Quotes About Structure

So the job of building structures, building a constitutional structure, is not just to punish those who behave badly but actually to protect people from their own temptations.

My style is difficult to contain in a sentence; it's ever evolving. Generally I'm drawn to clean cuts and avoid patterns. I tend to choose structure and block colors, but these are all just loose guidelines.

But in fact, when you try to model that on a computer you find that because of the very structure of matter and of the chemical bonds that are the basis of every organism, evolution is not random at all. It will tend to follow certain paths.

My architecture tends to be legible, light and flexible. You can read it. You look at a building, and you can see how it is constructed. I put the structure outside.

My poems tend to have rhetorical structures; what I mean by that is they tend to have a beginning, a middle, and an end. There tends to be an opening, as if you were reading the opening chapter of a novel. They sound like I'm initiating something, or I'm making a move.

When we improvise freely - that is, without a structure - it tends to sound more like 20th century classical music, more like a classical ensemble improvising, as opposed to a free-jazz group, where you're more used to hearing saxophones honking.

Actors need bricks to play with, and in fact we rejected all the improvised fragments we had made without a plan. Improvisation without a plan is like tennis without tennis balls.

The second I was on the tennis court, I had the structure I wanted. I was in complete control of what I was doing.

The tension between centrality, on the one hand, and competition, on the other, is probably the oldest of all market structure issues.

I never left jazz. The relationship between structure and improvisation - that constant conversation and tension - I've always wanted in every genre and song that I perform.

When I began writing novels, I read Aristotle to learn how to perfect structure, Pearl Cleage to sustain tension, and Nora Roberts for characterization.

Open Graph is a language for structuring content and sharing that goes on in other apps, and we're continuing to build it out longer term. But we found we need to build more specific experiences around categories like music or movies. Where we've taken the time to build those specific experiences, stuff has gone quite well.

The Chili Peppers do a lot of improvising, but it's within the framework of song structures. The Meatbats is from a purely instrumental standpoint. But when you hear the term 'instrumental music' you think it's real serious stuff and everybody's playing a million notes and it's about playing fast. That's not what we do.

I don't see that any buildings should be excluded from the term architecture, as long as they are done properly.

Jazz, for me, is a closed circuit, like the term baroque in the world of classical music.

No important national language, at least in the Occidental world, has complete regularity of grammatical structure, nor is there a single logical category which is adequately and consistently handled in terms of linguistic symbolism.

I think of novels in architectural terms. You have to enter at the gate, and this gate must be constructed in such a way that the reader has immediate confidence in the strength of the building.

In terms of the class structure that you see so much in European portraiture, I don't think one feels that in America in the 21st century. But we have these other kinds of social structures now, like celebrity, who establish new hierarchies.

I'm terrible at story and structure, but I'm not so bad at writing dialogue.

A terrific exercise is to take a paragraph of someone's writing who has a really strong style, and using their structure, substitute your own words for theirs, and see how they achieved their effects.

If words are not things, or maps are not the actual territory, then, obviously, the only possible link between the objective world and the linguistic world is found in structure, and structure alone.

I really do think that science has an internal structure, and it makes sense, and we can test it.

If a poem is not memorable, there's probably something wrong. One of the problems of free verse is that much of the free verse poetry is not memorable.

Poetry, almost by definition, calls attention to its language and form.