A Quote by Henry Petroski

A failed structure provides a counterexample to a hypothesis and shows us incontrovertibly what cannot be done, while a structure that stands without incident often conceals whatever lessons or caveats it might hold for the next generation of engineers.
Art is not a mirror but an icon. It takes the chaos in which we live and shows us structure and pattern, not the structure of conformity which imprisons but the structure which liberates, sets us free to become growing, mature human beings.
When you die in this life, you might be experiencing pain, but the structure of your perceptual field will determine your next lifetime. That structure has been determined by the way you have led this life.
While the digital age has done so much to improve our world, it has dramatically changed our social structure, often further isolating us from each other.
However the machine would permit us to test the hypothesis for any special value of n. We could carry out such tests for a sequence of consecutive values n=2,3,.. up to, say, n=100. If the result of at least one test were negative, the hypothesis would prove to be false; otherwise our confidence in the hypothesis would increase, and we should feel encouraged to attempt establishing the hypothesis, instead of trying to construct a counterexample.
The best engineer a few decades ago was someone who could create the most beautiful beam or structure; today it's to do a structure you cannot see or understand how it's done. It disappears and you can talk only about color, symbols, and light. It's an aesthetic of miracle.
Incidentally, when we're faced with a "prove or disprove," we're usually better off trying first to disprove with a counterexample, for two reasons: A disproof is potentially easier (we need just one counterexample); and nitpicking arouses our creative juices. Even if the given assertion is true, our search for a counterexample often leads to a proof, as soon as we see why a counterexample is impossible. Besides, it's healthy to be skeptical.
You cannot easily fit women into a structure that is already coded as male; you have to change the structure.
Structure is important in film, but there's often structure to be found in the most unlikely of places! It's quite possible to build a structured story and retain idiosyncrasy.
Cage always wanted to know what my structure was, if I had one. I often did have some sense of the time structure. Then he'd make a different one for the music.
Live action writers will give you a structure, but who the hell is talking about structure? Animation is closer to jazz than some kind of classical stage structure.
Photographers have to impose order, bring structure to what they photograph. It is inevitable. A photograph without structure is like a sentence without grammar-it is incomprehensible, even inconceivable.
I was thinking about the generation before us, like John Barth and all of those pomo dudes who had that idea of, instead of hiding the structure and making it look organic and natural, we're going to put the structure on the outside. But most of the time, at least for me, all I could attend to [in Swing Time] was that act of structural self-consciousness.
What I find in a creative company is while there is a desire to build a management foundation that can feel clear and consistent, the unique product we're in Illumination Entertainment making doesn't always allow for that. So rather than following management strategy that talks about building your structure and then staffing that structure, I tend to build the structure around the strengths of the individual people we have.
People define gay cinema solely by content: if there are gay characters in it, it’s a gay film... Heterosexuality to me is a structure as much as it is a content. It is an imposed structure that goes along with the patriarchal, dominant structure that constrains and defines society. If homosexuality is the opposite or the counter-sexual activity to that, then what kind of a structure would it be?
I actually find something rewarding about that tension between satisfying myself and satisfying others. Because first of all, I can't provide my own structure, and that tension provides a structure for me to actually work within.
Jazz and poetry both involve a structure that may be familiar and to some extent predictable. And then, you try to create as much surprise and spontaneity and feeling and variation while respecting that structure.
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