A Quote by Ludwig Wittgenstein

The form is the possibility of the structure. — © Ludwig Wittgenstein
The form is the possibility of the structure.
Liberty is the possibility of doubting, the possibility of making a mistake, the possibility of searching and experimenting, the possibility of saying No to any authority - literary, artistic, philosophic, religious, social and even political.
Branches or types are characterized by the plan of their structure, Classes, by the manner in which that plan is executed, as far as ways and means are concerned, Orders, by the degrees of complication of that structure, Families, by their form, as far as determined by structure, Genera, by the details of the execution in special parts, and Species, by the relations of individuals to one another and to the world in which they live, as well as by the proportions of their parts, their ornamentation, etc.
I do think, or rather I sense that there is a relationship - at least in my own work - between a dramatic structure, the form and sound and shape of a play, and the equivalent structure in music. Both deal with sound, of course, and also with idea, theme.
Though I consider The Chronology of Water to be an anti-memoir for very precise reasons, it is an art form, and thus as open to "critique" as any other art form. Memoir has a form, formal strategies, issues of composition and craft, style, structure, all the elements of fiction or nonfiction or painting or music or what have you.
We are going to alter the structure of our beings and also totally change what we are. This is the possibility and inevitability that meditation offers us.
The intrinsic social structure, the family structure and so forth, is certainly in a very bad state. And I think that this is showing up in productivity. I think part of the reason, and I can't prove this, we're seeing a decline in some places is the breakup of the family, which is partly the result of an extreme form of individualism.
That feeling of being part of a group moving together is very powerful. It feels like it opens up a zone of possibility, a place for another self to form, also a place for a new world to form.
I frequently compose out the entire metric structure of a piece in modified cyclic form, where each cyclic revolution undergoes some form of 'variation' much as if measure lengths were concrete musical 'material.'
We've always had the sensibility that you work on the set, and you structure it, much like a play, where once you've got the lines down and blocking right, you freeze it, and then you go out and do what you're doing night after night. You want to structure something that has form and that builds the right dynamic from start to finish.
When one has reached maturity in this art, one will have the formless form. It is like the dissolving or thawing [of] ice into water that can shape itself to any structure. When one has no form, one can be all forms; when one has no style, one can fit in with any style.
The fear of infinity is a form of myopia that destroys the possibility of seeing the actual infinite, even though it in its highest form has created and sustains us, and in its secondary transfinite forms occurs all around us and even inhabits our minds.
I am increasingly attracted to restricting possibility in the poem by inflicting a form upon yourself. Once you impose some formal pattern on yourself, then the poem is pushing back. I think good poems are often the result of that kind of wrestling with the form.
Live action writers will give you a structure, but who the hell is talking about structure? Animation is closer to jazz than some kind of classical stage structure.
I often look for beauty in form and structure, and for ideas.
Regarding pushing the form, ideas interest me more than form. I think you can write a very subversive play in a three-act structure. The content makes the play. I feel the form is simply dressing, because ultimately, you want to communicate to the audience, and sometimes the best way to do that is to present a provocative idea in a format that is comfortable for them to receive. Then the idea will come through directly, right in solar plexus. After all, I want to make a living as an artist, and that means speaking to the audience in a form they can understand.
This is the sacrifice: the endless possibility that is offered up on the altar of the form.
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