A Quote by Robert Pinsky
Jazz and poetry both involve a structure that may be familiar and to some extent predictable. And then, you try to create as much surprise and spontaneity and feeling and variation while respecting that structure.
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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.
People define gay cinema solely by content: if there are gay characters in it, it’s a gay film... Heterosexuality to me is a structure as much as it is a content. It is an imposed structure that goes along with the patriarchal, dominant structure that constrains and defines society. If homosexuality is the opposite or the counter-sexual activity to that, then what kind of a structure would it be?
It is much more accurate to identify the factors of production as know-how (that is genetic information structure), energy, and materials, for, as we have seen, all processes of production involve the direction of energy by some know-how structure toward the selection, transportation, and transformation of materials into the product
What I find in a creative company is while there is a desire to build a management foundation that can feel clear and consistent, the unique product we're in Illumination Entertainment making doesn't always allow for that. So rather than following management strategy that talks about building your structure and then staffing that structure, I tend to build the structure around the strengths of the individual people we have.
Cage always wanted to know what my structure was, if I had one. I often did have some sense of the time structure. Then he'd make a different one for the music.
I think of painting as possessed by a structure... but a structure born of the flow of color feeling.
I stick closely to the structure of the myths. I may have some fun with the mythology by changing the environment to modern-day, but the structure of the myths, the monsters, the relationships of the gods - none of that is made up.
I do think some games are works of art, although their medium is visual rather than verbal. Both games and novels allow the reader/player to become a protagonist in the theater of the imagination. Both build worlds. In my opinion, the big difference between game and novel is in narrative structure. Communal role-playing games are open-plan without an end. A novel - at least the kind I write - has a closed structure with a beginning, a middle, and an end. I like that closed structure, and I feel I can say more with it.
When you're in school until you're 25 and you get out and suddenly structure is not handed to you, if you're smart you realize that you need to create structure for yourself.
Most theorists suspect that space has an intricate structure - that it is 'grainy' - but that this structure is on a much finer scale than any known subatomic particle. The structure could be of an exotic kind: extra dimensions, over and above the three that we are used to (up and down, backward and forward, left and right).
Questions structure and, so, to some extent predetermine answers.
The purpose of formulating [a] conflict as a game is not that of resolving the conflict by 'solving the game.' It is that of displaying the structure of the conflict and thereby exposing features of it that may be concealed by rhetoric. In particular, appreciation of the peculiar structure of some of the so-called mixed - motive conflicts represented nonzero-sum games may change the conflicting parties' perception of their situation.
When I create a false reality, I always try to create a plausible structure to help convince people.
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.'
The danger is not so much in the economic structure of a society but in its intellectual structure.
From study of known normal brains we have learned that there is a certain range of variation. No two brains are exactly alike, and the greatest source of error in the assertions of Benedict and Lombroso has been the finding of this or that variation in a criminal's brains, and maintaining such to be characteristic of the 'criminal constitution,' unmindful of the fact that like variations of structure may and do exist in the brains of normal, moral persons.
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