A Quote by Conrad Hall
There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.
Related Quotes
Colors do not exist separately and independently within nature; they are constantly shifting in response to subtle gradations of light. It is language that, magnificently, gives them clear shape.
It's like learning a language; you can't speak a language fluently until you find out who you are in that language, and that has as much to do with your body as it does with vocabulary and grammar.
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
The earliest language was body language and, since this language is the language of questions, if we limit the questions, and if we only pay attention to or place values on spoken or written language, then we are ruling out a large area of human language.
We switch to another language-- not our invented language or the language we've learned from our lives. As we walk further up the mountain, we speak the language of silence. This language gives us time to think and move. We can be here and elsewhere at the same time.
All women speak two languages:
?the language of men
?and the language of silent suffering.?
Some women speak a third,
?the language of queens.
Language designers want to design the perfect language. They want to be able to say, 'My language is perfect. It can do everything.' But it's just plain impossible to design a perfect language, because there are two ways to look at a language. One way is by looking at what can be done with that language. The other is by looking at how we feel using that language-how we feel while programming.
After all, when you come right down to it, how many people speak the same language even when they speak the same language?
I just want to say that 'Minari' is about a family. It's a family trying to learn how to speak a language of its own. It goes deeper than any American language and any foreign language.
I have never been particularly good with languages. Despite a dozen years of Hebrew school and a lifetime of praying in the language, I'm ashamed to admit that I still can't read an Israeli newspaper. Besides English, the only language I speak with any degree of fluency is Spanish.
Dare I speak ,to oppressed and opressor in the same voice? Dare I speak to you in a language that will move beyond the boundaries of domination- a language, that will not bind you, fence you in, or hold you? Language is also a place of struggle. The oppressed struggle in language to recover ourselves, to reconcile, to reunite, to renew. Our words are not without meaning, they are an action, a resistance. Language is also a place of struggle.
I have come to believe that there are infinite passageways out of the shadows, infinite vehicles to transport us into the light.
All great films are a resolution of a conflict between darkness and light. There is no single right way to express yourself. There are infinite possibilities for the use of light with shadows and colors. The decisions you make about composition, movement and the countless combinations of these and other variables is what makes it an art.
You only have to look at London, where almost half of all primary school children speak English as a second language, to see the challenges we now face as a country. This isn't fair to anyone: how can people build relationships with their neighbours if they can't even speak the same language?
There are endless consumer applications, but what excites me is how this can help people. A man who cannot speak communicates with sign language, but the average person doesn't know that language. SixthSense, if equipped with speakers, can recognize the gestures and form the words - it will speak for him.
When we listen to improvisational jazz, or solo classical violinists, the way they phrase and inflect melodies feels vocal, like they’re talking to us. When I was figuring out how to perform solo, I wanted to move back and forth between bass riffs, melody, and harmony, so I often used sounds instead of — or alongside — the words of a song. I found that if I sang a line using the consonants, vowels, shadings, and inflection we recognize as human language sounds, people responded as if I were talking to them.
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