Quotes About Material

the objects in our lives, as distinct from the way we make use of them at a given moment, represent something much more, something profoundly related to subjectivity: for a while the object is a resistant material body, it is also, simultaneously, a mental realm over which I hold sway, a thing whose meaning is governed by myself alone. It is all my own, the object of my passion.

Working with flint, he had often caused small sparks, but he thought of it as the living spirit of the stone released as part of the process.

Meatspace still has some advantages for a carbon-based girl.

Yes, the work comes out more beautiful from a material that resists the process, verse, marble, onyx, or enamel.

My theory is, independent movies only work if you're willing to push the material and do something different.

I like art that trusts its audience, that's written for readers who like to work hard. I like art that knows its readers are up to the challenge of interacting with difficult material.

So that's why one of my rules of parody writing is that it's gotta be funny regardless of whether you know the source material. It has to work on its own merit.

The material presence of the work only serves as a conveyer launching an invitation to the observer to take part of the comprehensive game of the thousand and one emotions and visions.

I do lots of crowd work in my set, because I enjoy writing material through riffing and conversation.

Seeking can become stressful when you apply the same laws that you apply in the material world - hard work, exacting plans, driving ambition, and attachment to outcome.

I actually was a writer who had the ability to perform his own work as opposed to a comedian who wrote his own material. So that really made me happy and changed my whole perspective.

Every time the conservatives get in trouble, they start pounding on this ridiculous idea that the liberals want to take their microphones. They want to get Rush Limbaugh and Sean Hannity off the air. That is a straw man argument throw out by the conservative broadcasters who are so out of material they are going to fear-monger their listeners.

I want to continue to strengthen Harvard's fabulous collections in old printed material, but at the same time, I want to help Harvard move into the world of digitized information.

In music, I don't think there's any need to be an all-rounder and do everything yourself. Play to your strengths, and do what you feel. Or do whatever the material itself demands. In this case, I felt like it would benefit from me singing, and I wanted it to have that sound.

It's just a challenge doing live television every week; you know, it's a challenge to come up with new material every week and stuff like that and try to keep it current, you know what I mean? Like, it's just, you know, it's a kind of a stressful environment.

You do a film and you know where you're going, you have this material to stretch and play with as much as possible because you know how it ends.

I had fears going into television that it might become boring to me, and I always like to be challenged, push myself. You do a film, and you know where you're going; you have this material to stretch and play with as much as possible because you know how it ends.

'Goon' is very much an action - it's got a lot of heart, it's got a lot of comedy, it's got a lot of similarities to what I think was successful in 'Deadpool,' and so I think it's not a stretch to compare those two things and say the world is a little more ready than they used to be for this kind of material.

I have no sense of a model or predecessor when I write a memoir: For me, the form exists as a method of processing material that retains too many connections to life to be approached strictly and aesthetically. A memoir is a risk, a one-off, a bastard child.

With 'The Tudors,' I had a huge amount of material, I mean so many books and so much stuff about what they really said. So, in a way it was kind of trying to strip it out and find the stories inside all this material.

I've always spent money on books. I've always enjoyed handling books - the size, the format. I feel very strongly about original ephemera.

Fashion is an archetype: you're trying to build a silhouette, and that is very similar to building up a building because you're trying to create a new structure, a new proportion, a new shape, and you're using a material to cut which is a bit mathematical. That idea of finding something new in terms of proportion is something that drives me.

The actual world, not some fantastic structure that has nothing to do with reality, must provide the material for modern poetry.

'The Piano Lesson' is very sophisticated, easily the most adult or complex material I've attempted. It's the first film I've written that has a proper story, and it was a big struggle for me to write. It meant I had to admit the power of narrative.