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

 
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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

Arthur Koestler
“The controls of a skilled activity generally function below the level of consciousness on which that activity takes place. The code is a hidden persuader. This applies not only to our visceral activities and muscular skills, but also to the skill of perceiving the world around us in a coherent and meaningful manner.”
Arthur Koestler, The Act of Creation

Brian Eno
“Questions for U2: ‘What record would you like to make – i.e. how would you like this to be read? How would you like to get there? Does it bother you if the result is ‘undemocratic’? How much cheating is allowed? How much me?’ Lincoln’s axe: ‘This is Lincoln’s original axe. The head has been replaced three times and the handle twice.”
Brian Eno, A Year with Swollen Appendices: Brian Eno's Diary

Brian Eno
“Yesterday, before the meeting with U2, I took the precaution of putting tiny sections of each of the 44 pieces of music we have in hand on to a single tape. All this means is that when somebody says ‘Drum Loop 14’ and someone else says ‘Which one was that?’ I can readily go to it without having to change tapes (which takes only a few more seconds but is annoying). This little precaution (which however took me nearly three hours to put together beforehand) expedited the whole thing so much, and changed the whole quality of the decisions being made. I tend to spend more and more of my time thinking how to set up situations so that they work – so that they can actually take less and less time. My ideal is probably based on that story I heard years ago of how the Japanese calligraphers used to work – a whole day spent grinding inks and preparing brushes and paper, and then, as the sun begins to go down, a single burst of fast and inspired action.”
Brian Eno, A Year with Swollen Appendices: Brian Eno's Diary

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

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