Quotes in the category technique.
The only thing that interests the physicist is finding out on what assumptions a framework of things can be constructed which will enable us to know how to use them mechanically. Physics, as I have said on another occasion, is the technique of techniques and the ars combinatoria for fabricating machines. It is a knowledge which has scarcely anything to do with comprehension.
It is the bane, and pleasure when creating Romance fiction, to know immersion and fulfillment for the reader are based on clarity. Clarity of plot, clarity of message, clarity of the characters, clarity of the changes going on inside of them, clarity of the darkest moment -- but don't you dare be obvious ~ Persuasion for the Endowment of Sex Appeal (Academic Paper)
No tricks, no tools, but talent makes a task truly top class.
I became an artist because I wanted to be an active participant in the conversation about art.
Marketing is so powerful that it can make even an extremely untalented musician a one-hundred-hits wonder.
On Ryukyu islands, the expert Kara-te practitioners, used their skills to subdue, control and generally teach bullies A lesson, rather than severely injure or kill their attackers. They knew full well the consequences of their actions and the trail of blood and retribution that would ensue
It does not need to be perfect - or technically correct - to be magic
I used to murder people for money, but these days it’s more of a survival technique.
I'll call any length of fiction a story, whether it be a novel or a shorter piece, and I'll call anything a story in which specific characters and events influence each other to form a meaningful narrative. I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing. When they realize that they aren't writing stories, they decide that the remedy for this is to learn something that they refer to as "the technique of the short story" or "the technique of the novel." Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.
Does Carthage even have forests? Did Virgil know for sure or was it just convenient for his story? Virgil was a professional liar. This would not be the only place where he pruned the truth until it was as artificial as an espaliered pear tree against a wall, forced into an expedient shape and bearing the demanded fruit.
The instruction here is not for every kind of writer - not for the writer of nurse books or thrillers or porno or the cheaper sort of sci-fi - though it is true that what holds for the most serious kind of fiction will generally hold for junk fiction as well. (Not everyone is capable of writing junk fiction: It requires an authentic junk mind. Most creative-writing teachers have had the experience of occasionally helping to produce, by accident, a pornographer. The most elegant techniques in the world, filtered through a junk mind, become elegant junk techniques.)
Speed will follow when the mechanism of the movements is more assured.
I never set out to create a technique. I started out on the floor to find myself, to find what the body could do, and what would give me satisfaction - emotionally, dramatically and bodily. But I did not ever dream of establishing a technique. I still can't believe anything like that happened.
. . . most martial artists want to know how A technique is done, A seasoned Sensei will demonstrate why
The only known technique to an imitator is to steal and rephrase, then with a mischievous smile, he said, "i did it", without any confidence and prove.
I still suspect that most people start out with some kind of ability to tell a story but that it gets lost along the way. Of course, the ability to create life with words is essentially a gift. If you have it in the first place, you can develop it; if you don't have it, you might as well forget it.But I have found that people who don't have it are frequently the ones hell-bent on writing stories. I'm sure anyway that they are the ones who write the books and the magazine articles on how-to-write-short-stories. I have a friend who is taking a correspondence course in this subject, and she has passed a few of the chapter headings on to me—such as, "The Story Formula for Writers," "How to Create Characters," "Let's Plot!" This form of corruption is costing her twenty-seven dollars.
It follows from all this that there is no technique that can be discovered and applied to make it possible for one to write. If you go to a school where there are classes in writing, these classes should not be to teach you how to write, but to teach you the limits and possibilities of words and the respect due them. One thing that is always with the writer—no matter how long he has written or how good he is—is the continuing process of learning how to write. As soon as the writer "learns to write," as soon as he knows what he is going to find, and discovers a way to say what he knew all along, or worse still, a way to say nothing, he is finished. If a writer is any good, what he makes will have its source in a realm much larger than that which his conscious mind can encompass and will always be a greater surprise to him than it can ever be to his reader.
People are always trying to understand.There is only one way to do that.It is to discover < + i + >why< + i + > you want to understand.
Garlic is divine. Few food items can taste so many distinct ways, handled correctly. Misuse of garlic is a crime. Old garlic, burnt garlic, garlic cut too long ago and garlic that has been tragically smashed through one of those abominations, the garlic press, are all disgusting. Please treat your garlic with respect. Sliver it for pasta, like you saw in Goodfellas; don't burn it. Smash it, with the flat of your knife blade if you like, but don't put it through a press. I don't know what that junk is that squeezes out the end of those things, but it ain't garlic. And try roasting garlic. It gets mellower and sweeter if you roast it whole, still on the clove, to be squeezed out later when it's soft and brown. Nothing will permeate your food more irrevocably and irreparably than burnt or rancid garlic. Avoid at all costs that vile spew you see rotting in oil in screw-top jars. Too lazy to peel fresh? You don't deserve to eat garlic.
Some days are better than others. The same can be said about people.
I think her favorite thing about our . . . collaboration was her actor and musician friends rubbing shoulders with my academic colleagues, she liked the atmosphere of challenge, the way anything that came under discussion could be claimed or rejected by either side. Time and time again the power of an idea or a piece of art was assessed by either its beauty or its technique or its usefulness, and time and time again my wife was surprised by how rarely anything on earth satisfies all three camps.
As a general rule, man strives to avoid labor. Love for work is not at all an inborn characteristic: it is created by economic pressure and social education. One may even say that man is a fairly lazy animal. It is on this quality, in reality, that is founded to a considerable extent all human progress; because if man did not strive to expend his energy economically, did not seek to receive the largest possible quantity of products in return for a small quantity of energy, there would have been no technical development or social culture.
This gesture is one of the motifs of modernity's turn against the principle of imitating nature, that is to say, imitating predefined morphological expectations. It is still capable of perceiving message-totalities and autonomous thing-signals when no morphologically intact figures are left - indeed, precisely then. The sense for perfection withdraws from the forms of nature - probably because nature itself is in the process of losing its ontological authority. The popularization of photography also increasingly devalues the standard views of things. As the first edition of the visible, nature comes into discredit. It can no longer assert its authority as the sender of binding messages - for reasons that ultimately come from its disenchantment through being scientifically explored and technically outdone. After this shift, 'being perfect' takes on an altered meaning: it means having something to say that is more meaningful than the chatter of conventional totalities. Now the torsos and their ilk have their turn: the hour of those forms that do not remind us of anything has come. Fragments, cripples and hybrids formulate something that cannot be conveyed by the common whole forms and happy integrities; intensity beats standard perfection.
Don't tell me about your effort. Show me your results.
Littlewood, on Hardy's own estimate, is the finest mathematician he has ever known. He was the man most likely to storm and smash a really deep and formidable problem; there was no one else who could command such a combination of insight, technique and power.
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