It's all about this abstract entity called the story. It's all about the best way to tell the story, and to make a movie about the issues that this story is about. Filmmaking is storytelling, for me.
Sometimes it happens that the computer's assessment is very abstract. It's correct, but it's not useful for a practical game. You have to prove the assessment with very strong moves and if you don't find all of these strong moves you may lose very quickly. For a computer this is not a problem, but for humans it is not so easy.
As the places where Americans dwell become evermore depressing and impossible, Disneyworld is where they escape to worship the nation in the abstract, a cartoon capital of a cartoon republic enshrining the falsehoods, half-truths, and delusions that prop up the squishy thing the national character has become--for instance, that we are a nation of families; that we care about our fellow citizens; that history matters; that there is a place called home.
I think that metaphor really is a key to explaining thought and language. The human mind comes equipped with an ability to penetrate the cladding of sensory appearance and discern the abstract construction underneath - not always on demand, and not infallibly, but often enough and insightfully enough to shape the human condition. Our powers of analogy allow us to apply ancient neural structures to newfound subject matter, to discover hidden laws and systems in nature, and not least, to amplify the expressive power of language itself.
Maybe stalking the woods is as vital to the human condition as playing music or putting words to paper. Maybe hunting has as much of a claim on our civilized selves as anything else. After all, the earliest forms of representational art reflect hunters and prey. While the arts were making us spiritually viable, hunting did the heavy lifting of not only keeping us alive, but inspiring us. To abhor hunting is to hate the place from which you came, which is akin to hating yourself in some distant, abstract way.
Programming in the abstract sense is what I really enjoy. I enjoy lots of different areas of it... I'm taking a great deal of enjoyment writing device drivers for Linux. I could also be having a good time writing a database manager or something because there are always interesting problems.
It is only those who never think at all, or else who have accustomed themselves to blood invariably on abstract ideas, that ever feel ennui.
He who talks much about virtue in the abstract, begins to be suspected; it is shrewdly guessed that where there is great preaching there will be little almsgiving.
Good-nature is that benevolent and amiable temper of mind which disposes us to feel the misfortunes and enjoy the happiness of others, and, consequently, pushes us on to promote the latter and prevent the former; and that without any abstract contemplation on the beauty of virtue, and without the allurements or terrors of religion.
A man may talk inspiringly to a woman about love in the abstract--but the look in his eyes is always perfectly concrete.
I was struck by the absence, even among very young boys and girls, of any interior motivation; they were incapable of thinking, of inventing, of imagining, of choosing, of deciding for themselves; this incapacity was expressed by their conformism; in every domain of life they employed only the abstract measure of money, because they were unable to trust to their own judgment.
Food became, for dinner parties in the sixties, what abstract expressionism had been in the fifties.
We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a color, a surface.
Abstract understanding doesn't mean arbitrary sloshing and messing. Abstract art is controlled visual magic based on laws and methodology. Abstraction generally involves implication, suggestion and mystery rather that obvious description. Like a good poem, a good abstraction attacks your feelings before your understanding. Abstraction within realism adds zest and excitement to otherwise dull subject matter. Abstract understanding takes time and patience.
What persuades men and women to mistake each other from time to time for gods or vermin is ideology. One can understand well enough how human beings may struggle and murder for good material reasons - reasons connected, for instance, with their physical survival. It is much harder to grasp how they may come to do so in the name of something as apparently abstract as ideas. Yet ideas are what men and women live by, and will occasionally die for.
Nothing as drastic an innovation as abstract art could have come in to existence, save as the consequence of a most profound, relentless, unquenchable need. The need is for felt experience - intense, immediate, direct, subtle, unified, warm, vivid, rhythmic.
Pop is everything art hasn't been for the last two decades...It springs newborn out of a boredom with the finality and over-saturation of Abstract-Expressionism, which, by its own esthetic logic, is the END of art, the glorious pinnacle of the long pyramidal creative process. Stifled by this rarefied atmosphere, some young painters turn back to some less exalted things like Coca-Cola, ice-cream sodas, big hamburgers, super-markets and 'EAT' signs. They are eye-hungry; they pop.
To tell the truth, in Pacific 231 I was on the trail of a very abstract and quite ideal concept, by giving the impression of a mathematical acceleration of rhythm, while the movement itself slowed . I first called this piece Mouvement symphonique. On reflection I found that a bit colorless. Suddenly, a rather romantic image crossed my mind, and when the work was finished, I wrote the title Pacific 231, which indicates a locomotive for heavy loads and high speeds (a type unfortunately disappeared, alas, and sacrificed to electric traction).
The physical world is entirely abstract and without actuality apart from its linkage to consciousness.
You cannot be present in an abstract way. Presence is not about disappearing into nothingness. You can only be present with something that is actually here.
There is no abstract Evil; you have to understand that! Its roots are here, all around us, in this herd that goes on chewing and having a good time only an hour after a murder! That's what you have to fight for. For people. Evil is a hydra with many heads, and the more of them you cut off, the more it grows! Hydras have to be starved to death, do you understand that? Kill a hundred Dark Ones, and a thousand more will take their place.
At a time when threats to the physical environment have never been greater, it may be tempting to believe that people need to be mounting the barricades rather than asking abstract questions about the human place in nature. Yet without confronting such questions, it will be hard to know which barricades to mount, and harder still to persuade large numbers of people to mount them with us. To protect the nature that is all around us, we must think long and hard about the nature we carry inside our heads.
The emotional, physical and aesthetic value of a sound is linked not only to the causal explanation we attribute to it but also to its own qualities of timbre and texture, to its own personal vibration. So just as directors and cinematographers (even those who will never make abstract films) have everything to gain by refining their knowledge of visual materials and textures, we can similarly benefit from disciplined attention to the inherent qualities of sounds.
The greatest cost of the specialization of technological life - and out of which all other damages are birthed - is arguably our separation from the practical and enriching sense of ourselves as embodied beings. When we are alienated from the wisdom of the body, our lives become theoretical and abstract, and we are distanced from the direct, felt sense of living.
Talk with M. Hermite. He never evokes a concrete image, yet you soon perceive that the more abstract entities are to him like living creatures.
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