After World War II, American leaders were, in Dean Acheson's words, 'present at the creation' of a global order. Now at the end of the cold war, we desperately need that same vision, that leadership, that creativity to be applied to the governance of the global marketplace.
Photography can still be used to champion activism and change. I believe this, even while standing in the cool winds of postmodernism... Postmodernism looked radical, but it wasn't. As a movement it was profoundly liberal and became a victim of itself. Precisely at this historical moment, when multicultural democracy is the order of the day, photography can be used as a powerful weapon toward instituting political and cultural change. I for one will continue to work toward this end.
Who's elk horn do I have to blow in order to get something to eat around here?
Raccoons don't need to do poppers in order to come while they're having anonymous same-sex interludes in a highway rest area.
Sometimes you have to let people down in order to get on, particularly in showbusiness.
In most of my photographic pieces I have manipulated the quality of the evidence that people assign to photography, in order to subvert it, or to show that photography lies - that what it conveys is not reality but a set of cultural codes.
Everybody I've ever met was destroyed by a member of the opposite sex early on and that damage you took into every relationship after that, everybody. Every woman in here got intimidated by a guy, pushed around too much, now you're new boyfriend tickles you a little too hard, boom restraining order. Every guy here had a woman sleep with his best friend, now your new girlfriend hugs your cousin a little long, boom car bomb.
Whenever I heard a musician do something that I could not explain, I went back to the theory in order to figure it out.
Can you imagine being bilingual? Or even knowing anybody that was? I'm not even unilingual. Actually, I shouldn't say that. I don't give myself enough credit. I know enough English to, you know, get by. I can order in restaurants and stuff.
To me, photographs are like words and I generally will place many photographs together or print them one inside the other in order to construct a free-floating sentence that speaks about the world I witness.
Walgreens, Rite Aid, CVS and Wal-Mart have all figured out the evolution of life and they grabbed all the products that are necessary for a life. And they stuck them in one aisle and they put them in order according to how you mess up... First thing you're going to see: condoms. Next to that: lubricant. Next to that: pregnancy test. Next to that: Pampers. Next to that: formula. And at the end of the aisle they sell beer.
I was troubled by the presence of a shoe museum because it forced me to ask a very burning question: would my body be able to physically survive the amount of dope I would need to smoke in order to visit a shoeseum?
When you are young in this world, you believe that the class of deductive truths about social matters is larger than it turns out to be. [...] I have discovered, to my infinite regret, that most of the serious debates over the basic principles of any political order have an irreducible empirical content.
I still don't really know what my style is. I like a lot of different kinds of comedy, I like watching it and I like being inventive and original. That's the problem with doing a longer set - you can't do every joke that you have because some stuff contradicts other stuff. Even when you know that the audience knows that you're joking and it's not true, you still can't do a joke about your family dying and then later talk about your Mom. I mean you want to keep some kind of cohesive order going.
I think comedy evolves constantly. I reinvent myself all the time. I always find a way to entertain myself because I truly believe you have to entertain yourself in order to relate it the right way to your audience.
Improv relies just as much on listening as it does you delivering dialogue. That's the hard for some people. Some people just concentrate on what they're going to say, and they're not listening. You have to listen in order to see where the other person is going to.
As an actor, you act in order to make a living. Then, when you can make a living, you start acting because you want to do what you love to do. I need to remind myself of that a lot.
. . . our lives are shaped by our interactions with others. Whether we have a long conversation with a friend or simply place an order at a restaurant, every interaction makes a difference.
My school music teacher, Al Bennest, introduced me to jazz by playing Louis Armstrong's record of "West End Blues" for me. I found more jazz on the radio, and began looking for records. My paper route money, and later, money I earned working after school in a print shop and a butcher shop went toward buying jazz records. I taught myself the alto saxophone and the drums in order to play in my high school dance band.
If, in order to succeed in an enterprise, I were obliged to choose between fifty deer commanded by a lion, and fifty lions commanded by a deer, I should consider myself more certain of success with the first group than with the second.
Mormonism is not simply a commitment to a theology or a church practice, but a social-cultural order.
[Photography was necessary to] make my place in the art-world: in order to do this, I had to make a picture, since a picture was what a gallery or museum was meant to hold (all the while, of course, I was claiming that I was denying the standard, rejecting it...)
All of us tend to look at photographs as if we are simply gazing through a two-dimensional window onto some outside world. This is almost a perceptual necessity; in order to see what the photograph is of, we must first repress our consciousness of what the photograph is.
To an ever greater extent out experience is governed by pictures, pictures in newspapers and magazines, on television and in the cinema. Next to these pictures firsthand experience begins to retreat, to seem more and more trivial. While it once seemed that pictures had the function of interpreting reality, it now seems they have usurped it. It therefore becomes imperative to understand the picture itself, not in order to uncover a lost reality, but to determine how a picture becomes a signifying structure of its own accord.
To the oft-asked question, What camera or lens do you use? I can only reply I couldn't tell to save my soul - it is enough for me to know that I have something that will make pictures and that it is in working order.
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