A Quote by Daniel Tammet
When I multiply numbers together, I see two shapes. The image starts to change and evolve, and a third shape emerges. That's the answer. It's mental imagery. It's like maths without having to think.
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When I used to perform weddings, the image I always had was the image of a triangle, in which there are two partners and then there is this third force, this third being, that emerges out of the interaction of these two. The third one is the one that is the shared awareness that lies behind the two of them.
When you think of the blur of all the brands that are out there, the ones you believe in and the ones you remember, like Chanel and Armani, are the ones that stand for something. Fashion is about establishing an image that consumers can adapt to their own individuality. And it's an image that can change, that can evolve. It doesn't reinvent itself every two years.
I'm really creating abstract shapes and relationships that work together. They come together and give the illusion of reality, but they're really abstract shapes. If you look at individual shapes, they aren't the shape of anything, but together they give you the illusion of hills and sun and flowers.
I make one image—though 'make' is not the right word; I let, perhaps, an image be 'made' emotionally in me and then apply to it what intellectual & critical forces I possess—let it breed another, let that image contradict the first, make, of the third image bred out of the other two together, a fourth contradictory image, and let them all, within my imposed formal limits, conflict.
I'm a visual thinker, so I think of everything visually, first. A lot of what an issue will become for me starts with me thinking, "What's a great cover?," or "What's the splash image?," or "What is the title of the issue? How do I see the text?" I think about all of that stuff, and then the story comes out of that imagery.
I thought I could start over, you see. But now I know you can never start over. Not really. You think you have control, but you are like a fly in somebody else's web. Sometimes I think that's why I like accounting. All day, you are only dealing with numbers. You add them, multiply them, and if you are careful, you will always have a solution. There's a sequence there. An order. With numbers, you can have control.
It doesn't really exist; it's just basically lots of different stages between the two pieces, and you end up with, like, a third shape that doesn't exist but is suggested to you by the image.
I always try to evolve my sound - innovate, improve, be different but still Martin Garrix. It all starts with an idea in my head, which I work on until it starts to shape itself into a track.
I can see forms and shapes in my mind when I solo, just as a painter can see forms and shapes when he starts painting. And I can see different colors.
No two minds ever come together without thereby creating a third, invisible, intangible force which may be likened to a third mind
And while I stood there I saw more than I can tell and I understood more than I saw; for I was seeing in a sacred manner the shapes of all things in the spirit, and the shape of all shapes as they must live together like one being.
From time to time, from the endless flow of our mental imagery, there emerges unexpectedly something that, vague though it may be, seems to carry the promise of a form, a meaning, and, more important, an irresistible poetic charge.
As long as they're making beloved books into movies, people are going to be like, 'That's not my mental image of them.' It takes that moment for it to click and become their mental image.
What's the first image that comes to mind when you think of a mental hospital? Jack Nicholson in 'One Flew Over the Cuckoo's Nest,' right? We need to change that perception, and places like this one are doing that.
Filmmaking is finding a piece of granite and you start to chip away and then you have the shape of a head, the shape of the arm, you can see the shape of the face and the face starts to gather character. You have to find it.
Cultures are naturally resistant to change. The same shared mental models that allow large numbers of people to work together efficiently can also keep people from imagining new ways of working together. In many corporate cultures, new ideas are viewed as heresy. But it doesn't have to be that way.
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