Quotes of All Topics . Occasions . Authors
The five stages - denial, anger, bargaining, depression, and acceptance - are a part of the framework that makes up our learning to live with the one we lost. They are tools to help us frame and identify what we may be feeling. But they are not stops on some linear timeline in grief.
The readership for 'Sag Harbor' was different from people who'd read me before - it was linear and realistic, not as strange as 'The Intuitionist.' Did they carry over to 'Zone One,' a story about zombies in New York? Some, some not. I'm used to people not caring about my other books.
When you go back and look at what people say about my essays, they're always going, 'What is this?' Because they're not exactly like other people's essays... The approach is not at all the recognized approach of a non-fiction writer. It's not linear. It isn't pyramidally based on fact.
A lot of people in our industry haven't had very diverse experiences. So they don't have enough dots to connect, and they end up with very linear solutions without a broad perspective on the problem. The broader one's understanding of the human experience, the better design we will have.
I look for something that can challenge me or makes me ever so slightly afraid - fearful of how I am going to approach it - then I'll go for it. If the project appears linear or predictable, then I'll usually give it a miss. Anything that involves me being stretched as an actor, I go for.
My life hasn't been conventional and it hasn't been linear. I've had to make it up as I've gone along, which has taught me a lot. If you don't accept the obvious options that are laid out for you, it's up to you to work out where you're going and to create your own specific rules and goals.
I do genuinely believe that the political system is not linear. When it reaches a tipping point fashioned by a critical mass of opinion, the slow pace of change we're used to will no longer be the norm. I see a lot of signs every day that we're moving closer and closer to that tipping point.
To some degree. I think that I've always been very much of a chordal person. The chords are the foundation of everything. Some of Yes' stuff is very linear, albeit complex, but it's single-line melodic stuff. So I kind of had to wear a different cap working with Yes. It's not so much chord-based.
All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it's very linear. There's a script, then you're going to shoot the script ,and then you cut that, and then that's the end of the film. And that's never really been how I've seen it.
I'm a creature of adaptation. I take advantage of the second and the moment. My comedy breathes; it's not really that predictable. I do have a linear style, but other than that, there's a lot of abstract. I just go off on what I'm thinking. I'm not that topical. I like to talk about me and my experiences.
Like all major transitions in human history, the shift from a linear to a circular economy will be a tumultuous one. It will feature heroes and pioneers, naysayers and obstacles, and moments of victory and doubt. If we persevere, however, we will put our economy back on a path of growth and sustainability.
The relationship between art and a job is not quite linear, but I really love any and all manifestations of art, really respect any kind of artistic impulse, whether it's paintings and sculptures or really good filmmaking or music. I really see the relationships between these different mediums as very fluid.
If you're going to be a media brand and not just a linear television brand, then you have to make sure you're speaking to all women and all interests, so it may mean that you end up smaller audiences serving individual pieces of content, but the aggregate is what's important and what we're paying attention to.
I realized that we don't travel in such a linear way anymore but rather jump from one point to another and back again. So I got this idea for a 'constellation' novel recounting experiences that were separate from each other but could still be connected on different psychological, physical and political levels.
In 1990, if I wanted a pair of Calvin Klein jeans I had seen in a magazine, I'd head to the mall, sift through piles of inventory to find my size, try them on, ask the opinion of the often inexperienced sales associate, wait in line to check out, pay, and head home. The process was linear and ripe for improvement.
All of us are linear thinkers. We evolved in a world that was local and linear. You know, back 100,000, 200,000, millions of years ago, when we were evolving as a human species, nothing changed. You know, the life of your great-grandparents, you, your kids - it was the same. And so we are local and linear thinkers.
I feel very protective in the first draft, when all the pieces are coming together. I work in a way that is not linear or chronological at all, even with the short story. I will just be writing bits and pieces, and then when I have all the pieces on the table, that for me is when it feels like the real work begins.
I think it's always interesting when you see a company start moving so quickly - it's like wow, incredible. When a company like Uber starts breaking away, it's not a linear thing. It's exponential. All of a sudden, the guy you know who threw $25,000 at Uber very early on - all the sudden, that $25,000 is $25 million.
The concept of graphene came along in 1947, but nobody paid much attention to it. I was fascinated because it had a linear E versus K while everything else that people were working on at that time had a quadratic dispersion relationship. I wondered why this was and what was so special about it. That was my fascination.
I know that my tendency is to be linear, and I'm trying to find ways to subvert that. And so in 'Bellocq's Ophelia' my device for subverting it was to tell the story and then to tell it again; it always circles back to this one moment, and it's not linear, but it's round in that way, and much of 'Native Guard' is like that.
Genes are effectively one-dimensional. If you write down the sequence of A, C, G and T, that's kind of what you need to know about that gene. But proteins are three-dimensional. They have to be because we are three-dimensional, and we're made of those proteins. Otherwise we'd all sort of be linear, unimaginably weird creatures.
Every cell in our body, whether it's a bacterial cell or a human cell, has a genome. You can extract that genome - it's kind of like a linear tape - and you can read it by a variety of methods. Similarly, like a string of letters that you can read, you can also change it. You can write, you can edit it, and then you can put it back in the cell.
When I make music I try to be as honest as I can to how I experience the world. Like how you arrange a piece of music formally. I tend to observe a lot of chaos or whatever, the fragmentation and melancholy. That's the filter I synthesize my world view with. If I didn't formally have that chaos and it was really linear, it would make my skin crawl.
