Basically, I think 21st century conservation is moving toward preserving ecosystems by dealing with the needs of people.
Interpretation
The quote emphasizes the importance of balancing conservation efforts with human needs.
Edward Norton highlights a modern approach to conservation that prioritizes the preservation of ecosystems while also recognizing and addressing the needs of human populations. This perspective suggests that true sustainability can only be achieved when the well-being of both nature and people are considered, implying a holistic view of environmental stewardship that integrates social and economic factors.
In practice
At a conservation conference, you could quote this to emphasize the need for people-centric approaches.
Look, you've got a generation of people coming along who are going to form their own new relationship with the idea of supporting the causes that they care about or changing the world. And these people are not going to do it the way our parents do it.
I've observed over and over that people seem to get a much deeper sense of fulfillment out of something they've done as an act of service than out of the things they do for themselves.
I'm fascinated by the ways in which people express themselves, because their responses are often counter to what they're actually feeling. Like when they're frightened, they tend to freeze. When they're angry, it doesn't always come out as volume. There are wonderful contradictions in the way that people express their emotions.
I think there is a serious corruption in the idea sold through advertising that you can attain spiritual peace through lifestyle and the notion of building your happiness from the outside-in by acquiring things . . . which if you think about it, is the essence of advertising
Life, like poker has an element of risk. It shouldn't be avoided. It should be faced.
In drama, I think, the audience is a willing participant. It's suspending a certain kind of disbelief to try to get something out of a story.
Once you have been in an earthquake you know, even if you survive without a scratch, that like a stroke in the heart, it remains in the earth's breast, horribly potential, always promising to return, to hit you again, with an even more devastating force.
Nature gave us pain as a messaging device to tell us that we are approaching, or that we have exceeded, our limits in some way.
It is the omnipresent rush of water which give the Este Gardens their peculiar character. From the Anio, drawn up the hillside at incalculable cost and labour, a thousand rills gush downward, terrace by terrace, channeling the stone rails of the balusters, leaping from step to step, dripping into mossy conches, flashing in spray from the horns of sea-gods and the jaws of mythical monsters, or forcing themselves in irrepressible overflow down the ivy-matted banks.
Spring was moving in the air above and in the earth below and around him, penetrating even his dark and lowly little house with its spirit of divine discontent and longing.
Nature is not evil. The world occasionally shrugs its shoulders, and people get knocked off. The earth, for geological reasons that are well known, is a fairly risky place to live. To be evil, you have to have intent. Any remarkable natural happening in which no human will is employed cannot be regarded as evil.
In the other gardens_x000D_ _x000D_ And all up the vale,_x000D_ _x000D_ From the autumn bonfies_x000D_ _x000D_ See the smoke trail!_x000D_ _x000D_ Pleasant summer over_x000D_ _x000D_ And all the summer flowers,_x000D_ _x000D_ The red fire blazes,_x000D_ _x000D_ the grey smoke towers._x000D_ _x000D_ Sing a song of seasons!_x000D_ _x000D_ Something bright in all,_x000D_ _x000D_ Flowers in the summer_x000D_ _x000D_ Fires in the fall!
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