A Quote by Henry Rollins
A text conversation is a short exchange of often grossly truncated language that corresponds to a thought made all the more shallow by the process.
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The process of communication with the afterlife - more of an exchange than a conversation - has always fascinated me.
Screenwriting involves an often un-personal process. Co-writers, directors, producers, everyone has a say in what you put on a page, and stories are constantly changing according to budget, actors, and commercial needs. Films are a collaborative process and are also inherently narrative and structured, so you are always working within very tight parameters. Short fiction unleashes a more intimate voice and a passion for language. I believe short narratives can have the same amount of danger and drama as any action film.
Do we regard language as more public, more ceremonial, than thought? Just as family men condemn the profanity on the stage that they use constantly in conversation, in the same way we may look to written language as an idealization rather than a reflection of ourselves.
The 'open text' often emphasizes or foregrounds process, either the process of the original composition or of subsequent compositions by readers.
Literature can no longer be either Mimesis or Mathesis but merely Semiosis, the adventure of what is impossible to language, in a word: Text (it is wrong to say that the notion of 'text' repeats the notion of 'literature': literature represents a finite world, the text figures the infinite of language).
The older you get, you always learn more. Sometimes it's a process of learning about yourself and what your journey is. Sometimes the process moves forward at a rapid pace in a short amount of time - or moves backwards. And you're like, "Man, I thought I had made so much progress, and now all of a sudden, I'm 10 steps further behind than when I started."
In our daily lives as programmers, we process text strings a lot. So I tried to work hard on text processing, namely the string class and regular expressions. Regular expressions are built into the language and are very tuned up for use.
Of the properties of mathematics, as a language, the most peculiar one is that by playing formal games with an input mathematical text, one can get an output text which seemingly carries new knowledge. The basic examples are furnished by scientific or technological calculations: general laws plus initial conditions produce predictions, often only after time-consuming and computer-aided work. One can say that the input contains an implicit knowledge which is thereby made explicit.
Consensus is usually made possible by vague language and shallow commitments.
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
Every line of true knowledge must find its completeness as it converges on God, just as every beam of daylight leads the eye to the sun. If religion is excluded from our study, every process of thought will be arrested before it reaches its proper goal. The structure of thought must remain a truncated cone, with its proper apex lacking.
Any fifth language that you use should be equally used as just another bit of theater language, so that if you have a strong text, then the light should be as strongly part of that text as, for example, the sound it should be or whatever it is that you see.
We note the increasing coarseness of language and understand how Lot must have felt when he was, according to Peter, "vexed with the filthy conversation of the wicked." (2 Peter2:7.) We wonder why those of coarse and profane conversation, even if they refuse obedience to God's will, are so stunted mentally that they let their capacity to communicate grow more and more narrow. Language is like music; we rejoice in beauty, range, and quality in both, and we are demeaned by the repetition of a few sour notes.
No form of human exchange is more profitable than the exchange of ideas. If I give you a thought in return for one of your thoughts, each of us will have gained a 100 percent dividend.
I often wrangle with myself as an actor, and wrestle with the process. In striving for authenticity I often have the feeling I am falling short.
The performance of Carnatic music is multi-dimensional and layered. A performance is at once an artiste's cathartic process of personal exploration and an open energy exchange with the audience: a release and a conversation.
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