A Quote by Hikaru Nakamura
If you talk to some of the older players, they definitely say they see beauty in certain games. In my case, there are certain times when I think, 'Wow, that's so amazing, chess is so full of ideas.' But most of the time I tend to be much more pragmatic about it, as opposed to thinking about it as art or something exquisite.
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I just write and do what I think is funny. Sometimes, you do have it in your head about certain bits. There are certain jokes where I know if I did them in certain situations, it would irk people. There are times where I look at the news and see a story going on, and I'm like, 'Wow, if I tweeted this, I would get press if I wanted to.'
I think a lot of people are involved in art because of the fashion of art and the conversation. It gives them a certain sophistication, something to speak about. But art is, if it's conceptual, really about understanding the concept. And if it's beautiful, it's about seeing the beauty. It's gone much further than that now. There's too much commercialism attached to art. If the market cracks one day big-time, you'll frighten so many people away who will never come back. Because they don't really feel for art. People who buy art should want it because they love it, they want to enjoy it.
I get an idea about something. I just start thinking about it, and then I get onstage and I talk about it, and then I think about it some more and talk about it some more, and think about it some more and talk about it some more, until it starts to take a shape.
Chess is all about getting the king into check, you see. It's about killing the father. I would say that chess has more to do with the art of murder than it does with the art of war.
I don't think there has been enough communication between the players and the tournaments. In one sense it's just as much the players' fault. Players talk between each other and in the locker room about things that can be improved and then when the time comes to talk and really do something about it they stop.
I'm friends with a lot of writers and so many of them say how much they hate signings and how they leave after a certain period of time. But what is so hard about sitting there while people tell you how much they love you? And if you don't like it, well, learn to like it. I try to take one person at a time. I never look down the line to see how many more people are left. And I always try to make people talk about something besides whatever they planned to say.
I think all of the best nonfiction that has ever been made comes from the result of someone who can't stop thinking about a certain topic - a very specific aspect of a certain topic in some cases. And second, they got really good at figuring out what they had to say about it.
Philosophy wasn't about facts, it was about ideas. My first essay title was something like: 'How can you know what other people are thinking?' I thought, 'Wow, what an amazing thing.' I really thought deeply for the first time.
The thing about writing or making art is that I'm not thinking about that stuff while I'm doing it. Like the driver's ed kid, in retrospect I see that that was meaningful, and I felt close to him in that way, but at the time I just thought it was fun to draw, and that's all it was. I think that's what's weird about life and about making art. You have to talk about it later. I guess I should be prepared to talk about it now. That is why I'm here. But again, pass.
I still think that we have a hesitance to talk about things racial. And I think we do it at our detriment. We go from incident to incident, and we have spikes in which race becomes something that we talk about, as opposed to talking about race in those less contentious times when I think we might make more progress.
I don't know whether I have ideas all the time. I think I'm curious about things all the time; I think I'm always curious, and I think I'm always interested in whatever passes by, and I know I tend to think about things, and I tend to talk about things, and sometimes that takes root and gives me something to chase.
For most women, whether you're an actress or whatever you do, there is this pressure in society and within the world to look a certain way, dress a certain way, act a certain way, say certain things, and be this idea as opposed to being a person.
I play chess about four hours a day in training camp. You have to decide what move to use, or what combination of moves. I think less when I box because the reaction time is a lot quicker, but some people call me the chess boxer because they say I think too much in the ring. I take my time and they don't see the action they want. Some boxers just go in there and just throw punches and hope to win.
When you're in your 30s and actively pursuing a career and a home life, a wife and children, you're busy doing as opposed to busy thinking. As you get older, even as you don't have as much time, I think you tend to think more and reflect more on what is happening in your own life.
I think there's something in collaboration - the fact that you can sit there and bounce ideas off of someone. It definitely matters who the person is, because certain people... The act of collaboration, where you can talk to someone, hang out, get ideas going, there is something in that. That's similar between everyone. But I think every individual collaborator is different, because they have different brains and emotions and ways of working, so it changes. Definitely.
I think you can blame certain police officers for certain behavior, you can blame certain departments for certain behavior, and power and so forth, but, ultimately, I'd say it's about us, and it's about society, and I say - even if its sounds a little controversial - put the police aside for a second. It's really not about them. It's about the game that's been created to keep the status quo going and to let the people who own it all gain from the game.
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