You have a different audience. Your personal energy is different because some days you're energized, some nights you might be tired so that affects your memory and your emotion.
No matter how many vitamins you take, how much Pilates, you'll lose your keys, your hair and your memory.
A writer's job is not complete without attention to precision. What you're trying to be precise about is your relationship to the observed thing. And "observed thing" could include remembered thing, fantasized thing, fictionalized thing, recorded thing, trans-altered thing. It's the model that's in front of you or in your brain or your memory or whatever. So you're trying to be precise about what it is you're seeing because it's very unlikely that you're going to be able to depict it as it is.
The fact that perfume is so close to emotion, that's why I really love it. It's such a good connection between people. When you fall in love with somebody, smell is very important. It could be your memory of the person - it's touching. And it's also playful, because sometimes you choose a different perfume every day depending on your mood. I like to help with that. I like to give a little joy to people.
It's amazing how quickly things start to change when you haven't slept. Your memory goes. Physically, you don't feel well. Emotionally, you're all over the place - you know, if you miss one night of sleep. You can only imagine five nights of not sleeping. I was in an alternate state of reality.
[Harold Pinter] is a British playwright and is one of my favorite writers. Harold was very obsessed with when memory becomes mythology, that at some point you change your memory to fit who you believe you are.
Eriugena and other Celtic teachers speak of Christ as our memory, as the one who leads us to our deepest identity, as the one who remembers the song of our beginnings .
I started making work, and it's like, yes you are calling out all of these things that are part of your memory, your body's memory, things that have gone through your pores, what you've seen, what you've experienced, and you spill them out without thinking. I don't think so much about, "Okay, I'm going to make work, and it's going to be about this." It's just going to come out.
Also, where does your identity come from? Your memory, of course.
Colonialism is the massive fog that has clouded our imaginations regarding who we could be, excised our memories of who we once were, and numbed our understanding of our current existence.
In 1650 Bishop Ussher dated the creation from the genealogy given in the Bible at 4004 B.C.; for a long time (even for some people today) this was accepted as "gospel truth." However, if you accept a miracle such as this, what's wrong with creation 5 minutes ago? It would be scarcely more difficult for the Creator to create all of us sitting here, with our memories of events that never really happened, with our worn shoes that were never really new, with spots of soup that were never really spilled on our ties, and so on. Such a beginning is logically possible, but extremely hard to believe!
That translucent alabaster of our memories.
Everytime you grab at love you will lose a snowflake of your memory
I review all I know, but can synthesize no meaning. When I doze, the Fact, the certain accomplished calamity, wakes me roughly like a brutal nurse. I see it crouching inflexibly in a corner of the ceiling. It comes down in geometrical diagonal like lightning.It says, I remain, I AM, I shall never cease to be: your memory will grow a deathly glaze: you will forget, you will fade out, but I cannot be undone.Thus every quarter hour it puts the taste of death in my mouth, and shows me, but not gently, how I go whoring after oblivion.
Now, now," said Vale in a sickeningly sweet voice reminiscent of a nursery nanny. "I already gave him a drubbing for courting Emmie."Reynaud raised his eyebrows. "You did?""He did not," Hartley said even as Vale nodded happily. "I threw him down the stairs."Vale pursed his lips and looked skyward. "Not my recollection, but I can see how your memory of the event may've become hazy.
In a face, look for the main light and the main shadow; the rest will come naturally — it's often not important. And then you must cultivate your memory, because Nature will only provide you with references. Nature is like a warden in a lunatic asylum. It stops you from becoming banal.
Music is the way our memories sing to us across time.
If you've ever had to recall your past in some way and you open a drawer of old photographs that your parents kept, there are always pictures of you smiling and charming, and then a bunch of people you don't know who they are. Could be aunts, uncles, could be the postman for all you know. Who are these people? Your parents are never in the picture, because they are the ones taking them. So you've got these unrelated images that are disconnected from your memories.
Fortunately, when we have all our marbles, we can shift our memories very quickly.
The problem with an autobiography is that all these extra factors make it difficult. You don't want to hurt people's feelings. You don't know how much you can trust your memory. You don't want it to be self-serving. And you have all these issues about how to present yourself. All these factors make it harder to do than a novel.
Forget about the past. It does not exist, except in your memory. Drop it. And stop worrying about how you're going to get through tomorrow. Life is going on right here, right now - pay attention to that and all will be well.
Springtime is a season we tend to forget as we grow older, and yet far back in our memories, like the landscape of a country visited long ago, it's always there.
We die to each other daily. What we know of other people is only our memory of the moments during which we knew them. And they have changed since then. To pretend that they and we are the same is a useful and convenient social convention which must sometimes be broken. We must also remember that at every meeting we are meeting a stranger.
User experience is really the whole totality. Opening the package good example. It's the total experience that matters. And that starts from when you first hear about a product experience is more based upon memory than reality. If your memory of the product is wonderful, you will excuse all sorts of incidental things.
Adaptation is always the same process for me, which is some version of throwing the book at the wall and seeing what pages fall out. It is trying to imagine, remember the story, read it, put it down, and then write sort of an outline without the book in front of you with some hope that what you like about it will be filtered and distilled out through your memory and then that will be similar to what other people like about it.
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