I've done some analysis of the biblical stories as part of my psychological work. I knew that I had more to do, and every time I've done it, it's been extremely valuable. It makes me a better teacher because I have a richer understanding of cultural history.
When I work a game as an analyst, all I do is look at the game like a coach.
Whether it's learning to hit a backhand in tennis, learning high school chemistry, or getting better at ski racing, I really believe with hard work and analytic preparation, you can skip a few steps and find the faster way.
I don't look at my work in a critical or analytical way; I just don't think of myself objectively. It doesn't interest me.
I'm a very analytical person, a somewhat introspective person; that's the nature of the work I do.
Race and class are rendered distinct analytically only to produce the realization that the analysis of the one cannot proceed without the other. A different dynamic it seems to me is at work in the critique of new sexuality studies.
I am not an optimist. I'm a very serious possibilist. It's a new category where we take emotion apart and we just work analytically with the world.
The speculative part of my work is that these particular cognitive tasks - ways of thinking analytically - are tied to nature's laws.
I built websites for myself. I didn't want to work for anyone else. I came from a science background, so I approached things fairly analytically.
The Lord has done what I wanted Him to do this week. I wanted, primarily, peace about going into pioneer Indian work. And as I analyze my feelings now, I feel quite at ease about saying that tribal work in South American jungles is the general direction of my missionary purpose.
The artist doesn't really think about consequences - he or she does the work, stands back and looks at and thinks, 'Hmm, that could have worked better like this.' But as a person who needs to sell tickets to do the next work, one needs to analyze how it does or does not hit its mark.
So I never spend a lot of time analyzing why people respond to my work. But I think that it's just the joy, a passion for life, that I think has always been in my characters. Beyond that, I'm just grateful for it.
I'm experimenting in public. At the design grad schools, these are people sitting around in groups, putting their work on a wall, analyzing it and putting it back in a drawer. I think there's little risk in that.
Culture is mix. Culture means a mix of things from other sources. And my town, Istanbul, was this kind of mix. Istanbul, in fact, and my work, is a testimony to the fact that East and West combine cultural gracefully, or sometimes in an anarchic way, came together, and that is what we should search for.
Demonstrations must be dignified and nonviolent, as the overwhelming protests in Ferguson and Staten Island have been. Do not confuse anarchists who don't want the system to work and thugs who want to exploit a situation with the majority who from day one have operated with impeccable nonviolence and clear goals.
There is a certain combination of anarchy and discipline in the way I work.
I think it's still hard for me to turn down work if it's really good because for so many years I was so desperate to get a job and couldn't and so it's kind of an anathema for me to turn down work.
Sam Nunn might bring us Georgia and maybe even another Southern state but, in my opinion, at an unacceptable cost to our principles and to the concept of change that has stirred millions to rise and work for Barack Obama. Sam Nunn would be a disaster as a running mate and a total anathema to millions of Americans.
Millions of us, myself included, go back generations in this country, with ancestors who put in the painstaking work to become citizens. So we don't like the notion that anyone might get a free pass to American citizenship.
I wasn't trying to work out my own ancestry. I was trying to get people to feel slavery. I was trying to get across the kind of emotional and psychological stones that slavery threw at people.
