A Quote by Joshua Mohr

I'm a very tactile learner, so I need analog index cards, moving them all about, trying out various sequences for the book's architecture. — © Joshua Mohr
I'm a very tactile learner, so I need analog index cards, moving them all about, trying out various sequences for the book's architecture.
I was trying. I was crawling. I was coming into myself. I was trying to in some ways get beyond - what is the word that I'm looking for? - metaphorical language in painting, and to create something that was more indexical. And what I mean by that is that when you go to the library there's an index card that refers to a book that's actual and real in the world. So that index relates to something real.
After we map out all the main characters' individual arcs, using color-coded index cards, we arrange them by episode and get a rough idea of the scene order.
It's actually as simple as this. New authors, building their customer base, need physical bookshops. Physical bookshops are lovely tactile, friendly, expert, welcoming places. Physical books, which can only be seen and handled in physical bookshops, are lovely, tactile things. Destroy those bookshops, and the very commercial and cultural base to the book industry is destroyed. Once and for all. Like Humpty Dumpty, it can never be put together again.
In a script, you have to link various episodes together, you have to generate suspense and you have to assemble things - through editing, for example. It's exactly the same in architecture. Architects also put together spatial episodes to make sequences.
I'm a very methodical writer. Before computers, I used reams of paper and stacks of index cards.
I like to work with a combination of analog and Pro Tools. I love the sound of analog tape, but there's so many things you can do with Pro Tools that would be incredibly difficult and very time-consuming with analog.
I'm tactile, very tactile. A woman who has really nice, looked-after skin is such a turn-on for me. It's always sexy.
I had one of those farcical bar mitzvahs where they spell out the words phonetically on index cards, and you don't even know what you're saying.
For 'Never Knowing,' I outlined it and then blocked it out on my office wall with index cards, but things still happened organically.
You know what's fun? You pick somebody at random, like out of the phone book, and send them about 100 'Just Because' cards. They can't even ask you why you did it.
Because I loved dance, I always need to be physical and moving, so photography that is more tactile made more sense.
Australia is a very healthy country which goes along with the fact that it's very high on the Human Development Index, high wealth, good levels of education. So Australia ranks right up there, second or third on the Human Development Index. And Indigenous Australians, if you treated them as if they were a separate country, would rank probably about 100th or below 100.
This book could scare them. The sex, the violence, the dream sequences and the iconoclasm - I think a lot of people are uncomfortable with that. I understand that. It was very uncomfortable to write some of it
I still enjoy the tactile sensation of holding a book. But when I need to read fast for work, I use the Kindle App on my iPad.
The world is a puzzling place today. All these banks sending us credit cards, with our names on them. Well, we didn't order any credit cards! We don't spend what we don't have. So we just cut them in half and throw them out, just as soon as we open them in the mail. Imagine a bank sending credit cards to two ladies over a hundred years old! What are those folks thinking?
The thing about animation is that it's a constantly changing process. They talk in terms of sequences - so there's like thirty different sequences in a movie and at anytime those were shifting or being taken out or being replaced.
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