A Quote by Craig Newmark

Sometimes a slow gradual approach does more good than a large gesture. — © Craig Newmark
Sometimes a slow gradual approach does more good than a large gesture.
The beauty of evolution is that it does provide an explanation of how you can get complexity out of simplicity. It does it by slow, gradual degree. At no point are you postulating the sudden coming into existence of a complicated being.
Clothing sizes are weird, they go: small, medium, large and then extra large, extra extra large, extra extra extra large. Something happened at large, they just gave up. They were like, 'I'm not doing any more adjectives; you just keep putting extras on there.' We could do better than that: small, medium, large, whoa, easy, slow down, stop it, interesting, American.
Change is more often a rapid transition between two stable states than a continuous transformation at slow and steady rates. . . .Change occurs in large leaps following a slow accumulation of stress that a system resists until it reaches the breaking point. Heat water, and it eventually boils. Oppress the workers more and more and bring on the revolution.
Baseball does become slow sometimes. It's totally unnecessary. The - you can play baseball fast. You can play it slow, and for some reason, we have chosen to play it slow, you know, which is unfortunate, but nothing you can do about.
Much of human history can, I think, be described as a gradual and sometimes painful liberation from provincialism, the emerging awareness that there is more to the world than was generally believed by our ancestors.
Human relations tend to be more difficult when you're dealing with someone who weighs 30 kilograms more than you do. That's when you worry about whether a well-meaning gesture could produce complications. We have no problems with countries like Madagascar or Bolivia, for example. But Germany is our neighbor and we have a shared past. Besides, Germany is powerful and ambitious and more than four times as large as we are. It makes complete sense that we would act cautiously. It's simply Realpolitik.
The very large units of production and exchange have access to credit on a large scale, sometimes without any cover at all, merely upon the prospect of their success, and always upon terms far easier than are open to their smaller rivals. It is perhaps on this line of easier credit that large capital today does most harm to small capital, drives it out and ruins it.
Throw in something extra. Whether it's a coupon for a future discount, additional information on how to use the product, or a genuine smile, people love to get more than they thought they were getting. And don't think that a gesture has to be large to be effective.
Very little of what America does is actually bad, and I don't think it ever does anything anywhere that is intentionally bad. I mean, sometimes we make mistakes and bad judgments and kind of back the wrong regimes and things, but by and large what America does is really good.
what I love is slowness. Slow people, slow reading, slow traveling, slow eggs, and slow love. Everything good comes slow.
Each implementation of human effort, however minute the overall result may be, is summed up in the gesture of the sower - sometimes an awe-inspiring gesture.
The paintings are more about physicality and gesture than meditation. I'd compare it to playing scales on the Cello - each sound (pitch and intensity) depends on the manner in which you hold and apply the bow. The same goes for the gesture of applying paint to a surface.
For one thing, I want gesture-any kind of gesture, all kinds of gesture-gentle or brutal, joyous or tragic; the gesture of space soaring, sinking, streaming, whirling; the gestures of light flowing or spurting through color. I see everything as possessing or possessed by gesture. I've often thought of my paintings as having an axis around which everything revolves.
As a woman filmmaker in Bosnia, I have more privileges than disadvantages. I feel I can do more than my male colleagues with a motherly approach rather than a male approach.
My work is not so overtly about movement. My horses' gestures are really quite quiet, because real horses move so much better than I could pretend to make things move. For the pieces I make, the gesture is really more within the body, it's like an internalized gesture, which is more about the content, the state of mind or of being at a given instant. And so it's more like a painting...the gesture and the movement is all pretty much contained within the body.
I think sometimes a part requires more than one approach or thought.
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