Style is the outcome of constraint.

 

Style is the outcome of constraint.

 

Andre Maurois

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Common elements of creativity are originality and imagination. Creativity is intertwined with the freedom to design, to invent and to dream. In engineering and science a creative idea is useful only if it meets three conditions: the constraint of the natural laws, the constraint of cost, and the constraint of technical feasibility.

 

Martin Lewis Perl

 

Beware you are not a fiery, persecuting enthusiast. Do not imagine that God has called you (just contrary to the spirit of Him you style your Master) to destroy men’s lives, and not to save them. Never dream of forcing men into the ways of God. Think yourself, and let think. Use no constraint in matters of religion. Even those who are farthest out of the way never compel to come in by any other means than reason, truth, and love.

 

John Wesley

 

A second prefatory question faces us: that of society and the individual. We have sought to contrast the child and the civilized adult on the ground of their respective social attitudes. The baby (at the stage of motor intelligence) is asocial, the egocentric child is subject to external constraint but has little capacity for cooperation, the civilized adult of to-day presents the essential character of cooperation between differentiated personalities who regard each other as equals.
There are therefore three types of behavior: motor behavior, egocentric behavior (with external constraint), and cooperation. And to these three types of social behavior there correspond three types of rules: motor rules, rules due to unilateral respect, and rules due to mutual respect.
But here again, one must beware of laying down the law: for things are motor, individual and social all at once. As we shall have occasion to show, rules of cooperation are in some respects the outcome of the rules of coercion and of the motor rules. On the other hand, coercion is applied during the first days of an infant's life, and the earliest social relations contain the germs of cooperation. Here again, it is not so much a question of these successive features themselves as of the proportions in which they are present. Moreover, the way in which conscious realization and the time-lag from one level to another come into play is a further bar to our arranging these phenomena in a strict sequence, as though they made a single appearance and then disappeared from the scene once and for all.

 

Jean Piaget

 

"Rules of simultaneous ensemble constraint can't be assumed a priori to be the kinds of rules or rest on the same foundations as rules for constraint on succession. They may well be similar, but they may well not be similar also. It seems to me that ensemble constraints must first be understood in their own terms, within musical cultures individually and comparitively, looking to what appear to be basic principles in each in light of the others, I would call such a study "comparative counterpoint."

 

Harold Powers

 

There’s no way to get from the point in Hemm space where we are now, to one that includes pink nerve-gas-farting dragons, following any plausible action principle. Which is really just a technical term for there being a coherent story joining one moment to the next. If you simply throw action principles out the window, you’re granting the world the freedom to wander anywhere in Hemm space, to any outcome, without constraint. It becomes pretty meaningless. The mind...knows that there is an action principle that governs how the world evolves from one moment to the next—that restricts our world’s path to points that tell an internally consistent story. So it focuses its worrying on outcomes that are more plausible...

 

Neal Stephenson