A Quote by Matthew Shipp
The iconoclastic mode, that specific mode of language, there is an element of it that it is punk - that is confrontational. That's just a part of the language of jazz - at a certain point.
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What I believe is that people have many modes in which they can be. When we live in cities, the one we are in most of the time is the alert mode. The 'take control of things' mode, the 'be careful, watch out' mode, the 'speed' mode - the 'Red Bull' mode, actually. There's nothing wrong with it. It's all part of what we are.
When we know beyond any doubt that we already speak the feeling language of prayer, we awaken that part of us that can never be stolen, lost, or taken away. This is the secret mode of prayer.
My idea here is that, inasmuch as certain cognitive tasks and principles are tied to nature's laws, these tasks and principles are indifferent to language, culture, gender, or the particular mode of information that is provided.
I love story-writing because I can (more or less, on occasion) actually DO it. That's really the truth. I like the idea that a story is sort of a site for making cool language effects - a site for celebrating language, and, therefore, the world. And the brevity is part of the challenge. I like stories because I get them - I know how to make beauty, or something like beauty, in that mode.
I'm just in work mode, and that prevents me from going into the Hollywood starlet mode, I suppose.
The advantage of the gypsy language, even though I don't understand it that much, the language is perfect melody. So if you propose the movie the way I do, then the language is just one part of the melody. Orchestrating all inside, and the language is following the meaning of what they say, and it's never the same as written.
As part of Depeche Mode, I don't think it's right for me to be using my own songs for a solo project. I'm not a very prolific songwriter, so I keep those for Depeche Mode.
There is no sphere in which a human being can be supposed to act where one mode of reasoning will not, in every given instance, be more reasonable than any other mode. That mode the being is bound by every principle of justice to pursue.
There is no mode of action, no form of emotion, that we do not share with the lower animals. It is only by language that we rise above them.
Now the point of comedy is not just looking funny, it's use of language. We have at our disposal a great language... and the imaginative, creative use of that language can be at the service of humour.
Curiously enough, it seems to be only in describing a mode of language which does not mean what it says that one can actually say what one means.
It seems to me that right under the surface of human neurological organization is a mode shift of some sort that would make language beholdable.
Here's the thing that people don't understand: I don't really care. I've never been a careerist. It's not a strategy. I react to certain characters and story lines and specific mode of filmmaking.
If you are leaping a ravine, the moment of takeoff is a bad time for considering alternative strategies... Do it in the 'closed' mode. But the moment the action is over, try to return to the 'open' mode... because in that mode we are the most aware, most receptive, most creative, and therefore at our most intelligent.
Creating the characters is the most creative part of the novel except for the language itself. There I am, sitting in front of my computer in right-brain mode, typing the things that come to mind - which become the seeds of plot. It's scary, though, because I always wonder: Is it going to be there this time?
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
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