A Quote by Jimenez Lai
The idea of morphology of languages is something that I'm really interested in.
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The idea of morphology of languages is something that I'm really interested in. How does German turn to Dutch, and how does Dutch turn to Anglo-Saxon and eventually English? Morphology is actually taking place through things like Twitter or GChat today, where we're changing how things are spelled, and those spellings are accepted as standard now. Morphology happens over time. It's not necessarily a bad thing.
I have become interested in languages which I cannot make up, which I cannot create or even create in: I have become interested in languages which I can only come up upon (as I disappear), a pirate upon buried treasure. The dreamer, the dreaming, the dream. I call these languages, languages of the body.
The independent role of morphology in mate choice is revealed by the rare instances where the usual association between song and morphology is disrupted.
'God' is the name given to the most 'important' human idea. In English, as in other languages, the original sense of the word is obscure. But the character of the name is the same in all languages: it is a question. 'God' is the question 'Is there something more important than, something besides, man?'
To be honest, I'm really not interested on how I'm viewed as. The only thing I'm interested in is to keep creating something special. Whether that something is synonymous to me or not is really none of my concern.
The fundamental thing about human languages is that they can and should be used to describe something; and this something is, somehow, the world. To be constantly and almost exclusively interested in the medium - in spectacle-cleaning - is a result of a philosophical mistake.
I think being able to speak different languages, and being able to act in those languages is something that's really very rewarding.
One of my favorite literary theorists, Mikhail Bakhtin, wrote that the defining characteristic of the novel is its unprecedented level of "heteroglossia" - the way it brings together so many different registers of language. He doesn't mean national languages, but rather the sublanguages we all navigate between every day: high language, low language, everything. I think there's something really powerful about the idea of the novel as a space that can bring all these languages together - not just aggregate them, like the Internet is so good at doing, but bring them into a dialogue.
I wish that I spoke more languages. I speak a couple languages, but not well enough to really dub myself. French is really the only one, and it's a difficult thing.
I have things that I'm interested in, and I'm not really interested in writing about anything that I'm not interested in. But it's important to me to be able to see it from a different perspective, and add something new to the whole picture.
I'm interested in a lot of the languages that drive our culture. I'm interested in user experience as language or how societal malaise takes root.
What I'm really interested in, as a reader and as a writer, is the idea of the nonfiction book that is not defined by its content, by its "about"-ness. Where you read it irrespective of whether you're interested in the subject.
I'm more interested in the idea of role-playing in general than the idea of role-playing in art. I like the childlike quality of making pretend or the optimistic idea of pretending something's happening when it's not.
The Lord of the Rings' is fundamentally an infantile work. Tolkien is not interested in the way grownup, adult human beings interact with each other. He's interested in maps and plans and languages and codes.
Anything that looks like an idea is probably just something that has accumulated, like dust. It looks like I have ideas because I do books that are all on the same subject. That is just because the pictures have piled up on that subject. Finally I realize that I am really interested in it. The pictures make me realize that I am interested in something.
It's absolutely irrelevant what galleries and critics and people who buy your paintings think. They just don't have any possible idea of what happens to you and they're really not that interested. As a matter of fact, they hate the idea that anything really happens to you. They want you to be a genius and that's it.
