A Quote by Andreas Feininger
The photographer has almost as much control over his subject matter as a painter. He can control light and shade, form and space, pattern and texture, motion and mood, everything except composition.
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The mechanical mind has a passion for control - of everything except itself. Beyond the control it has won over the forces of nature it would now win control over the forces of society of stating the problem and producing the solution, with social machinery to correspond.
Multinational corporations do control. They control the politicians. They control the media. They control the pattern of consumption, entertainment, thinking. They're destroying the planet and laying the foundation for violent outbursts and racial division.
To some degree, to control light, I have to have a way to form it, so I use form almost like the stretcher bar of a canvas.
It is essential for the photographer to know the effect of his lenses. The lens is his eye, and it makes or ruins his pictures. A feeling for composition is a great asset. I think it is very much a matter of instinct. It can perhaps be developed, but I doubt if it can be learned. To achieve his best work, the young photographer must discover what really excites him visually. He must discover his own world.
I do believe, especially with the character of Batman, that the tone and the mood of the book is 80% of the job right there. And the more control I had over the story, the more control I had over the tone and the mood.
I don't have any control over what actually happens except for that I have full control over my will for myself, my intention, and why I'm there. That's all that matters.
Control what you can control. Don't lose sleep worrying about things that you don't have control over because, at the end of the day, you still won't have any control over them.
The great struggle of history has been for the control over money. It is almost tautological to affirm that to control the production and distribution of money is to control the wealth, resources, and people of the world.
The way I understand composition and form and my ability to enter into material all comes from my disciplines and my commitment as a painter - my energy, my arm, my eyes, my sense of space and form and time. It's a wonderful realm for me. I never leave it.
The most important thing for me is to have as much control over what's going on in front of me as I possibly can, so because of that, I don't play to a click track, and I don't have anything on the grid. Everything is triggered by me. Everything is played by me. Everything is within my control.
There are two types of people: One strives to control his environment, the other strives not to let his environment control him. I like to control my environment, because I feel if I have my physical space in order, then I'm free to dream.
If I truly believe everything that's in that book, God is in control. He is in control. He's working for my good. Doesn't mean everything's going to be smooth, but that's all I needed to know. There is a light at the end of the tunnel.
We have no control over the outcome of anything. Like the planet and global warming, we don't control that. If politicians want a war we don't control that. Acts of terrorism, we can't control them.
In fact, Clinton-era publications of the US Space Command describe control over space as a parallel to control over the oceans a century ago. Then, countries built navies to protect and enhance their power in commercial and strategic interests. Today, the militarization of space is intended to protect US investments and commercial interest and US hegemony around the world.
But the World being once fram'd, and the course of Nature establish'd, the Naturalist, (except in some few cases, where God, or Incorporeal Agents interpose), has recourse to the first Cause but for its general and ordinary Support and Influence, whereby it preserves Matter and Motion from Annihilation or Desition; and in explicating particular phenomena, considers onely the Size, Shape, Motion, (or want of it) Texture, and the resulting Qualities and Attributes of the small particles of Matter.
Cognitive states of mind are seldom addictive, since they depend upon exploration of the world, and the individual encounter with the individual object, whose appeal is outside the subject's control. Addiction arises when the subject has full control over a pleasure and can ponder it at will. It is primarily a matter of sensory pleasure, and involves a kind of short-circuiting of the pleasure network. Addiction is characterized by a loss of the emotional dynamic that would otherwise govern an outward-directed, cognitively creative life.
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