Avatar The Way Of Water Quotes

In the sphere of rights the irresistible trend is towards a situation where, if something can be taken for granted, all rights are otiose, whereas if a right must be demanded, it means that the battle is already lost; thus the very call for rights to water, air and space indicates that all these things are already on the way out. Similarly the evocation of a right to reply signals the absence of any dialogue, and so on. The rights of the individual lose their meaning as soon as the individual is no longer an alienated being, deprived of his own being, a stranger to himself, as has long been the case in societies of exploitation and scarcity. In his postmodern avatar, however, the individual is a self-referential and selfoperating unit. Under such circumstances the human-rights system becomes totally inadequate and illusory: the flexible, mobile individual of variable geometric form is no longer a subject with rights but has become, rather, a tactician and promoter of his own existence whose point of reference is not some agency of law but merely the efficiency of his own functioning or performance. Yet it is precisely now that the rights of man are acquiring a worldwide resonance. They constitute the only ideology that is currently available - which is as much as to say that human rights are the zero point of ideology, the sale outstanding balance of history. Human rights and ecology are the two teats of the consensus. The current world charter is that of the New Political Ecology. Ought we to view this apotheosis of human rights as the irresistible rise of stupidity, as a masterpiece which, though imperilled, is liable to light up the coming fin de siecle in the full glare of the consensus?

She stared at the water until the sun’s reflection became too much, and then reached for her single bag of belongings. Digging around, she found the clay turtle. It was made of earth. It was tiny. She could use it for practice. Small, she thought as she cradled it with both hands. Precise. Silent. Small. She curled her lips in concentration. It was like crooking the tip of her pinky while wiggling her opposite ear. She needed a whole-body effort to keep her focus sufficiently narrow. There was another reason why she didn’t want to seek instruction from a famous bending master with a sterling reputation and wisdom to spare. Such a teacher would never let her kill Jianzhu in cold blood. Her hunger to learn all four elements had nothing to do with becoming a fully realized Avatar. Fire, Air, and Water were simply more weapons she could bring to bear on a single target. And she had to bring her earthbending up to speed too. Small. Precise. The turtle floated upward, trembling in the air. It wasn’t steady the way bent earth should be, more of a wobbling top on its last few spins. But she was bending it. The smallest piece of earth she’d ever managed to control. A minor victory. This was only the beginning of her path. She would need much more practice to see Jianzhu broken in pieces before her feet, to steal his world away from him the way he had stolen hers, to make him suffer as much as possible before she ended his miserable worthless life— There was a sharp crack. The turtle fractured along innumerable fault lines. The smallest parts, the blunt little tail and squat legs, crumbled first. The head fell off and bounced over the edge of the saddle. She tried to close her grip around the rest of it and caught only dust. The powdered clay slipped between her fingers and was taken by the breeze. Her only keepsake of Kelsang flew away on the wind.

Gervase devoted the eighteenth chapter of the first book to a figure called folletus, “follet” [“brownie, pixie, sprite” —Trans.], whose characteristics were described as follows: it inhabited the dwellings of peasants, no exorcism or holy water could drive it away (which clearly proves it could be nothing other than a demon!), it hid in stones and woods, and it tormented the domestic servants. Incidentally, this description represents an interesting conflation of sprites with dwarfs and satyrs. In another passage from his Otia imperialia, Gervase also refers to an impish spirit called the neptunus or portunus: “It is a law of their nature that they can be useful but cannot harm. However, they do have one way of being something of a nuisance” [by playing tricks on humans].7 By way of similar testimonies, we can clearly see that the sprites of the romances have their origin in actual folk beliefs and retain their fundamental, constituent traits, beyond all transformations into literature.

You know, I’ve heard my parents, throughout most of time, begging and crying about freedom. It’s pathetic. Asking for freedom is admitting that you don’t have any. And if you complain about not having it, then you’re shouting, ‘I will never be free,’ to the world. Even if you’re tied up and thrown into a dark room, you’re still free.” He paused for a short while to consider what she had said, reclining somewhat and staring at her face, which looked as though it were lit by a flashlight below. “No, I don’t understand. What you’re saying doesn’t make sense, not about any freedom worth caring about. Freedom is more than a choice between drowning and immolation. More than some cogs turning behind my mind.” “That’s a very silly way to think about it,” Sielle said. Enveloped in shadows, she inspired a chill down his spine. As if she were, in that moment, the avatar of some cosmic Pythia. “Using words like ‘more free’ and ‘less free.’ The measurements of something are not that something. And you can’t even measure how free someone is because everyone is always equally free, at all times, in all situations. There will always be different and infinite and better or worse options to choose from. The choice between water or soda, between this memory to recall or that, between extinguishing a star or not. Each requires the same freedom, not more or less. And if I thought the way you did, I’d say all those choices make me unfree, since I am forced to choose.” “So I’m free just for existing?” he asked. “Yes, in a way. All castles are made out of the playground’s sand. The only real castles are the monarchs who built them. You are free for existing with me.” He stayed silent and stared again beyond her dimmed face, which was becoming slightly damp with sweat.

Avatar might be described by others as ‘science fiction,’ but we challenge our designers to create everything as if it was scientific fact.

As designers, we just want to run wild, but you have to rein yourself in and really look at the demands of the story. We have to ask what the scene’s about and what it rightfully requires.

Of course, we have exotic, crazy, alien coral as well. But so much of it is based on the real world because the whole point of these films is that they are metaphors and analogies for our own planet. You don’t want to stray too far from reality to where that metaphor doesn’t work.

It’s pretty hard to come up with something crazier than nature right here on Earth,” the director says, laughing.

I felt we were struggling to keep the essence of what you’d immediately recognize as a whale, yet the specific details had to be very alien. The example that I used for the artists was the direhorse. You look at it and it’s clearly a horse. But when you really get to study it, it is some strange, alien dinosaur that has some horselike properties. I wanted the same thing with the tulkun. There should be no doubt in your mind what the metaphor is, but the specifics of it are very alien and strange, and totally unique to that species.

I hope our depiction of Pandora and Earth’s infiltration of that world in A2 and the other sequels will not only entertain but also cast light on the urgent choices humanity faces as we look to the environment and our collective future on Earth.

I see you, always.

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