Dab Related Quotes

reconciling grace, saving grace of Jesus "[In regards to struggles and potential in relationship],..we are sinner with capacity to to do great damage to ourselves and our relationships. We need God's grace to save us from ourselves. But we are also God's children, which means that we have great hope and potential-- not hope that rests on our gifts, experience, or track record, but hope that rests in Christ. Because he is in us and we are in him, it is right to say that our potential IS Christ. We are well aware that we are smack-dab in the middle of God's process of sanctification. And because this is true, we will struggle again. Selfishness, pride, an unforgiving spirit, irritation, and impatience will certainly return. But we are neither afraid nor hopeless. We have experienced what God can do in the middle of the mess. This side of heaven, relationships and ministry are always shaped in the forge of struggle. None of us get to relate to perfect people or avoid the effects of the fall on the work we attempt to do. Yet amid the mess, we find the highest joys of relationship and ministry.

Looking into each other's eyes and speaking together in low tones, it becomes apparent that she hopes you will walk her through her troubles and show her that male-female relations can be lovely even in loveless union. She is looking for lust fulfilled but she searches also for respect, and in this she is out of luck because you do not know her or like her very much and you do not respect yourself and so the most you can offer this girl is time out of her life and an unsatisfactory meeting of bodies and, if the fates are generous, a couple of laughs and good feelings. At any rate there will unquestionably be a divot in your hearts before dawn and Peg seems to pick up on this after thirty minutes of groping and pawing (the car interior is damp with dew) she breaks away and with great exasperation says, "What do you think you're doing?" You are smiling, because it is an utterly stupid and boring question, and you say to her, "I am sitting in an American car, trying to make out in America," a piece of poetry that arouses something in her, and you both climb into the back seat for a meeting even less satisfactory than you feared it might be. Now she is crying and you are shivering and it is time to go home and if you had a watch you would snap your wrist to look meaningfully at it but she dabs at her face and says she wants you to come upstairs and share a special-occasion bottle of very old and expensive wine and as there is no way not to do this you follow her through the dusty lobby and into the lurching, diamond-gated elevator and into her cluttered apartment to scrutinize her furnishings and unread or improperly read paperbacks, and you wonder if there is anything more depressing than the habitats of young people, young and rudderless women in particular.

We are well aware that we are smack-dab in the middle of God’s process of sanctification. And because this is true, we will struggle again. Selfishness, pride, an unforgiving spirit, irritation, and impatience will certainly return. But we are neither afraid nor hopeless. We have experienced what God can do in the middle of the mess. This side of heaven, relationships and ministry are always shaped in the forge of struggle. None of us get to relate to perfect people or avoid the effects of the fall on the work we attempt to do. Yet, amid the mess, we find the highest joys of relationship and ministry.

Related to this first reason is the fear that a passion for holiness makes you some kind of weird holdover from a bygone era. As soon as you share your concern about swearing or about avoiding certain movies or about modesty or sexual purity or self-control or just plain godliness, people look at you like you have a moralistic dab of cream cheese on your face from the 1950s. Believers get nervous that their friends will call them legalistic, prudish, narrow-minded, old fashioned, holier-than-thou—or worst of all, a fundamentalist.

He quite certainly shouldn't care: and still he feels a hot sick bubbling in his gut, as if he'd drunk turned milk, or been on a drunken spree. Or been spurned in love, since damn fools seem to take that uncommonly serious, and stick knives in their guts over it all the time, in poems and plays. Romeo and Juliet, being one example, that he's read half a dozen times but never thought to see played out on the stage. Except that Ree took it into his head not a month ago, to take him to the theatre at Stratford to see it. The play's practically seditious when you think about it: Shakespeare's tale of forbidden love between a free-born human lad, and the high-born wolf-girl from the family that had owned then freed his father. At least old Will didn't go so far as to make the boy a slave, else he'd probably have found himself clapped in irons for thanks for his labour. Though of course as a wolf himself, for all his relatively low-status till he won fame from his quill, he'd less to fear than a human would have had. And even a wolf audience can sigh and dab their eyes over a tragic romance, between the two classes of men. As long as the powerless class gets no ideas of acting on that offensive gush of sentimentality.

Claude Monet's Water Lilies (The Clouds) consists of nothing more than dabs of different colored paint on a canvas.14 But because of the particular arrangement of those dabs of paint, Monet has produced not simply a piece of canvas with dabs of paint on it. Monet has produced for us a painting, a unique picture, a cognitively recognizable and culturally meaningful representation of a reality, a new entity with its own characteristics and capacities to cause effects in the world. One of the emergent causal capacities of those particularly arranged dabs of paint is the ability to evoke certain emotions in people who view the painting, such as warmth or serenity. Neither the recognizable and meaningful picture nor the capacity to evoke emotions is present in the dabs of paint totaled up. It is through Monet's particular relational arrangement of those paint dabs that a unique picture emerges possessing particular characteristics and capacities that can cause experiences in observers. To say that Monet's Water Lilies (The Clouds) is reducible to many dabs of colored paint on a canvas would be to say that all of the characteristics and capacities we observe in the painting are present in the sum total of all the dabs of paint and the piece of canvas. To say that about this painting would be to make oneself a reductionist in relation to it. And to do this would be misguided.