Upside Down Pictures Quotes

Turn the eye upside down, by looking at the landscape through your legs, and how agreeable is the picture, though you have seen it any time these twenty years!

[Looks at a picture of angels vs demons] That should be upside down. We know better now, don't we? Devils don't come from hell beneath us. No, they come from the sky.

What’s happened?” screamed Mrs. Twit. They stood in the middle of the room, looking up. All the furniture, the big table, the chairs, the sofa, the lamps, the little side tables, the cabinet with bottles of beer in it, the ornaments, the electric heater, the carpet, everything was stuck upside down to the ceiling. The pictures were upside down on the walls. And the floor they were standing on was absolutely bare. What’s more, it had been painted white to look like the ceiling.

It was uncanny. You press a button and a man drops dead a hundred meters away. It seemed hollow and remote, falsifying everything. It was a trick of the lenses. The man is an accurate picture. Then he is upside down. Then he is right side up. You shoot at a series of images conveyed to you through a metal tube. The force of a death should be enormous but how can you know what kind of man you’ve killed or who was the braver and stronger if you have to peer through layers of glass that deliver the image but obscure the meaning of the act? War has a conscience or it’s ordinary murder.

I first read The Lord of the Rings and The Hobbit when I was eighteen. It felt as though the author had taken every element I'd ever want in a story and woven them into one huge, seamless narrative; but more important, for me, Tolkien had created a place, a vast, beautiful, awesome landscape, which remained a resource long after the protagonists had finished their battles and gone their separate ways. In illustrating The Lord of the Rings I allowed the landscapes to predominate. In some of the scenes the characters are so small they are barely discernible. This suited my own inclinations and my wish to avoid, as much as possible, interfering with the pictures being built up in the reader's mind, which tends to be more closely focussed on characters and their inter-relationships. I felt my task lay in shadowing the heroes on their epic quest, often at a distance, closing in on them at times of heightened emotion but avoiding trying to re-create the dramatic highpoints of the text. With The Hobbit, however, it didn't seem appropriate to keep such a distance, particularly from the hero himself. I don't think I've ever seen a drawing of a Hobbit which quite convinced me, and I don't know whether I've gotten any closer myself with my depictions of Bilbo. I'm fairly happy with the picture of him standing outside Bag End, before Gandalf arrives and turns his world upside-down, but I've come to the conclusion that one of the reasons Hobbits are so quiet and elusive is to avoid the prying eyes of illustrators.

How’d you know it was a tulip if you’d never seen one?” “I’d seen pictures. Well, when I looked at it, the way it was growing, and how the leaves were, and how purely red the petals were, with yellow inside, the world turned upside down and everything went around like the colors in a kaleidoscope

She pictures his jovial figure, dressed up in his T-short, shouting that Kafka was born in Prague, and she feels a desire rising through her body, the irrepressible desire to take a lover. Not to patch up her life as it is. But to turn it completely upside down. Finally take possession of her own fate.

The baby bean with its strong heartbeat disappears and reappears on the screen, like a picture coming in and out of focus. But the third time it happens, there’s something else on the screen too, next to our baby bean. In fact, it looks like nothing more than a second baby bean, suspended upside down in Livia’s belly, thinking little, silent baby bean thoughts.

We could always blame the stars. I beg your pardon, Doctor? That’s what influenza means, she said. Influenza delle stelle—the influence of the stars. Medieval Italians thought the illness proved that the heavens were governing their fates, that people were quite literally star-crossed. I pictured that, the celestial bodies trying to fly us like upside-down kites. Or perhaps just yanking on us for their obscure amusement

I'd be (...) lying there on my back with my clothes on and looking up at the ceiling and watching the cigarette smoke flow up slow and splash against the ceiling like the upside-down slow-motion moving picture of the ghost of a waterfall or like the pale uncertain spirit rising up out of your mouth on the last exhalation, the way the Egyptians figured it, to leave the horizontal tenement of clay in its ill-fitting pants and vest.

All I want really big and rock-hard on a guy is his IQ, and what I consider to be hardcore porn is a picture of a guy reading a book with a hard cover. Soft-core porn is a paperback, and browsing Amazon is my version of PornHub, okay?

I’d be lying there in the hole in the middle of my bed where the springs had given down with the weight of wayfaring humanity, lying there on my back with my clothes on and looking up at the ceiling and watching the cigarette smoke flow up slow and splash against the ceiling like the upside-down slow-motion moving picture of the ghost of a waterfall or like the pale uncertain spirit rising up out of your mouth on the last exhalation, the way the Egyptians figured it, to leave the horizontal tenement of clay in its ill-fitting pants and vest.

There was something about seeing my daughter riding her little Radio Flyer tricycle for the first time that made me want to stuff her back in my womb and refuse to let her ever leave the safety of my body again—but not before filling an entire digital memory card with pictures.

This changing of focus in the eye, moving the eye itself when looking at things that do not move, deepens one’s sense of outer reality. Then static things may be caught in the very act of becoming. By so simple a matter, too, as altering the position of one’s head, a different kind of world may be made to appear. Lay the head down, or better still, face away from what you look at, and bend with straddled legs till you see your world upside down. How new it has become! From the close-by sprigs of heather to the most distant fold of the land, each detail stands erect in its own validity. In no other way have I seen of my own unaided sight that the earth is round. As I watch, it arches its back, and each layer of landscape bristles—though bristles is a word of too much commotion for it. Details are no longer part of a grouping in a picture of which I am the focal point, the focal point is everywhere. Nothing has reference to me, the looker. This is how the earth must see itself.

I think museums are dead boring. I don't like most of the pictures on their walls. With modern pieces you never know if it's a sandwich on the floor half-eaten by some animals, a forgotten hors d'oeuvre -- or Art Some great artist paints shit pictures that I could've surpassed in nursery school and then hangs them upside down on the wall. I mean, what about that involves Art?

I lay back with a groan and close my eyes. I am just getting comfortable when two sharp elbows land in my midsection. Hayley crawls on top of me on the couch. I think she must be part monkey. She holds a kid-sized board book in her hand. “Wead,” she says, shoving it in my face. I sit up, tucking her into my lap. I take the book from her and open it, but the words jumble. I turn it upside down. “Once upon a time,” I begin. “Dat’s not how it goes,” she complains. She’s a smart girl. “I know,” I explain. “But books are magical, and if you turn them upside down, there’s a whole new story in the pages.” “Weally?” she asks, her eyes big with wonder. No, not really. But it’s the best I can do, kid. “Really,” I affirm. She wiggles, settling more comfortably in my arms. I start to make up a story based on the upside-down pictures. She listens intently. “Once upon a time, there was a little frog. And his name was Randolf.” “Randolf,” she repeats with a giggle. “And Randolf had one big problem.” “Uh oh,” she breathes. “What kind a problem?” “Randolf wanted to be a prince. But his mommy told him that he couldn’t be a prince since he was just a frog.” I keep reading until I say, “The end.” She lays the book to the side and snuggles into me. I kiss the top of her head because it feels like the right thing to do. And she smells good. “Your story was better than the book’s story,” she says. My heart swells with pride. “Thank you.” If only it was this easy to please the adults of the world.

I griped about it at lunch one day to Bill Weist and Dr. Leslie Squier, our visiting psychologists from Reed College. I'd been trying to train one otter to stand on a box, I told them. No problem getting the behavior; as soon as I put the box in the enclosure, the otter rushed over and climbed on top of it. She quickly understood that getting on the box earned her a bite of fish, But. As soon as she got the picture, she began testing the parameters. 'Would you like me lying down on the box? What if I just put three feet on the box? Suppose I hang upside down from the edge of the box? Suppose I stand on it and look under it at the same time? How about if I put my front paws on it and bark?' For twenty minutes she offered me everything imaginable except just getting on the box and standing there. It was infuriating, and strangely exhausting. The otter would eat her fish and then run back to the box and present some new, fantastic variation and look at me expectantly (spitefully, even, I thought) while I struggled once more to decide if what she was doing fit my criteria or not. My psychologist friends flatly refused to believe me; no animal acts like that. If you reinforce a response, you strengthen the chance that the animal will repeat what it was doing when it was reinforced; you don't precipitate some kind of guessing game. So I showed them. We all went down to the otter tank, and I took the other otter and attempted to get it to swim through a small hoop. I put the hoop in the water. The otter swam through it, twice. I reinforced it. Fine. The psychologists nodded. Then the otter did the following, looking up for a reward each time: swam through the hoop and stopped, leaving its tail on the other side. Swam through and caught the hoop with a back foot in passing, and carried it away. Lay in the hoop. Bit the hoop Backed through the hoop. 'See?' I said. 'Otters are natural experimenters.

The Pirahãs are unable to perceive some things that even children from Western culture perceive well. For one thing, Pirahãs cannot make out two-dimensional objects, as in drawings and photographs, very well. They often hold pictures sideways or upside down, and ask me what it is that they are supposed to be seeing. They are getting better nowadays, as they have been exposed to many photos, but still this is not easy for them.

stompers! The next morning, Judy was already hard at work on the case by the time Stink woke up. She sprawled on the floor with a rainbow of markers all around her. “What’re you doing to Officer Kopp’s flyers?” Stink asked. “Fixing them,” said Judy, coloring in blue eyes on the picture of Mr. Chips. Stink tilted his head, reading upside down. He was trying to figure out the words Judy had just added. “‘Have you seen this goo?’” “‘Have you seen this dog.’” “Oh. Your D looks like an O.” “Stink, a good detective can read backward and upside down.” Judy colored in a black letter R. “‘Drawer’?” Stink asked, squinching up his face. “‘Reward’!” said Judy. “We have to offer big bucks so that anyone who has seen Mr. Chips or has any information on his whereabouts will call the police. Rule Number One of being a good detective is don’t be afraid to ask for help.” “You mean Rule Number One Gazillion!

Why did dinner at the Watson’s have his insides turning upside down and then back up again? Gads. And ‘twas as if his fingers were the size of potatoes from the way he had to keep fussing with his cravat that refused to tie properly. He glanced at the clock on the dresser again before fastidiously fastening his hair behind his head for the tenth time. They would be expecting him within the hour.  Sighing, he shook his head. The kiss he’d almost shared with Kitty yesterday had robbed every thought since. The nervous excitement that circled his limbs kept every muscle weightless and somehow simultaneously heavy. He pushed out a quick breath and stepped back from the mirror to assess his appearance from a distance. Well, not the picture of masculine perfection that he’d like, but it would do. He always seemed to receive the greatest amount of smiles from passing ladies when he wore this navy suit, so perhaps Kitty would... Blast! He spun for the door and started down the stairs as the bothersome thoughts continued to tickle his mind. Had she wanted it too? The kiss? It seemed so. Thankfully she’d been the stronger one and moved away before their fate was sealed. For surely if he had kissed her, it would have been the end of him. Snatching

You've probably seen him. The photograph shows a tiny man in a white shirt and dark pants, diving head first down the slick steel side of the building. Next to that gigantic building, he's just a small, dark squiggle, and at first you think he's a piece of lint or dust on the camera lens that got onto the picture by mistake. It's only when you look closely that you understand. The squiggle is human. A time being. A life. His arms are next to his body and his one knee is bent, like he's doing an Irish jig, only upside down. It's all wrong. He shouldn't be dancing. He shouldn't be there at all.

I confess that as I saw the tender plants and shining flowers bow before the remorseless beam, civilisation seemed a sad business, and yet there was something epic, something large-gestured and splendid in the "breaking" season. Smooth, glossy and unwrinkled the thick ribbon of jet-black sod rose upon the share and rolled away from the mold-board's glistening curve to tuck itself upside down into the furrow beneath the horse's heels, and the picture which my uncle made, gave me pleasure in spite of the sad changes he was making.

Whether you walk on two or four legs, the dominant function of a leg is to be a pendulum. This is illustrated in figure 19, but if a picture is worth a thousand words, then action is worth even more, so take a few steps around the room and focus on what your right leg is doing. Notice when it isn’t on the ground, it swings forward like the pendulum on a grandfather clock with its center of rotation at the hip. This “swing phase” of a stride is primarily powered by your hip muscles. Your leg’s pendular action flips, however, at the end of the swing phase when your foot collides with the ground. At this instant, your leg becomes an upside-down pendulum whose center of rotation is the ankle. In essence, your leg becomes a stilt during this “stance phase” of the stride. The stilt-like behavior of legs during stance is key to understanding how you use energy when you walk. During the first half of the stance phase, muscles vault your body up and over that leg, elevating your center of mass about two inches (five centimeters). That upward lift expends calories but stores potential energy, just as if you were to raise this book. Then during the second half of stance, your body converts that potential energy to kinetic energy by falling downward and forward, as if you were to drop the book. Eventually, your swing leg collides with the ground, halting your body’s fall and starting a new cycle. Walking thus costs calories to raise the body’s center of mass in the first half of stance, then redirect it upward and forward from one step to the next, and to swing the arms and legs.8 While at least one foot is on the ground at all times during a normal walk, the key energetic principle that moves you forward is using your legs like pendulums to exchange potential and kinetic energy. Quadrupeds like dogs and chimpanzees use their four legs in just the same way.

Can I help?” “Hold this.” She handed him the wreath as she climbed the ladder. It wobbled on the hardwood floor. “I guess the floor’s not level.” “Part of the old house charm.” At the top she stretched high, reaching for the bottom of the picture hanging on the wall, then handed it down to him. The ladder wobbled as they swapped pieces. She grabbed onto the sides, but it wobbled again. When she looked down at Murphy, he wore a roguish smile, and his eyes held a mischievous sparkle. “Stop that,” she said. “What?” “It was you.” “I don’t know what you’re talking about.” She spared him a look and climbed to the highest safe rung, hoping he had the good sense not to fool with the ladder anymore. The wreath wasn’t heavy, but it was awkward. She tried to hook it on the nail that had held the picture. Missed. She rose on her toes. Just out of reach. She breathed a laugh. “Sheesh.” After another try, she lowered her arms for a rest. The ladder moved. “Stop it.” She steadied herself, then realized the ladder wasn’t wobbling. It was vibrating as Murphy climbed up behind her. “What are you doing?” “Helping.” She tightened her grip. “Get down. It isn’t safe.” “This is the heaviest-duty ladder I sell. Since neither of us weighs three hundred pounds, it’ll be fine.” He stopped behind her, the ladder stilling. The warmth of his chest pressed against her back. The clean, musky scent of his soap teased her nose. Her throat went dry. Her heart flittered around her chest like flurries in a snowstorm. He took the wreath, leaning closer, reaching higher. His thighs pressed against hers. His breath stirred the hairs at her temple. A shiver skated down her spine. Her legs trembled, and she braced a hand against the wall. This is Murphy, Layla. Remember? The guy who practically threw Jessica at Jack? The guy who didn’t bother mentioning that your fiancé was hooking up with your cousin? Even as the thought surfaced, Beckett’s words came back to her. Had she blown Murphy’s role out of proportion? Her thoughts tangled into a snarly knot. Murphy settled the wreath against the wall and leaned back infinitesimally. “That where you want it?” His lips were inches from her ear. If she turned her head just a bit— What the heck, Layla? She gave the wreath a cursory glance. “Yeah.” She didn’t care if it was upside down, backward, and flourishing with a moldy infestation. “Can you get down already?” “You seem a little tense.” His tone teased. Did he know the effect he was having on her? “You’re shaking the ladder, and your weight is straining the capacity.” Her fingers pressed against the wall, going white against the oak paneling. “Have it your way.” He leaned in, his lips close enough to brush her hair. “Let me know if you need any more help.

Neither are the pig-skins, in common use to hold wine, and hung out in the sun in all directions, by any means ornamental, as they always preserve the form of very bloated pigs, with their heads and legs cut off, dangling upside-down by their own tails.

The reason we recoil from this is that we have in our day started by getting the whole picture upside down. Starting with the doctrine that every individuality is 'of infinite value,' we then picture God as a kind of employment committee whose business it is to find suitable careers for souls, square holes for square pegs. In fact, however, the value of the individual does not lie in him. He is capable of receiving value. He receives it by union with Christ. There is no question of finding for him a place in the living temple which will do justice to his inherent value and give scope to his natural idiosyncrasy. The place was there first. The man was created for it. He will not be himself till he is there. We shall be true and everlasting and really divine persons only in Heaven, just as we are, even now, coloured bodies only in the light.

Whenever our lives are turned upside down, we have only to find something worth doing to change things for the better. We must do it with wavering confidence in the beginning. We may have to do it despite the presence of fear. But inevitably, our doubts and fears will step aside when our unyielding commitment to take action comes into the picture. The results produced by these initial acts of faith will become the foundation upon which to build a whole new life. Results are more than just an objective; they are the seeds of future joy and prosperity. Every result we experience, no matter how small, is another certain step taken toward a life of achievement.

Cannon Films […] already had a Vietnam script for its own kicking around. Impressed by Norris in a way they had not been by Van Damme, Golan and Globus signed him up to a five-film contract and greenlit both of the war pictures, to be released as Missing in Action and Missing in Action 2. The first was set during the conflict itself, with Norris’s character, American POW Jim Braddock, tormented by his Vietnamese captors. One torture scene called for Braddock to be hung upside down from a tree, a sack placed over his head, and a ravenous rat placed inside it. After a violent tussle, it would end with the reveal that Braddock has bitten the creature to death, rather than vice versa. “They were getting ready to do this scene, and I see all these mountain rats in cages,” remembers Norris. “I say, ‘Where’s the fake rat?’ No one says anything. So I say to the director, ‘How are you going to do this scene?’ And he says, ‘I haven´t really thought about it that much.’” Norris faced a choice: cancel the scene or have an actual rat killed and placed inside his mouth (the American Humane Association had clearly not been invited on set). But he didn’t see it as a choice at all. He ordered the animal killed, bit into its bulbous, furry corpse, and was hoisted up for the scene, shaking to simulate a struggle while fake blood poured down the rope. “The blood is coming down into my mouth, mixed with the saliva of the rat. I’m shaking all over, and finally I’m about to throw up,” Norris says, shuddering. “All I can taste is this rat in my mouth and I’m thinking I’ve got the bubonic plague from doing this with a mountain rat. But the scene was good.” Norris’s wife, Dianne, refused to kiss him for a week.

Cannon Films […] already had a Vietnam script for its own kicking around. Impressed by Norris in a way they had not been by Van Damme, Golan and Globus signed him up to a five-film contract and greenlit both of the war pictures, to be released as Missing in Action and Missing in Action 2. The first was set during the conflict itself, with Norris’s character, American POW Jim Braddock, tormented by his Vietnamese captors. One torture scene called for Braddock to be hung upside down from a tree, a sack placed over his head, and a ravenous rat placed inside it. After a violent tussle, it would end with the reveal that Braddock has bitten the creature to death, rather than vice versa. “They were getting ready to do this scene, and I see all these mountain rats in cages,” remembers Norris. “I say, ‘Where’s the fake rat?’ No one says anything. So I say to the director, ‘How are you going to do this scene?’ And he says, ‘I haven´t really thought about it that much.’” Norris faced a choice: cancel the scene or have an actual rat killed and placed inside his mouth (the American Humane Association had clearly not been invited on set). But he didn’t see it as a choice at all. He ordered the animal killed, bit into its bulbous, furry corpse, and was hoisted up for the scene, shaking to simulate a struggle while fake blood poured down the rope. “The blood is coming down into my mouth, mixed with the saliva of the rat. I’m shaking all over, and finally I’m about to throw up,” Norris says, shuddering. “All I can taste is this rat in my mouth and I’m thinking I’ve got the bubonic plague from doing this with a mountain rat. But the scene was good.” Norris’s wife, Dianne, refused to kiss him for a week.

He closed his eyes against his pounding headache, but the blackness engulfed him again. A familiar vision materialized—the statuesque, veiled woman with the amulet and silver hair in ringlets. As before, she was on the banks of a bloodred river and surrounded by writhing bodies. She spoke to Langdon, her voice pleading. Seek and ye shall find! Langdon was overcome with the feeling that he had to save her … save them all. The half-buried, upside-down legs were falling limp … one by one. Who are you!? he called out in silence. What do you want?! Her luxuriant silver hair began fluttering in a hot wind. Our time grows short, she whispered, touching her amulet necklace. Then, without warning, she erupted in a blinding pillar of fire, which billowed across the river, engulfing them both. Langdon shouted, his eyes flying open. Dr. Brooks eyed him with concern. “What is it?” “I keep hallucinating!” Langdon exclaimed. “The same scene.” “The silver-haired woman? And all the dead bodies?” Langdon nodded, perspiration beading on his brow. “You’ll be okay,” she assured him, despite sounding shaky herself. “Recurring visions are common with amnesia. The brain function that sorts and catalogs your memories has been temporarily shaken up, and so it throws everything into one picture.” “Not a very nice picture,” he managed. “I know, but until you heal, your memories will be muddled and uncataloged—past, present, and imagination all mixed together. The same thing happens in dreams.

On his fourth day with Castro he shot a government scout, aiming through a telescopic sight. It was uncanny. You press a button and a man drops dead a hundred meters away. It seemed hollow and remote, falsifying everything. It was a trick of the lenses. The man is an accurate picture. Then he is upside down. Then he is right side up. You shoot at a series of images conveyed to you through a metal tube. The force of a death should be enormous but how can you know what kind of man you’ve killed or who was the braver and stronger if you have to peer through layers of glass that deliver the image but obscure the meaning of the act? War has a conscience or it’s ordinary murder.

I did try,” said Henry. He had stared and stared at the paper. His imagination had been whirling with pictures, and the pictures in his imagination had wiggled down into his arm and kicked inside of his fingers, wanting to come out. But he knew they were the wrong pictures. They were pictures of purple lettuce leaves growing upside-down out of the nostrils of a three-eyed asparagus monster. They were pictures of rabbits that jumped so high they tore holes in the clouds and landed on Mars. His drawings would be different from everyone else’s. They would be laughed at. And so he had to shake the pictures out of his fingers and squeeze them back into his imagination and shut the door of his brain tightly so they wouldn’t come out. “A hanging box of bunnies is the worst Art Project ever,” he sighed.

Through reading, sheer determination and my support system (of family and friends) the benefit of time slowly turned the infinite upside-down puzzle, piece by piece, around in my mind. Its only lately that I'm able see a more integrated and complete picture - a clear vision of what life should be without the toxicity of abuse and domestic violence.

I went to that meet.' She waves a hand. 'For Barry. And I cannot describe to you how sexy the girn on your face was when you landed your last jump in that first round. Oh my God.' Her fingers tangle in her hair, bunching it up. 'I can picture it. You were wearing your cute tank top team jersey and these tiny athletic shorts, and you did that little backward jumpy thing you guys do, you know?' I nod, amused by her description of the Fosbury Flop. 'And you were upside down.' Her mouth quriks up on one side. 'And I swear to God, you smiled right at me. Just this huge shit-eating grin, like, 'Screw you, look what I can do.' I remember watching you stretch on the track after and thinking that a girl like you could ruin my whole goddamn life.

I went to that meet.' She waves a hand. 'For Barry. And I cannot describe to you how sexy the girn on your face was when you landed your last jump in that first round. Oh my God.' Her fingers tangle in her hair, bunching it up. 'I can picture it. You were wearing your cute tank top team jersey and these tiny athletic shorts, and you did that little backward jumpy thing you guys do, you know?' I nod, amused by her description of the Fosbury Flop. 'And you were upside down.' Her mouth quirks up on one side. 'And I swear to God, you smiled right at me. Just this huge shit-eating grin, like, 'Screw you, look what I can do.' I remember watching you stretch on the track after and thinking that a girl like you could ruin my whole goddamn life.