A Quote by Janet Echelman
When developing an idea, I remind myself not to start with compromise. I envision the ideal manifestation of the idea, as if I had no limits in resources, materials, or permission.
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The ideal of universal literacy, in the West anyway, was first of all a Protestant idea - that everybody had to be able to read to save their soul. That idea got transposed into an idea of the importance of literacy for democratic citizenship.
We make it easy for anyone to get free resources. Anyone can launch an idea for five minutes. Anyone can comment on, add, and enhance the idea. Need a designer? We provide an entrepreneurial matching system without the bosses getting involved. And in terms of unstructured time, we have a permission for that.
The ideal and the beautiful are identical; the ideal corresponds to the idea, and beauty to form; hence idea and substance are cognate.
Ideas are of themselves extraordinarily valuable, but an idea is just an idea. Almost anyone can think up an idea. The thing that counts is developing it into a practical product.
The torch is a symbol of the Olympic Games, of peace and togetherness. It's a good idea. And this idea is being misused. I believe in the Olympic ideal and in the torch that symbolizes this ideal. We should be condemning not those who have this ideal, but those who try to destroy it.
There are times when we in Little Dragon write from scratch together, but everyone has their own lives, so it just seems to make sense when everyone starts an idea on their own and we sort of meet somewhere along the way. I'm at the studio all the time because I live there, but the guys will have different schedules. It's easier to start an idea with your own thoughts, rather than having to compromise from the start.
Look, "Gender trouble" includes a critique of the idea that there are two ideal bodily forms, two ideal morphologies: the masculine and the feminine. I want to suggest that today the intersex movement is very engaged with criticizing that idea.
When I'm meditating on an idea, I try to let the idea completely saturate me to the point where I feel like I'm covering myself in it or totally immersing myself in it, so that everywhere I'm looking, everywhere I'm going, it's through the lens of that idea. And that's sort of what I do with the music - I try to lose myself in it.
I think the very idea of character, of developing not just grit, but empathy and curiosity, emotional intelligence - you know, the things that I want my own daughters to develop - the idea that we're going to get there through rewards and punishments seems completely at odds with the idea of character itself.
The fact is I'm an opportunist. I'll take materials around me, materials on my table, and work with them as I'm searching for an idea that works.
The aesthetic dimension of the ideal state comes out in the idea of harmony, which is the classical idea of beauty as "concinnitas" or "unity-in-variety".
For me, the excitement in architecture revolves around the idea and the phenomenon of the experience of that idea. Residences offer almost immediate gratification. You can shape space, light, and materials to a degree that you sometimes can't in larger projects.
Part of making a relationship work is compromise and I think the idea of compromise in relationships is something that we lack in my generation.
The displacement of the idea that facts and evidence matter by the idea that everything boils down to subjective interests and perspectives is - second only to American political campaigns - the most prominent and pernicious manifestation of anti-intellectualism in our time.
Chemistry has the same quickening and suggestive influence upon the algebraist as a visit to the Royal Academy, or the old masters may be supposed to have on a Browning or a Tennyson. Indeed it seems to me that an exact homology exists between painting and poetry on the one hand and modem chemistry and modem algebra on the other. In poetry and algebra we have the pure idea elaborated and expressed through the vehicle of language, in painting and chemistry the idea enveloped in matter, depending in part on manual processes and the resources of art for its due manifestation.
Malander had an idea and was trying to work it out, but it would take him time. Sometimes people never saw things clearly until it was too late and they no longer had the strength to start again. Or else they forgot their idea along the way and didn't even realise that they forgotten.
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