Skyline View Quotes

The panorama-city is a 'theoretical' (that is, visual) simulacrum, in short a picture, whose condition of possibility is an oblivion and a misunderstanding of practices.

The single window had once provided a view of the Columbus skyline, but I’d spray-painted it completely black a few days after I moved in. I’d decided that everything outside the window was a distraction from my quest,

An uninterrupted view of the Paris skyline was spread out before her, like a giant landscape painting rendered in shades of blue-grey, charcoal and purple-tinted umber; the dreamy palette of shifting shadows at twilight. The blue hour.

Were the stars out when I left the house last evening? All I could remember was the couple in the Skyline listening to Duran Duran. Stars? Who remembers stars? Come to think of it, had I even looked up at the sky recently? Had the stars been wiped out of the sky three months ago, I wouldn't have known. The only things I noticed were silver bracelets on women's wrists and popsicle sticks in potted rubber plants. There had to be something wrong with my life. I should have been born a Yugoslavian shepherd who looked up at the Big Dipper every night. No car, no car stereo, no silver bracelets, no shuffling, no dark blue tweed suits. My world foreshortened, flattening into a credit card. Seen head on, things seemed merely skewed, but from the side the view was virtually meaningless—a one-dimensional wafer. Everything about me may have been crammed in there, but it was only plastic. Indecipherable except to some machine. My first circuit must have been wearing thin. My real memories were receding into planar projection, the screen of consciousness losing all identity.

The sunset turned the downtown skyline to red gold. The sea stretched ahead of us in silky sheets of blue, and for now all I had to do was stand at the prow and enjoy the view.

Alaric paid no attention to the appreciative murmurs rippling through the crowd. He no longer noticed the ceiling or the altar or the view of the skyline. All he saw was Talasyn.

As the taxi crossed the Way Away Bridge and the steel and concrete skyline of the city came into view, Shae was struck by a sense of nostalgia so profound she found it difficult to breathe. The humid air through the open window, the sound of her native language being spoken on the radio, even the terrible traffic … She swallowed, close to tears; she had only the vaguest idea of what she was going to do in Janloon now, but she was undeniably home.

Yet they are unmoved when told of the cruel blow that fortune has dealt them, happy to see out their days on this unknown and unspoiled atoll. They will tell you that the view from their windows is infinitely more magnificent than Manhattan's glittering skyline.

We stay in that sunshine, on that marvellous summit, for an hour and an era. We don’t talk much. Up there, language seems impossible, impertinent, sliding stupidly off this landscape. Its size makes metaphor and simile seem preposterous. It is like nowhere I have ever been. It shucks story, leaves the usual forms of meaning-making derelict. Glint of ice cap, breach of whales, silt swirls in outflows, sapphire veins of a crevasse field. A powerful dissonance overtakes my mind, whereby everything seems both distant and proximate at the same time. It feels as if I could lean from that summit and press a finger into the crevasses, tip a drop of water from the serac pool, nudge a berg along the skyline with my fingertip. I realize how configured my sense of distance has become from living so much on the Internet, where everything is in reach and nothing is within touch. The immensity and the vibrancy of the ice are beyond anything I have encountered before. Seen in deep time – viewed even in the relatively shallow time since the last glaciation – the notion of human dominance over the planet seems greedy, delusory. Up there on that summit, at that moment, gazing from the Inner Ice to the berg-filled sea, the idea of the Anthropocene feels at best a conceit, at worst a perilous vanity. I recall the Inuit word I first heard in northern Canada: ilira, meaning ‘a sense of fear and awe’, and also carrying an implication of the landscape’s sentience with it. Yes. That is what I feel here. Ilira.

The overhead lights hit the Serch Bythol sculpture on the utmost tier, the sugar crystals shimmering and dancing like a cascade of diamonds. The planes of the cake beneath were clean and crisp, and the sugar-stained glass panels caught every light on the ceiling, throwing back shimmering rainbow rays. Sylvie was most proud of the silhouette that circled the middle stained-glass tiers--the skylines of London and Johnny's family estate in Lancashire. Only when viewed at close range did a second, hidden skyline emerge from within the reflective depths---the fantasy lands of I, Slayer, complete with a tiny, flying dragon. It was a work of art---and even now, she was taken aback by the level of harmony they had achieved, twinning together two very different styles. In honor of the union of two very different people, whose lives would hopefully interlock just as successfully.

Never to Heaven May my eyes always stay level to the horizon may they never gaze as high as heaven to ask why May I never go where angels fear to tread so as to have to ask for answers in the sky The whys in this lifetime i've found are inconsequential compared to the magic of the nowness- the solution to most questions there are no reasons. and if there are- i'm wrong but at least i won't have spent my life waiting looking for God in the clouds of the dawn or listening out for otherworldly contact 30 billion light years on No. i'll let the others do the pondering while i'll be sitting on the lawn reading something unsubstantial with the television on I'll be up early to rise though of course- but only to make you a pot of coffee That's what i was thinking this morning Joe that it's times like this as the marine layer lifts off the sea from the view of our favourite restaurant that i pray that i may always keep my eyes level to your eyeline never downcast at the tablecloth Yes Joe it's times like this as the marine layer lifts off the sea on the dock with the candle lit that i think to myself there are things you still don't know about me like sometimes i'm afraid my sadness is too big and that one day you might have to help me handle it but until then may i always keep my eyes level to this skyline assessing the glittering new development off of the coast of Long Beach never to heaven or revenant Because i have faith in man as strange as that seems in times like these and it's not just because of the warmth i've found in your brown eyes but because i believe in the goodness in me that it's firm enough to plant a flag in or a rosebud or to build a new life.

Needless to say, what whites now think and say about race has undergone a revolution. In fact, it would be hard to find other opinions broadly held by Americans that have changed so radically. What whites are now expected to think about race can be summarized as follows: Race is an insignificant matter and not a valid criterion for any purpose—except perhaps for redressing wrongs done to non-whites. The races are equal in every respect and are therefore interchangeable. It thus makes no difference if a neighborhood or nation becomes non-white or if white children marry outside their race. Whites have no valid group interests, so it is illegitimate for them to attempt to organize as whites. Given the past crimes of whites, any expression of racial pride is wrong. The displacement of whites by non-whites through immigration will strengthen the United States. These are matters on which there is little ground for disagreement; anyone who holds differing views is not merely mistaken but morally suspect. By these standards, of course, most of the great men of America’s past are morally suspect, and many Americans are embarrassed to discover what our traditional heroes actually said. Some people deliberately conceal this part of our history. For example, the Jefferson Memorial has the following quotation from the third president inscribed on the marble interior: “Nothing is more certainly written in the book of fate than that these people [the Negroes] shall be free.” Jefferson did not end those words with a period, but with a semicolon, after which he wrote: “nor is it less certain that the two races equally free, cannot live under the same government.” The Jefferson Memorial was completed in 1942. A more contemporary approach to the past is to bring out all the facts and then repudiate historical figures. This is what author Conor Cruise O’Brien did in a 1996 cover story for The Atlantic Monthly. After detailing Jefferson’s views, he concluded: “It follows that there can be no room for a cult of Thomas Jefferson in the civil religion of an effectively multiracial America . . . . Once the facts are known, Jefferson is of necessity abhorrent to people who would not be in America at all if he could have had his way.” Columnist Richard Grenier likened Jefferson to Nazi SS and Gestapo chief Heinrich Himmler, and called for the demolition of the Jefferson Memorial “stone by stone.” It is all very well to wax indignant over Jefferson’s views 170 years after his death, but if we expel Jefferson from the pantheon where do we stop? Clearly Lincoln must go, so his memorial must come down too. Washington owned slaves, so his monument is next. If we repudiate Jefferson, we do not just change the skyline of the nation’s capital, we repudiate practically our entire history. This, in effect, is what some people wish to do. American colonists and Victorian Englishmen saw the expansion of their race as an inspiring triumph. Now it is cause for shame. “The white race is the cancer of human history,” wrote Susan Sontag. The wealth of America used to be attributed to courage, hard work, and even divine providence. Now, it is common to describe it as stolen property. Robin Morgan, a former child actor and feminist, has written, “My white skin disgusts me. My passport disgusts me. They are the marks of an insufferable privilege bought at the price of others’ agony.

The night skyline was stunning. I could see the Monas and Istiqlal Mosque bathed in brilliant white lights and a dozen other places of cultural and historical significance. It’s an amazing, beautiful world we live in … despite Uncle Google’s abysmal view of American schools, the security checkpoints and vehicle inspections that seem to be everywhere, and the need to be vigilant because of the things we do to each other.

There is no word to describe exactly what the High Line is to the non-architects among us, nor the collective reframing process required to see beyond its dingy path. 24 The promenade’s landscaping and minimal architectural interference is meant to find a balance between “melancholia and exuberance,” Diller told me. “Whatever that intermediate thing is, it’s ineffable and is kind of what makes the High Line so popular.” “Part of what is so successful about the High Line is that it looks like it’s about nothing,” Diller said. Everything is prohibited on the promenade but the act of moving forward or stopping to look at the vistas from that vantage point. A dedicated place for strolling, where there are no dogs, no bicycles, or wheeled objects of any kind, it is “radically old fashioned,” designed to let us do what we ordinarily don’t, like taking time to linger and gaze at passing traffic. There is even a “sunken overlook” viewing station with movie-theater-style rows of descending seats and a window instead of a screen to see Tenth Avenue’s traffic instead of a featured film. Looking at the path beneath our feet and the view before us are the High Line’s activities. The High Line’s path will extend up the island in nearly interminable stages, “perpetually unfinished.” 25 As if to underscore it, on the west-facing side of the High Line, with views of the skyline and the Hudson River, sculptor Anatsui erected a monumental mural, Broken Bridge II, a three-dimensional painting the size of a city block made of flattened, dull-finish tin and mirrors with expert placement and hours of scaling. The vista in its upper reaches blends sky and land “in such a way that you do not know where mirrors end and sky begins.” 26 Anatsui, known for his radiant, monumental murals with a unique luster, fashioned as they are out of recycled metal bottle caps from his studio in Nigeria, starts his work from an approximate center with exquisite discards. He then builds outward, unscrolling the once-scattered shards so that they shine in their new form, as if they could unfurl to the full extent of vision.

Oliver Marley supposed there were more dignified ways to end his life. A lifelong victim to the twin sins of an infertile imagination and pragmatism, the thought of travel simply never crossed his mind.   Had it occurred to him, Oliver could have jumped off the Golden Gate Bridge, into the abyss of the Grand Canyon or said au revoir off the Eiffel Tower. But truth be told, Oliver never was much of a traveler. Even locally there were certainly higher quality casinos to choose from, taller parking garages from which to leap. Instead he found himself perched atop the nearest appropriately-sized structure to his home, that being the parking garage of the Circus Time Hotel & Casino. His view not of Alcatraz Island and the rough waters of the San Francisco Bay, nor the breathtaking vistas of the Arizona desert, or the romanticism of the Paris skyline for that matter. Rather he found himself bathed in a noxious blend of pink and green neon, staring into a pair of giant blinking pastel eyes belonging to the eighty-foot clown staring down at him like a frilly guardian angel. Then again, when your primary objective is to pancake yourself on a public sidewalk, perhaps you’re not in the best position to nitpick over the intricacies of what does and does not constitute bad taste. Oliver would just have to live with the clown, at least for another minute or two.

He didn’t take her back to the shooting range right away. There was a lookout point between here and there. Linc swerved the dark cobalt car into it, pulling alongside the rock wall and switching the engine off. They had the lookout to themselves. “Why are we stopping?” she asked. Rhetorically. “Great view.” She glanced at the distant DC skyline, seeing the dome of the Capitol to the east and the tip of the Washington Monument. The Mall, its grassy expanse invisible from where they were, stretched to the Lincoln Memorial at the other end. Its blocky rectangular top appeared through the bare-branched trees. “Sure is.” Kenzie tossed her handbag into the footwell and turned to him. That grin on his handsome face was not about sightseeing. She allowed herself the pleasure of looking him over one last time. He pretended not to notice. Even looking straight ahead through the windshield, his dark eyes had a knowing glint. It was arrogant of him to assume that he knew what she wanted, even though he was right. And annoying of him to wait for her to make the first move. One strong hand rested on the wheel and the other on his thigh. Kenzie unbuckled her seat belt and leaned over. Two could play that game. She put her lips against his ear and he stiffened visibly. “What’s on your mind, Linc?” she breathed, teasing him. She was amused to see his eyes close with pleasure. Maybe he hadn’t been expecting her to say something like that. Too bad. She’d said it. Kenzie slid her hand over his smooth-shaven jaw and turned his face to hers. Wow. His gaze burned with passion. She’d never seen Linc like this. He was all man and then some. Hard to say who began the kiss, but it went on for a while. She didn’t remember taking the knot out of his tie, which hung open. A couple of buttons had parted company with the buttonholes on his shirt. Linc sat back when she did. “Wow. I mean, maybe you should take me home,” she said. “Not that I don’t want more, but--” Linc nodded, turning the key in the ignition until the engine revved. “Tell me when, Kenzie. That’s all I ask.

La DolceVita. The movie opens with a panorama of Rome’s magnificent skyline, the grand dome of St. Peter’s in the center. A helicopter carrying a large object appears in the distance. The camera zooms in; the object is a statue of Christ being hauled away from a downtown square. The camera then focuses on a group of young sunbathers who, distracted from their pleasure by the whirring blades, laugh mockingly. Why shouldn’t Jesus take the bus like everyone else? The helicopter flies on to discard its outdated cargo on a trash pile, and the youngsters return to their sun worship.

Exactly when they pass from the bleak to the fecund isn’t clear. The B road narrows and some oak branches drape the road for a stretch, darkening the interior of the cab. The route then dips, veers west. A turn, a steep ascent later and the outlook changes. Even Gracey is distracted by the carousel of shadow and sunlight upon a wilder earth and upon the windscreen. Not so flat here either. Hills ruffle the skyline and contour the land with smooth undulations. Patches of trees extend into actual woods that you can’t see the far side of from the nearest edge. A buzzard hovers. Then another. Wood pigeons flap for cover beneath them. Tonal shifts emerge. Varieties of cereal crops occult the liverish earth, combed by giants. Odd hay meadows are pebble-dashed with pastel. Hedgerows thicken to spike outwards and suggest internal hoppings and buzzings of minute life. Ancient trees instil repose, austere sentinels drowsing in the corner of fields. Below their muscular branches mooch caramel cows patched with chocolate. Above the vista, the dusty sheets of ashen cloud break apart into cumulus, plump like white cotton. The distinction between back there and here startles Tom. As it did when he came here for the viewings

She didn't like everything about her apartment, but she loved the view. In fact, that was one of the main reasons she decided to rent the place despite the price. There was nothing particularly special about it — there must have been thousands of equally affordable units out there with a better view of the New York skyline. But for her it wasn’t about iconic silhouettes of iconic buildings. Her window was giving her exactly the kind of view of the streets that she liked. Not too far, not too close, with the right mix of buildings nearby and a straight line of an avenue cutting through the city blocks and allowing to see far away. Depending on the mood, she could feel being in the busy crowd below or outside it. Which was just the way she liked it.

Everyone else is running for cover, ducking under jackets and being brought to heel by runaway umbrellas blowing violently inside-out, but for some reason I don't want to move from my spot, even though I'm more than a little scared. Maybe it's my view, the elegant chaos of the New York skyline stretched out before me, buildings stacked on top of one another, holding millions of stories, any one of which could soon be mine. Maybe it's the way the driving rain feels on my skin, cool and strong, commanding the attention of all my senses and making me feel hyper-alive. Or maybe it's the winds that lift my hair off my shoulders and stream it behind me like a flock of blackbirds, rushing in my ears and filling my lungs with an energy that seems unstoppable. All I know is that I'm standing in the middle of the Brooklyn Bridge, a lone girl in a long skirt watching a storm roll in with her eyes fully open for the first time, And I'm not sure if it's God, or fate, or just air masses colliding over water, but I will say this: It feels, finally, like flying.

liked the Big Banana a lot more when it wasn’t bouncing through subterranean rapids or drifting towards inter-dimensional waterfalls. A strong wind filled the sail. The sunset turned the downtown skyline to red gold. The sea stretched ahead of us in silky sheets of blue, and for now all I had to do was stand at the prow and enjoy the view.

I saw an even more egregious example of this a few years later. I had moved to Edmonton to finish my undergraduate degree. I took an apartment with my sister, who was studying to be a nurse. She was also an up-and-out-of-there person. (Not too many years later she would plant strawberries in Norway and run safaris through Africa and smuggle trucks across the Tuareg-menaced Sahara Desert, and babysit orphan gorillas in the Congo.) We had a nice place in a new high-rise, overlooking the broad valley of the North Saskatchewan River. We had a view of the city skyline in the background. I bought a beautiful new Yamaha upright piano, in a fit of enthusiasm. The place looked good