Truth Quotes

विदेश विभाग के वकीलों के पास कोई भी आरोप लगाने से पहले उसे साबित करने के लिए पुख्ता सबूत होने चाहिए। यहाँ नेब्रास्का के रिपब्लिकन सांसद जेफ फोर्टेनबेरी एक हाउस हियरिंग (संसदीय सुनवाई) में विदेश विभाग की सहायक सचिव ऐन पैटरसन से सवाल करते हुए नज़र आ रहे हैं।

State Department lawyers need to have the evidence to back up the charge before they make it. Here's Nebraska Republican Jeff Fortenberry questioning Assistant Secretary of State Anne Patterson at a House hearing.

State Department lawyers need to have the evidence to back up the charge before they make it. Here's Nebraska Republican Jeff Fortenberry questioning Assistant Secretary of State Anne Patterson at a House hearing.

धर्मनिरपेक्ष मानवतावादियों को ऐसा लगता है कि धार्मिक रुझान का विरोध करने में इंसानियत का कुछ ज़्यादा ही गौरव है; कड़वी सच्चाई को स्वीकार करने में एक अलग ही शान है, भले ही वह सच्चाई सिर्फ इतनी ही हो कि ब्रह्मांड हमारी तरफ उतना ही उदासीन है जितना कि हम उसकी तरफ।

Secular humanists suspect there is something more gloriously human about resisting the religious impulse; about accepting the cold truth, even if that truth is only that the universe is as indifferent to us as we are to it.

Secular humanists suspect there is something more gloriously human about resisting the religious impulse; about accepting the cold truth, even if that truth is only that the universe is as indifferent to us as we are to it.

“हाँ, हम कर सकते हैं” (yes we can) का क्या हुआ? यह तो आसान है। आखिरकार लोगों ने बिल पढ़ना शुरू कर दिया है।

What's become of "yes we can?" That's easy. Finally people are starting to read the bills.

What's become of "yes we can?" That's easy. Finally people are starting to read the bills.

जो पत्रकार यह ढूँढ निकाले कि अमेरिका में कोई भूख से मरा है, उसे पुलित्जर पुरस्कार मिलना चाहिए, और शायद साहित्य का नोबेल पुरस्कार भी।

A Pulitzer Prize is awaiting the journalist who can find an American who dies of hunger, and probably the Nobel Prize for literature as well.

A Pulitzer Prize is awaiting the journalist who can find an American who dies of hunger, and probably the Nobel Prize for literature as well.

जिसे निन्यानबे प्रतिशत वैज्ञानिक सही मानते हैं, वह सिद्धांत भी गलत हो सकता है।

A theory accepted by 99 percent of scientists may be wrong.

A theory accepted by 99 percent of scientists may be wrong.

मैंने कभी स्टेरॉयड का इस्तेमाल नहीं किया है। कभी नहीं।

I have never used steroids. Never.

I have never used steroids. Never.

नई पीढ़ी की हिप-हॉप संस्कृति इस संकल्प के साथ जीती है कि 'जैसी है वैसी सच्चाई बयां करो'; इसका मतलब दुनिया की कड़वी सच्चाई को स्वीकार करना और परिणामों की परवाह किए बिना आगे बढ़ना है।

The new-school hip-hop generation exists with a mandate to 'keep it real'; this has to do with embracing a hard-nosed truth about the world and letting the chips fall where they may.

The new-school hip-hop generation exists with a mandate to 'keep it real'; this has to do with embracing a hard-nosed truth about the world and letting the chips fall where they may.

मेरा इस बात पर गहरा विश्वास है—और मैं यही सिखाता भी हूँ—कि फोटोग्राफी मूल रूप से एक कल्पना गढ़ने की प्रक्रिया है। मुझसे दस्तावेजों की बात मत कीजिए; मैं वास्तव में उन पर विश्वास नहीं करता, खासकर आज के समय में। तस्वीर कोई दुनिया नहीं है, बल्कि एक नई चीज है।

I profoundly believe in - and teach - the proposition that photography is inherently a fiction-making process. Don't speak to me of the document; I don't really believe in it, particularly now. A picture's not the world, but a new thing.

I profoundly believe in - and teach - the proposition that photography is inherently a fiction-making process. Don't speak to me of the document; I don't really believe in it, particularly now. A picture's not the world, but a new thing.

बेसबॉल के आँकड़े बिकिनी पहनी हुई लड़की की तरह होते हैं। वे बहुत कुछ दिखाते हैं, लेकिन सब कुछ नहीं।

Baseball statistics are like a girl in a bikini. They show a lot, but not everything.

Baseball statistics are like a girl in a bikini. They show a lot, but not everything.

प्रतिनिधित्व का यही स्वभाव है; जब भी हम किसी चीज़ को दर्शाते हैं, हम उसे बदल देते हैं और उसमें थोड़ा बदलाव कर लेते हैं। तो इसी बात को आधार बनाते हुए, यह समझते हुए कि यह हमेशा कुछ हद तक काल्पनिक होता है, मैं खुद को चीजों को गहराई से टटोलने और खुद से सवाल पूछने की एक खास आज़ादी देती हूँ। उस समय क्या समझ नहीं आया होगा? उस समय क्या छुपाया गया होगा? इस खास तस्वीर में कौन सा ऐसा पहलू था जो मुख्य नहीं था, लेकिन सचमुच बहुत महत्वपूर्ण है? यह बात मुझे वाकई बहुत दिलचस्प लगती है, और फिर मैं अपनी पूरी कोशिश करती हूँ कि उस बात को पूरी गहराई से सामने ला सकूँ।

That's the nature of representation; every time we represent something we alter it and slightly change it. And so with that as my foundation, understanding that it's always fictional to some degree, I give myself a certain freedom to really explore and ask myself questions. What might not have been understood at that time? What might have been hidden at that time? What narrative in this particular image wasn't the primary image, but is really important? That is really interesting to me, and then I try to tease that out as much as I can.

That's the nature of representation; every time we represent something we alter it and slightly change it. And so with that as my foundation, understanding that it's always fictional to some degree, I give myself a certain freedom to really explore and ask myself questions. What might not have been understood at that time? What might have been hidden at that time? What narrative in this particular image wasn't the primary image, but is really important? That is really interesting to me, and then I try to tease that out as much as I can.

क्या सब्जेक्ट के करीब जाने से तस्वीर और ज़्यादा अंतरंग (intimate) हो जाती है? मुझे यकीन है कि इसके लिए सिर्फ इतना ही काफी नहीं है। इसके आगे क्या? चेहरा, या नग्नता (न्यूड)? मैं यही सब करना पसंद करूँगी। पर मुझे ऐसा करने देगा कौन?

Does getting closer to the subject make the photograph more intimate? I'm sure it takes more than that. What comes next? The face, the nude? That's what I'd love to do. Who would even let me do that?

Does getting closer to the subject make the photograph more intimate? I'm sure it takes more than that. What comes next? The face, the nude? That's what I'd love to do. Who would even let me do that?

अब मैं जानती हूँ कि तस्वीर खींचने से पहले मुझे इस बात को लेकर आश्वस्त होना होगा कि मैं अपने सब्जेक्ट (विषय) के बारे में क्या महसूस करती हूँ। मैं जो नहीं जानती, वह यह है कि क्या मुझे तस्वीर लेते समय उन्हें यह बताना चाहिए कि मैं क्या कर रही हूँ।

I know now that before I take a picture I have to be sure about how I feel about the subjects. What I don't know is if I should explain to them what I'm doing while I'm photographing them.

I know now that before I take a picture I have to be sure about how I feel about the subjects. What I don't know is if I should explain to them what I'm doing while I'm photographing them.

कुछ दिन पहले तान कासिपो ने मुझसे कहा था, 'कुछ लोग यहाँ अपनी आँखों में इतनी धूल (अहंकार/अज्ञान) लेकर आते हैं कि उनसे बात करना असहनीय हो जाता है।' संन्यासी जीवन के बारे में यह क्या कहता है? वह उन लोगों को बर्दाश्त नहीं कर पा रहा जिनकी आँखों में 'धूल' है। इन साधुओं ने यहाँ बस एक सुरक्षित और स्वार्थी सी दुनिया बना ली है जिसे वे पवित्र मानते हैं क्योंकि ग्रामीण उनके आगे सिर झुकाते हैं। जंगल में रहने और चोगा पहन लेने मात्र से आप किसी से बेहतर नहीं हो जाते।

A few days ago Tan Casipo said to me, 'Some people come here with so much dust in their eyes it's unbearable to talk to them.' What does that say about the monkhood? He can't tolerate people with 'dust in their eyes.' All that these monks have developed here is a safe little self-centred world which they call holy because villagers bow down to them. Living in a forest and wearing a robe doesn't make you better than anybody else.

A few days ago Tan Casipo said to me, 'Some people come here with so much dust in their eyes it's unbearable to talk to them.' What does that say about the monkhood? He can't tolerate people with 'dust in their eyes.' All that these monks have developed here is a safe little self-centred world which they call holy because villagers bow down to them. Living in a forest and wearing a robe doesn't make you better than anybody else.

मुझे लगता है कि संगीत पर लिखने वाले ज्यादातर लोग सिर्फ कागज़ भरना चाहते हैं। वे किसी चीज़ की तह तक जाने में बिल्कुल दिलचस्पी नहीं रखते। वरना, वे जो लिखते हैं, वह कभी न लिखते।

I think that most people who write about music just want to fill some paper. They're not really interested in getting to the heart of something. Otherwise, they wouldn't write what they write.

I think that most people who write about music just want to fill some paper. They're not really interested in getting to the heart of something. Otherwise, they wouldn't write what they write.

थिएटर आलोचकों के पास सच तक पहुँचने का कोई विशेष जरिया नहीं होता। और कला का कोई एक तयशुदा उद्देश्य नहीं होना चाहिए।

Theatre critics have no special access to the truth. And there should be no objective truth to art.

Theatre critics have no special access to the truth. And there should be no objective truth to art.

विटगेस्टीन से मैंने जो मुख्य बात सीखी है, वह है चीज़ों को अपनी तरफ़ से न गढ़ने का महत्व: दार्शनिकों को समस्याओं का आविष्कार नहीं करना चाहिए, और उन्हें इस जोखिम के प्रति भी सचेत रहना चाहिए कि वे ऐसी अर्थहीन 'तकनीकी' शब्दावली न गढ़ लें जो वास्तविक स्पष्टीकरण तो प्रदान नहीं करतीं, बल्कि अक्सर ज्ञात तथ्यों को ही और अधिक जटिल तरीके से दोहरा भर देती हैं।

The thing I think I have learned from Wittgenstein is the importance of not making things up: philosophers should not invent problems, and they should also be conscious of the risk of inventing pointless 'technical' machinery which do not offer real explanations, but often just re-state the known facts in a more complex way.

The thing I think I have learned from Wittgenstein is the importance of not making things up: philosophers should not invent problems, and they should also be conscious of the risk of inventing pointless 'technical' machinery which do not offer real explanations, but often just re-state the known facts in a more complex way.

मैं मानता हूँ कि दर्शनशास्त्र और विज्ञान बहुत अलग बौद्धिक क्षेत्र हैं, लेकिन इसका मतलब यह नहीं है कि जब हम दर्शनशास्त्र से ज्ञान प्राप्त करते हैं, तो वह किसी और किस्म का ज्ञान होता है।

I do think that philosophy and science are very different intellectual enterprises, but that does not mean that when we get knowledge from philosophy it is a different kind of knowledge.

I do think that philosophy and science are very different intellectual enterprises, but that does not mean that when we get knowledge from philosophy it is a different kind of knowledge.

कुछ समय के लिए मैंने ऐसा दिखाया मानो मैं स्टालिन का बचाव कर रहा हूँ। असल में, मैं उसके कामों का बचाव नहीं कर रहा था; सच तो यह है कि ख्रुश्चेव ने स्टालिन के जिन कारनामों का खुलासा किया था, उनका बचाव कोई नहीं कर सकता था।

For a time I gave the appearance of defending Stalin. I didn't defend what he had done; the fact is, nobody could defend the things that Khrushchev revealed.

For a time I gave the appearance of defending Stalin. I didn't defend what he had done; the fact is, nobody could defend the things that Khrushchev revealed.

मेरे लिए ड्रामा और कॉमेडी का मतलब है—एक साथ हैरान करने वाला, स्पष्ट और पूरी तरह सच होना।

Drama and comedy, to me ,are all about being surprising, coherent, and true, all at once.

Drama and comedy, to me ,are all about being surprising, coherent, and true, all at once.

आम तौर पर, मेरा काम फोटोग्राफी की संभावनाओं को बढ़ाने से ज्यादा, एक सरल विधि पर लौटकर चीज़ों की अधिक सच्ची समझ के साथ उसे फिर से समृद्ध करना है—एक ऐसी विधि जो फोटोग्राफी के अस्तित्व में आने के शुरुआती दिनों से थी।

[I]n general, my work is less about expanding the possibilities of photography than about re-investing it with a truer perception of things by returning to a simple method, one that photography had from the beginning of its existence.

[I]n general, my work is less about expanding the possibilities of photography than about re-investing it with a truer perception of things by returning to a simple method, one that photography had from the beginning of its existence.