A Quote by Christopher Locke
People finally have permission to be human in the context of their work. That's the real Internet story.
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All professions, all work, all activity in the human world finds its essential meaning in the context of a people's cosmic story.
The creation story unfurling within the scientific enterprise provides the fundamental context, the fundamental arena of meaning, for all the peoples of the Earth. For the first time in human history, we can agree on the basic story of the galaxies, the stars, the planets, minerals, life forms, and human cultures. This story does not diminish the spiritual traditions of the classical or tribal periods of human history. Rather, the story provides the proper setting for the teachings of all traditions, showing the true magnitude of their central truths.
Without having to ask anyone's permission, innovators everywhere used the Internet's open platform to start companies that have transformed how billions of people live and work.
I would say the first key concept is that, in terms of technological and communication progress in human history, the Internet is basically the equivalent of electronic telepathy. We can now communicate all the time through our little magic smartphones with people who are anywhere, all the time, constantly learning what they're thinking, talking about, exchanging messages. And this is a new capability even within the context of the Internet.
The work of television is to establish false contexts and to chronicle the unraveling of existing contexts; finally, to establish the context of no-context and to chronicle it.
It goes without saying that all of the people, living, dead, and otherwise, in this story are fictional or used in a fictional context. Only the gods are real.
In fact, technology has been the story of human progress from as long back as we know. In 100 years people will look back on now and say, 'That was the Internet Age.' And computers will be seen as a mere ingredient to the Internet Age.
If, before undertaking some action, you must obtain the permission of society-you are not free, whether such permission is granted to you or not. Only a slave acts on permission. A permission is not a right.
I didn't use anybody's story. I used the context and the structure of the situation. People were so, so desperate to tell their story and begin to digest their experience - like turning it into a story - that after the fist few weeks I could go with a pad and pencil and take notes. People didn't seem at all bothered by that.
It's important that we share our experiences with other people. Your story will heal you and your story will heal somebody else. When you tell your story, you free yourself and give other people permission to acknowledge their own story
I thought my story was over. But that was when I realised I finally had a story to tell - and it seems to remind people of their own story.
When an acting teacher tells a student 'that wasn't honest work' or 'that didn't seem real,' what does this mean? In life, we are rarely 'truthful' or 'honest' or 'real'. And characters in plays are almost never 'truthful' or 'honest' or 'real'. What exactly do teachers even mean by these words? A more useful question is: What is the story the actor was telling in their work? An actor is always telling a story. We all are telling stories, all the time. Story: that is what it is all about.
When people can be vulnerable to one another then you're kind of giving people permission to really be yourself and not try to impress all the time and you get into more interesting work. You're being real and you're not afraid to mess up or seem weird.
Every work [of literature] has both a situation and a story. The situation is the context or circumstance, sometimes the plot; the story is the emotional experience that preoccupies the writer: the insight, the wisdom, the thing one has come to say
In a story, you can turn to the front and begin again and everyone lives once more. That doesn't work in real life. And I love my real people the most.
The great thing about the Internet is - our show is totally modular. Every piece can be popped in and out. They're relatively short pieces. They're not long. And we can say, "here' s one way to market it. Take these pieces out of the show and put them on the Internet." And we're doing dirtier cuts and put those on the Internet. It's a real great way to market the show. This is finally the year a show like this can happen.
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