And, since the model he faithfully copies is not going to be hung up next to the picture, since the picture is going to be there on its own, it is of no interest whether it is an accurate copy of the model.
Since the model he so faithfully copies is not going to be hung up next to the picture... it is of no interest whether it is an accurate copy of the model.
We each create a story - a narritive, a picture, an allegory, a model - for what's going on in the universe. And then we fight - sometimes to the death - to make others believe in that model, or to be able to keep believing in it ourselves. In other words, we try to erase contradictory evidence to that model.
There's always a time in any series of work where you get to a certain point and your work is going steadily and each picture is better than the next, and then you sort of level off and that's when you realize that it's not that each picture is better then the next, it's that each picture up's the ante. And that every time you take one good picture, the next one has got to be better.
What distinguishes a mathematical model from, say, a poem, a song, a portrait or any other kind of "model," is that the mathematical model is an image or picture of reality painted with logical symbols instead of with words, sounds or watercolors.
I really approached the film as if it was a white big piece of paper and I was going to draw a picture on it. And whether that picture was good or bad, whatever people thought of it, what they could never take away was that it was my picture.
It's a bit questionable whether Turkey is a model country or not, since our government is supporting ISIS in Syria, since there are legislations that are not in line with democratic rules.
Really the truth is just a plain picture. A plain picture of, let's say, a tramp vomiting in the sewere. You know, and next door to the picture Mr. Rockefeller or Mr. C. W. Jones on the subway going to work. You know, any kind of picture. Just make a collage of pictures.
We're going to use Terri Schiavo later on. This is going to be an issue in 2006 and it's going to be an issue in 2008, because we're going to have an ad with a picture of Tom DeLay saying, "Do you want this guy to decide whether you die or not, or is that going to be up to your loved ones?
The picture is all he feels about it, all he thinks worth preserving of it, all he invests it with. If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.
I was never really a model. That somehow is in my bio. The whole thing is I was tall since I was a child - you're either a model or you play basketball.
It is an interesting fact about model selection that the evidence at hand can indicate that a model known to be false will be more predictively accurate than a model known to be true. This opens the door to a kind of instrumentalism.
The cost of a model is more than compensated for by future savings. It not only presents an accurate picture of the product for the executives, but it also gives the tool-makers and production men an opportunity to criticize and to present manufacturing problems.
Since I'm not a fashion model, there's a limit to how nice I can make myself. I don't regard myself as an ugly person, but I don't think of myself as someone who would choose to be a model. I'm somebody who might be, I'd like to think, a role model for people who want to become lawyers.
When evaluating a model, at least two broad standards are relevant. One is whether the model is consistent with the data. The other is whether the model is consistent with the 'real world.'
I remember when I was in school, they would ask, 'What are you going to be when you grow up?' and then you'd have to draw a picture of it. I drew a picture of myself as a bride.
However, I must stress that my own interest is immediate and in the picture. What I am conscious of and what I feel is the picture I am making, the relation of that picture to others I have made and, more generally, its relation to others I have experienced.