A Quote by Mason Cooley
Technique bridges among ideas, and sometimes generates them.
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Bridges are burning all around us; bridges to responses that might have mitigated the already brutal (and just beginning) ravages of Peak Oil; bridges to reduce the likelihood of war and famine; bridges to avoid our selectively chosen suicide; bridges to change at least a part of energy infrastructure and consumption; bridges to becoming something better than we are or have been; bridges to non-violence. Those bridges are effectively gone.
Democracy is to have different ideas, even extreme ones. In democracy there is space for all of them and bridges to connect them. In Turkey we are losing those bridges, and everyone is trying to destroy spaces for the opposite side. When we look at this, Istanbul is like different courtyards divided by big, thick walls.
I would rather have ideas and some difficulties of technique than a perfect technique and no ideas.
For us to accomplish our goals, it will be necessary to transform our political culture, to respect plurality, and to build, among ourselves, bridges and more bridges.
There are some men whose only mission among others is to act as intermediaries; one crosses them like bridges and keeps going.
Most songs have bridges in them, to distract listeners from the main verses of a song so they don't get bored. My songs don't have a lot of bridges because lyric poetry never had them.
Ideas are dangerous, but the man to whom they are least dangerous is the man of ideas. He is acquainted with ideas, and moves among them like a lion-tamer. Ideas are dangerous, but the man to whom they are most dangerous is the man of no ideas. The man of no ideas will find the first idea fly to his head like wine to the head of a teetotaller.
The best part of all is that no matter how long you practice, or what method you use, every technique of Buddhist meditation ultimately generates compassion.
Everybody has ideas. The vital question is, what do you do with them? My rock musician sons shape their ideas into music. My sister takes her ideas and fashions them into poems. My brother uses his ideas to help him understand science. I take my ideas and turn them into stories.
I studied technique for ten years, from age 7 to 17. I guess you could say I went more on the Stanislavski side than the Meisner side - there's always that wide divide among actors when it comes to technique.
Every isolated passion, is, in isolation, insane; sanity may be defined as synthesis of insanities. Every dominant passion generates a dominant fear, the fear of its non-fulfillment. Every dominant fear generates a nightmare, sometimes in form of explicit and conscious fanaticism, sometimes in paralyzing timidity, sometimes in an unconscious or subconscious terror which finds expression only in dreams. The man who wishes to preserve sanity in a dangerous world should summon in his own mind a parliament of fears, in which each in turn is voted absurd by all the others.
In every science, after having analysed the ideas, expressing the more complicated by means of the more simple, one finds a certain number that cannot be reduced among them, and that one can define no further. These are the primitive ideas of the science; it is necessary to acquire them through experience, or through induction; it is impossible to explain them by deduction.
There are two kinds of comics; there are the ones who build bridges, and then there are the people who walk across the bridges as though they built them. The bridge builders are few and far between.
I try to show good technique - boxing technique, wrestling technique, jiu jitsu technique.
The acts of the mind, wherein it exerts its power over simple ideas, are chiefly these three: 1. Combining several simple ideas into one compound one, and thus all complex ideas are made. 2. The second is bringing two ideas, whether simple or complex, together, and setting them by one another so as to take a view of them at once, without uniting them into one, by which it gets all its ideas of relations. 3. The third is separating them from all other ideas that accompany them in their real existence: this is called abstraction, and thus all its general ideas are made.
Fog everywhere. Fog up the river where it flows among green airs and meadows; fog down the river, where it rolls defiled among the tiers of shipping, and the waterside pollutions of a great (and dirty) city.... Chance people on the bridges peeping over the parapets into a nether sky of fog, with fog all round them, as if they were up in a balloon and hanging in the misty clouds.
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