A Quote by Tamlyn Tomita
In period pieces or genre pieces, those have to be set in historical truths. But, science fiction has different game pieces. And with those game pieces come other stories we're not familiar with. So, science fiction teaches us how to relate to outsiders, to foreigners, and to not approach any of that with fear, but a genuine curiosity.
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The trick generally is to break programs into pieces and have those pieces be individually testable and so then when you move on to the other pieces you treat it as a black box knowing that it either works or doesn't work.
What writers of fantasy, science fiction, and much historical fiction do for a living is different from what writers of so-called literary or other kinds of fiction do. The name of the game in F/SF/HF is creating fictional worlds and then telling particular stories set in those worlds. If you're doing it right, then the reader, coming to the end of the story, will say, "Hey, wait a minute, there are so many other stories that could be told in this universe!" And that's how we get the sprawling, coherent fictional universes that fandom is all about.
The universe may be timeless, but if you imagine breaking it into pieces, some of the pieces can serve as clocks for the others. Time emerges from timelessness. We perceive time because we are, by our very nature, one of those pieces.
Java is like a variant of the game of Tetris in which none of the pieces can fill gaps created by the other pieces, so all you can do is pile them up endlessly.
But the difference between the little pieces and the big pieces - I'm not actually sure which are the little pieces. With some of the big pieces, it's a lot of musical running around, whereas the little pieces, you can say everything you want to say.
Lateral thinking is concerned not with playing with the existing pieces but with seeking to change those very pieces. It is concerned with the perception part of thinking. This is where we organise the external world into the pieces we can then 'process'.
We work on our set pieces for every opponent. It's a moment of the game that requires a lot of hard work, defensive and offensively. We try to invest our time in set pieces.
With a piece of classical music by Haydn, Mozart, or Beethoven, on first listening I'm referencing it with other pieces by them that I know. I think that most people do this - they listen to pieces through the filter of pieces they already know.
My favorite elements of 'Start Talkin'' were those man-on-the-street pieces. I love shooting those. I was born in Manhattan, have lived in or around New York my entire life, and I feel like I'm in my element when doing those pieces.
Each player, it will be observed, has eight superior Pieces or officers, and eight minor ones which are called Pawns; and, for the purpose of distinction, the Pieces and Pawns of one party are of a different color from those of the other.
The micro-compositions are the pieces themselves, but the macro-composition is the whole set of them and how it moves from track to track and how the titles relate to one another, for example. Always when I do records like this of a selection of instrumental pieces - the titles, to me, are very important.
[The Women's Room] is one of those pieces of fiction that reveals itself in a different way every time. It's incredible.
During the course of a 16-game season, everybody, in the end, is injured. It's almost as if pieces just get broken off, and you give up pieces or an appendage every year.
Except for the violin pieces and a few of my orchestra pieces, all of my works from the Passacaglia on relate to the death of my mother.
I've seen so many period pieces in my life, I really enjoy them so much, a lot of my favorite movies are period pieces.
When you hear the word 'cancer,' it's as if someone took the game of Life and tossed it in the air. All the pieces go flying. The pieces land on a new board. Everything has shifted. You don't know where to start.
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