Top 46 Quotes & Sayings by Doug Aitken

We are all affected by the time we are born into, and of course that feeds into your work. Society is based on storytelling - religious myths, opera, film - and 1968 was always seen as a time of rupture and fragmentation. I have always been interested in those words.

One of the core reasons for creating 'Station to Station' was to provide a space for exploration and cultural friction between different mediums. It should be natural for mediums like music, film and art to cross over, and we wanted to empower that process.

The 'Station to Station' film is made entirely out of one-minute films, and each of the 62 minutes is a completely different person, place or encounter.

I'm not a journalist; I'm probably a horrible interviewer. The one small thing I have is I'm curious, and I'm interested in who I'm with.

My office has two buildings that function like the right and left sides of the brain. There's a room where everything is being edited for an upcoming project, but you can pull out of that into a tranquil space to work in a different, more solitary medium. It's an architectural unfolding of the process instead of just one chaotic structure.

'Station to Station' came out of a sense of urgency - a sense that culture, be it art, film or architecture, has become so compartmentalised. For this project, we wanted to break that and create a language that is more nomadic and less materialistic and really empowering for the creators and the audience.

I'm really a believer in being in situations that feel new and awkward and different. And I love that feeling of being in motion - that sense you find when you're traveling.

Art is always a search for understanding, and the different levels and frequencies of that search feel completely comfortable and natural to me.

I always thought about 'Station to Station' as an approach. It was about creating an alternative platform for culture where different mediums could co-exist.

We're living in a tremendously new landscape, and the possibility of what can be created is immense. These tools of the moving image have a relatively short history in art, and what we can do with them is still largely unknown. We are still innovating and finding ways to tell stories.

The 20th century is a period defined by cultural and artistic movements. However, the 21st century creative-scape that we occupy now doesn't really have movements in the same way. Instead it's made up of diverse individuals working across various platforms simultaneously; art, architecture, film, music and literature.

I have a weak spot for late '60s-early '70s yippie paperbacks and protest manifestos. I find them at flea markets or online. One of my favorites is 'Right On,' a compendium of student protests made into this 95-cent paperback with the most amazing graphics.

We live in a world where art exists in galleries and museums, and musicians have to play the same venues over and over.

Our culture is not this thing to be seen from a distance. We need to be embracing the friction of it all - that is where the energy is.

I see life as a burning meteorite that you can climb all over, and feed off, as it is falling to earth.

The perfect pop song is a 20th-century creation; it's not a sonnet, it's not an opera, it's something short - three and a half minutes by nature - and has this ability to travel and to defy class and economic structures.

'Planet Caravan' by Black Sabbath is such a delicate song from such a surprising place.

It's very easy to lose track of the environment around you, to lose touch with the present.

I have always just made things. I don't see what I make as being defined by a medium or aesthetic. It probably comes more from a fundamental restlessness, an attempt to create tools for questioning or understanding, and I have always been interested in using a wide spectrum of mediums to do this.

I love art that haunts me, that stays with me, that is left embedded in my mind. I don't really think there is any use for owning or collecting art; it is more about remembering and preserving it in the minds eye and allowing it into your cultural DNA.

I think there is a hunger for things that wake you up, something that makes you peel back your eyes, that reminds you that you are alive. Art is at its best when it is in the 'now.'

There's really no differentiation between the work I make and the world I live in.

In our daily lives, we see ourselves often in very reductive ways. I want to explore motion, change and flux, whether we are looking in the mirror or seeing ourselves in our surroundings. The singular view of self contradicts the act of living.

We're moving into an era when things are dematerialised and much more holographic. Floating above the physical world and the geographic map, there's another landscape that's constantly changing - something like a cloud - of communication, information, exchange and commerce.

The 'Station to Station' film has been fascinating to create. It feels as though it made itself in a way, and after awhile, the film told us what it needed and began to sculpt itself.

I'm really pleased to share the 'Station to Station' film. It has a very unorthodox structure; it's made up of separate one-minute films. So you watch this piece that is like time moving. Everything is democratised, whether it's a minute of Patti Smith or a single landscape with a drone, it's this amazing modern kaleidoscope.

The 'Station to Station' film is a fast-moving journey through the modern creative landscape. It's a kaleidoscope of voices and impressions rather than a standard linear film.

Communication is paramount, and what medium or what format you utilize should be a non-issue. In some respects, that has created a barrier for new media, especially web new media, because often times maybe the media itself comes before the concept, before the ideas, and ends up navigating or dictating the outcome.

I think that 'Station to Station' is a nomadic project not only in a literal sense, as it's traveling by train from place to place. Some of these places are New York City or Los Angeles, but some of these places are rather off-the-grid places.

We are engaging with so many art forms at once in the 21st century, but we're presented with them in a way that is so isolated.

'Station to Station' is a series of happenings that go across the landscape. What is a happening? A happening is a moment in time. A moment in time that is not choreographed, where you don't know precisely what's going on. Where there are aspects of different layers of culture.

The idea of a 'happening' is that there is little distance between the viewer and it, whatever 'it' is. It's an experience that's on-going and evolving.

I think about museums often. There are things that I want museums to do that they often don't. For me, I like it when there's a system within the museum that can continuously change - whether it's a museum that is nomadic or one that's designed so the building can shape-shift. I like restless spaces, and I want to be engaged.

I don't really care about interruptions. I accept technology, and I don't turn things off. I've found a peace with fragmentation and a harmony with switching gears quickly to other things.

Our culture is just too comfortable in creating these kind of divisions between culture.

I really like the idea of banality and repetition being used to generate the image, which are simple and unobstructed and not captivated by composition.

What The Source becomes, in a physical sense, is almost like this particle accelerator. There's all these different, discrete voices and ideas. If you just saw two of them together perhaps it might seem completely diverse and like, "Why do you have these two people together?" But as it grows and as it speeds up, it kind of creates a larger dialogue.

I think the idea of embracing the process, creating something, no matter how thin it is, that you can call a starting point - whether it's a word or it's an idea, or it's a little piece of narrative that you might base a film on - starting that journey of making the work. That's also something that every individual does very differently.

Divisions between culture is not this precious thing, it's just this dirty beehive with things moving around, creating accidents, and violence, and harmony. It's this kind of beautiful mess, this matter.

The compartmentalizing is so severe, that we kind of lose track. When you sit down to dinner with friends, you're going to talk about everything, sharing this polyphony of experiences, this spectrum of culture, and it's all cross-pollinating all the time.

I try to just put a blank stage in front of them, and say, "This is your space; you tell me where you're coming from and where you're going." At a certain point, it was interesting as the project started to become what it is now, The Source, which has a physical installation and also an online presence. As we started building the installation, I started thinking, "It's really strange that we're building this installation, this piece of architecture you can go into." It's almost strange because I suppose it's an artwork, but it's an artwork that's really constructed out of ideas.

When you make work, the concept is the basis for it; all choices of aesthetics or mediums come later.

In sound design programs now, you can literally sculpt the sound on visual graphs. Sometimes the visual programs are even more interesting than the music that's making them

I am fascinated by the indecisive moment and the peripheral view.

You see someone like maybe William Eggleston. William doesn't even really talk about what he does; he just wants to make these images. He kind of hovers around a location and extracts these images.

It might be David Adjaye talking about how the structure of jazz music informs his architecture, it might be the musician Terry Riley talking about how he thinks so much about cinema. I'd love to see more of a rupture between mediums and a flow between them.