A Quote by Gar Alperovitz
We need to learn to listen to what the people need and want and not try to impose on them a whole schema that they may not. This is historically difficult stuff: how do we balance the project of raising consciousness, advancing a vision of utopia, with the real and honest engagement in real-world experiments?
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Ultimately, all I wanted was for players to feel like they were in the real world. I wanted them to be able to apply real world common sense to the problems confronting them, and I thought recreating real world locations would encourage that kind of thinking. There's also just a real power, a real thrill, when you fire up a game and see a place you've been or want to go, and then get to do all the stuff you WANT to do there but know you'll get arrested if you try! If that isn't the stuff of fantasy - far more than exploring some goofy dwarven mine or alien spaceship - I don't know what is!
I only wish I could find an institute that teaches people how to listen. Business people need to listen at least as much as they need to talk. Too many people fail to realize that real communication goes in both directions.
I am a hopeless romantic. A silly, ridiculous, foolish romantic. I live in a fantasy land. I need to get real. And now, for the first time, I want to get real. I want a real relationship with a real man in the real world–-with all the real problems, faults, and whatever comes with it.
To be a good artist, you need to be sensitive to the world around you, you need to be curious, you need to listen, you need to be willing to learn from people. A lot of great art is about people being moved by something or seeing something that stops them dead.
I always felt like I could combine good pop songs that are easy for people to like with a real person and a real mind and integrity. So maybe I bring people into that pop world who don't usually find themselves there because there's not enough stuff for them to get excited about otherwise. I try to be genuine. I try to be real. It's such a subjective thing, but I try to convey an emotion.
While a modicum of consciousness may have had survivalist properties during an immemorial chapter of our evolution – so one theory goes – this faculty soon enough became a seditious agent working against us … we need to hamper our consciousness for all we are worth or it will impose upon us a too clear vision of what we do not want to see … Consciousness has forced us into the paradoxical position of striving to be unself-conscious of what we are – hunks of spoiling flesh on disintegrating bones
To me, the newspaper business was a way to learn about life and how things worked in the real world and how people spoke. You learn all the skills - you learn to listen, you learn to take notes - everything you use later as a novelist was valuable training in the newspaper world. But I always wanted to write novels.
So that's the biggest lessonsI've learned it is your dream, you do not need a business loan, you do not need the support of others, you need to do what you need to do and when you become, what do I want to call the word, like legitimate, when people see that you are real, then people will support you, but you can't ask them to take a risk on you.
I get satisfaction out of seeing stuff that makes real change in the real world. We need a lot more of that and a lot less abstract stuff.
People don't care how you feel. You need to paint pictures, you need to tell stories. That's what people want. They want to be entertained. Then all of the other stuff kind of filters across as part of the whole thing.
Usually, the most difficult thing to do is photo-real stuff. Something that has to actually look like the real world, because it's just so difficult to do that. We're just so used to looking at the real world, our brains instantly see when something is not quite right.
I have people say that they love how I keep them off balance as to what is real or not real about pretty much everything I write. I think it's an accurate description of how I feel every day. I can't tell what's real and what's not anymore. I think that's what makes art.
The real debate is we've had an activist court, and the American people don't want an activist court. And the real fear from those who might oppose Samuel Alito is that he'll bring the court back within a realm where the American people might want us to be with a Supreme Court; one that interprets the law, equal justice under the law, but not advancing without us advancing, the legislative body advancing, ahead of him.
I want gaming to be something that everybody does, because they understand that games can be a real solution to problems and a real source of happiness. I want games to be something everybody learns how to design and develop, because they understand that games are a real platform for change and getting things done. And I want families, schools, companies, industries, cities, countries, and the whole world to come together to play them, because we’re finally making games that tackle real dilemmas and improve real lives.
How could I have thought that I needed to cure myself in order to fit into the 'real' world? I didn't need curing, and the world didn't, either; the only thing that did need curing was my understanding of my place in it. Without that understanding - without a sense of belonging to the real world - it was impossible to thrive in an imagined one.
The Independent Record Store is the reason why i STILL do music...It seems like they're the only ones that Really care about the real music lovers...we need them...they're our balance to all of the music we are FORCED to listen to...they're the only ones that may still suggest something NEW and FRESH instead of just what's popular.
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