A Quote by Susanne Katherina Langer
The high intellectual value of images, however, lies in the fact that they usually, and perhaps always, fit more than one actual experience.
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The birth of a new fact is always a wonderful thing to experience. It's dualistically called a "discovery" because of the presumption that it has an existence independent of anyone's awareness of it. When it comes along, it always has, at first, a low value. Then, depending on the value-looseness of the observer and the potential quality of the fact, its value increases, either slowly or rapidly, or the value wanes and the fact disappears.
The value of being connected and transparent is so high that the roadbumps of privacy issues are much lower in actual experience than people's fears.
Just as the value of a house lies in its location, The value of a mind lies in its depth, The value of giving lies in the presence of a generous spirit, The value of words lies in their reliability.
Taiwan must find its own way. We have been emphasizing too much the manufacturing business. We have to become more high-tech, more innovative, and provide more value. We can't always insist on the value of low-cost production. We have to invest more in R&D to get high-value business.
Even more ominous ... is the fact that since the Second World War a new kind of intellectual has emerged in large numbers. ... he is only minimally interested in the proper intellectual significance of images and objects. Such people are not really intellectuals, but visuals ... A visual is more interested in style than in content ... A visual does not feel a rioting crowd being machine-gunned by the police, he simply sees a brilliant news photograph.
It places value on experience versus intellectual understanding. I saw a lot of people contemplating things but it didn't seem to lead to too many places. I got very interested in people who had discovered something more significant than an intellectual, abstract understanding.
In solitude we are in the presence of mere matter (even the sky, the stars, the moon, trees in blossom), things of less value (perhaps) than a human spirit. Its value lies in the greater possibility of attention.
However great an intellectual may be, however great one may be as a scholar or a man of learning, one has also to acquire humanness. Without humanness, scholarship and intellectual eminence are of no value.
The moral faculties are generally esteemed, and with justice, as of higher value than the intellectual powers. But we should always bear in mind that the activity of the mind in vividly recalling past impressions is one of the fundamental though secondary bases of conscience. This fact affords the strongest argument for educating and stimulating in all possible ways the intellectual faculties of every human being.
Seems to me that there is no better way to experience the depth of loss than after the fact. No more powerful instrument of imbuing value in an object than parting with it.
To verify images kills them, and it is always more enriching to imagine than to experience.
Direct experience is inherently too limited to form an adequate foundation either for theory or for application. At the best it produces an atmosphere that is of value in drying and hardening the structure of thought. The greater value of indirect experience lies in its greater variety and extent. History is universal experience, the experience not of another, but of many others under manifold conditions.
You need to focus on creating the actual value of the company, not just the theoretical value. The actual value comes from a great product that sells well and is ultimately profitable.
The English are always degrading truths into facts. When a truth becomes a fact it loses all its intellectual value.
Music as a whole industry is growing exponentially, but in terms of the actual music file, when you look at the actual value there, to me, 'The Beatles' catalog should be worth more than Spotify.
CGI means, just to be clear, creating any type of image with a computer. Basically, starting off with nothing, or with images and manipulating them. The way we did it, everything was actual photographed images. A lot of that stuff was shot through a microscope of chemical reactions, yeast growing, lots of weird things, by Peter Parks. We put it into a computer and collaged it, manipulated it. Meaning we digitally shaped it to fit with other images. But there was no computer-generated imagery at all.
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