A Quote by David Galenson

Artists who have produced experimental innovations have been motivated by aesthetic criteria: they have aimed at presenting visual perceptions. Their goals are imprecise, so their procedure is tentative and incremental.
Keep yourself motivated. You've got to be motivated, you've got to wake up every day and understand what that day is about; you've got to have personal goals - short term goals, intermediate goals, and long term goals. Be flexible in getting to those goals, but if you do not have goals, you will not achieve them.
The precision of their goals allows conceptual artists to be satisfied that they have produced one or more works that achieve a particular purpose... a problem solved can free him to pursue new goals.
Experimental artists build their skills gradually over the course of their careers, improving their work slowly over long periods. These artists are perfectionists and are typically plagued by frustration at their inability to achieve their goals.
Recently, the Germans have developed a tendency to prefer the so-called first (youthful) style of great artists to their mature works. Could it be that they do not realize that their aesthetic criteria, generally speaking, are juvenile?
There are days when I don't feel motivated and I don't want to get up to go to practice. I'm a very goal-oriented person, so I set short-term goals and try to reach those goals. And when I have those days, I think about those goals, and it gets me motivated.
I'm so in awe of what visual artists do and I do understand the differences of what visual artists do. I have a small art collection I hope to expand.
There are three types of innovations that affect jobs and capital: empowering innovations, sustaining innovations and efficiency innovations.
I'm a visual person, and I love visual extremes and aesthetic discipline.
Everybody comes in with a certain goal. Some are performance, some are aesthetic. Even athletes have aesthetic goals, but first and foremost, they have performance goals, and those need to be addressed. They have weaknesses that need to be shored up. You have to manage expectations sometimes.
My philosophy, one of the biggest enemies of future success is past success, because you become complacent, you become risk averse, and that's one of the things we try to drive here, and this is fundamental to this philosophy, and that's in this component change, and also in value creation. That we need to drive creative destruction, not just incremental innovations, but innovations that will change the whole nature of the business.
In the visual arts, for example, the semiological approach to graphics provides a rigorous analysis of the visual means used by the artist. It defines the basic properties and laws governing the arts and suggests objective criteria for art criticism.
The hip-hop aesthetic and the way it's produced always motivated me. Alongside that I was still wanting to make great traditional songs because I've never had any desire to rap. My love of hip-hop is driven by my love of rappers, but it was built out of my love of producers.
You can't get the visual thing on the record as much as you'd like to. We produced this album, and we'd never done that before, except when we produced singles for ourselves.
Artists have made innovations in many areas... But whatever the nature of an artist's innovation, its importance ultimately depends on the extent of its influence on other artists.
I find that goal setting, when done this way, leads to goal achieving. The chronic failure to achieve goals lowers self-esteem. Show me a failure to achieve a goal, and usually I can show you the violation of one or more of the above criteria. Imposed goals, vague goals, and unrealistic goals tend to produce only partial successes and outright failures.
So, we, as human beings, live in a very imprecise world. A world where our perceptions of reality are far more important than actual reality.
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