A Quote by Clive Thompson

A textbook requires a consistent sense of style and a linear structure, hallmarks of a single authorial presence. An encyclopedia doesn't. — © Clive Thompson
A textbook requires a consistent sense of style and a linear structure, hallmarks of a single authorial presence. An encyclopedia doesn't.
Every genuinely literary style, from the high authorial voice to Foster Wallace and his footnotes-within-footnotes, requires the reader to see the world from somewhere in particular, or from many places. So every novelist's literary style is nothing less than an ethical strategy - it's always an attempt to get the reader to care about people who are not the same as he or she is.
There was, in my view, an unwritten contract with the reader that the writer must honour. No single element of an imagined world or any of its characters should be allowed to dissolve on an authorial whim. The invented had to be as solid and as self-consistent as the actual. This was a contract founded on mutual trust.
The linear, single species idea of farming is an assault on ecological function. Something's going to break down in that system - anything from soil structure, in economics... but where to start is with true ecological function.
Think about 'GoodFellas': It could be a textbook on how not to write a screenplay. It leans on voice-over at the beginning, then abandons it for a while, then the character just talks right into the camera at the end. That structure is so unusual that you don't have any sense of what's going to happen next.
Anytime I've ever been involved in a non-linear story, you see it in a linear manner first, just to make sure it makes sense, and then you chop it up and move it around.
Style, in the broadest sense of all, is consciousness. More specifically it is a consistent idiom arising spontaneously from the personality but deliberately maintained.
In terms of mathematics textbooks, why can't you have the scale of a national market? Right now, we have a Texas textbook that's different from a California textbook that's different from a Massachusetts textbook. That's very expensive.
Two hallmarks of a healthy life are the abilities to love and to work. Each requires imagination.
Trajectories aren't linear. Life's just a roller coaster. If you're getting a chance to do cool stuff, and it's varied stuff, just enjoy it. I guess I'm a believer in the randomness of life rather than it being a linear trajectory or an arc, a consistent smooth arc, towards anything.
To do justice to modern technology's rigid linear structure, to the lofty gridwork of cranes and bridges, to the dynamism of machines operating at one thousand horsepower - only photography is capable of that. What those who are attached to the painterly style regard as photography's defect, the mechanical reproduction of form - is just what makes it superior to all other means of expression.
A design style is defined by a set of microdecisions. A clear style reflects a consistent set. A clear style may not be a good style; a muddled one never is.
I guess what I find so interesting about memory, and its role in a person's identity, is how the attempt to achieve accuracy requires you to remove yourself from your life in an authorial manner.
My mom has given me my sense of style. She has taught me how individual style is so beautiful, what you appreciate on someone else might not be good for you. For her, style is all about being comfortable, and she has an innate sense of sophisticated style.
I think every movie I've made after 'Indiana Jones,' I've tried to make every single movie as if it was made by a different director, because I'm very conscious of not wanting to impose a consistent style on subject matter that is not necessarily suited to that style. So I try to re-invent my own eye every time I tackle a new subject.
Sometimes the data has a sense of a structure within it, especially if I'm looking at networks or relationships, which generally lend themselves to a certain style.
There's no linear narrative - the structure is more like a series of variations on a theme (how identity is shaped by language), with the past constantly bleeding into the present, dreams into reality. And the language, while incredibly lyrical in places, also has this underlying dissonance, the sense of it having itself been translated.
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