his argument is we've evolved to fear the monstrous, to be very wary of large, unknown, life-threatening forces. In art, we can play with these things in ways that allow us to feel the intensity of the horror, but in "safe mode," if you like, detached from real consequences.
