Quotes about produce
page 12

Richard Leakey photo
Erich Fromm photo
Eric Clapton photo
Jane Roberts photo

“The Macedonian language is actually an artifact produced for primarily political reasons.”

Vittore Pisani (1899–1990) Italian linguist

Il Macedonico, Paideia, Rivista Letteraria di informazione bibliografica, vol. 12, p. 250 (1957)

“We trained hard, but it seemed that every time we were beginning to form up into teams we would be reorganized. Presumably the plans for our employment were being changed. I was to learn later in life that, perhaps because we are so good at organizing, we tend as a nation to meet any new situation by reorganizing; and a wonderful method it can be for creating the illusion of progress while producing confusion, inefficiency and demoralization.”

Charlton Ogburn (1911–1998) American journalist and author

From "Merrill's Marauders: The truth about an incredible adventure" http://www.harpers.org/archive/1957/01/0007289 in the January 1957 issue of Harper's Magazine
Usually misattributed to Petronius
See Brown, David S. "Petronius or Ogburn?", <i>Public Administration Review</i>, Vol. 38, No. 3 (May - Jun., 1978), p. 296 http://links.jstor.org/sici?sici=0033-3352(197805%2F06)38%3A3%3C296%3APOO%3E2.0.CO%3B2-Z
<p>alternate version:</p><p>As a result, I suppose, of high-level changes of mind about how we were to be used, we went though several reorganizations. Perhaps because Americans as a nation have a gift for organizing, we tend to meet any new situation by reorganization, and a wonderful method it is for creating the illusion of progress at the mere cost of confusion, inefficiency and demoralization.</p>
The Maurauders (1959)
chapter 2, page 60

Kamal Haasan photo
Michael Moorcock photo
Keir Hardie photo
Lawrence Lessig photo
Juicy J photo
Thomas Friedman photo

“I think we are in the end game. The next six to nine months are going to tell whether we can produce a decent outcome in Iraq.”

Thomas Friedman (1953) American journalist and author

Today, March 2, 2006
"The next … months" in Iraq

Arthur C. Clarke photo
Eric Hoffer photo
Ernesto Che Guevara photo

“My experience of the original Edison phonograph goes back to the period when it was first introduced into this country. In fact, I have good reason to believe that I was among the very first persons in London to make a vocal record, though I never received a copy of it, and if I did it got lost long ago. It must have been in 1881 or 1882, and the place where the deed was done was on the first floor of a shop in Hatton Garden, where I had been invited to listen to the wonderful new invention. To begin with, I heard pieces both in song and speech produced by the friction of a needle against a revolving cylinder, or spool, fixed in what looked like a musical box. It sounded to my ear like someone singing about half a mile away, or talking at the other end of a big hall; but the effect was rather pleasant, save for a peculiar nasal quality wholly due to the mechanism, though there was little of the scratching which later was a prominent feature of the flat disc. Recording for that primitive machine was a comparatively simple matter. I had to keep my mouth about six inches away from the horn and remember not to make my voice too loud if I wanted anything approximating to a clear reproduction; that was all. When it was played over to me and I heard my own voice for the first time, one or two friends who were present said that it sounded rather like mine; others declared that they would never have recognised it. I daresay both opinions were correct.”

Herman Klein (1856–1934) British musical critic journalist and singing teacher

The Gramophone magazine, December 1933

Donald J. Trump photo
James Mill photo

“The distinction, between what is done by labour, and what is done by nature, is not always observed.
Labour produces its effects only by conspiring with the laws of nature.
It is found that the agency of man can be traced to very simple elements. He does nothing but produce motion. He can move things towards one another, and he can separate them from one another. The properties of matter perform the rest.”

James Mill (1773–1836) Scottish historian, economist, political theorist and philosopher

Ch 1 : Production https://www.marxists.org/reference/subject/economics/mill-james/ch01.htm <!-- Cited in: Monthly Review https://books.google.nl/books?id=qytZAAAAcAAJ&pg=PA134, 1822 And partly cited in: Karl Marx. Human Requirements and Division of Labour https://www.marxists.org/archive/marx/works/1844/manuscripts/needs.htm, Manuscript, 1844. -->
Elements of Political Economy (1821)

Theo van Doesburg photo

“.. a demand which will never be fulfilled as long as artists use individualistic means. 'Unity can only result from disciplining the means, for it is this discipline which produces more generalized means'. The objectification of the means will lead towards elementary, monumental plastic expression. It would be ridiculous to maintain that none of this relates to creative activity. If that were true, art would not be subject to logical discipline.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from Van Doesburg's text 'Towards elementary plastic expression', as cited in Material zur elementaren Gestaltung, G-1, July 1923; as quoted in 'Theo van Doesburg', Joost Baljeu, Studio Vista, London 1974, p. 141
1920 – 1926

Louis-ferdinand Céline photo

“We live in a world of replicas, and I try desperately in a world of replicas to produce things that are not replicas of anything.”

Carl Andre (1935) American artist

quote of Andre in an interview, 1972; in Carl Andre, Cuts: Texts, 1959–2004, ed. by James Meyer, MIT: Cambridge, MA, 2005, p. 142

Alfred Horsley Hinton photo
Jacques Ellul photo
Calvin Coolidge photo
Paul Tillich photo
Kent Hovind photo
Ernest Mandel photo
William John Macquorn Rankine photo
Robert Owen photo
Aron Ra photo

“Owen believed in common archetypes rather than a common ancestor, and his conduct presents an archetype of the modern creation scientists, except that they submit to peer review rarely, (if ever) and none of them are experts in anything. They’ve never produced any research indicative of their position. They cannot substantiate any of their assertions, and they’ve never successfully refuted anyone else’s hypotheses either. But every argument of evidence they’ve ever made in favor of creation has been refuted immediately and repeatedly. All they’ve ever been able to do was criticize real science, and even then the absolute best arguments they’ve ever come up with were all disproved in a court of law with mountains of research standing against their every allegation. Yet creationists still use those same ridiculous rationalizations because they will never accept where their beliefs are in error! Their only notable strength is how anyone can be so consistently proven to be absolutely wrong about absolutely everything, 100% of the time, for such a long time, and still make-believe theirs is the absolute truth. More amazing still is how often they will actually lie in defense of their alleged truth. Every publication promoting creation over any avenue of actual science contains misquotes, misdefinitions, and misrepresented misinformation, while their every appeal to reason is based entirely on erroneous assumptions and logical fallacies. There is a madness to their method, but it is naught but propaganda.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

"12th Foundational Falsehood of Creationism" https://www.youtube.com/watch?v=2TkY7HrJOhc Youtube (April 19, 2008)
Youtube, Foundational Falsehoods of Creationism

John Ruskin photo
Nader Shah photo

“Afterwards Nadir Shah himself, with the Emperor of Hindustan, entered the fort of Delhi. It is said that he appointed a place on one side in the fort for the residence of Muhammad Shah and his dependents, and on the other side he chose the Diwan-i Khas, or, as some say, the Garden of Hayat Bakhsh, for his own accommodation. He sent to the Emperor of Hindustan, as to a prisoner, some food and wine from his own table. One Friday his own name was read in the khutba, but on the next he ordered Muhammad Shah's name to be read. It is related that one day a rumour spread in the city that Nadir Shah had been slain in the fort. This produced a general confusion, and the people of the city destroyed five thousand1 men of his camp. On hearing of this, Nadir Shah came of the fort, sat in the golden masjid which was built by Rashanu-d daula, and gave orders for a general massacre. For nine hours an indiscriminate slaughter of all and of every degree was committed. It is said that the number of those who were slain amounted to one hundred thousand. The losses and calamities of the people of Delhi were exceedingly great….
After this violence and cruelty, Nadir Shah collected immense riches, which he began to send to his country laden on elephants and camels.”

Nader Shah (1688–1747) ruled as Shah of Iran

Tarikh-i Hindi by Rustam ‘Ali. In The History of India as Told by its own Historians. The Posthumous Papers of the Late Sir H. M. Elliot. John Dowson, ed. 1st ed. 1867. 2nd ed., Calcutta: Susil Gupta, 1956, vol. 22, pp. 37-67. https://www.infinityfoundation.com/mandala/h_es/h_es_tarikh-i5_frameset.htm

Thomas Jefferson photo
David Attenborough photo
John Ruskin photo
Rumi photo

“They will ask you
what you have produced.
Say to them,
except for Love,
what else can a Lover produce?”

Rumi (1207–1273) Iranian poet

Hush Don't Say Anything to God (1999)

Luigi Russolo photo
Gerhard Richter photo
Peggy Noonan photo
Damian Pettigrew photo
Donald J. Trump photo
Akeel Bilgrami photo

“The excursus upon the origin of Odysseus’ scar is not basically different from the many passages in which a newly introduced character, or even a newly appearing object or implement, though it be in the thick of a battle, is described as to its nature and origin; or in which, upon the appearance of a god, we are told where he last was, what he was doing there, and by what road he reached the scene; indeed, even the Homeric epithets seem to me in the final analysis to be traceable to the same need for an externalization of phenomena in terms perceptible to the senses. Here is the scar, which comes up in the course of the narrative; and Homer’s feeling simply will not permit him to see it appear out of the darkness of an unilluminated past; it must be set in full light, and with it a portion of the hero’s boyhood. … To be sure, the aesthetic effect thus produced was soon noticed and thereafter consciously sought; but the more original cause must have lain in the basic impulse of the Homeric style: to represent phenomena in a fully externalized form, visible and palpable in all their parts, and completely fixed in their spatial and temporal relations. Nor do psychological processes receive any other treatment: here too nothing must remain hidden and unexpressed. With the utmost fullness, with an orderliness which even passion does not disturb, Homer’s personages vent their inmost hearts in speech; what they do not say to others, they speak in their own minds, so that the reader is informed of it. Much that is terrible takes place in the Homeric poems, but it seldom takes place wordlessly: Polyphemus talks to Odysseus; Odysseus talks to the suitors when he begins to kill them; Hector and Achilles talk at length, before battle and after; and no speech is so filled with anger or scorn that the particles which express logical and grammatical connections are lacking or out of place.”

Source: Mimesis: The Representation of Reality in Western Literature (1946), p. 5

“In order for a writer to produce something which is original and correct, it is not absolutely necessary that his predecessors have been wrong.”

William J. Baumol (1922–2017) American economist

William J. Baumol, "Baumol's Sales-Maximization Model: Reply." The American Economic Review 54.6 (1964): 1081-1081: Quoted in: Walid Marrouch, Essays on International Environmental Policy. Diss. 2009.

Charles Fourier photo
Marcus Aurelius photo
Dorothy Thompson photo
Jeremy Rifkin photo
Gregory Peck photo
Kent Hovind photo
Charlotte Brontë photo
W. Somerset Maugham photo
Jerry Coyne photo
Niels Henrik Abel photo
Donald J. Trump photo
Jacques-Yves Cousteau photo
George W. Bush photo
Benjamin Franklin photo

“In the Colonies we issue our own money. It is called Colonial Scrip. We issue it in proper proportion to the demands of trade and industry to make the products pass easily from the producers to the consumers. In this manner, creating for ourselves our own paper money, we control its purchasing power, and we have no interest to pay no one.”

Benjamin Franklin (1706–1790) American author, printer, political theorist, politician, postmaster, scientist, inventor, civic activist, …

Quoted in Money and Men by Robert McCann Rice (1941) but no prior source is extant.
Misattributed

James Callaghan photo
Denis Healey photo
Maimónides photo

“That which is produced with intention has passed over from non-existence to existence.”

Source: Guide for the Perplexed (c. 1190), Part III, Ch.13

Bill Mollison photo
Charles Stross photo
Patrick Swift photo

“The development that produces great art is a moral and not an aesthetic development.”

Patrick Swift (1927–1983) British artist

"Italian Report" (December 1955).

Russell L. Ackoff photo
Kent Hovind photo
Eugene V. Debs photo
Denis Papin photo
Stephen Harper photo

“Kyoto is essentially a socialist scheme to suck money out of wealth-producing nations.”

Stephen Harper (1959) 22nd Prime Minister of Canada

The Star, January 30, 2007.
2007

Adam Smith photo
Scott Ritter photo
Martin Amis photo
Baruch Spinoza photo
Roberto Clemente photo
Andrei Sakharov photo
Joseph Massad photo

“[I]t is the very discourse of the Gay International which produces homosexuals, as well as gays and lesbians, where they do not exist.”

Joseph Massad (1963) Associate Professor of Arab Studies

Ibid., pp. 162-3
Desiring Arabs

Émile Durkheim photo

“Opinion is steadily inclining towards making the division of labor an imperative rule of conduct, to present it as a duty. Those who shun it are not punished precise penalty fixed by law, it is true; but they are blamed. The time has passed when the perfect man was he who appeared interested in everything without attaching himself exclusively to anything, capable of tasting and understanding everything finding means to unite and condense in himself all that was most exquisite in civilization. … We want activity, instead of spreading itself over a large area, to concentrate and gain in intensity what it loses in extent. We distrust those excessively mobile talents that lend themselves equally to all uses, refusing to choose a special role and keep to it. We disapprove of those men whose unique care is to organize and develop all their faculties, but without making any definite use of them, and without sacrificing any of them, as if each man were sufficient unto himself, and constituted an independent world. It seems to us that this state of detachment and indetermination has something anti-social about it. The praiseworthy man of former times is only a dilettante to us, and we refuse to give dilettantism any moral value; we rather see perfection in the man seeking, not to be complete, but to produce; who has a restricted task, and devotes himself to it; who does his duty, accomplishes his work. “To perfect oneself,” said Secrétan, “is to learn one's role, to become capable of fulfilling one's function... The measure of our perfection is no longer found in our complacence with ourselves, in the applause of a crowd, or in the approving smile of an affected dilettantism, but in the sum of given services and in our capacity to give more.””

Émile Durkheim (1858–1917) French sociologist (1858-1917)

[Le principe de la morale, p. 189] … We no longer think that the exclusive duty of man is to realize in himself the qualities of man in general; but we believe he must have those pertaining to his function. … The categorical imperative of the moral conscience is assuming the following form: Make yourself usefully fulfill a determinate function.
Source: The Division of Labor in Society (1893), pp. 42-43.

Oliver Wendell Holmes photo
Cyril Connolly photo
Émile Durkheim photo
Bob Costas photo

“Our game today was produced by Ken Edmunson, directed by Bucky Guntz; Mike Weisman is the executive producer of NBC Sports, coordinating producer of baseball, Harry Coyle. The 1-1 pitch…He hits it to deep left field, LOOK OUT! DO YOU BELIEVE IT! IT'S GONE!!”

Bob Costas (1952) American sportscaster

Calling Sandberg's second game-tying home run against Sutter in the 10th inning. The Cubs went on to win 12-11 in the 11th inning. June 23, 1984.

Wendell Berry photo
Alexej von Jawlensky photo

“Every artist works within a tradition. I am a native of Russia. My Russian soul has always been close to the art of old Russia, the Russian icons, Byzantine art, the mosaics in Ravenna, Venice, Rome, and to Romanesque art. All these artworks produced a religious vibration in my soul, as I sensed in them a deep spiritual language. This art was my tradition.”

Alexej von Jawlensky (1864–1941) Russian painter

quote from his letter to the National Socialist State Cultural administration, 1939; Jawlensky asked permission to exhibit his painting art, which was turned down by the Nazi regime
Source: 1936 - 1941, Life Memories' (1938), p. 24

Julia Gillard photo

“Will the misogynists and the nut jobs on the internet continue to circulate them? Yes, they will. And it wouldn't matter what I said and it wouldn't matter what documents were produced and it wouldn't matter what anybody else said, they will pursue this claim for motivations of their own which are malicious and not in any way associated with the facts.”

Julia Gillard (1961) Australian politician and lawyer, 27th Prime Minister of Australia

In a press conference where she addressed accusations of improprierty during her tenure as a Slater & Gordon lawyer
"Prime Minister Gillard responds to accusations" http://www.abc.net.au/7.30/content/2012/s3574703.htm, in 7.30 (ABC), 23 August 2012

John Cage photo
Max Ernst photo

“A banal fever hallucination, soon obliterated and forgotten; it didn't reappear in M's memory until about thirty years later (on 10 August 1925), as he sat alone on a rainy day in a little inn by the seaside, staring at the wooden floor which had been scored by years of scrubbing, and noticed that the grain had started moving of its own accord (much like the lines on the [imitation] mahogany board of his childhood). As with the mahogany board back then, and as with visions seen between sleeping and waking, the lines formed shifting, changing images, blurred at first but then increasingly precise. Max {Ernst] decided to pursue the symbolism of this compulsory inspiration and, in order to sharpen his meditative and hallucinatory skills, he took a series of drawings from the floorboards. Letting pieces of paper drop at random on the floor, he rubbed over them with a black pencil. On careful inspection of the impressions made in this way, he was surprised by the sudden increase they produced in his visionary abilities. His curiosity was aroused. He was delighted, and began making the same type of inquiry into all sorts of materials, whatever caught his eye – leaves with their ribs, the frayed edges of sacking, the strokes of a palette knife in a 'modern' painting, thread rolling off a spool, and so forth. To quote 'Beyond Painting' These drawings, the first fruits of the frottage technique, were collected under the title 'Histoire Naturell.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in 'Biographical Notes. Tissue of truth, Tissue of Lies', 1929; as cited in Max Ernst. A Retrospective, Munich, Prestel, 1991, pp.283/284
1910 - 1935