Born Berlin 1931, Germany, father a British diplomat, mother an American artist. Educated at various schools all over the world. 1958 Settled down to live in London. 1966 Became interested in photography through photographing my young children. No formal training.
My suggestion is that at each state the proper order of operation of the mind requires an overall grasp of what is generally known, not only in formal logical, mathematical terms, but also intuitively, in images, feelings, poetic usage of language, etc.
There isn't a formal definition of success.
Every book I've written has been different from the others, and each one seems to have its own timeline, requirements, and formal challenges.
Democracy is itself, a religious faith. For some it comes close to being the only formal religion they have.
The formal artistic gesture is already expressed in the act of taking the photograph.
... in general, the Anglo-Irish do not make good dancers; they are too spritely and conscious; they are incapable of one kind of trance or of being seemingly impersonal. And, for the formal, pure dance they lack the formality: about their stylishness (for they have stylishness) there is something impromptu, slightly disorderly.
A group of four cardinals wrote to [Pope] Francis accusing him of sowing confusion on important moral issues, and they asked for clarifications. He did not reply. And one of the signatories, the American Cardinal Raymond Burke, said if the pope does not clarify, he will proceed with what he called a formal correction of the pope after Christmas.
Sebald, Naipaul, and Joyce are three of my biggest influences, all of them for their formal freedom and their ability to create mood. So those comparisons are immensely flattering and, of course, unearned.
Normal adults can doodle, amble, and drift with no need to assess risk, since there is normally no risk at all. Jazz improvisation seems less subject to standards of risk than surgery, and less than much formal athletic performance, as in a tennis match.
I try to photograph things that are near to me because I work best among things I know. I'm not concerned with startling anyone or discovering new forms; formal qualities are only tools to help state my message.
When I took my first poetry class, I felt that I could understand the relationships between words and the formal qualities of language in a way I would never understand music.
The question is, how do you stop the power elite from doing as much damage to you as possible? That comes through movements. It's not our job to take power. You could argue that the most powerful political figure in April of 1968 was Martin Luther King. And we know Johnson was terrified of him. We have to accept that all of the true correctives to American democracy came through these movements that never achieved formal political power and yet frightened the political establishment enough to respond.
When I would present my work as a student, often I would hear, "Your project is too formal" - it's too form-based; it's too form-driven. Which is kind of shocking for a visual practice, for someone to say something discouraging about a focus on an exploration of aesthetics.
In 1985, a group of mujahedeen came to Washington and was greeted by President Reagan, who called them "freedom fighters." These people, by the way, don't represent Islam in any formal sense. They're not imams or sheiks. They are self-appointed warriors for Islam.
Primo Levi's - I mean, he's a very different kind of writer. He's a much more formal writer. He's a much more -almost detached. I mean, I wouldn't really say that he's detached ultimately. But he does write as a scientist, and so he describes things very - in great detail, very carefully.
I take it that computational processes are both symbolic and formal. They are symbolic because they are defined over representations, and they are formal because they apply to representations, in virtue of (roughly) the syntax of the representations.
What exactly is mathematics? Many have tried but nobody has really succeeded in defining mathematics; it is always something else. Roughly speaking, people know that it deals with numbers, figures, with relations, operations, and that its formal procedures involving axioms, proofs, lemmas, theorems have not changed since the time of Archimedes.
So, some of the most difficult formal poems that I've written, say one sentence sonnets, I've been able to do those fairly quickly whereas some of the clearest, simplest lyrics that I've written have taken me the longest to get to the clarity of feeling that you're looking for.
To be an ally is a formal military alliance. And we have a formal military alliance in NATO. But we are partners with other countries all across the world. And they're - they will be a partner.
I love the dynamic contrast between the spontaneous shots and the more formal, pro-rock-star photos.
Babies learn most of what they know from interactions with their parents, but not of the formal, instructional variety. Babies learn from spontaneous, everyday events--the mailman at the door with a package to open...all of which need adult interpretation. They are real events of interest and concern to babies and young children....By contrast, infant education is artificial and out of context.
Logical investigations can obviously be a useful tool for philosophy. They must, however, be informed by a sensitivity to the philosophical significance of the formalism and by a generous admixture of common sense, as well as a thorough understanding both of the basic concepts and of the technical details of the formal material used. It should not be supposed that the formalism can grind out philosophical results in a manner beyond the capacity of ordinary philosophical reasoning. There is no mathematical substitute for philosophy.
I always think about myself as a writer; that comes out of being a reader first, and I don't think I kind of got to really playing with language in any formal way probably until I was in my mid-twenties.
The Grid makes the history of architecture and all previous lessons of urbanism irrelevant. It forces Manhattan's builders to develop a new system of formal values, to invent strategies for the distinction of one block from another. The Grid's two-dimensional discipline also creates undreamt-of freedom for three-dimensional anarchy. The Grid defines a new balance between control and de-control in which the city can be at the same time ordered and fluid, a metropolis of rigid chaos.
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