I see artists bored by light-without-heat, irked at gigantic galleries' pushing out art-as-product, leaving behind the over determined for the undetermined, guided by interior voices and bringing us out of a long tunnel to new blueness.
If our brands are going to be in print and on mobile handsets and in video and events, we have to acknowledge that the playing fields are going to be different than a print-only product or a print product with extensions to it.
Just as there's some technologies that jeopardize revenue for traditional products, there are also technologies that can significantly lower costs.
I think the Trump thing is particularly egregious, and I think he's as much a product of the GOP lie machine in the era of Roger Ailes as he is of television. And also, of the Twitter era. Of the everything-is-as-reductive-as-it-can-be. To me, the most telling thing is we have a man who cannot complete a sentence. Certainly could never get to 140 characters, or past it. He thinks in tiny little bursts - the way he tweets.
At the end of the day, the task I have is just like anyone else, to prove myself through my product or work. I've really found this to be true, the name advantage is a zero sum gain.
If people that made products didn't market them and sell them we'd have no economy and nobody would be working.
NAFTA and GATT are quite similar. They both have highly protectionist elements. They're kind of a mixture of liberalization and protection designed to expand the power of transnational corporations. They're very basically investor's rights agreements. One crucial part in both is the "intellectual property right," which is a funny way of saying that corporations, like pharmaceutical companies, will have near-monopolistic rule over future technology. This now includes product as well as process rights.
America doesn't make product anymore. You have other countries devalue their currencies. They make it impossible.
In England, all the English car companies were beginning to circle the drain in a series of well-deserved failures and bankruptcies, earned by making lousy products with very poor production at high prices. So, the government, back in the '70s, nationalized all the British car companies. The result was British Leyland, a name that perhaps doesn't resonate much with you.
The Forgotten Realms is arguable the most detailed, intricate fantasy setting ever created this side of Middle Earth. It's a setting for many D&D game products and lots of fiction. It is vast, historically and geographically and so contains just about anything you might imagine, at one place or time or another. Created by Ed Greenwood. And, for the record, Ed Greenwood is one of the smartest guys I've ever met.
I was born in Philadelphia, Pennsylvania, and am a product of a family that were jazz aficionados and also very interested in progressive politics. And so I had a lot of artists and musicians in my home. Lots of Latin music, folk, and jazz and blues, bluegrass-type of stuff. Painters and stuff like that.
Products are produced in the factory; brands are produced in our minds.
Because we're always more woundable when caught at exactly the time where we're in the mood for that particular product or service - and as Big Data increasingly are able to pick up on clues revealing desire - automated systems are increasingly able to hit at exactly those moments, across those channels we move - with an offer matching exactly what we're desiring.
I guess I've always written more from the opposite perspective, that kind of existentialist perspective which argues that existence precedes essence. And there really isn't anything essential in there - you're the product of your actions, which can always change. And they retrospectively make you one way or another.
All the products that are sold to us - those anti-aging products - are telling us that there's a due date.
Fidelity is the total quality of an experience, including a sense of exclusiveness and aura. Convenience is simply how easy something is to get, which often means a low price and ubiquitousness. A super-fidelity product or service would lose its luster and quality if it's pushed too hard toward convenience. A super-convenient product or service would start to get expensive and exclusive if it moved toward higher fidelity, which would naturally undermine its convenience.
The truth is that business is simple: create great products, merchandise them at the point of sale, continuously innovate and surprise, reward and achieve a position of loyalty with your front line, and seek new truth from the market. Deliver the goods at a competitive cost. Price to earn a decent but not competitively inviting return. Not much else matters.
We read advertisements... to discover and enlarge our desires. We are always ready - even eager - to discover, from the announcement of a new product, what we have all along wanted without really knowing it.
So what this is is us, our personalities refined down on to a stage performance. In other words, the way we play is the end product of the way we live - we live in the cities, you see.
I am a product of long corridors, empty sunlit rooms, upstairs indoor silences, attics explored in solitude, distant noises of gurgling cisterns and pipes, and the noise of wind under the tiles. Also, of endless books.
I do not look upon these United States as a finished product. We are still in the making.
Prune - prune businesses, products, activities, people. Do it annually.
It's true that the human body is more vulnerable than the products of the human mind.
Just as Pollock used the drip to meld process and product, Richter 'found' and used the smudge and the blur to ravish the eye, creating works of psychic and physical power.
The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.
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