A Quote by Shane McCrae

I believe rhythmic sensibility is always a product and extension of language, defined broadly, among other things. But it is an immediate product and extension - no time elapses between the exposure to language and the creation of rhythmic sensibility.
I do try to incorporate particular rhythmic and generally sonic motifs I discover in music as such, and if one thinks of language in a narrow sense, that, perhaps, suggests a possibility for a rhythmic sensibility that enters poetry from outside of language.
The desert is a natural extension of the inner silence of the body. If humanity's language, technology, and buildings are an extension of its constructive faculties, the desert alone is an extension of its capacity for absence, the ideal schema of humanity's disappearance.
So I am a product of the Internet, and to some degree a product of this sensibility of constant cultural reference.
The wheel is an extension of the foot, the book is an extension of the eye, clothing an extension of the skin, electric circuitry an extension of the central nervous system.
I believe that we must use language. If it is used in a feminist perspective, with a feminist sensibility, language will find itself changed in a feminist manner. It will nonetheless be the language. You can't not use this universal instrument; you can't create an artificial language, in my opinion. But naturally, each writer must use it in his/her own way.
I do what I feel I know how to do and don't do things that I don't. I'm a product of my sensibility.
I like creating these rhythmic patterns. These interlocking rhythmic things are really fun.
I think rhythm is, when you talk about rhythmic sensibility, quite perceptive in that I like to have at least one thing that is at least common or familiar to the audience.
The principal lesson of Emacs is that a language for extensions should not be a mere "extension language". It should be a real programming language, designed for writing and maintaining substantial programs. Because people will want to do that!
Sometimes at night I slipped into the studio and worked myself up into a rhythmic intoxication to come closer to the slowly rising character. I could feel how everything pointed toward a clearly defined dance figure. The richness of rhythmic ideas was overwhelming
Entranced by the denotative power of words to define, to order, to represent the things around us, weve overlooked the songful dimension of language so obvious to our oral [storytelling] ancestors. Weve lost our ear for the music of language -- for the rhythmic, melodic layer of speech by which earthly things overhear us.
I have no idea what a British sensibility or a British sense of humor is. I have no concept of what that is. I have no concept of what American sensibility is. I was born in Great Britain, but I was only there for six months, and we moved to Belgium, where I grew up. I love Britain, I lived there for nine years doing shows and things, but I don't know what a British sensibility is. I'd like to have someone tell me what an American sensibility is.
My focus is on the rhythmic relationship between body and ground and the visual relationships among the elements of the always-changing scene.
Virtue is not a chemical product...it is a historic product, like language and literature; and this means that if we cease to care about it, cease to cultivate it, cease to transmit its funded values, a large part of it will become meaningless, like a dead language to which we have lost the key.
I'm not an art director; I'm just not. I've always been somebody who has a sensibility that I hope is the same sensibility of others.
I definitely have a gift for language that is rhythmic and attractive to the ear, and I have interesting [verbal] imagery which I guess is a poetic touch.
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