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“There is an art to grieving. To grieve well the loss of anyone or anything--a parent, a love, a child, an era, a home, a job--is a creative act. It takes attention and patience and courage. But many of us do not know how to grieve. We were never taught, and we don't see examples of full-bodied grieving around us. Our culture favors the fast-food model of mourning--get over it quick and get back to work; affix the bandage of "closure" and move on.”

“Unlike Hegel's progress model of history, which moves by stages, each containing its own logic of growth and decline, the economic model develops as the simple function of one money-variable over time, with a long-term trend which increases monotonically.”

“I think the best models are actors, you're taking on a character. In that sense, I have been acting for a long time. It didn't seem like a crazy transition. Acting is a bigger step into modelling in a way. Modelling is easier when you don't look like yourself. When you look like a different person, you feel different. Acting goes deeper into that, you have to move and talk like that character. I love it.”

“To the extent to which the pull that moves me really is irresistible, like an invincibly strong addiction, the normal procedures of evaluation, deliberation, choice, decision, etc. that constitute the substance of our political life are not operating. The same is true of overwhelming aversion. The person being tortured who simply wants it to stop, period, is also not a good model for an agent acting politically.”

“Science begins with the world we have to live in, accepting its data and trying to explain its laws. From there, it moves toward the imagination: it becomes a mental construct, a model of a possible way of interpreting experience. The further it goes in this direction, the more it tends to speak the language of mathematics, which is really one of the languages of the imagination, along with literature and music. Art, on the other hand, begins with the world we construct, not with the world we see. It starts with the imagination, and then works toward ordinary experience.”

“In the summer after kindergarten, a friend introduced me to the joys of building plastic model airplanes and warships. By the fourth grade, I graduated to an erector set and spent many happy hours constructing devices of unknown purpose where the main design criterion was to maximize the number of moving parts and overall size. The living room rug was frequently littered with hundreds of metal “girders” and tiny nuts and bolts surrounding half-finished structures. An understanding mother allowed me to keep the projects going for days on end.”

“It was very definitely architectural. I was using the words on the page as some kind of equivalent of a physical model. But I never thought at that point that I wanted to move toward architecture. I wanted to move toward real space. Sure, that's probably another way of saying, I want to move toward architecture. But I didn't define real space in terms of architecture, then.”

“In 'Birth,' I explore the nature of the new world we are approaching with my business-spiritual model, a new model for a new world. This view will enable individuals, companies and even nations to move from collapse to positive change, and bring together the spiritual and the material, giving birth to a new future.”

“The key question facing those of us working in the media (old and new) is whether we embrace and adapt to the radical changes brought about by the Internet or pretend that we can somehow hop into a journalistic Way Back Machine and return to a past that no longer exists and can't be resurrected. There is no question that, as the industry moves forward and we figure out the new rules of the road, there will be - and needs to be - a great deal of experimentation with new revenue models.”