Inspirational quotes with communicative.
To one who is not eager I do not reveal anything, nor do I explain anything to one who is not communicative. If I raise one corner for someone and he cannot come back with the other three, I do not go on.
Skill teachers are made scarce by the belief in the value oflicenses. Certification constitutes a form of market manipulation and is plausible only to a schooled mind.Most teachers of arts and trades are less skillful, less inventive, and less communicative than the best craftsmenand tradesmen. Most high-school teachers of Spanish or French do not speak the language as correctly as theirpupils might after half a year of competent drills. Experimentsconducted by Angel Quintero in Puerto Ricosuggest that many young teen-agers, if given the proper incentives, programs, and access to tools, are better thanmost schoolteachers at introducing their peers to the scientific exploration of plants, stars, and matter, and to thediscovery of how and why a motor or a radio functions.
Making art requires a degree of intentionality. All works of art require a contemplative individual drawing from their bank of knowledge and immersion into the realms of memory and imagination in order to make an outward, communicative expression. Only human beings can draw upon the dialectical tension between memory and imagination to create artistic renderings.
Indeed, if these final decades of the millennium have taught us anything, it must be that oral tradition never was the ‘other’ we accused it of being; it never was the primitive, preliminary technology of communication we thought it had to be. Rather, if the whole truth is told, oral tradition stands out as the single most dominant communicative technology of our species, as both a historical fact and, in many areas still, a contemporary reality. The miracle of the flat inscribable surface and Gutenberg’s genius aside, even the electronic revolution cannot challenge the long-term preeminence of the oral tradition. ("Introduction" by John Foley)
We may now briefly enumerate the elements of style. We have, peculiar to the prose writer, the task of keeping his phrases large, rhythmical, and pleasing to the ear, without ever allowing them to fall into the strictly metrical: peculiar to the versifier, the task of combining and contrasting his double, treble, and quadruple pattern, feet and groups, logic and metre—harmonious in diversity: common to both, the task of artfully combining the prime elements of language into phrases that shall be musical in the mouth; the task of weaving their argument into a texture of committed phrases and of rounded periods—but this particularly binding in the case of prose: and, again common to both, the task of choosing apt, explicit, and communicative words. We begin to see now what an intricate affair is any perfect passage; how many faculties, whether of taste or pure reason, must be held upon the stretch to make it; and why, when it is made, it should afford us so complete a pleasure. From the arrangement of according letters, which is altogether arabesque and sensual, up to the architecture of the elegant and pregnant sentence, which is a vigorous act of the pure intellect, there is scarce a faculty in man but has been exercised. We need not wonder, then, if perfect sentences are rare, and perfect pages rarer.-ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE
I think it is the duty of all human beings, as intelligent and communicative beings, to learn all the ideas thought up before ours and use them as a means to think up new ones.
Nations that can manage to develop their language and make it accommondating while at the same time staying faithful to the roots of it are the most communicative societies that are also most dynamic in thought.
When students learn to wrestle with questions about purpose, audience, and genre, they develop a conceptual view of writing that has lifelong usefulness in any communicative context.
Remarkably, studies of visual perception have found that two-dimensional images projected onto the retina only achieve full dimensionality as a result of our perception: we infer the third dimension of depth. Sadly, though, as the urgency to expedite all communicative transactions usurps out customary patterns of exchange, perception is accelerated as well. There does not seem to be a great deal of time left over to infer--or interpret, or imagine--much of anything at all. In the end, of course, there is nothing real about this at all, except for our propensity to let it happen.
Even in sin, the act of love -done with love- is shadowed with divinity. Its conformity may be at fault, but its nature is not altered, and its nature is creative, communicative, splendid in surrender. It was in the splendor of my surrender to Nina and she to me, that I first understood how a man might surrender himself to God -if a God existed. The moment of love is a moment of union -of body and spirit- and the act of faith is mutual and implicit.
He was the most astonishing contradiction of components I’d ever encountered. Shy yet fiercely communicative when putting an idea into your head. Vocally astringent regarding his own abilities but not to the point that he couldn’t produce—he was as prolific an artist (yes, an artist, and I never use the term, especially regarding people I like) I’ve ever seen. But I could feel it. Everything he sketched, penciled, inked, made—was a payment, one he could scarcely afford; as if it physically hurt him to put pencil to paper. Yet that only seemed to spur him on, to live far beyond his means. He was unable not to. For Sketch, to draw was to breath, and so the air became lead—silvery in the right light, dark soot in the wrong; heavy, slick and malleable—into shapes he brought together in glorious orchestration, with a child’s eye and a rocket scientist’s precision, all fortified by a furious melancholy, a quiet engine of sourceless shame and humility.When it came to another’s work, he longed to praise it but then couldn’t resist critiquing it all within an inch of its life, analyzing deficiencies with uncontrollable abandon and laser accuracy. He was sharp as his Radio 914 pen nibs, and as pointed.And then he’d apologize. Oh, he would apologize: Oh my GOD, forgive me, please don’t hate me, I’m SORRY, don’t listen to me, why am I saying things, what do I know, I don’t know anything, why do you listen to me you should just tell me to shut UP, I’m awful, forgive me, you hate me, don’t you? Tell the truth. Please don’t hate me. Please don’t. Please.
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