Quotes on Material

For me, I really feel like if there's not a real, true connection to the material, I don't need to sing it. I don't need to sing songs just because I like them anymore. I've done that.

Making a record? You've got to have the song, then you create a record. I think it's the same with a live performance. If the material is strong, you're already 90% there. I always tell young people it's all about the music, the songs. Work on the songs, work on the songs, work on the songs.

The actual world, not some fantastic structure that has nothing to do with reality, must provide the material for modern poetry.

Seemingly, man has learned to live without God, preoccupied and indifferent toward Him and concerned only about material security and pleasure.

Read with care, George Orwell's diaries, from the years 1931 to 1949, can greatly enrich our understanding of how Orwell transmuted the raw material of everyday experience into some of his best-known novels and polemics.

I found the most difficult thing when you became successful - when I had the record album, it won Album of the Year - that you were cut off from the source of your material. Your material was everyday people, and you were kind of cut off from that, and you had to work at it.

The best thing that ever happened to me is that nothing happened in writing. I ended up working for engineering companies, and that's where I found my material, in the everyday struggle between capitalism and grace. Being broke and tired, you don't come home your best self.

We await the successsive births in the soul of the child. We give all possible material, that nothing may lack to the groping soul, and then we watch for the perfect faculty to come, safeguarding the child from interruption so that it may carry its efforts through.

The very flag of freedom that waves over our heads is formed from material cultivated by slaves, on soil moistened with their blood drawn from them by the whip of a republican taskmaster!

We are material beings for but a moment in time, but we are spiritual beings forever.

It is the artist's function not to copy but to synthesise: to eliminate from that gross confusion of actuality which is his raw material whatever is accidental, idle, irrelevant, and select for perpetuation that only which is appropriate and immortal.

The actor cannot afford to look only to his own life for all his material nor pull strictly from his own experience to find his acting choices and feelings.

From a technical viewpoint, I have certain things I'd like to present in my solos. To do this, I have to get the right material. It has to swing, and it has to be varied.

Ironically, it is when we identify with our spirits rather than our bodies that we are most powerful on the material plane. Our overidentification with the world does not give us power within the world so much as it diminishes our power here. It makes us frightened and nervous and full of anxiety.

Sometimes I'm asked if I do research for my stories. The answer is yes and no. No, in the sense that I seldom plow through books at the library to gather material. Yes, in the sense that the first fifteen years of my life turned out to be one big research project.

I theorize that there is a spectrum of consciousness available to human beings. At one end is material consciousness. At the other end is what we call 'field' consciousness, where a person is at one with the universe, perceiving the universe. Just by looking at our planet on the way back, I saw or felt a field consciousness state.

Sometimes, when the material is really good, you put expectations on yourself to make it the best possible show. You're not just serving up the regular hash and doing your job and going home.

Relative to most of the energy and material flows on Earth, the machinations of humankind are puny. The planet's powers are much, much bigger than our own. But in a few sensitive places, we're making an impact on a planetary scale, and that impact is not a good one.

One of the challenges Christians confront is how the politics we helped create has made it difficult to sustain the material practices constitutive of an ecclesial culture to produce Christians.

What I felt was, if you spend your life just writing fiction, you are going to falsify your material. And the fictional form was going to force you to do things with the material, to dramatize it in a certain way. I thought nonfiction gave one a chance to explore the world, the other world, the world that one didn't know fully.

The evils that arise to us from the structure of the material universe are neither trivial nor few, yet the history of political society sufficiently shows that man is, of all other beings, the most formidable enemy to man.