Quotes About Practice

I am increasingly convinced of a slippage, an unremarked analytical gray zone, between what we who devote ourselves to discerning the machinations of colonial practice think we know about those practices and how we imagine they manifest now. Embarking on a tracking of these occlusive processes with an expectation of a repetition of earlier colonial policies is a misguided task.

Identifying imperial fields of force is a multiplex exercise: it entails seizing on the comparisons—of visions and practices—imperial architects and agents themselves performed, locating their temporal and spatial coordinates, and only then recharting the shadowed zones of governance—smudged and effaced, rendered illegibly blurred—on imperial maps.

Discipline — both mental and physical — is crucial.

In short, race making in the nineteenth century is also an artisanal project, as indebted to ornamental practice and material making as it is to the pseudobiology of early ethnography.

Deep practice is slow, demanding and uncomfortable. To practice deeply is to live deliberately in a space that is uncomfortable but with the encouraging sense that progress can happen.

Listening is a basic ingredient of attention, and it can be learned and practiced. Listening is fueled by interest and curiosity. It is a discipline and an action in the world, and the results are nearly magical. Hearing can restore. To be heard, really heard by another person, is to be healed.

Dr. Pestova, who trained in England, has five thousand patients a year.

Practice random kindness and senseless acts of beauty.

As Mark and Tom continued to practice together, they both knew they wanted to pursue the band as something more than just a way to kill a summer's night. And perhaps take their relationship itself to the next level, to finally become more than just friends...The feelings were there, it was just all so confusing...

Truth grows gradually in us, like a musician who plays a piece again and again until suddenly he hears it for the first time

The (serious) game played here makes a move that is the other way around: like (humans) subjects, (natural) objects are framed as parts of events that occur and plays that are staged. If an objects is real this is because it is part of a practice. It is a reality enacted.

To look at food and say that it is good will not satisfy a starving man; he must put forth his hand and eat. So to hear the Master's words is not enough; you must do what He says, attending to every word, taking every hint".

At the moment that quitting becomes the objectively best choice, in practice things generally won't look particularly grim, even though the present does contain clues that can help you figure out how the future might unfold. The problem is, perhaps because of our aversion to quitting, we tend to rationalize away the clues contained in the present that would allow us to see how bad things really are.

Professional Actors' Learning Strategies,

A lot of us would like to move mountains, but few of us are willing to practice on small hills.

With every passing week, I get an opportunity to improve my acting because I get to do it day in, day out. So a lot of times, I compare it to being a professional athlete.

Architecture was the last of the major professions to devise a formal 'cursus honorum' before its practice could be undertaken.

Opposite to godliness is atheism in profession, and idolatry in practice. Atheism is so senseless and odious to mankind, that it never had many professors.

Piano was my first instrument, but it wasn't the instrument that I showed the most proficiency on.

It wasn't all spent on practicing, I did do other things! but the classical guitar means a lot to me so I spend many hours building good chops and getting a good program together.

No matter what, the way to learn to program is to write code and rewrite it and see it used and rewrite again. Reading other people's code is invaluable as well.

My act is always a work in progress. I pray I have a bad day before a show.

A lot of work and thinking goes into my DJing. I want the entire night to progress seamlessly and when I have to adapt the energy on the fly for the crowd on any given night, I can do so with harmonic mixes that I've practiced over and over again. I am far from the only DJ that does this and it's something I take pride in being able to do.

The reason why I returned to dance is simply because I love dance. I had also promised myself that I wanted to make more sense of dance, study and understand it far more in detail.