A Quote by Garrett Hardin

The social arrangements that produce responsibility are arrangements that create coercion, of some sort. — © Garrett Hardin
The social arrangements that produce responsibility are arrangements that create coercion, of some sort.
American social arrangements, economic arrangements, the degree of inequality in American life, the relatively small role played by the government in American public life and so forth, compares to exactly the opposite conditions in most of the European societies.
To apply poetic license or to apply incorrect arrangements requires the idea or the understanding of correct arrangements - becoming an expert of the conventions of correct arrangements in order to misplace them. In other words, misplacing things with the understanding, or even the mastery, of normalcy is actually quite poetic. These are rule-based operations.
If those arrangements [the fundamental arrangements of knowledge] were to disappear as they appeared... then one can certainly wager that man would be erased, like a face drawn in sand at the edge of the sea.
Rising inequality is not a law of nature - it's not even a law of economics. It is a consequence of political and economic arrangements, and those arrangements can be changed.
I always remind Quebecers: hey, wait a minute - federalism works. If you look at the fiscal arrangements, the economic arrangements, the way the country works, if you compare it to other countries in the world, it's quite advantageous for Quebec.
Order is a prerequisite of survival; therefore the impulse to produce orderly arrangements is inbred by evolution.
For most people, political activity is a secondary activity - that is to say, they have something else to do beside attending to these arrangements. But the activity is one which every member of the group who is not a child nor a lunatic has some part and some responsibility.
I write arrangements. I'm sort of a wannabe composer.
You listen to a Metallica song, and you listen to the drums, and they're not necessarily swinging, but the arrangements are different. Why is that? Because it's more in tune with jazz arrangements. It's very different. It's not a traditional rock and roll production, in terms of the drums.
I write arrangements. Im sort of a wannabe composer.
People who live in states have as a rule never experienced the state of nature and vice-versa, and have no practical possibility of moving from the one to the other ... On what grounds, then, do people form hypotheses about the relative merits of state and state of nature? ... My contention here is that preferences for political arrangements of society are to a large extent produced by these very arrangements, so that political institutions are either addictive like some drugs, or allergy-inducing like some others, or both, for they may be one thing for some people and the other for others.
For me, I'm sort of a wanna-be composer, and I love being involved with the arrangements.
It [knowledge] is clearly related to information, which we can now measure; and an economist especially is tempted to regard knowledge as a kind of capital structure, corresponding to information as an income flow. Knowledge, that is to say, is some kind of improbable structure or stock made up essentially of patterns - that is, improbable arrangements, and the more improbable the arrangements, we might suppose, the more knowledge there is.
I started trying to do my own music at home, and I was like, 'You know what, I can play the guitar, sort of. And I can do these things, sort of. And I can make these crazy noises on my computer, sort of. But I need a ridiculously good drummer. I need someone to help me with string arrangements.
I started trying to do my own music at home, and I was like, 'You know what, I can play the guitar, sort of. And I can do these things, sort of. And I can make these crazy noises on my computer, sort of. But I need a ridiculously good drummer. I need someone to help me with string arrangements.'
I think the cornerstone for my impetus for doing arrangements for people is because I want to be an enabler. That is to say, I don't approach arrangements with the idea that I want to progressive the genre of arranging. I want to be more of an enabler, and if a person is making a record and they have the option of layering some real instruments down on a track and I can be of assistance whether it is brass or winds or stings or percussion then I do so. Sometimes I do take on projects because it is a pretty sweet deal to work with Pet Shop boys, you know?
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