We know that the end of any conflict is always messy. It’s never a linear path when you’ve been at war for almost 20 years. It’s never a clean, straight linear path to the end.
History does influence our lives – every moment. We never sort of live our lives in a linear fashion. We always have these memories and these images from our past that sometimes we’re not even aware of, and they sort of shape who we are.
Many think of memory as rote learning, a linear stuffing of the brain with facts, where understanding is irrelevant. When you teach it properly, with imagination and association, understanding becomes a part of it.
Memory is not particularly linear – it is associative, repetitive, subjective and porous. But the writer needs to convey disorder and dysfunction without making the novel itself disorderly or dysfunctional.
Make in India will not work if we take a conventional linear approach. It has to be a leapfrogging into the future, and India is ideally placed to do this.
The horrible truth is we are linear beings; we can’t multitask, and we shouldn’t keep interrupting important connections to each other with the latest message coming in.
Yes, when I come up with ideas on my own, it’s almost always a melody, just as often an instrument or bassline as it is a vocal. But it is a single, linear, monophonic thing. Something you could hum or whistle.
I’m basically an optimist because I do think there’s this historical modernisation process, and by and large it’s been very beneficial to people. But there are blips. History doesn’t proceed in a linear way.
You don’t get ‘The Unfinished Swan’ or ‘Shadow of the Colossus’ or even Telltale’s ‘Walking Dead’ until you’ve sat through the long, linear infodumps of something like ‘Metal Gear Solid’.
If you find a series of linear shapes in the same alignment as known archaeological features, and they match excavated examples, you still need to excavate to confirm, but you can be fairly sure that the imagery is accurate.
So much of what we do as artists is a combination of personal experience and imagination, and how that all creeps into your work is not so linear.
One of the autobiographies I really liked was Bob Dylan’s. It was interesting because he didn’t do it in a linear fashion.
Each of us can manifest the properties of a field of consciousness that transcends space, time, and linear causality.
While I was writing ‘Elizabeth Is Missing’ and struggling with the intricacies of the plot, I told myself the next book would be really simple and linear, and I’d have it all worked out before I set down a single word.
All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it’s very linear. There’s a script, then you’re going to shoot the script ,and then you cut that, and then that’s the end of the film. And that’s never really been how I’ve seen it.
The way that you remember your life, it’s never linear. You have flashes of different moments of your life, and the flashes aren’t equal; they have different styles.
I look for something that can challenge me or makes me ever so slightly afraid – fearful of how I am going to approach it – then I’ll go for it. If the project appears linear or predictable, then I’ll usually give it a miss. Anything that involves me being stretched as an actor, I go for.
As a former college president, I am well aware that every university is a complicated ecosystem, not a linear widget factory.
People want to peg you as alternative R&B when they hear soul or see the color of your skin. It’s comfortable when people see artists of color or artists that come from a different country to put that brand on us. It’s just not as linear as that.
Our intuition about the future is linear. But the reality of information technology is exponential, and that makes a profound difference. If I take 30 steps linearly, I get to 30. If I take 30 steps exponentially, I get to a billion.
The five stages – denial, anger, bargaining, depression, and acceptance – are a part of the framework that makes up our learning to live with the one we lost. They are tools to help us frame and identify what we may be feeling. But they are not stops on some linear timeline in grief.
Lewis Carroll, you see, wasn’t really interested in telling an exciting story. Well, he wasn’t interested in things like cause and effect or a linear narrative. It’s surreal, it’s absurd, it’s wordplay, it’s satirical, it’s analyzing itself, it’s funny, it’s an enormous challenge.
You spend so much time as a writer telling straight and linear stories.
I definitely have not had a linear path. I have had more of a path where I’ve meandered with a sense of purpose. Really, what that means is it’s about being true to your convictions and your passions but also leaving yourself open to opportunities when they come along.
I’m not such a big fan of having a linear answer to things.
One of the interesting things about ‘Saw’ is that you don’t find out about things in sequential or linear order. One of the things that fans have liked a lot is, we don’t forget about details. They come back and reveal themselves as the story evolves.
My brain doesn’t work in a typical linear fashion: my brain is vibrant and fast and bright and on 10,000 all the time.
We have a whole industry which is gigantic: games. Games is very successful. It’s its own art form, though, and it’s not the same as a linear narrative.
I don’t believe that life is linear. I think of it as circles – concentric circles that connect.
The readership for ‘Sag Harbor’ was different from people who’d read me before – it was linear and realistic, not as strange as ‘The Intuitionist.’ Did they carry over to ‘Zone One,’ a story about zombies in New York? Some, some not. I’m used to people not caring about my other books.
We looked at the customer segment that we want to go after, the Millennials, which everybody wants to go after. They are not buying linear TV.
My own way of thinking is very conservative, very linear and not particularly imaginative, but if I look for things in different places, sometimes things happen.
I think this is how life is. It’s not a linear march through time; you revolve around the same old things as you age and acquire experiences.
As soon as television became the only secondary way in which films were watched, films had to adhere to a pretty linear system, whereby you can drift off for ten minutes and go and answer the phone and not really lose your place.
Parkour is not just linear. There are moments that are intense and some that are lesser, so you have to move from one to another, and that becomes the musicality of Parkour.
I think there will be 20 years of evolution from linear broadcast to internet television.
A textbook requires a consistent sense of style and a linear structure, hallmarks of a single authorial presence. An encyclopedia doesn’t.
The relationship between art and a job is not quite linear, but I really love any and all manifestations of art, really respect any kind of artistic impulse, whether it’s paintings and sculptures or really good filmmaking or music. I really see the relationships between these different mediums as very fluid.
At ‘SNL’ there’s framed pictures of all the cast members, and it starts with Dan Aykroyd. It’s linear. It just keeps going through all these people, and then you’re at the end of it.
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