A Quote by Marie Winn
[Television viewing] is a one-way transaction that requires the taking in of particular sensory material in a particular way, no matter what the material might be. There is, indeed, no other experience in a child's life that permits quite so much intake while demanding so little outflow.
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The thing that's worked for me is having as much of a connection to the material as possible. And sometimes the material requires a more straightforward approach, and sometimes it requires a little more silliness, you know?
I always think about the books I'm doing in pretty much the same way. I'm simply trying to write that particular novel as well as that particular novel can be written. I want to listen to what it is telling me, trying to figure out what it wants to do as much as what I want to do with it. There's a negotiation that's constant and ongoing between me and the material I'm working with, because I'm trying to listen to it.
Throw yourself into the hurly-burly of life. It doesn't matter how many mistakes you make, what unhappiness you have to undergo. It is all your material ... Don't wait for experience to come to you; go out after experience. Experience is your material.
Ours is a culture based on excess, on overproduction; the result is a steady loss of sharpness in our sensory experience. All the conditions of modern life - its material plenitude, its sheer crowdedness - conjoin to dull our sensory faculties
Something like going to get the newspaper can increase your writing efficiency by taking you away from the material. When I'm doing other things, writing stuff will be swirling around in my head, and sometimes I'll see a new way into the material.
The edifice of science not only requires material, but also a plan. Without the material, the plan alone is but a castle in the air-a mere possibility; whilst the material without a plan is but useless matter.
I've noticed over the past years of my writerly life that women writers in particular are discouraged in cleverly disguised forms from including the intellectual in their creative material way more than you would believe.
By ' patriotism ' I mean devotion to a particular place and a particular way of life , which one believes to be the best in the world but has no wish to force on other people.
I just think that there is something that keeps us together, to keep doing what we're doing. I can't really put my finger on it other than each record is like a little snapshot of my life at that particular moment, the way I play, the way I sound, the way I wrote, the way I sing, I can hear it.
No matter what system the magician chooses, in order to make it work most effectively he or she must first become attuned to that system's particular way of viewing of the universe.
To know is not too demanding: it merely requires memory and time. But to understand is quite a different matter: it requires intellectual ability and training, a self conscious awareness of what one is doing, experience in techniques of analysis and synthesis, and above all, perspective.
Every once and a while somebody writes a script, but even regardless of what age you are, most of the actors would all agree that it's all based upon material and the material has got to spark with you. It may be great material but you think it's great material for somebody else. Or it's great material and I'm perfect for it. So, you just have to make that judgment and if you feel in the mood to do it.
There are constraints on what counts as "Reformed." It's more than a name or a label. It's about belonging to a particular theological stream or tradition, which is shaped in important respects by particular thinkers and their work, particular arguments and ideas, a particular community (especially, particular church communities, denominations, and so on), particular liturgies or ways of worshipping and living out the Christian life, and particular confessions that inform the practices of these communities.
The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula for that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.
In our quest to quickly make three-dimensional objects, we can miss out on the experience of making something that helps give us our first understandings of form and material, of the way a material behaves--'I press too hard here, and it breaks here' and so on. Some of the digital rendering tools are impressive, but it's important that people still really try and figure out a way of gaining direct experience with the materials.
Philosophers, if they have much imagination, are apt to let it loose as well as other people, and in such cases are sometimes led to mistake a fancy for a fact. Geologists, in particular, have very frequently amused themselves in this way, and it is not a little amusing to follow them in their fancies and their waking dreams. Geology, indeed, in this view, may be called a romantic science.
