Landscape Grading Quotes

And so we polish our own lives, creating landscapes and canyons and peaks with the very silt we try to avoid, the dirt we disavow or hide or deny. It is the dirt of our lives—the depressions, the losses, the inequities, the failing grades in trigonometry, the e-mails sent in fear or hate or haste, the ways in which we encounter people different from us—that shape us, polish us to a heady sheen, make us in fact more beautiful, more elemental, more artful and lasting.

Think of a globe, a revolving globe on a stand. Think of a contour globe, whose mountain ranges cast shadows, whose continents rise in bas-relief above the oceans. But then: think of how it really is. These heights are just suggested; they’re there….when I think of walking across a continent I think of all the neighborhood hills, the tiny grades up which children drag their sleds. It is all so sculptured, three-dimensional, casting a shadow. What if you had an enormous globe that was so huge it showed roads and houses- a geological survey globe, a quarter of a mile to an inch- of the whole world, and the ocean floor! Looking at it, you would know what had to be left out: the free-standing sculptural arrangement of furniture in rooms, the jumble of broken rocks in the creek bed, tools in a box, labyrinthine ocean liners, the shape of snapdragons, walrus. Where is the one thing you care about in earth, the molding of one face? The relief globe couldn’t begin to show trees, between whose overlapping boughs birds raise broods, or the furrows in bark, where whole creatures, creatures easily visible, live our their lives and call it world enough. What do I make of all this texture? What does it mean about the kind of world in which I have been set down? The texture of the world, its filigree and scrollwork, means that there is a possibility for beauty here, a beauty inexhaustible in its complexity, which opens to my knock, which answers in me a call I do not remember calling, and which trains me to the wild and extravagant nature of the spirit I seek.

There was something very noble about a young soldier who dared to give his life for the sake of his country. Gratefully, we witness the same valiant sacrifices on the battlefield today. Regrettably, few are the other venues where similar heroics fill the landscape.

Avoid heavy equipment whenever possible; big machinery often fakes efficiency. Rain gardens are commonly dug out by backhoes and fine grading is done by skid loaders. Inappropriate or oversized equipment does more damage than good, and it takes years for a site to recover from the compaction and unnecessary disturbance. In the time spent waiting for machinery to be delivered to a site, a team of five could have prepared a planting area with three rakes, two shovels, and no compaction.

He saw El Lagartijo—“The Lizard”—one of the most famous bullfighters in Spain, and he met Cara Ancha, the celebrated Andalusian matador. When he was only nine years old, Pablo completed his first painting, Le Picador, a portrait of a man riding a horse in the bullring. Two years later, Pablo’s family moved to a new town, La Coruña, on Spain’s Atlantic coast. Don José got a job as an art teacher at the local college. Even though he was much younger than the other students, Pablo enrolled in his father’s class. He also took courses in figure drawing and landscape painting. By the time he turned thirteen, Pablo’s skill level had surpassed his father’s. Don José was so impressed that he handed his son his brushes and vowed never to paint again. When Pablo was fourteen years old, his family moved again, this time to Barcelona, where Pablo enrolled in the prestigious School of Fine Arts. His teachers quickly noticed his skills and allowed him to skip two grades. But just as in Málaga, Pablo had trouble adhering to the school’s rules. Before long he was back to his old tricks, cutting class so that he could wander the city streets, sketching interesting scenes that he observed along the way. Pablo repeated this behavior at his next school, the Royal Academy of San Fernando in Madrid. This time, Pablo’s father refused to tolerate his son’s antics and stopped his allowance. At age sixteen, Pablo found himself on his own for the first time, forced to support himself on nothing but his artistic ability. It has been said that the older Pablo grew, the more childlike his art became. During some periods he painted almost entirely in blue or depicted only circus performers.

He'd had it since at least sixth grade, when he'd tried convincing our teacher I hadn't been the one who'd drawn bright pink flowers all over the wall of the girl's bathroom. He hadn't fooled Mrs. Baker then--- I had drawn that aggressively neon meadow landscape---

Driving toward Gillette on Route 59 north of Bill, Wyoming, Tom Carson felt alien in the rolling landscape. Pronghorn antelope appeared here and there in the hills, grazing in herds, strung out along a stream drinking. Buffalo grazed too in the gently undulant pastures. They weren’t wild herds, he knew. They were ranch buffalo, healthful, destined to be slaughtered and sold in specialty stores. He’d never been anywhere very much until he moved to Wyoming. Lived all his life in Paradise, and his parents too. His mother taught seventh grade at Paradise Junior High. His father ran the Gulf station. The only gas station in the downtown area. He had no military experience. He hadn’t gone to college. He’d joined the cops after working three years for his father. The

There is a half-finished mural on the wall that was a quarter-finished when we graduated four years ago. Prints from both famous and obscure artists line every other wall and cover the entire ceiling. The window ledges are lined with sculptures and various three-dimensional arts. On her desk is an asymmetrically shaped vase filled with flowers made of newspaper. I know from asking years ago that the newspaper is from the day Finny was born. On the wall behind her desk is the only framed art—a drawing we did together in third grade of a landscape littered with unicorns, soccer balls, explosions, and puppies.

The rise of “teamwork” has made it difficult to trace individual responsibility, and opened the way for new and uncanny modes of manipulation of workers by managers, who now appear in the guise of therapists or life coaches. Managers themselves inhabit a bewildering psychic landscape, and are made anxious by the vague imperatives they must answer to. The college student interviews for a job as a knowledge worker, and finds that the corporate recruiter never asks him about his grades and doesn’t care what he majored in. He senses that what is demanded of him is not knowledge but rather that he project a certain kind of personality, an affable complaisance.

Those who work in an office often feel that, despite the proliferation of contrived metrics they must meet, their job lacks objective standards of the sort provided by, for example, a carpenter’s level, and that as a result there is something arbitrary in the dispensing of credit and blame. The rise of “teamwork” has made it difficult to trace individual responsibility, and opened the way for new and uncanny modes of manipulation of workers by managers, who now appear in the guise of therapists or life coaches. Managers themselves inhabit a bewildering psychic landscape, and are made anxious by the vague imperatives they must answer to. The college student interviews for a job as a knowledge worker, and finds that the corporate recruiter never asks him about his grades and doesn’t care what he majored in.

When shown a series of photographs of five natural landscapes—tropical rain forest, temperate deciduous forest, coniferous forest, savanna, and desert—the youngest subjects (those in the third and fifth grades) picked the savanna as a preferred landscape. Older subjects equally preferred those landscapes with which they were familiar, as well as the savanna.52 People were happier viewing scenes with trees rather than inanimate objects, and also preferred the shapes of trees with spreading canopies, similar to those found on the African savanna, rather than rounded or columnar ones.

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