I got this big fear of doing smoking jokes in my act and showing up five years from now goin' [puts mic to his neck and speaks as if he had a mechanical larynx] 'good evening everybody, remember me, smoking's bad. [puts cigarette to neck and mimics smoking it] Eeww. You ever seen somebody do that? I've seen someone do that. Let me tell you something "" if you're smoking out of a hole in your neck [mimics it again] I'd think about quitting. And that's just me, ya know.
Enmerson's interest is in the workshop phase, the birthing stage of art, not the museum moment, the embalming phase. Poetry mimics Creation and is therefore sacred. More precisely, just as God may indeed be a verb (as Mary Daly insists), poetry is the act of creating. The process of poetry also mimics the process of nature. 'This expression or naming is not art, but a second nature, grown out of the first, as a leaf out of a tree. What we call nature is a certain self-regulated motion or change.' Another aspect of nature is genius, which, as Emerson observes, 'is the activity which repairs the decays of things.
Robert D. Richardson
Everybody has a little bit of the sun and moon in them. Everybody has a little bit of man, woman, and animal in them. Darks and lights in them. Everyone is part of a connected cosmic system. Part earth and sea, wind and fire, with some salt and dust swimming in them. We have a universe within ourselves that mimics the universe outside. None of us are just black or white, or never wrong and always right. No one. No one exists without polarities. Everybody has good and bad forces working with them, against them, and within them.
In the age of arms, a super warhead might be the most powerful for its destructiveness. In the age of farms, an irrigation system is most powerful, for it feeds lives. But how do you define power and advancement in the age of social engineering? It is the one that mimics human the best, isn't it? We don't need a warhead when there has been a drought. We don't point at our enemy with sprinklers. It is about evolving. (Douglas Parsley)
Is it possible to make a sharp distinction between the content and the the form, between the personality of the Texas auctioneer and the language that he uses? Are not our attitudes toward people and events in great part shaped by the very language in which we describe them? When we try to describe one person to another or to a group, what do we say? Not usually how or what that person ate, rarely what he wore, only occasionally how he managed his job - no, what we tell is what he said and, if we are good mimics, how he said it. We apparently consider a person's spoken words the true essence of his being.
[C]ulture, for all its importance, is not some miasma that seeps into people through their skin. Culture relies on neural circuitry that accomplishes the feat we call learning. Those circuits do not make us indiscriminate mimics but have to work in surprisingly subtle ways to make the transmission of culture possible. That is why it is not an alternative to a focus on learning, culture and socialization, but rather an attempt to explain how they work.
Everybody has a little bit of the sun and moon in them. Everybody has a little bit of man, woman, and animal in them. Darks and lights in them. Everyone is part of a connected cosmic system. Part earth and sea, wind and fire, with some salt and dust swimming in them. We have a universe within ourselves that mimics the universe outside. None of us are just black or white, or never wrong and always right. No one. No one exists without polarities. Everybody has good and bad forces working with them, against them, and within them. PART SUN AND MOON by Suzy Kassem
It's no accident, I think, that tennis uses the language of life. Advantage, service, fault, break, love, the basic elements of tennis are those of everyday existence, because every match is a life in miniature. Even the structure of tennis, the way the pieces fit inside one another like Russian nesting dolls, mimics the structure of our days. Points become games become sets become tournaments, and it's all so tightly connected that any point can become the turning point. It reminds me of the way seconds become minutes become hours, and any hour can be our finest. Or darkest. It's our choice.
Dawn cackles as she guides me through the all-glass porch. Thinner, paler Reina shuffles about behind Dawn, watching as I slip my boots off. Although she tries to hide her hands, her fingers flicker nervously. I place my boots neatly on the floor of the porch beside the other pairs in the shadows under the coats. Music drifts through to us from a distant room - it's the Beach Boys' California Dreamin'. Dawn looks at me and I smile - they've put the record on for me. Dawn nods along happily. 'Hear you're a surfer boy!' she says and she mimics riding a wave.
Carla H. Krueger
When the nurse leaves, Doctor Rose mouths, 'Act like you're in pain.' Then she mimics a painful expression in case Summer doesn't understand. On the contrary, Summer's an expert at interpreting body language and reading lips. It's all thanks to her observant nature while enslaved on the Cosmos. Who else could tell that Peter's discomfort is due to him wearing the same pair of underwear for a week straight? Ah, yes, she always knew when day six and seven approached. She watched the crew member with much amusement as he waddled, pulled wedgies, and scratched his bum relentlessly. Not that anyone else cared to know that little nugget of information.
You was talkin' out of yer head last night, too," chortles Davy. "No one's gonna fancy me. I'm gonna be ugly and no on'es gonna fancyme!" he mimics, mincing about the hammock. "You are such a rum cove, Jacky, for thinkin' such things when yer just about beat t' death! Fancy me? Fancy me? Jacky, no one's gonna fancy us, we're all gonna end up lookin' like Snag!" "Which is how a salty dog sailor's supposed to look," says Willy with a firm nod. "And you're halfway there, Jack-o!" crows Tink. Ah, the sweet comfort of friends.
Cynthia had been on friendly terms with an eccentric librarian called Porlock who in the last years of his dusty life had been engaged in examining old books for miraculous misprints such as the substitution of "1" for the second "h" in the word "hither." Contrary to Cynthia, he cared nothing for the thrill of obscure predictions; all he sought was the freak itself, the chance that mimics choice, the flaw that looks like a flower; and Cynthia, a much more perverse amateur of misshapen or illicitly connected words, puns, logogriphs, and so on, had helped the poor crank to pursue a quest that in the light of the example she cited struck me as statistically insane. ("The Vane Sisters")
What remains? Our children? Homer touched the flame of the candle with his fingers. The answer wasn't easy to find for him, Achmed's words still hurt him. He himself had been damned to be without children, unable for this kind of immortality, so he couldn't do anything but choose another path to immortatlity. Again he reached for his pen. They can look like us. In their reflection we mirror ourselves in a mysterious way. United with those we had loved. In their gestures, in their mimics we happily find ourselves or with sorrow. Friends confirm that our sons and daughters are just like us. Maybe that gives us a certain extension of ourselves when we are no more. We ourselves weren't the first. We have been made from countless copies that have been before us, just another chimera, always half from our fathers and mothers who are again the half of their parents. So is there nothing unique in us but are we just an endless mixture of small mosaic parts that never endingly exist in us? Have we been formed out of millions of small parts to a complete picture that has no own worth and has to fall into its parts again? Does it even matter to be happy if we found ourselves in our children, a certain line that has been traveling through our bodies for millions of years? What remains of me?