No aspect of our contemporary lives has been untouched by women's work.
Our contemporary life is based on information that can change at any time.
I suppose I'm qualified to some degree to speak about the nature of contemporary media, as that's where I currently work. People, I think have been beyond trained - coded to not anticipate change; to think that change is implausible. Almost weaned off. It had to be a revolution bred out of us.
Honestly, I haven't the time to read contemporary writers. I know this is awful, but in the main it is true.
I don't think they [contemporary writers] read me either. I mean, if we're concerned genuinely with writing, I think we probably get on with our work.
There are [in Hollywood] some endemic problems and some things that happen over and over again. There's the problem of representation of basically anybody but white men. These are things that we talk about a lot in contemporary culture, and it's interesting to me to go look at film history from the perspective of today.
[Nathalie Rykiel] knows by heart the genetic codes of the brand, and she also has a very contemporary and creative opinions about it.
All philosophers make the common mistake of taking contemporary man as their starting point and of trying, through an analysis of him, to[21] reach a conclusion. "Man" involuntarily presents himself to them as an aeterna veritas as a passive element in every hurly-burly, as a fixed standard of things. Yet everything uttered by the philosopher on the subject of man is, in the last resort, nothing more than a piece of testimony concerning man during a very limited period of time.
There are a number of contemporary playwrights whom I admire enormously, but that's not at all the same thing as being influenced.
About four years ago I made a list, for my own amusement, of the playwrights, the contemporary playwrights, by whom critics said I'd been influenced. I listed twenty-five. It included five playwrights whose work I didn't know, so I read these five playwrights and indeed now I suppose I can say I have been influenced by them. The problem is that the people who write these articles find the inevitable similarities of people writing in the same generation, in the same century, and on the same planet, and they put them together in a group.
Each time I undertake to reread Virginia Woolf, I am somewhat baffled by the signature breathlessness and relentlessly "poetic" tone, the shimmering impressionism, so very different from the vivid, precise, magisterial (and often very funny) prose of her contemporary James Joyce.
On the surface, Wonder Boys seemed like such a departure from L.A. Confidential - it's funny, it's contemporary, and so on - and yet at a certain point, I had a feeling that reminded me how I felt when I was shooting L.A. Confidential. I analyzed it for a while, and thought about how emotionally involved I was with the characters. Then I realized that in both movies, there are three main male characters and one female, and all of them are struggling to figure out what they're doing with their lives, independent of each other.
I think there are all kinds of intrusions into private rights that make use of contemporary technology.
Its true that contemporary technology permits decentralization, it also permits centralization. It depends on how you use the technology.
Contemporary technology could be used to eliminate ownership and management of corporations. It could be used to provide - lets say Apple computers. In principle information technology could be used to provide direct information to the work force on the ground so that they could democratically decide what the company would do, eliminating the role of management. It could be used for that. People aren't developing technology for that purpose.
I wanted to make new works of very contemporary objects, which I thought was interesting because many of them are manufactured in China, but these objects are universal, they go across all languages, all cultures.
When I look at the objects that I draw, it seems to me so obvious about the contemporary world - these are our world.
When I go to China I see many artists whose work reflects on aspects of contemporary popular culture but obviously the history of Western art is not part of their own tradition.
I think doing period piece is easier, because after a certain distance, everybody is equal, I think. The relative contemporary is harder. I think that's the way it is.
In the Jazz at Lincoln Center Orchestra we play such a diversity of music, with 10 arrangers in the band, we don't really worry about whether it's contemporary or not.
You always try to do your own thing. One of the things I wanted to do was to write a book that combines some of the best traits of contemporary fantasy with some of the traits of the historical novel.
I have a really amazing fan club, it's contemporary but it's a little bit old school. There's a lot of connection. I have a fan club president who really responds to people.
Youth culture now really looks back and embraces the past, but keeps it contemporary but not sticking to one particular style.
I like noise. It's always puzzled me why one of the goals of contemporary recording is to get rid of noise and to eliminate any element of a performance.
If you look at that incredible burst of fantastic characters that emerged in the late 19th century/early 20th century, you can see so many of the fears and hopes of those times embedded in those characters. Even in throwaway bits of contemporary culture you can often find some penetrating insights into the real world around us.
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