“Just as in literature, where memorable characters like Hamlet or Heathcliff or even Dirty Harry stand out and become symbols for a larger segment of humanity, so in marketing can whole target-customer populations become imagined as teenyboppers, yuppies, pickups and gun racks, or the man in the gray flannel suit. These are all just images—stand-ins for a greater reality—picked out from a much larger set of candidate images on the grounds that they really “click” with the sum total of an informed person’s experience. These were, in short, the memorable ones.”

— Geoffrey Moore, book Crossing the Chasm

Source: Crossing the Chasm, 1991, p. 67

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Geoffrey Moore9

American business writer 1946

Stephen Spender (1909–1995) English poet and man of letters

"The Landscape near an Aerodrome"
Poems (1933)

“Language can only deal meaningfully with a special, restricted segment of reality. The rest, and it is presumably the much larger part, is silence.”

George Steiner (1929–2020) American writer

"The Retreat from the Word," Kenyon Review (Spring 1961).
Language and Silence: Essays 1958-1966 (1967)

“First, please note that we are not focusing here on target-market characterization. The place most crossing-the-chasm marketing segmentation efforts get into trouble is at the beginning, when they focus on a target market or target segment instead of on a target customer.”

Geoffrey Moore book Crossing the Chasm

Source: Crossing the Chasm, 1991, p. 68

“He replaced the gray of the walls with a darker shade by closing his eyes. It felt good to shut out some of the light. Not all, but just some. Just enough so there was a gray without images or threatening corners. Not the blackness that gives birth to those sudden flashes of stinging light that slashes your eyes, or the velvety darkness that thickens and become animated and flows and somehow moves around and over you. Just a soothing gray. Nothing to see.”

Hubert Selby Jr. book The Room

The Room (1971)

“The poet presents the imagination with images from life and human characters and situations, sets them all in motion and leaves it to the beholder to let these images take his thoughts as far as his mental powers will permit.”

Arthur Schopenhauer book Parerga and Paralipomena

Vol. 2 "On Philosophy and the Intellect" as translated in Essays and Aphorisms (1970), as translated by R. J. Hollingdale
Parerga and Paralipomena (1851), Counsels and Maxims
Context: The poet presents the imagination with images from life and human characters and situations, sets them all in motion and leaves it to the beholder to let these images take his thoughts as far as his mental powers will permit. This is why he is able to engage men of the most differing capabilities, indeed fools and sages together. The philosopher, on the other hand, presents not life itself but the finished thoughts which he has abstracted from it and then demands that the reader should think precisely as, and precisely as far as, he himself thinks. That is why his public is so small.

“My total experience of school was mixed, with more darkness than light. Just as my image of society has become.”

Tomas Tranströmer (1931–2015) Swedish poet, psychologist and translator

42.
För levande och döda (For the Living and the Dead) 1996

“The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense.”

Julie Taymor (1952) American film and theatre director

As quoted in "New York at Work; Puppeteer Creates Shows for Grown-Ups" by N. R. Kleinfield The New York Times (2 July 1991) http://www.nytimes.com/1991/07/02/nyregion/new-york-at-work-puppeteer-creates-shows-for-grown-ups.html <br class="br">Context: We have a ways to go in understanding the power of puppetry … Our problem is for too long we have thought of puppets being for children. … The appeal of puppetry to me is it's much more freeing for an artist … Puppetry is a completely controllable means to attack your characters in every possible way. The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense. Another of the great things about puppetry is the ability to transform.

“The extension of human sympathies [toward ever-larger communities] has… resulted in the creation of larger units of conflict without abolishing conflict. So civilization has become a device for delegating the vices of individuals to larger and larger communities.”

Reinhold Niebuhr (1892–1971) American protestant theologian

Source: (1932), p. 49

“The phenomena and underlying mechanisms discussed in this book may thus become even more relevant to a larger and larger portion of human activity. Understand their origin, and be prepared for subtle but significant precursors!”

Didier Sornette (1957) French scientist

Source: Why Stock Markets Crash - Critical Events in Complex Systems (2003), Chapter 10, 2050: The End Of The Growth Era?, p. 396.

“In a media age where books are no longer the primary medium for information storage and exchange, language must be reclaimed from the hucksters and the pedants and imaginatively reinforced. To save literature, educators must take command of the pre-rational world of images. The only antidote to the magic of images is the magic of words.”

Camille Paglia (1947) American writer

The Magic of Images: Word and Picture in a Media Age (2004)

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