Asymmetrical Face Quotes

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Take geography. Physical geography, which is a science, is considered difficult; human geography, which strives to be a science, is considered less difficult; humanistic geography, full of poetry and good feeling, is widely viewed as the softie of the three, taken up by the intellectually lazy or unprepared. Human geography studies human relationships. Under the influence of Marxism, it often shows them to be one of exploitation, using physical force when necessary and the subtler devices deception when not. Human geography's optimism lies in its belief that asymmetrical relationships and exploitation can be removed, or reversed. What human geography does not consider, and what humanistic geography does, is the role they play in nearly all human contacts and exchanges. If we examine them conscientiously, no one will feel comfortable throwing the first stone. As for deception, significantly, only Zoroastrianism among the great religions has the command, "Thou shalt not lie." After all, deception and lying are necessary to smoothing the ways of social life. From this, I conclude that humanistic geography is neglected because it is too hard. Nevertheless, it should attract the tough-minded and idealistic, for it rests ultimately on the belief that we humans can face the most unpleasant facts, and even do something about them, without despair.
Yi-Fu Tuan
Well, first of all,” Langdon said, “Edmond inscribed this piece in clay as an homage to mankind’s earliest written language, cuneiform.” The woman blinked, looking uncertain. “The three heavy markings in the middle,” Langdon continued, “spell the word ‘fish’ in Assyrian. It’s called a pictogram. If you look carefully, you can imagine the fish’s open mouth facing right, as well as the triangular scales on his body.” The assembled group all cocked their heads, studying the work again. “And if you look over here,” Langdon said, pointing to the series of depressions to the left of the fish, “you can see that Edmond made footprints in the mud behind the fish, to represent the fish’s historic evolutionary step onto land.” Heads began to nod appreciatively. “And finally,” Langdon said, “the asymmetrical asterisk on the right—the symbol that the fish appears to be consuming—is one of history’s oldest symbols for God.” The Botoxed woman turned and scowled at him. “A fish is eating God?” “Apparently so. It’s a playful version of the Darwin fish—evolution consuming religion.” Langdon gave the group a casual shrug. “As I said, pretty clever.
Dan Brown (Origin (Robert Langdon, #5))
Now there is a modern-day anthropology* for the criminal type: a great number of so-called 'born criminals' have pale faces, large cheekbones, a coarse lower jaw, and deeply shining eyes. How can one not recall this when one thinks of Lenin and thousands like him? How many pale faces, high cheekbones and strikingly asymmetric features mark the soldiers of the Red Army and, generally speaking, also of the common Russian people - how many of them, these savage types, have Mongolian atavism directly in their blood! They are all from Murom, the white-eyed Chud. And it is precisely these individuals, these very Russichi, who gave us so many 'daring pirates', so many vagabonds, escapees, scoundrels and tramps - it is precisely these people whom we have recruited for the glory, pride and hope of the Russian social revolution. So why should we feign surprise at the results?
Ivan Alekseyevich Bunin (Cursed Days: Diary of a Revolution)
system. At 12:04:03, every screen in the building strobed for eighteen seconds in a frequency that produced seizures in a susceptible segment of Sense/Net employees. Then something only vaguely like a human face filled the screens, its features stretched across asymmetrical expanses of bone like some obscene Mercator projection. Blue lips parted wetly as the twisted, elongated jaw moved. Something, perhaps a hand, a thing like a reddish clump of gnarled roots, fumbled toward the camera, blurred, and vanished. Subliminally rapid images of contamination: graphics of the building’s water supply system, gloved hands manipulating laboratory glassware, something tumbling down into darkness, a pale splash. . . . The audio track, its pitch adjusted to run at just less than twice the standard playback speed, was part of a month-old newscast detailing potential military uses of a substance known as HsG, a biochemical governing the human skeletal growth factor. Overdoses of HsG threw certain bone cells into overdrive, accelerating growth by factors as high as one thousand percent.
William Gibson (Neuromancer (Sprawl, #1))
That same year Moshe Halbertal, a distinguished Israeli law professor and world-renowned philosopher, was scheduled to speak at the University of Minnesota on the moral challenge an army faces when it is engaged in fighting “asymmetric wars,” which are defined as conflicts between professional armies and resistance or insurgent movements. Halbertal is known for his position that the army must always “err on the side of protecting” civilian insurgents, even if this threatens its soldiers’ well-being. As his lecture began, protesters stood up and began to shout him down. When the police finally ejected them from the room, they situated themselves outside the building in a place where their chanting could be heard, making it difficult for those in the hall to listen to the lecture.
Deborah E. Lipstadt (Antisemitism: Here and Now)
After so long worrying and being fearful, living by the sea and running is giving me the mental space to think creatively again for the first time in years. With the salty wind on my face, feet pounding on the shingle, Kate Bush, The Hounds of Love , on my iPod, new thoughts enter my head. What do I think about that architecture? as I run past a white modernist house: ‘I like the shape of the house but the windows are too small.’ What do I think of the asymmetrical stairs, the sculptures in the garden?
Viv Albertine (Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys)
The guys are shifting back and forth now, nervous in the face of the unknown. When you’re facing a numerically superior force the best way to win is to get them off balance. That’s the first rule of asymmetric warfare; never fight on the enemy’s terms. Mean
Eric Lahti (Transmute)
His broad, flat face, made asymmetrical and inconceivably ugly by the scar, radiates friendly solicitude. Justineau
M.R. Carey (The Girl with All the Gifts)
Modern debates were over truth and reality, reason and experience, liberty and equality, justice and peace, beauty and progress. In the postmodern framework, those concepts always appear in quotation marks. Our most strident voices tell us that “Truth” is a myth. “Reason” is a white male Eurocentric construct. “Equality” is a mask for oppressions. “Peace” and “Progress” are met with cynical and weary reminders of power—or explicit ad hominem attacks. Postmodern debates thus display a paradoxical nature. Across the board, we hear, on the one hand, abstract themes of relativism and egalitarianism. Those themes come in both epistemological and ethical forms. Objectivity is a myth; there is no Truth, no Right Way to read nature or a text. All interpretations are equally valid. Values are socially subjective products. Culturally, therefore, no group’s values have special standing. All ways of life from Afghani to Zulu are legitimate. Coexisting with these relativistic and egalitarian themes, we hear, on the other hand, deep chords of cynicism. Principles of civility and procedural justice simply serve as masks for hypocrisy and oppression born of asymmetrical power relations, masks that must be ripped off by crude verbal and physical weapons: ad hominem argument, in-your-face shock tactics, and equally cynical power plays. Disagreements are met—not with argument, the benefit of the doubt, and the expectation that reason can prevail—but with assertion, animosity, and a willingness to resort to force.
Stephen R.C. Hicks (Explaining Postmodernism: Skepticism and Socialism from Rousseau to Foucault (Expanded Edition))
Why don’t you get along with her?” His expression sobered. “Rava is who she is. Being older than me and of more importance, she was raised differently and never felt the need to have much of a relationship with me. That’s not to say she doesn’t care about me--she does. I think she’s even proud of me, in her own way.” He touched the officer’s insignia tacked to the shoulder of his black, asymmetrically cut uniform jacket. “I fought to achieve this rank, not an easy task, for men are not generally placed in command positions. We’re too hotheaded, as a group. Still, she has no trouble stepping on and over me, which you can probably appreciate.” “Perhaps,” I said, though his words confused me. Certain activities were not deemed appropriate for me since I was a woman, but for the most part, I did not resent my lot in life. But Saadi was strong, intelligent and extremely capable. In Hytanica, he would have been the pride of his family. How could he have been overlooked in Cokyri? Had Rava been the pride of his family instead? “This place. It’s so different from Cokyri,” he continued, content to accept my simple answer. “Not that different,” I replied with a short laugh. “We eat and work and sleep.” “That’s not what I mean.” He rolled his eyes. “It’s how people look at me. It’s not the same at all.” “People hate you because you’re Cokyrian. Did you expect to take pleasure in that?” “That’s not it, either.” He thought for a moment. “It’s strange, the level of fear in the eyes of your women. Belligerence I expect, from everyone, but the fear primarily radiates from the women.” He shrugged, suddenly self-conscious. “But what do I know? Listen, I haven’t even seen half of what there is to see in Hytanica. You could show me one day.” “You seem to be everywhere in this city,” I scoffed. “There can’t be much left for you to explore. Or have you just been following me around?” “Well, you’re the most interesting feature of the city I’ve come across.” He smirked, and I gave him a sideways glance. Was he admitting to stalking me? Then he chuckled. “As long as I’m assigned to oversee the city, we’re bound to run into each other. I would be lying, however, if I denied that I look forward to our encounters.” Heat again flooded my face. Saadi was making me uncomfortable. I was in danger of liking him too much.
Cayla Kluver (Sacrifice (Legacy, #3))
Dallas. The scriptwriters have each of the actresses in the soap opera play the death scene in the swimming pool: they do not know which of them is to die, and hence disappear from the series. The 'soap' becomes their destiny. If they should die in reality, a way is devised for writing them out of the script. If they are sacrificed in the script, their stardom inevitably comes to an end in real life too, since they are identified with the characters they play. It is the same as in a ceremony: outside the ritual, you count for nothing, but the ritual is flexible enough to make use of all the chance happenings of life. Dallas 's secret lies in its closeness to tribal and initiatory stereotypes. That is why there is never any laughter in it: no wit, no humour, no comic episodes, no happy coincidences. It is a closed world in which everything leads inevitably to fatality, perfidy, sentimental incest or magical cannibalism. Such is the tribal law, of which J.R. is the emblem, which gives rise to the desperate efforts on the part of the women to escape from this archaic trap. In its artless cruelty, Dallas is superior to any 'intelligent' critique that can be made of it. That is why intellectual snobbery meets its match here. In a dream I saw the face of servitude. It is the face of a woman with heavy lidded, blue, expressionless eyes. The crescent shapes of her breasts are asymmetrical. She always has a smile for the poorest as she crawls off daintily towards infinity. Boredom is like a pitiless zooming in on the epidermis of time. Every instant is dilated and magnified like the pores of the face.
Jean Baudrillard (Cool Memories)
No one recognizes their faults or their virtues when these are stated by another, any more than they recognize their own voices on a tape recorder. The world transmits back to us only the asymmetric form of our vices, as a mirror reflects back the asymmetric form of our faces. There is a pact of pride in a couple's love, a pact of glory, which is at least as fundamental as sexual feelings. These latter peter out silently in the two bodies, but the pact can only be broken by the spoken word. If you say, I love you, then you have already fallen in love with language, which is already a form of breakup and infidelity.
Jean Baudrillard (Cool Memories)
Unfortunately, the truth is that even apart from her asymmetrical eyelids, Sujin’s face is too square for her to ever be considered pretty in the true Korean sense. Her lower jaw also protrudes too much.
Frances Cha (If I Had Your Face)