A Quote by Demetri Martin

The shortest feedback loop I can think of is doing improvisation in front of an audience. — © Demetri Martin
The shortest feedback loop I can think of is doing improvisation in front of an audience.
All of the material for 'The Fine Line' was created via improvisation with my partner, but not in front of an audience. We'd continue to refine it in front of an audience based on their responses until it was set and scripted.
I think it's very important to have a feedback loop, where you're constantly thinking about what you've done and how you could be doing it better.
I always make the point that teachers are people too, and that they don't just want to be in front of kids all day and have children be their only feedback loop.
You'd think people would realize they're bad at multitasking and would quit. But a cognitive illusion sets in, fueled in part by a dopamine-adrenaline feedback loop, in which multitaskers think they are doing great.
Get a feedback loop and listen to it... When people give you feedback, cherish it and use it.
I think it's satisfying for people to feel that that relationship is reciprocal in some way. The truth is, you do have a relationship with your fans, and there is a feedback loop there. And while you have to be careful not to write a show just for the superfans, that kind of feedback is really valuable.
The interesting thing about improvisation is you're making something up in front of the audience. Now music helps you out a little bit because you have an instrument that'll separate you from the audience.
I think it's very important to have a feedback loop, where you're constantly thinking about what you've done and how you could be doing it better. I think that's the single best piece of advice: constantly think about how you could be doing things better and questioning yourself.
Improvisation is just writing in front of an audience.
Undeniably, the audience for improvisation, good or bad, active or passive, sympathetic or hostile, has a power that no other audience has. It can affect the creation of that which is being witnessed. And perhaps because of that possibility the audience for improvisation has a degree of intimacy with the music that is not achieved in any other situation.
I think of every double-decker loop as another loop towards my death. And that is why I've always thought of the double-decker loop as - each loop as a continuous and individualized search for perfection.
Performing in front of an audience gives you an extra ten per cent energy and the chance to react to the instant feedback.
I felt that, as time went on, an audience gets to know you and in a weird way, you kind of feel like you get to know the audience a little bit. When I'm doing stand-up gigs now, I feel like I'm doing gigs in front of people I know. I think that's the result of doing late-night shows for so long.
There's this idea, particularly in pop music and a lot of these pop father/manager types, that you're selling the person instead of the song. You basically want to create something that the fans relate to because it's exactly like them. So there's a lot of art that's made to be in the image of the audience, but then the audience is imitating this version of themselves. It's a really weird cultural feedback loop, and it's kind of strange to watch. It's a new thing since I was a kid, really a different thing.
But I always communicate with the audience. I never pretend like I'm just in my bedroom making a track. The whole point of doing a gig is, like, a feedback thing between you and the audience.
I wasn't able to articulate it until after audience members gave feedback. And then, similarly, when we talked about the bromance being unique, I don't think Mark, Jay, and I really saw how special that aspect of that bromance was until our audience members sort of gave us feedback and let us know, "Hey, we've never seen a bromance like this before on television."
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