A Quote by Joichi Ito

But my question is, am I compromising by adapting my words for the audience and where is the line beyond which I am not adapting words, but changing my position? — © Joichi Ito
But my question is, am I compromising by adapting my words for the audience and where is the line beyond which I am not adapting words, but changing my position?
The key thing is knowing how to adapt. Adapting to the group that you have at your disposal; adapting to the place where you're working; adapting to the local environment. This is crucial: adaptability.
Learning a [skateboard] trick is kind of like a puzzle; you have to keep trying, and trying, and trying, and adapting and changing, and adapting and changing, and finally it works.
When I was a child, my parents taught a literal creation. By the time I was in my 20s they were accommodating evolution. In other words, less creed, more roll with changing ways of seeing. Maybe adapting is a better way to see this.
I think acting is really fully adapting - to your surroundings, to your emotions, to the people that you're working with, to being tired, to want to go home, to being lonely, to being happy. It's adapting for me, and trusting. Adapting and trusting, that's my format right there.
The point of human evolution is adapting to circumstance. Not letting go of the old, but adapting it, is necessary.
If I just remix and release, no one will listen. I am adapting, changing the song and merging a new song into an old one.
I am always open to learning. I am always open to adapting myself to a new role and a new position.
There's a place beyond words where experience first occurs to which I always want to return. I suspect that whenever I articulate my thoughts or translate my impulses into words, I am betraying the real thoughts and impulses which remain hidden.
Wordstruck is exactly what I was—and still am: crazy about the sound of words, the look of words, the taste of words, the feeling for words on the tongue and in the mind.
I am actually talking about possibly adapting 'The Boys,' by Garth Ennis, which would not be a comedy, but an action movie with comedy elements to it.
Your circumstances will line up with your words. ... Words are like seeds, they have creative power. ... The more you talk about it the more you call it in. ... Your words will give life to what you are saying. ... You can change your world by simply changing your words. ... You can use your words to bless your life or curse your life.
I am a dreamer of words, of written words. I think I am reading; a word stops me. I leave the page. The syllables of the word begin to move around. Stressed accents begin to invert. The word abandons its meaning like an overload which is too heavy and prevents dreaming. Then words take on other meanings as if they had the right to be young. And the words wander away, looking in the nooks and crannies of vocabulary for new company, bad company.
I am like the fish in the aquarium, thinking in a different language, adapting to a life that’s not my natural habitat. I am the people in the other cars, each with his or her own story, but passing too quickly to be noticed or understood.
I have one rule when adapting any text: nothing gets added; all the words are the original author's own. But in the ordering and recreation of the story, I can do as I please, and to me, the heart and the point of 'Dracula' is appetite.
I am still adapting to London life, but England was always a country that 'interested me.
I am no poet. I do not love words for the sake of words. I love words for what they can accomplish. Similarly, I am no arithmetician. Numbers that speak only of numbers are of little interest to me.
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