A Quote by Orson Scott Card
It's the problem with age. You have all these rusty arguments, and no quarrel to use them in. My brain is a museum, but alas, I'm the only visitor, and even I am not terribly interested in the displays.
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You've probably heard about the theory of steam-engine time - that even after the steam engine had been invented, it had to wait until people were ready to make use of it. The same thing happens in literary circles. The truth is, I'm not terribly interested in Victorian times; I'm interested in Victorian writers. I'm interested in most eras of history, but not the Victorian Era especially. I was interested in the John Franklin Expedition. I was interested in these last five weird years of Dickens' life. And I just have to take the age that comes with all that when I write about it.
I am loath to suggest 'Visitor Q' to anyone, because you've got to have a warped brain to even understand or appreciate it a little bit. Fortunately, or unfortunately, I have been blessed with a warped brain, and I really dug it.
Highly technical philosophical arguments of the sort many philosophers favor are absent here. That is because I have a prior problem to deal with. I have learned that arguments, no matter how watertight, often fall on deaf ears. I am myself the author of arguments that I consider rigorous and unanswerable but that are often not such much rebutted or even dismissed as simply ignored.
A new study finds that women use their whole brain when listening and men only use half of their brain. You see, men use the other half of their brain to come up with excuses. I don't think women use their whole brain when listening. I think they use half of it and the other half is used to memorize what men are saying so they can use it against them 10 years later!
I am very seldom interested in applications. I am more interested in the elegance of a problem. Is it a good problem, an interesting problem?
One of the great things about humor is, you can slip things past people with humor, you can use it as a sweetener. So you can actually tell them things, give them messages, get terribly, terribly serious and terribly, terribly dark, and because there are jokes in there, they'll go along with you, and they'll travel a lot further along with you than they would otherwise.
Because of mathematics precise, formal character, mathematical arguments remain sound even when they are long and complex. In contast, common sense arguments can generally be trusted only if they remain short; even moderately long nonmathematical arguments rapidly becomes farfetched an dubious.
I am interested in getting people to use the healthcare system at the right time, getting them to see the doctor early enough, before a small health problem turns serious.
God is not interested in our public displays of piety. He's not interested in religion in terms of the outward show. He's interested in godliness.
I wonder if we are seeing a return to the object in the science-based museum. Since any visitor can go to a film like Jurassic Park and see dinosaurs reawakened more graphically than any museum could emulate, maybe a museum should be the place to have an encounter with the bony truth. Maybe some children have overdosed on simulations on their computers at home and just want to see something solid--a fact of life.
I am so fed up and joyless that not only have I nothing to fill my soul, I cannot even conceive of anything that could possibly satisfy it - alas, not even the bliss of heaven.
The method I take to do this is not yet very usual; for instead of using only comparative and superlative Words, and intellectual Arguments, I have taken the course (as a Specimen of the Political Arithmetic I have long aimed at) to express myself in Terms of Number, Weight, or Measure; to use only Arguments of Sense, and to consider only such Causes, as have visible Foundations in Nature.
It is a sad truth, but we have lost the faculty of giving lovely names to things. Names are everything. I never quarrel with actions. My one quarrel is with words. The man who could call a spade a spade should be compelled to use one. It is the only thing he is fit for.
I am only interested in painting the actual person, in doing a painting of them, not in using them to some ulterior end of art. For me, to use someone doing something not native to them would be wrong.
I always feel like there are specific things about Houston. There's one museum in particular in Houston. So many of the things that I'm interested in now I can sort of trace back to that museum, which introduced me to them.
Because ideas have to be original only with regard to their adaptation to the problem at hand, I am always extremely interested in how others have used used them.
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