Quotes about model
page 8

Marisa Miller photo

“I get a kick out of it, but it would be stupid to let it go to my head. It’s modeling—I didn’t find the cure for cancer.”

Marisa Miller (1978) American model

[2008-05-14, Maxim Releases Hot 100 of 2008 List. Find out which supermodel came out on top., http://www.film.com/features/story/maxim-releases-hot-100-2008/20818651, Film.com, http://www.film.com.nyud.net/features/story/maxim-releases-hot-100-2008/20818651, 2010-04-03, 2009-07-29]
The sexiest woman on the planet: Californian supermodel Marisa Miller wins FHM international poll, Daily Mail, 2010-05-11, 2010-05-16 http://www.dailymail.co.uk/tvshowbiz/article-1276587/Supermodel-Marisa-Miller-wins-FHM-international-poll-The-sexiest-woman-planet.html,

Ed Yourdon photo
Jean Metzinger photo

“Maybe because I had been out very late the night before and was not able to put up my usual resistance, but it seemed to me, sitting there with the sound of his voice dying in my ears, that I could fall in love with him.
And then, as unexpected as a hidden step, I felt myself actually stumble and fall. And there it was, I was in love with him! As simple as that.
He was the first real person I’d ever been in love with. I couldn’t get over it. What I was trying to figure out was why I had never been in love with him before. I mean I’d had plenty of chance to. I’d seen him almost daily that summer in Maine two years ago when we were both in a Summer Stock company. … He was always rather nice to me in his insolent way, but there was also, I now remembered with a passing pang, an utterly ravishing girl, a model, the absolute epitome of glamour, called Lila. She used to come up at week ends to see him.
Then I heard from someone that he’d quit college the next winter and gone abroad to become a genius. I’d met him again when I first landed in Paris. He’d been very nice, bought me a drink, taken down my telephone number and never called me.
You’re a dead duck now, I told myself, as I relaxed back into my coma. You’re gone. I looked at him, smiling idly. I tried to imagine what was going on in his mind.”

Elaine Dundy (1921–2008) American journalist, actress

Part One, One
The Dud Avocado (1958)

Warren Farrell photo
Margaret Mead photo
Don Soderquist photo

“We as leaders, ought to model integrity every day. It starts with how we handle the dilemmas that may seem small. Your decisions and actions set the tone for the culture and reinforce the expectation of others.”

Don Soderquist (1934–2016)

Don Soderquist “ Live Learn Lead to Make a Difference https://books.google.com/books?id=s0q7mZf9oDkC&lpg=pg=PP1&dq=Don%20Soderquist&pg=PP1#v=onepage&q&f=false, Thomas Nelson, April 2006 p. 147.
On Acting with Integrity

Walter Benjamin photo
Denise Scott Brown photo
June Vincent photo
Michael Palin photo

“It's not a model if it's full-size. It's a ice-breaker!”

Michael Palin (1943) British comedian, actor, writer and television presenter

"Tomkinson's Schooldays"
Ripping Yarns (1976 - 1979)

Lars Peter Hansen photo
Jack McDevitt photo
John of Salisbury photo

“Law is the gift of God, the model of equity, a standard of justice, a likeness of the divine will, the guardian of well-being, a bond of union and solidarity between peoples, a rule defining duties, a barrier against the vices and the destroyer thereof, a punishment of violence and all wrongdoing.”
Lex donum Dei est, æquitatis forma, norma justitiæ, divinæ voluntatis imago, salutis custodia, unio et consolidatio populorum, regula officiorum, exclusio et exterminatio vitiorum, violentiæ et totius injuriæ pœna.

Bk. 8, ch. 17
Policraticus (1159)

“This use of building blocks to generate internal models is a pervasive feature of complex adaptive systems.”

John H. Holland (1929–2015) US university professor

Source: Hidden Order - How Adaptation Builds Complexity (1995), Ch 1. Basic Elements, p. 37

Roy Lichtenstein photo
Hans Freudenthal photo
Burkard Schliessmann photo
Barbara Hepworth photo
Robert Costanza photo
Dan Quayle photo

“When you take the UNCF model that, what a waste it is to lose one's mind, or not to have a mind is being very wasteful, how true that is.”

Dan Quayle (1947) American politician, lawyer

Speech to the United Negro College Fund (9 May 1989), mangling the Fund's slogan "A mind is a terrible thing to waste."

Heidi Klum photo

“Models have a sell-by date. There are certain jobs I don't do anymore, like the young, sexy, cute things for teenagers, or even 25-year-old girls. I go in a different bracket now.”

Heidi Klum (1973) German model, television host, businesswoman, fashion designer, television producer, and actress

Quoted by Jennifer Weiner in InStyle, February 2010.

Koenraad Elst photo
Orrin H. Pilkey photo
Joseph Warton photo
John Gray photo
Grady Booch photo

“#The availability of high-quality Model Compilers and Virtual Execution Environments (VEEs) that provide "out of the box" platforms upon which Executable UML models can execute. These VEEs, which exist today in a somewhat incipient stage, will someday soon reduce low-level system architectures to near-commodity status.”

Grady Booch (1955) American software engineer

Cited in: Gerry Boyd (2003) " Executable UML: Diagrams for the Future http://www.devx.com/enterprise/Article/10717." published at devx.com, February 5, 2003.
The Limits of Software

Richard L. Daft photo

“The management science approach to organizational decision making is the analog to the rational approach by individual managers. Management science came into being during World War II. At that time, mathematical and statistical techniques were applied to urgent, large-scale military problems that were beyond the ability of individual decision makers. Mathematicians, physicists, and operations researchers used systems analysis to develop artillery trajectories, antisubmarine strategies, and bombing strategies such as salvoing (discharging multiple shells simultaneously). Consider the problem of a battleship trying to sink an enemy ship several miles away. The calculation for aiming the battleship's guns should consider distance, wind speed, shell size, speed and direction of both ships, pitch and roll of the firing ship, and curvature of the earth. Methods for performing such calculations using trial and error and intuition are not accurate, take far too long, and may never achieve success.
This is where management science came in. Analysts were able to identify the relevant variables involved in aiming a ship's guns and could model them with the use of mathematical equations. Distance, speed, pitch, roll, shell size, and so on could be calculated and entered into the equations. The answer was immediate, and the guns could begin firing. Factors such as pitch and roll were soon measured mechanically and fed directly into the targeting mechanism. Today, the human element is completely removed from the targeting process. Radar picks up the target, and the entire sequence is computed automatically.”

Richard L. Daft (1964) American sociologist

Source: Organization Theory and Design, 2007-2010, p. 500

James McNeill Whistler photo

“It is for the artist.... in portrait painting to put on canvas something more than the face the model wears for that one day; to paint the man, in short, as well as his features.”

James McNeill Whistler (1834–1903) American-born, British-based artist

Propositions, 2
1870 - 1903, The Gentle Art of Making Enemies' (1890)

Adolphe Quetelet photo

“Managers model the way by first changing themselves.”

James A. Champy (1942) American businessman

Source: Reengineering management, 1995, p. 35

Chuck Palahniuk photo
Linus Torvalds photo
Michael Lewis photo
Bruce Timm photo
Shona Brown photo
Georg Christoph Lichtenberg photo
Wanda Orlikowski photo
Demi Moore photo

“Models, even male models — how small they've gotten! It looks great for the clothes, but it's not what you want in real life. Why do we have to keep looking at ourselves and measuring?”

Demi Moore (1962) American actress

Demi Moore Cover Interview - Demi Moore on Fame and Family - Harper's BAZAAR August 3, 2010 http://www.harpersbazaar.com/magazine/cover/demi-moore-cover-interview-0410

John Scalzi photo
Phil Brooks photo

“I would love to talk to you about that, Josh, but there's something else I want to bring up, and that's this. (Holds up a screenplay entitled "Live For The Moment: The Jeff Hardy Story") I had a friend in a fancy Hollywood agency the other day, and he ran across this little gem. Somebody actually took the time to write a screenplay about the Jeff Hardy story. So I was paging through it, and lo and behold, it culminates, of course, with Jeff conquering his demons and beating me her tonight in a TLC match at SummerSlam. What a great feelgood story, Josh, all except, of course, for the ending, which is not reality-based. It's fake, it's phony, just like everybody who lives in this town. I'd go as far as to say that I'm the only real person in this building right now. I wish I could say it's a Los Angeles epidemic, but the fact is it's worldwide. You have people that falsely idolize what they see in movies and on television; you have housewives in Iowa that subscribe to U. S. Weekly, US Weekly, or whatever it's called, so they can model their hair after Kate Gosselin, instead of helping their own children with their homework; you have little kids all over the world, millions of them, who idolize the "hip, cool star", and it doesn't matter if that hip cool star is some dork vampire in Twilight, or if it's Jeff Hardy. It doesn't matter if that hip cool star has a reprehensible, reckless lifestyle. You know, it doesn't matter if the collective intelligence of this entire country continues to spiral downward, day in and day out. It doesn't matter as long as it's cool, right? You know why they don't make movies about a guy like me? It's cause I don't support your poisoned society. I don't support this den of iniquity known as Hollywood. No, instead, I'm dismissed as being preachy, except I'm not preachy—I never have been. I just tell the truth. You know, I'm not a screenwriter either, but tonight I think I'll take a stab at it. Tonight I'm gonna rewrite the ending of "The Jeff Hardy Story."”

Phil Brooks (1978) American professional wrestler and mixed martial artist

It's gonna be horrifying. It's gonna be very, very graphic. It might be hard to watch for a lot of people, but it will have a happy ending: new World Heavyweight Champion—CM Punk.
At SummerSlam
Friday Night SmackDown

Noam Chomsky photo

“A good way of finding out who won a war, who lost a war, and what the war was about, is to ask who's cheering and who's depressed after it's over - this can give you interesting answers. So, for example, if you ask that question about the Second World War, you find out that the winners were the Nazis, the German industrialists who had supported Hitler, the Italian Fascists and the war criminals that were sent off to South America - they were all cheering at the end of the war. The losers of the war were the anti-fascist resistance, who were crushed all over the world. Either they were massacred like in Greece or South Korea, or just crushed like in Italy and France. That's the winners and losers. That tells you partly what the war was about. Now let's take the Cold War: Who's cheering and who's depressed? Let's take the East first. The people who are cheering are the former Communist Party bureaucracy who are now the capitalist entrepreneurs, rich beyond their wildest dreams, linked to Western capital, as in the traditional Third World model, and the new Mafia. They won the Cold War. The people of East Europe obviously lost the Cold War; they did succeed in overthrowing Soviet tyranny, which is a gain, but beyond that they've lost - they're in miserable shape and declining further. If you move to the West, who won and who lost? Well, the investors in General Motors certainly won. They now have this new Third World open again to exploitation”

Noam Chomsky (1928) american linguist, philosopher and activist

and they can use it against their own working classes. On the other hand, the workers in GM certainly didn't win, they lost. They lost the Cold War, because now there's another way to exploit them and oppress them and they're suffering from it.
Forum with John Pilger and Harold Pinter in Islington, London, May 1994 https://web.archive.org/web/20000823015510/http://www.redpepper.org.uk/cularch/xalmeida.html.
Quotes 1990s, 1990-1994

Chetan Bhagat photo

“Esha's modelling is also beyond me as no one is ever going to pay me for my looks.”

Source: One Night @ the Call Center (2005), P. 27

Otto Mueller photo

“I have always taken the art of the ancient Egyptians as my model, even in purely technical matters.”

Otto Mueller (1874–1930) German painter and printmaker of the expressionist movement

Quote of Otto Mueller, 1919; as cited by de:Wolf-Dieter Dube, in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 90

Daniel Hannan photo

“I love Turkey. I first traveled there in my early twenties, when I was obsessed by the 1915 Dardanelles campaign. I immediately liked the people — brave, stoical, generous, hospitable and patriotic, if a little inclined to conspiracy theories. I saw Turkey as a model for the region, a successful, Western-oriented Muslim democracy.”

Daniel Hannan (1971) British politician

"The republic will survive Trump, but will the Republicans?" https://www.washingtonexaminer.com/opinion/dan-hannan-the-republic-will-survive-trump-but-will-the-republicans (3 September 2018), The Washington Examiner
2010s

Jacques Derrida photo

“Although Saussure recognized the necessity of putting the phonic substance between brackets ("What is essential in language, we shall see, is foreign to the phonic character of the linguistic sign" [p. 21]. "In its essence it [the linguistic signifier] is not at all phonic" [p. 164]), Saussure, for essential, and essentially metaphysical, reasons had to privilege speech, everything that links the sign to phone. He also speaks of the "natural link" between thought and voice, meaning and sound (p. 46). He even speaks of "thought-sound" (p. 156). I have attempted elsewhere to show what is traditional in such a gesture, and to what necessities it submits. In any event, it winds up contradicting the most interesting critical motive of the Course, making of linguistics the regulatory model, the "pattern" for a general semiology of which it was to be, by all rights and theoretically, only a part. The theme of the arbitrary, thus, is turned away from its most fruitful paths (formalization) toward a hierarchizing teleology:… One finds exactly the same gesture and the same concepts in Hegel. The contradiction between these two moments of the Course is also marked by Saussure's recognizing elsewhere that "it is not spoken language that is natural to man, but the faculty of constituting a language, that is, a system of distinct signs …," that is, the possibility of the code and of articulation, independent of any substance, for example, phonic substance.”

Source: Positions, 1982, p. 21

William Grey Walter photo
Auguste Rodin photo

“Gsell: What astonishes me, is that your way is so different from that of other sculptors. They prose the model. Instead of that, you wait till a model has instinctively or accidentally taken an Interesting pose, and thon you reproduce It. Instead of your giving orders to the model, the model gives orders to you.
Rodin: I am not at the model's orders; I am at Nature's. Doubtless my confreres have their reasons for proceeding as they do. But when one constrains Nature in that way and treats human beings as mannikins, one runs a risk of getting nothing but dead, artificial results. A hunter of truth and a trapper of life. I am careful not to follow their example. I seize upon the movements I observe, but I don't dictate them. when a subject requires a predetermined pose, I merely Indicate It. For I want only what reality will afford without being forced. In everything I obey Nature. I never assume to command her. My sole ambition Is a servile fidelity.
Gsell : And yet, you take liberties with nature. You make changes.
Rodin : Not at all. I should be false to myself if I did.
Gsell : But you finished work is never like the plaster sketch
Rodin : That is so, but the sketch is far less true than the finished work. It would Impossible for a model to keep a living attitude during all the time it takes to shape the clay. Still, I retain a general idea of the pose and require the model to conform to it. But this is not all. The sketch reproduces only the exterior. I must next reproduce the spirit, which is every whit as essential a part of Nature. I see the whole truth — not merely the fraction of it that lies upon the surface. I accentuate tho lines that best express the spiritual state I am Interpreting.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Camille Paglia photo
Anthony Burgess photo
Thomas Carlyle photo
Kancha Ilaiah photo
John Moffat photo
Ivor Grattan-Guinness photo
William Grey Walter photo

“Language, intelligence, and humor, along with art, generosity, and musical ability, are often described as human equivalents of the peacock’s tail. However, peacocks afford a poor analogy for the role of courtship displays in humans. Other animal models offer a better fit. In a number of nonhuman species — species as diverse as sea dragons and grebes — males and females engage in a mutual courtship “dance,” in which the two partners mirror one another’s movements. In Clark’s grebes and Western grebes, for instance, the pair bond ritual culminates in the famous courtship rush: The male and female swim side by side along the top of the water, with their wings back and their heads and necks in a stereotyped posture. If we want a nonhuman analogue for the role of creative intelligence or humor in human courtship, we should think not of ornamented peacocks displaying while drab females evaluate them. We should think instead of grebes engaged in their mating rush or sea dragons engaged in their synchronized mirror dance. Once we have one of these alternative images fixed in our minds, we can then add the proviso that there is a slight skew such that, in the early stages of courtship, men tend to display more vigorously and women tend to be choosier. However, this should be seen as a qualification to the primary message that intelligence, humor, and other forms of sexual display are part of the mutual courtship process in our species.”

Source: The Ape that Thought It Was a Peacock: Does Evolutionary Psychology Exaggerate Human Sex Differences? (2013), p. 160

Judea Pearl photo
Paul DiMaggio photo
Roger A. Pielke photo

“The claim by the IPCC that an imposed climate forcing (such as added atmospheric concentrations of CO2) can work through the parameterizations involved in the atmospheric, land, ocean and continental ice sheet components of the climate model to create skillful global and regional forecasts decades from now is a remarkable statement. That the IPCC states that this is a ‘much more easily solved problem than forecasting weather patterns just weeks from now’ is clearly a ridiculous scientific claim.”

Roger A. Pielke (1946) American meteorologist

"A Short Summary of Why Skillful Climate Prediction Is Much More Difficult than Skillful Weather Prediction," Climate Science: Roger Pielke Sr. Research Group Weblog (2007-05-23) http://climatesci.org/2007/05/23/a-short-summary-of-why-skillful-climate-prediction-is-much-more-difficult-than-skillful-weather-prediction/

Fred Polak photo
Richard Pipes photo
Rollo May photo
Jane Roberts photo

“Looking back now, it's easy to see that I had no models for the socially accepted conventional female role, which was certainly a blessing.”

Jane Roberts (1929–1984) American Writer

Source: The God of Jane: A Psychic Manifesto (1981), p. 44

Charlotte Salomon photo

“…two things. First that Daberlohn's eyes seemed to say: 'Death and the Maiden, that is the two of us;' and second, that she still loved him as much as ever. And if he was Death, then everything was alright, then she did not have to kill herself like her ancestors... So she was in fact the living model for his theories, and she remembered…”

Charlotte Salomon (1917–1943) German painter

Charlotte's 3th ending, written page in brush, related to JHM no. 4924r https://charlotte.jck.nl/detail/M004924/part/character/theme/keyword/M004924: (556) 'Life? or Theater..', p. 821
Charlotte Salomon - Life? or Theater?

Paul Krugman photo
Willem de Sitter photo
Talal Abu-Ghazaleh photo
Auguste Rodin photo

“The landscape painter, perhaps, goes even further. It is not only in living beings that he sees the reflection of the universal soul; it is in the trees, the bushes, the valleys, the hills. What to other men is only wood and earth appears to the great landscapist like the face of a great being. Corot saw kindness abroad in the trunks of the trees, in the grass of the fields, in the mirroring water of the lakes. But there Millet read suffering and resignation.
Everywhere the great artist hears spirit answer to his spirit. Where, then, can you find a more religious man?
Does not the sculptor perform his act of adoration when he perceives the majestic character of the forms that he studies? — when, from the midst of fleeting lines, he knows how to extricate the eternal type of each being? — when he seems to discern in the very breast of the divinity the immutable models on which all living creatures are moulded? Study, for example, the masterpieces of the Egyptian sculptors, either human or animal figures, and tell me if the accentuation of the essential lines does not produce the effect of a sacred hymn. Every artist who has the gift of generalizing forms, that is to say, of accenting their logic without depriving them of their living reality, provokes the same religious emotion; for he communicates to us the thrill he himself felt before the immortal verities.”

Auguste Rodin (1840–1917) French sculptor

Art, 1912, Ch. Mystery in Art

Henry Adams photo
Francis Fukuyama photo
Aron Ra photo
Mark Kac photo

“Actually, my solution generated considerable further work and the "dog-flea" model keeps cropping up from time to time in unexpected contexts.”

Mark Kac (1914–1984) Polish-American mathematician

Source: Enigmas Of Chance (1985), Chapter 6, Cornell II, p. 121.