Science fiction is a way that I can go into the abstract, go into the imagination, and audiences are still willing to go along for the ride.
Each kid has a different level of expertise and some of them are very raw and inexperienced and some are incredibly mature and experienced. So you just have to go with what they are rather than have some abstract technique that you're going to try to apply to them.
I'm not into politics but I am committed to a cause: ensuring design technology and engineering stays on the U.K. curriculum, alongside science and maths - grounding abstract theory, merging the practical with the academic.
'Look at Me' started with Rockford, Illinois and New York and the question of how much image culture was changing our inner lives. That's an abstract idea; you don't think that's going to be a rocking work of fiction, but it seemed to fuse in a way that was interesting.
I was literally told for 'The Show Goes On' that I shouldn't rap too deep. I shouldn't be too lyrical. It just needs to be something easy on the eyes. Like a record company telling Picasso that we don't need these abstract interpretations of life, where people have to sit down and look at it and break it down.
There's no way that scientists can ever rule out religion, or even have anything significant to say about the abstract idea of a divine creator.
You're assisting the audience to understand; you're giving them a bridge or an access. And if you don't give them that, if you keep it more abstract, it's almost more pure. It's a cooler thing.
I mean, I find things that happened in real life to be the funniest - things that you observe instead of crazy abstract things, you know.
When I used to do abstract paintings at school, like everyone else, the tutor said these would make great curtains. I would always neglect the formal stuff that was going on by using colour, because colour kind of came naturally to me.
I grew up in a suburb of Baltimore with an extremely high concentration of Jewish families - where the Levys and Cohens in the high school yearbook went on for pages, where I could count far more temples than I ever could churches. Anti-Semitism, in our cultural biodome, was mostly an abstract concept.
You make knowledge relevant to life and you make it important for children to learn things that will really relate to things going on in their lives, and not abstract.
I think that ideas exist outside of ourselves. I think somewhere, we're all connected off in some very abstract land. But somewhere between there and here ideas exist.
To me, a story can be both concrete and abstract, or a concrete story can hold abstractions. And abstractions are things that really can't be said so well with words.
I'm not a person who writes really abstract things with oblique references. I look at abstraction like I look at condiments. Give me some Tabasco sauce, some ketchup, some mayonnaise. I love all of that. Put it on a trumpet. I've just got to have the ketchup and Tabasco sauce. That's my attitude about musical philosophy.
The role of the pastor is to embody the gospel. And of course to get it embodied, which you can only do with individuals, not in the abstract.
Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures didn't have any beginning or any end. He didn't mean it as a compliment, but it was.
It is easier to take a position in the abstract than when it hits home.
Pictures, abstract symbols, materials, and colors are among the ingredients with which a designer or engineer works. To design is to discover relationships and to make arrangements and rearrangements among these ingredients.
Think of an abstract painting as very, very low relief - a thing, not a picture.
Abstract Expressionism - the first American movement to have a worldwide influence - was remarkably short-lived: It heated up after World War II and was all but done for by 1960 (although visit any art school today and you'll find a would-be Willem de Kooning).
Voting is like alchemy - taking an abstract value and breathing life into it.
It is dangerous when you start calling people from one part of the world terrorists or fanatic, and you reduce them to some abstract notion. If evil has a geographical place, and if the evil has a name, that is the beginning of fascism. Real life is not this way. You have fanatics and narrow-minded people everywhere.
The way I paint is similar to rock in that you don't stand around and say, 'Gee, what are they talking about?' Rock is simple, blunt, colorful. Same with my paintings. You don't stand back and wonder what it is. That's Jim Morrison, that's a panda, that's a scene on the West Coast. It's not abstract.
When you write, you don't have the social constraints of having people in front of you, so you talk about abstract matters.
I was an art history major, but never specifically contemporary. I would say where I really stopped were the abstract expressionists in the New York school.
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