Stephen Henderson

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Inside the Box: H...
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Everyday Matters
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by Danny Gregory (Goodreads Author)
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Reading for the 2nd time
read in May 2015
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  (page 66 of 128)
Apr 19, 2026 03:46PM

 
See all 56 books that Stephen is reading…
Book cover for The Sparrow (The Sparrow, #1)
People who’d argued that interstellar travel was financially impractical had reckoned without the immense commercial possibilities of having a story to tell to an audience of over eight billion consumers.
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Oliver Sacks
“Speech has only one dimension—its extension in time; writing has two dimensions; models have three; but only signed languages have at their disposal four dimensions—the three spatial dimensions accessible to a signer’s body, as well as the dimension of time. And Sign fully exploits the syntactic possibilities in its four-dimensional channel of expression.”
Oliver Sacks, Seeing Voices

Oliver Sacks
“This innate structure, this latent structure, is not fully developed at birth, nor is it too obvious at the age of eighteen months. But then, suddenly, and in the most dramatic way, the developing child becomes open to language, becomes able to construct a grammar from the utterances of his parents. He shows a spectacular ability, a genius for language, between the ages of twenty-one and thirty-six months”
Oliver Sacks, Seeing Voices

Arthur Koestler
“Trace the contours of your face with a soapy finger on the bathroom mirror (it is easily done by closing one eye). There is a shock waiting: the image which looked life-size has shrunk to half-size, like a headhunter's trophy. A person walking away does not seem to become a dwarf -- as he should; a black glove looks just as black in the sunlight as in shadow -- though it should not;”
Arthur Koestler, The Act of Creation

Oliver Sacks
“I was struck by the graphic quality, the fullness of her descriptions. Her parents spoke too of this fullness: “All the characters or creatures or objects Charlotte talks about are placed,” her mother said; “spatial reference is essential to ASL. When Charlotte signs, the whole scene is set up; you can see where everyone or everything is; it is all visualized with a detail that would be rare for the hearing.” This placing of objects and people in specific locations, this use of elaborate, spatial reference had been striking in Charlotte, her parents said, since the age of four and a half—already at that age she had gone beyond them, shown a sort of “staging” power, an “architectural” power that they had seen in other deaf people—but rarely in the hearing.”
Oliver Sacks, Seeing Voices

Oliver Sacks
“signed language is not merely proselike and narrative in structure, but essentially “cinematic” too: In a signed language … narrative is no longer linear and prosaic. Instead, the essence of sign language is to cut from a normal view to a close-up to a distant shot to a close-up again, and so on, even including flashback and flash-forward scenes, exactly as a movie editor works.… Not only is signing itself arranged more like edited film than like written narration, but also each signer is placed very much as a camera: the field of vision and angle of view are directed but variable. Not only the signer signing but also the signer watching is aware at all times of the signer’s visual orientation to what is being signed about.”
Oliver Sacks, Seeing Voices

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