A Quote by Arthur Levitt
The tension between centrality, on the one hand, and competition, on the other, is probably the oldest of all market structure issues.
Related Quotes
I actually find something rewarding about that tension between satisfying myself and satisfying others. Because first of all, I can't provide my own structure, and that tension provides a structure for me to actually work within.
My childhood was marked by a tension between privilege on the one hand and emotional dysfunction on the other.
The tension between the call to the desert and to the market place arises not from the greater presence of God in one or the other but from our varying psychological needs to apprehend him in different ways.
Massage's history is rooted in technique and body knowledge, but is also about heart, healing intention and connection between therapist and client. A tension - sometimes constructive, other times uncomfortable - has been prevalent in the field between one impulse toward structure and recognition and another toward freedom and flexibility to be responsive to individual circumstances
The German health care system is unique in its attempt to combine competition among sickness funds on the one hand and a universal coverage plan on the other hand. Most health care systems are either one or the other, so you either have private insurance and competition but not everyone is covered for everything, or you have a single-payer system. So the ideal types are like the American system on the one hand or the Scandinavian or U.K. systems on the other end.
Germany tries to combine the advantages.
The lack of portability and competition has long been a problem in America's insurance market, yet Obamacare took no significant steps to open up the market between state lines.
For poets today or in any age, the choice is not between freedom on the one hand and abstruse French forms on the other. The choice is between the nullity and vanity of our first efforts, and the developing of a sense of idiom, form, structure, metre, rhythm, line - all the fundamental characteristics of this verbal art.
I never left jazz. The relationship between structure and improvisation - that constant conversation and tension - I've always wanted in every genre and song that I perform.
As one reads mathematics, one needs to have an active mind, asking questions, forming mental connections between the current topic and other ideas from other contexts, so as to develop a sense of the structure, not just familiarity with a particular tour through the structure.
This is what I tell young women who ask me for career advice. People are going to try to trick you. To make you feel that you are in competition with one another. You're up for a promotion. If they go for a woman, it'll be between you and Barbara. Don't be fooled. You're not in competition with other women. You're in competition with everyone.
As the great naturalist Charles Darwin saw clearly, individual and collective interests often coincide, as in the invisible hand narrative. But he also saw that in many other cases, interests at the two levels are squarely in conflict, and that in those cases, individual interests generally trump. That simple observation suggests that market failure is often the result not of insufficient competition (the traditional charge from social critics on the Left), but of the very logic of competition itself.
I am the oldest in our family. I have three younger brothers. I needed to set a great example for them. It instilled a sense of competition in me and hunger to strive to be the best. There's a lot of pride being the only girl and the oldest.
I believe that competition in the future will not be only an advertising competition between individual products or between big associations, but that it will in addition be a competition of propaganda.
Look at your hand. Its structure does not match the structure of assertions, the structure of facts. Your hand is continuous. Assertions and facts are discontinuous.... You lift your index finger half an inch; it passes through a million facts. Look at the way your hand goes on and on, while the clock ticks, and the sun moves a little further across the sky.
In Britten or Berg, there's a tension between the sweet and the sour, between the familiar and the unfamiliar, the tonal and the atonal, the happy and the sad. That, to me, is what all western art is about - that tension. It's why we want to say anything at all.
As I like to say to the people in Montgomery: "The tension in this city is not between white people and Negro people. The tension is, at bottom, between justice and injustice, between the forces of light and the forces of darkness.
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