A Quote by Margo Georgiadis
In tech, you create the foundation; even sometimes if it doesn't work, you take that same developmental idea, and you use it to apply to a different area.
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It's strange that we create tech and then we apply it to machines, when we could apply it to ourselves. Cars can now detect if something is behind them, but we don't have this ability. Why are we applying such a simple sense to a car when we could apply it to ourselves?
I've always liked the idea of inventing stuff. My father told me, because I was naïve, I would think things could work and therefore do them, because I would have no doubt even though there was no solid foundation for this confidence. I don't think I would be a real inventor. But when I set out to do animation, which was my first step into film-making, I realised I could achieve this idea. I could take some elements, create a sort of clumsy invention, and make them work for the camera.
I use SPF every day, then apply foundation, mascara, eyeliner and blusher. I always take my make-up off at night and moisturize.
I have no idea and I think Steven King strongest suit is the characters that he does create, all in the same area where he lives. The way he describes them is one of his fortes and it boggles my mind how he's able to do that and to create so many. It must be thousands by now.
Creators start at the end. First they have an idea of what they want to create. Sometimes this is idea is general, and sometimes it is specific. Before you can create what you want you want to create, you must know what you are after, what you want to bring into being.
I don't get to live by different rules. The same boundaries that apply to everyone apply to me.
Mozart and Neil Diamond may have begun with the same idea, but that a work of art is more than an idea is confirmed by the difference between the 'Soave sia il vento' and 'Kentucky Woman.' We have different words for 'art' and 'idea' because they are two different things.
No two people see the world exactly alike, and different temperaments will often apply the same principle, recognized by both, differently. Even one and the same person won't always maintain the same views and judgments: earlier convictions must give way to later ones.
I wouldn't be creatively satisfied if all we did were sequels, but in the same breath, I'll say that I wouldn't be creatively satisfied if everything was an original. It's good to use the different parts of my brain. Very different rules apply.
There's a limit of any form of representation; it's the same about writing about visual art. I still think it's useful for people to think through things in a deeper way, and use adjectives even if they're not sufficient, you know? I always find it interesting what terms they use to refer to the work. It's always different, and that's kind of intriguing. Sometimes it's clichés, but often it's really creative ways of paraphrasing or reformatting what to mean seems something else. I like that, personally.
I can draw and paint in many different styles, and use different mediums to create work.
I'm not trying to create an aesthetic that's my own; I'm trying to create a way understanding things through drawing and painting. That's the common thread. Things can look different, but that's not what's important. What's important is the process is the same, the ideas are the same, I'm using the same building blocks, but they're different. The larger framework is the same; it's the pieces that change. For me, it's about these different elements, but you're still fitting them together into sentences, words, paragraphs, and stories.
So basically my, my foundation does this thing called gap coverage for, you know, students that apply for our scholarship program. What it means, it's not like quote, unquote 'full scholarship.' They apply for financial aid and, and FAFSA and things like that. Then whatever's not covered, my foundation covers.
The most important thing in Guardiola's theory is to play football, and this always stays the same. The basic idea is always the same, but different opponents offer different space which you can use to play in.
If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.
Every work is completely different. Sometimes the music is first, sometimes it's parallel, and sometimes the music is after. There's no rule. Music goes differently to your emotions. With music you can create different spaces and feelings easier than you can with the visual - maybe not easier, but in a way, it's more seductive.
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