What’s the biggest barrier to being an artist?
Self-confidence always. The artist always battles his own/her own feeling of inadequacy.
JACQUES DERRIDA INTERVIEWS ORNETTE COLEMAN, 23 JUNE 1997
OC: Do you ever ask yourself if the language that you speak now interferes with
your actual thoughts? Can a language of origin influence your thoughts?
JD: It is an enigma for me. I cannot know it. I know that something speaks through me, a language that I don't understand, that I sometimes translate more or less easily into my "language." I am of course a French intellectual, I teach in French-speaking schools, but I have the impression that something is forcing me to do something for the French language...
your actual thoughts? Can a language of origin influence your thoughts?
JD: It is an enigma for me. I cannot know it. I know that something speaks through me, a language that I don't understand, that I sometimes translate more or less easily into my "language." I am of course a French intellectual, I teach in French-speaking schools, but I have the impression that something is forcing me to do something for the French language...
on photography
Mallarme said that everything in the world exists in order to end in a book. Today everything exists to end in a photograph.
So successful has been the camera's role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful.
The camera makes everyone a tourist in other people's reality, and eventually in one's own.
To take a photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt.
Susan Sontag
style in a post-geographical position
“The whole print-media thing is sort of self-fulfilling,” he says. “It’s part of our mantra: If you put a magazine on shitty paper with shitty repro and bad journalism, why should people want to buy it? If you deliver something that has an improved quality of paper and is collectible, it shouldn’t come as a surprise that people want to pick it up, hold on to it, pay a premium on it.”
“I guess what unifies things for me is a passion for quality,” Brûlé says. “And that has to strike both high and low. I’m on a campaign against cheap veneers and varnishes. We like to stand back and kick the tires a bit, not just celebrate whatever it is, whether it’s premium travel or the redevelopment of a city block. It all has to function.”
“It’s stunning to me what, even among mature adults, counts as news today.”
“I guess what unifies things for me is a passion for quality,” Brûlé says. “And that has to strike both high and low. I’m on a campaign against cheap veneers and varnishes. We like to stand back and kick the tires a bit, not just celebrate whatever it is, whether it’s premium travel or the redevelopment of a city block. It all has to function.”
“It’s stunning to me what, even among mature adults, counts as news today.”
zero history
When everyone has easy access to their favorite diversions and every diversion comes with a rabbit hole’s worth of extra features and deleted scenes and hidden hacks to tumble down and never emerge from, then we’re all just adding to an ever-swelling, soon-to-erupt volcano of trivia, re-contextualized and forever rebooted. We’re on the brink of Etewaf: Everything That Ever Was—Available Forever.
...
But I still believe that rock and roll can change the world–if not the world at large, at least your own personal world. That moment of discovery–the first time you hear that song, read that book, watch that movie–is still powerful, even if the mystery has been dimmed a bit by the all-seeing eye of the Net.
...
But I still believe that rock and roll can change the world–if not the world at large, at least your own personal world. That moment of discovery–the first time you hear that song, read that book, watch that movie–is still powerful, even if the mystery has been dimmed a bit by the all-seeing eye of the Net.
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