The more we study mind and matter scientifically the more we see that all things follow a natural sequence, a sequence as liable to work for our disadvantage as for our advantage. It flows like the water of a river, it falls like rain, it is as impartial as the sea. It is as innocent of malice as it is of compassion.
The funny thing is that the process of coming up with an idea for a column or a 'Candid Camera' sequence is essentially the same thing. I just live my life with eyes and ears perhaps a little bit wider open than some people. Whatever bothers me or seems off kilter or in need of parody-or on a serious subject, in need of examination-in the past I had done a sequence about it. Now I write a column about it.
Thus if we know a child has had sufficient opportunity to observe and acquire a behavioral sequence, and we know he is physically capable of performing the act but does not do so, then it is reasonable to assume that it is motivation which is lacking. The appropriate countermeasure then involves increasing the subjective value of the desired act relative to any competing response tendencies he might have, rather than having the model senselessly repeat an already redundant sequence of behavior.
It doesn't matter whether a sequence of words is called a history or a story: that is, whether it is intended to follow a sequence of actual events or not. As far as its verbal shape is concerned, it will be equally mythical in either case. But we notice that any emphasis on shape or structure or pattern or form always throws a verbal narrative in the direction we call mythical rather than historical.(p.21)
The sequence of theorist, experimenter, and discovery has occasionally been compared to the sequence of farmer, pig, truffle. The farmer leads the pig to an area where there might be truffles. The pig searches diligently for the truffles. Finally, he locates one, and just as he is about to devour it, the farmer snatches it away.
Leon M. Lederman
When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence.
In Korea is what I do is I watch the playback of each take with all of the actors and spend a lot of time discussing each take. Also, I use the process we call auto-assembly because I storyboard my entire film right at the beginning, even before pre-production ever begins, so my vision is already laid out on the storyboard for everybody to share. It enables the on-set assembly person, as we call them, to cut together each take into a sequence. This enables a director to review the take within the context of the sequence of the scene.
Relaxation, acceptance, and keeping open mind are key. First of all, peak performance isn't possible if one is not relaxed, and if one is going to stay relaxed they must simply accept problems when they arise and decide to solve them. If I can't do a move I merely accept that I haven't discovered the right sequence, instead of trying the same sequence over and over or just quitting. I will try to do it 20 or 30 different ways, making subtle changes in body position and fot placement, until I find something that does work. That's what I mean by keeping an open mind.
Even if chords are simple, they should rub. They should have dissonances in them. I've always used a lot of alternate bass lines, suspensions, widely spaced voicings. Dfferent textures to get very warm chords. Sometimes you're setting up strange chords by placing a chord in front of it that's going to set it off like a diamond in a gold band. It's not just finding interesting chords, it's how you sequence them, like stringing together pearls on a string. ... Interesting chords will compel interesting melodies. It's very hard to write a boring melody to an interesting chord sequence.
Every television program must be a complete package in itself. No previous knowledge is to be required. There must not be even a hint that learning is hierarchical, that it is an edifice constructed on a foundation. The learner must be allowed to enter at any point without prejudice. This is why you shall never hear or see a television program begin with the caution that if the viewer has not seen the previous programs, this one will be meaningless. Television is a nongraded curriculum and excludes no viewer for any reason, at any time. In other words, in doing away with the idea of sequence and continuity in education, television undermines the idea that sequence and continuity have anything to do with thought itself.
We have also obtained a glimpse of another crucial idea about languages and program design. This is the approach of statified design, the notion that a complex system should be structured as a sequence of levels that are described using a sequence of languages. Each level is constructed by combining parts that are regarded as primitive at that level, and the parts constructed at each level are used as primitives at the next level. The language used at each level of a stratified design has primitives, means of combination, and means of abstraction appropriate to that level of detail.