Quotes of All Topics . Occasions . Authors
At a certain point, I got interested in set design for the theater. I was interested in architecture, but I was taking photographs at the same time, and architecture, though it had the design element, it didn't have the narrative, emotional element that I was looking to do. I ended up painting for a while. I was dancing around it, and I realized that all these different interests came together in filmmaking.
God makes it clear that his image bearers must live in dynamic communion with one another, thereby discovering and celebrating the good gift of one's own gender and that of the other. With a cross-shaped lens, we behold the beauty of man for woman and woman for man. None of us has ever lost that original design. No matter how broken we have become, we have never lost the potential to be good gifts for others!
If you wanted to create an education environment that was directly opposed to what the brain was good at doing, you probably would design something like a classroom. If you wanted to create a business environment that was directly opposed to what the brain was good at doing, you probably would design something like a cubicle. And if you wanted to change things, you might have to tear down both and start over.
I think where the criticism of videogames come from is where videogames are just Xeroxes of films, and when you get a film adaptation of that game, you've just Xeroxed something twice. I think that's where a lot of the criticism comes from - there are ultra-violent games that are already based on a million films. But there's definitely beauty and art and design in games. I don't think anybody could deny that.
Further, the same Arguments which explode the Notion of Luck, may, on the other side, be useful in some Cases to establish a due comparison between Chance and Design: We may imagine Chance and Design to be, as it were, in Competition with each other, for the production of some sorts of Events, and may calculate what Probability there is, that those Events should be rather be owing to the one than to the other.
The world is super-stupid. You have by far the best designers in America! And you do the most stupid cars in the world! They put billions into their stupid designs for General Motors, Chrysler, Buick, or who knows what. The designers in America must be frustrated. I am not frustrated, because I am not a designer - I am a philosopher, and all philosophers have said for ages that the world around them is stupid.
Tragedy is an imitation not only of a complete action, but of events inspiring fear and pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will then be great than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design.
It is not difficult to conceive, however, that for many reasons a man writes much better than he lives. For without entering into refined speculations, it may be shown much easier to design than to perform. A man proposes his schemes of life in a state of abstraction and disengagement, exempt from the enticements of hope, the solicitations of affection, the importunities of appetite, or the depressions of fear.
When you're designing and inventing the way I did, every minute of your life is put - every neuron in your brain into trying to think about the little code and how you can maybe have one less line of code and a little bit more straightforward from the beginning to the answer. And you don't have time to think about companies and products and how would I build this. So Steve Jobs and I were a very necessary pair.
When you study art history, you learn that there is very little that is completely new, and in many ways digital art is no different. I love to derive inspiration from all types of images: mosaics, hieroglyphics, petroglyphs, woven patterns in textiles, and needlework. There is a lot of very good "pixel" design work before the 20th century, like a 1760 sampler by Elizabeth Laidman that looks like a bitmap font.
François Mitterrand was a student of architecture, he had done a lot of research before he called me. He said, "You did something special at the National Gallery of Art in Washington - you brought the new and the old together." But John Russell Pope finished the West Building in 1941, so when the East Building opened it was only about 40 years old. But the Louvre is 800 years old! A much bigger design challenge.
A lot of times, you design a logo to be timeless, but with something like the Olympics, timelessness is maybe not something you should be going for. Maybe you should be trying to come up with something that will really become associated with a moment in time, a few weeks, that happened, period. Then you look back, think about it and connect it with that time. It may look dated later but it will be still be evocative.
It is an odd fact that what we now know of the mental and emotional life of infants surpasses what we comprehend about adolescents. . . . That they do not confide in us is hardly surprising. They use wise discretion in disguising themselves with the caricatures we design for them. And unfortunately for us, as for them, too often adolescents retain the caricatured personalities they had merely meant to try on for size.
Thus it is that our faith and trust in our Heavenly Father, so far as this mortal experience is concerned, consists not simply of faith and gladness that He exists, but is also a faith and trust that, if we are humble, He will tutor us, aiding our acquisition of needed attributes and experiences while we are in mortality. We trust not only the Designer but also His design of life itself, including our portion thereof!
The weak and the defenseless in this world invite aggression from others. The best way we can serve peace is by removing the temptation from the path of those who think we are weak and, for that reason, they can bully or attack us. That temptation can only be removed if we make ourselves so strong that nobody dare entertain any aggressive designs against us. Pakistan has come to stay and no power on earth can destroy it
The Church encourages those in power to be truly at the service of the common good of their peoples. She urges financial leaders to take account of ethics and solidarity. And why should they not turn to God to draw inspiration from his designs? In this way, a new political and economic mindset would arise that would help to transform the absolute dichotomy between the economic and social spheres into a healthy symbiosis.
Cinema is the most challenging art form that you as an artist can create. It's easier to paint a painting because you're very alone. You just have the canvas in front of you and then you do stuff. I'm not saying it's easy to paint, but it's a solitary thing. Whereas movies combine so many different things from pre-production to production, sound design, production designing, leading, organizing, while still being creative.
I wrote the plot [for the Persepolis ]and Vincent [Paronnaud] and I wrote and discussed the shooting of the script. Vincent then took care of the production design, the actual shooting, and what was going on within each scene. It's very difficult, though, to draw a line between who did what. Because Vincent would say something, and I would add something, and at the end you have this film, yet no clear idea of who did what.
I am confident that we can do better than GUIs because the basic problem with them (and with the Linux and Unix interfaces) is that they ask a human being to do things that we know experimentally humans cannot do well. The question I asked myself is, given everything we know about how the human mind works, could we design a computer and computer software so that we can work with the least confusion and greatest efficiency?
We live in an extraordinary time. We are caught up in a pace of social and technological change that makes our work, our business and education, sources of anxiety and unfulfillment. Thinking about our thinking and observing our observations can bring us a new world in which work becomes a place for innovation, and in which peace, wisdom, friendship, companionship and community can exist. Let us design this world together.
Often vastly more important, international agreements are not routinely published in draft form or publicly debated, and civil society organizations and ordinary citizens often learn of important global institutional design decisions only after they have already been finalized and adopted. The only reliable way to be kept informed and to exert timely influence is by lobbying and paying the politicians and their negotiators.
What I love about directing is finding common ground in complementary palate with wardrobe, set design, the camera department, the makeup department, et cetera. I love figuring out that synergy. To have everything work in concert is amazing, I love working with that kind of logic. Directing is a cavalcade of taste decisions - this one or that one, but I raather enjoy it and am in the process of setting up the next endeavor.
Something I always wanted to do, to capture that later half of the '70s. It's like the early half of the '70s is still the '60s, in that there's still kind of a playfulness and inventiveness in terms of design and the things that were going on in the culture. The second half, it got much more commodified. It's possibly the ugliest era of architecture and clothes and design in the entire 20th century, from 1975 to '81 or '82.
Let the Truth be known, no ship is unsinkable. The bigger the ship, the easier it is to sink her. I learned long ago that if you design how a ship'll sink, you can keep her afloat. I proposed all the watertight compartments and the double hull to slow these ships from sinking. In that way, you get everyone off. There's time for help to arrive, and the ship's less likely to break apart and kill someone while she's going down.
Not a step can we take in any direction without perceiving the most extraordinary traces of design; and the skill everywhere conspicuous is calculated in so vast a proportion of instances to promote the happiness of living creatures, and especially of ourselves, that we feel no hesitation in concluding that, if we knew the whole scheme of Providence, every part would appear to be in harmony with a plan of absolute benevolence.
Professors typically spend their time in meetings about planning, policy, proposals, fund-raising, consulting, interviewing, traveling, and so forth, but spend relatively little time at their drawing boards. As a result, they lose touch with the substance of their rapidly developing subject. They lose the ability to design; they lose sight of what is essential; and they resign themselves to teach academically challenging puzzles.
The Escalation programmers come from a completely different background, and the codebase is all STL this, boost that, fill-up-the-property list, dispatch the event, and delegate that. I had been harboring some suspicions that our big codebases might benefit from the application of some more of the various “modern” C++ design patterns, despite seeing other large game codebases suffer under them. I have since recanted that suspicion.
Most people assume because I'm an actor that's all I know about and care about, I'm actually a camera geek and a film geek. I grew up making short films the same time I was acting. For me, it's a motion picture, not a play. I'm just as interested in what the camera department is doing and world building through costume design and production design as I am in acting. I think all good directors do that whether they're an actor or not.
Humans are incapable of securely storing high-quality cryptographic keys, and they have unacceptable speed and accuracy when performing cryptographic operations. (They are also large, expensive to maintain, difficult to manage, and they pollute the environment. It is astonishing that these devices continue to be manufactured and deployed. But they are sufficiently pervasive that we must design our protocols around their limitations.)
It is important to notice that these badly functioning designs were praised for 'elegance.' But elegance as theoretical scientists apply it is quite different. The elegance of a mathematical formula is that it explains a phenomenon beautifully, with no parts left over. In design, elegance is more readily perceived as a property of product than of process. If we had more elegant theories, we might look to design for more than elegance.
Sir Richard sighed. "Rid yourself of the notion that I cherish any villainous designs upon your person," he said. "I imagine I might well be your father. How old are you?" "I am turned seventeen." "Well, I am nearly thirty," said Sir Richard. Miss Creed worked this out. "You couldn't possibly be my father!" "I am far too drunk to solve arithmetical problems. Let it suffice that I have not the slightest intention of making love to you.
In order to survive, all systems must evolve by providing greater and greater access to the currents that flow through them. This applies to all physical, biological and social systems that survive and thrive.... But let’s take that one step forward... the systems just described are ... constantly evolving. This suggests another design principle: ... design for evolution rather than creating a static design optimizing for the present.
We should condemn as unjust a global economic order that leads to ever-increasing economic disparities - provided this effect is foreseeable and provided it is also avoidable through some alternative institutional design that would foreseeably lead to much less poverty and inequality. Those involved in designing or imposing the existing rules are collectively responsible for the resulting excess deprivations and human rights deficits.
In our civilization, there are permanent forms which are part of every epoch and every culture. They are not especially difficult to detect. A minimal knowledge of physics, astrophysics, and perhaps mathematics, brings to light certain patterns that make these subjects easier to understand. It is striking to see the extreme similarity between these scientific propositions and the forms that recur in all times, places and civilizations.
It's important to be able to simply ask the questions. Every single advance in science comes about because of courage to ask a question, an outrageous question. Like "Can a large heavy metal object fly if it goes fast enough with the right design?" People's worldviews are changed when they see that something unbelievable is possible. Airplane flight is now taken for granted. And so all wonderful advances start with an outrageous question.
The good designer aims at a perfect fusion of the various considerations which enter into his design. He aims at an untortured unity-a direct whole. He arranges his levels consciously or subconsciously, adhearing to the requisites of the problem he is asked to solve or to his own inclination. Some designers see total act through a disc of aesthetic considerations-others, more practical minded, may put economic considerations at top level.
The man who is striving to solve a problem defined by existing knowledge and technique is not, however, just looking around. He knows what he wants to achieve, and he designs his instruments and directs his thoughts accordingly. Unanticipated novelty, the new discovery, can emerge only to the extent that his anticipations about nature and his instruments prove wrong... There is no other effective way in which discoveries might be generated.
Tradition, history and respect; that kind of qualities I admire, that I want to see preserved. Time is the only commodity that matters. Being successful doesn't make you manage your time well; managing your time well makes you successful. Goals, Priorities, and Planning. Why am I doing this? What is the goal? Why will I succeed? What happen if I chose not to do it? 'Good judgement comes from experience, experience comes from bad judgement'.
When the words are fuzzy, the programmers reflexively retreat to the most precise method of articulation available: source code. Although there is nothing more precise than code, there is also nothing more permanent or resistant to change. So the situation frequently crops up where nomenclature confusion drives programmers to begin coding prematurely, and that code becomes the de facto design, regardless of its appropriateness or correctness.
A bleak, black book, it engenders awe and despair. I have read it in its entirety 4 1/2 times, each time finding its resonance and beauty so great as to demand another reading. As I read, I found myself devastated by the thoroughness of the book's annihilating sensibility and revived by the beauty of its language, the complexity of its design, the melancholy, horror and stoic sympathy in its rendering of what we used to call the human condition.
But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.
I started at the very highest level so the upper end is something I know very well. I know it instinctively. But all the years I was designing, it frustrated me that I could reach so few women. Design is about point of view, and there should be some sort of woman or lifestyle or attitude in one's head as a designer. So my being able to reach the masses was something that meant a great deal to me - especially for women who could never wear Vera Wang.
That's the sound design. I watched it sixty times because we were constantly tweaking. The same thing comes twice, right? Once it comes in the beginning when he's about to discover that he needs to come out and one is the dream where he's flattered (??) and then he comes out. The last one, instead of going bigger, we made it smaller. We removed elements and thinned it out. So it doesn't drive him. He drives the music rather than the other way around.
You can't exceed the system with language. You can only exceed the system with events; recommended procedures that are better. You can't exceed the system by telling people to be good, be kind, be considerate... You have to take away the conditions that makes it necessary for you to be kind. And to be kind, you design highways that aren't slippery; where no accidents, or less accidents, occur. In the future, everybody becomes an innovator - a creator.
Place yourself in the background; write in a way that comes naturally; work from a suitable design; write with nouns and verbs; do not overwrite; do not overstate; avoid the use of qualifiers; do not affect a breezy style; use orthodox spelling; do not explain too much; avoid fancy words; do not take shortcuts as the cost of clarity; prefer the standard to the offbeat; make sure the reader knows who is speaking; do not use dialect; revise and rewrite.
I don't necessarily have any designs in being in politics for the rest of my life. I don't necessarily think that this is the best thing for our country to have an environment so polarized that the political discourse is this aggressive and this nasty. I don't think it's a good thing. But until we see a sort of backing off from the Republicans that have created this environment, I don't see a reason why Democrats should hold off and act any differently.
The vision shared by both [French utopian] Charles Fourier and Robert Owen was for an entire town to fit into one structure. Owen's design for what he called a "parallelogram" was essentially to have a whole city in one building, laid out around a huge quadrangle. Fourier's scheme was to build a massive Versailles-like structure that he called a "phalanstery." In both cases they had these architectural dreams that we now recognize as pretty unappealing.
I met designers that are in the business for ten years in the movies, and their biggest complaint is things don't look anything like they were designed. Look at my drawing! But nobody ever sees the drawing, that's the thing. So I knew right from the beginning that I would design everything in 3D on my computer, and those models literally went to the machines. So every little radius on most of the vehicles you see there, I built with my mouse and keyboard.
Skateboarding has always been and continues to be creative and rebellious. Art and design are an extremely important part of skateboard culture, even if it's not recognized by the more elitist or pretentious members of the art world. Skateboarding itself requires creative adaptation to the streets and obstacles. My background as a skateboarder helped me to be a better street artist because I was already conditioned to look at the terrain opportunistically.
Certain kinds of typeface design and typographic design are designed to persuade: we can make this company look modern if we use a crisp sans serif typeface, or we can make this restaurant look like its been around forever if we use typefaces and layout styles that have been around forever too. But there are other categories, and ballot design is one of them, where the goal should be to be purely functional. There have been notable failures in this category.