Part of the reason you see so little about this in the Western media is that Iraq was closed off from the outside world for so long under Saddam. But I think there's a deeper reason, which is that it messes with our assumptions - not just about Iraq, but about culture and human nature.
So science alone cannot solve this problem [mass extinction of humans]. It's something that we can only tackle by bringing science together with culture, economics, and even politics.
There is less gray area there, less doubt. There is a security in being some thing all the way. Our culture, too, encourages this way of being - exaggeration, for example, is the key to advertising success in the United States. But hyperbole also seems a big part of Iranian culture, as well.
I guess none of the sides of my hyphen are particularly subtle cultures. But perhaps there is also a sense that these characters are all parentless - every character in this book is feral in some way - without any guidance in their upbringing. They find no choice but to seek refuge in extreme behaviors.
I just see in pop culture, music, visual art, books, etc., a real hunger for the new and different, and I think that's amazing. Satisfying this hunger is part of the responsibility of a creative person.
One thing that struck me about going to those tech conferences was all the enthusiasm for free culture, and remixing, and social media, but people's greatest ambition was to be sponsored by Chipotle or something equivalent to that. It was this weird mix of collaborative, utopian claims and this total acquiescence to commercial imperatives.
I think that overall, ultimately the impact of advertisers calling the shots is a more cloying, complacent culture. For example, it was just announced that Unilever is branding environmental content at The Guardian. How radical or pointed can that content be?
think there's a culture of Silicon Valley that seems to have the attitude that you can have it both ways, that you can be an insurgent but also, ultimately, it's paid for by advertising, when in fact advertising is totally retrograde. Now that's an industry we should be disrupting, and maybe you disrupt it by funding public media. None of this is technological destiny; there are only social choices.
Traveling and other cultures provide me with great inspiration, especially unusual people and cultures totally unlike my own. They generate many new ideas for me.
Most producers today are little bedroom producers and then they get their record and get signed by an agency and go on the road, but they have no idea about DJ-ing. They have no culture about where that music comes from and they just stand behind the booth, put their hand in the air, and play all the hits.
Before I had published anything, I still hung out with people who liked to write. None of us had published, so there was no talk about the business, and there was probably a lot more angsty talk back then. But these days maybe there are some more laments about the culture, but I would say no.
I push back against a deeply-entrenched tendency in American culture to label quickly and no longer even examine the labels that were initially stamped on a person. I don't have a problem with any of my "hyphenated" biography - I don't have any problem with that at all. The world would be a better place if our thread of hyphenation were truly embraced beyond mere naming and category.
Poetry at large in America is naturally a reflection of the American system and culture. That's my possibly narrow view of it, or reductive view. But I think for as many portals for critical consciousness in the poetry world and in the American spirit that exist, there's also an over-arching, dominant mirroring, in poetry, of the corporate structure, the capitalist enterprise.
We all exist in similar systems that mirror and reproduce the same American culture for the most part. What Oscar Wilde said about the lucky author who has a non-literary day job no longer holds, if it ever did. Artists seek validation as much as they seek money. The creation and invention of culture and canon is where most of the trouble lies.
The more money you make, the more the culture already attracts you to serve it, with an aura of glitter and power, to reproduce it in even stronger ways. And you have to resist that so much if any meaningful artistic integrity is to be had.
If you're part of any kind of writerly community, some of those people will have gone through MFA programs, and their thinking leaks into yours. So whatever changes MFAs have made to the culture, it's to the culture as a whole. It can't be pinned down to individual books in a way that some people would like to do.
A lot of writers choose to live in New York, partly because of the literary culture here, and partly because Brooklyn's a pretty nice place to live. And a lot of writers who might not geographically reside in New York still point their ambitions towards New York in some sense.
We're lucky to be in the middle of a TV renaissance. It's the healthiest storytelling medium in our culture.
Oppressed persons, oppressed cultures, tend to be more political, obviously, as are those with a rage for justice, or the crazy messianic desire.
Oppressed cultures often envy those which are not, or oppressed individuals do, and sometimes those which - and who - are not envy those which - who - are.
When I was developing St. Lucia - around 2008, 2009, at the peak of Pitchfork culture - what was considered cool was being as alienating to your audience as possible.
There's not any religion or any culture or any race or any generation that cannot get AIDS or HIV. We all have to take responsibility for ourselves and get tested to know our status, and spread the word.
To have mentors and moguls like Russell Simmons and Chuck D pushing me forward and empowering my movement makes me all the more eager to continue pursuing my dream to make my mark on hip hop music and culture.
Visual media is the dominant art form in our present day culture, whereas poetry is, at best, a proxy. Yet poetry and film are both "dream factories."
I began to think about the extent to which nude and semi-nude female bodies are commonplace in our present day culture and how young girls might be affected. I wondered if, at some point, this bombardment of images could possibly get boring and that concealing - rather than revealing - would awaken sexual desire. I don't think that will ever be the case, of course, but I was intrigued to write a poem in which dressing was just as erotic as undressing.
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