Traveling around Ethiopia, I saw dozens of abandoned textile factories. People kept asking me to help them find work. So I thought I could make use of my experience in fashion to commercialize their products outside of Ethiopia.
One of the awesome things about being a writer is that I can research nearly anything - tea? Bubblegum? Ants? Neurology? Chocolate? Textile production? It doesn't matter. It's all productive work.
I believe that a large part of the training in the regional theaters is in imitation of the British style of acting. The British orientation is textual; they start from the language and work toward the character.
I enjoy the celebration of my birthday as much as anyone else does, but I always remember to start my day thanking my mom because she did most of the work the day I came into the world, not to mention all she has done throughout my life that has contributed so much to the woman I am today.
One thing ImageNet changed in the field of AI is suddenly people realized the thankless work of making a dataset was at the core of AI research.
There is no better feeling than doing well while you are doing good. If you really want to meet the nicest, most caring people in your field, get involved with charity work. The thankless hours that go into planning charity dinners, running a carnival, and gathering donations for silent auctions are noticed and appreciated.
I obtained a Woodrow Wilson Doctoral Fellowship and entered the graduate program in History at the University of California. With no Greek or French and minimal Latin and German, I was in no position to pursue my classical interests, so I began work at Berkeley with little more than an open mind.
I'm a bigger fan of my directing than in acting. Acting is just harder. You know, not harder, per se, because directing is the hardest thing I've ever had to do. But it's harder to enjoy my work as an actor, you know.
I don't really like doing big stand-up. Whenever I do theaters, I don't like 'em. I don't think they're right for stand-up. I've seen people in theaters, and it just doesn't work, because you're talking to the guy next to you the whole time.
I think what made it difficult for people to get, and still makes it difficult for people to get, is the theatrical nature of the work and the fact that, my music doesn't exist without the performance-art element.
My memory of those places is better than my pictures. That's why I get much more satisfaction out of shooting thematic work that has to do with an idea that I'm searching for, or searching to express.
There is definitely a thematic lineage between 'Descender' and my previous work, like 'Sweet Tooth' and 'Trillium.'
I've always been very thematic with my work, very conceptual.
Is it good, bad, or neutral to recognize thematic patterns in your own work? When it comes to recurring themes, I'm of the mind that knowledge is probably not power, at least in terms of the work.
When I began work on my first book, 'The River of Doubt,' which tells the story of Theodore Roosevelt's 1914 descent of an unmapped river in the Amazon rainforest, I thought of it as a tale of adventure, exploration and extraordinary courage.
No one believes more strongly than I do that every Christian should be a theologian. In that sense, we all need to work it out. I want all Christians who can read, to read their Bibles and to read beyond the Bible - to read the history and theology.
Secular thinkers have no more been able to work free of the centuries-old Judeo-Christian culture than Christian theologians were able to work free of their inheritance of classical and pagan thought. The process... has not been the deletion and replacement of religious ideas but rather the assimilation and reinterpretation of religious ideas.
The work with which we embark on this first volume of a series of theological studies is a work with which the philosophical person does not begin, but rather concludes.
When computers came along, I felt for the first time that I had the proper tools for the kind of theoretical work I wanted to do. So I moved over to that, and that got me into psychology.
When I'm writing a book, sentence by sentence, I'm not thinking theoretically. I'm just trying to work out the story from inside the characters I've got.
