A Quote by Ben Shahn
It's pretty hard to measure influence of written or visual material.
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I'm pretty hard to impress, and I'm pretty exacting, in terms of what I want from my props department and art department. We spend many, many hours going over visual research and finding the right artists to create the material.
I try to influence this improvisation in two ways. One is by centering on reflections, in both senses of the word: acoustic reflections as well as visual reflections from a mirror or surface, and then reflecting on the material in a contemplative way. The other influence is listening to the tails of the sounds that you make.
It took a pretty drastic moment to shift my thinking towards visual arts. I got to a moment in my writing career when I wasn't trusting the language, I was really not trusting the written language, the English language. How do you work with a material that you don't have trust in? I had to step away from it and find another way of articulating and I had to do it without words.
What do we measure when we measure time? The gloomy answer from Hawking, one of our most implacably cheerful scientists, is that we measure entropy. We measure changes and those changes are all for the worse. We measure increasing disorder. Life is hard, says science, and constancy is the greatest of miracles.
I am notoriously hard on myself in terms of working on new material and while I am critical of my performance on the Led Zeppelin material, I am way more critical of my own stuff. I'm pretty hard on myself.
When the material written is very good then half of your work is done by the writer itself. When there's a well-defined character written, then the attempt is to be as honest to the material as possible.
My biggest influence growing up was Mad magazine, which is a very text-heavy form of visual satire. I didn’t grow up wanting to draw donkeys and elephants with the names of politicians written across them.
We live in a material world, not a dramatic one. And truth resides not in melodrama, but in the precise measure of material things.
It's usually very, very hard for me to pick up a script that was written and try and see myself as a part of that, especially when you're used to performing all your own material. It's OK with drama, I like being handed great material but I think with comedy it's far more personal and probably a lot harder for me to find a fit.
It's hard to measure up to 'Battlestar' - it's hard not to measure things against it.
I've always been a pretty hard worker. That's how I've written over a hundred books.
The constant need for special waivers is symptomatic of poorly written public policy. It's a signal that the cost of compliance is unreasonably high; the benefits are hard to measure; and either legislators or regulators have failed to do their homework.
The influence of the leaders is due in very small measure to the arguments they employ, but in a large degree to their prestige. The best proof of this is that, should they by any circumstance lose their prestige, their influence disappears.
Consider paint a film of light reflecting/absorbing material, and a colored paint a material which gives a particular, characteristic transmission of light via differential absorption and reflection. Call this reflected quality 'luminance' and measure it in millilamberts. This measure is as real and present as height, breadth, depth; and I find the phenomenon equally sumptuous and convincing. . . . Painted light, not color, not form, not perspective, or line, not image, or words, or equations, is painting. I make paintings which do not represent light, they are light.
The first entirely vital action, so termed because it is not effected outside the influence of life, consists in the creation of the glycogenic material in the living hepatic tissue. The second entirely chemical action, which can be effected outside the influence of life, consists in the transformation of the glycogenic material into sugar by means of a ferment.
I'm a visual thinker. With almost all of my writing, I start with something that's visual: either the way someone says something that is visual or an actual visual description of a scene and color.
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