A Quote by Ian Anderson
I think we always view people who make us feel uncomfortable and appear to intrude on our middle-class cozy space, we view them with, if not hostility, at least suspicion, discomfort, embarrassment.
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Look, there is a sort of old view about class which is a very simplistic view that we have got the working class, the middle class and the upper class, I think it is more complicated than that.
[T]he more clamour we make about 'the women's point of view', the more we rub it into people that the women's point of view is different, and frankly I do not think it is -- at least in my job. The line I always want to take is, that there is the 'point of view' of the reasonably enlightened human brain, and that this is the aspect of the matter which I am best fitted to uphold.
As long as we're caught up in always looking for certainty and happiness, rather than honoring the taste and smell and quality of exactly what is happening, as long as we're always running from discomfort, we're going to be caught in a cycle of unhappiness and discomfort, and we will feel weaker and weaker. This way of seeing helps us develop inner strength. And what's especially encouraging is the view that inner strength is available to us at just the moment when we think that we've hit the bottom, when things are at their worst.
Among the virtues and vices that make up the British character, we have one vice, at least, that Americans ought to view with sympathy. For they appear to be the only people who share it with us. I mean our worship of the antique. I do not refer to beauty or even historical association. I refer to age, to a quantity of years.
People view the police not as allies, but as antagonists, and think of them not with respect or gratitude, but with suspicion and distrust.
In our hearts... there must abide some pity for those people who have always felt themselves to be separate from even their most familiar surroundings, those people who either are foreigners or who suffer a singular point of view that makes them feel as if they’re foreigners - even in their native lands. In our hearts... there also abides a certain suspicion that such people need to feel set apart from their society. But people who initiate loneliness are no less lonely than those who are suddenly surprised by loneliness, nor are they undeserving of our pity.
The purpose of art actually is, in many cases, to make you feel quite uncomfortable. Or at least to go to that place that's already of discomfort inside of you and tap into that.
People talking about politics usually start from the ass end backwards in that they think you have a political agenda, and then you make your work fit that cookie cutter. It's the other way around. One works by simple observation, looking into things. It's usually called insight and out of that comes your view - not that you have the view first and then squash everything to make it fit. I'm not interested in cutting the feet off my characters or stretching them to make them fit my certain political view.
I don't attempt to make people uncomfortable; I think that my standards in terms of art and journalism always have necessitated my discomfort.
In theory we understand people, but in practice we can't put up with them, I thought, deal with them for the most part reluctantly and always treat them from our point of view. We should observe and treat people not from our point of view but from all angles, I thought, associate with them in such a way that we can say we associate with them so to speak in a completely unbiased way, which however isn't possible, since we actually are always biased against everybody.
It`s not just Republicans. It`s Republicans and Democrats. It`s middle class, lower middle class, working class Americans who have felt the angst, who are frustrated, who are angry as a result of 1% growth which, in my view, has been really the issue that has propelled Donald Trump from day one.
If you're not on set, if you're not on stage, go to class. Find teachers you trust and who push you and who you respect as people. That's what you're getting with a teacher: a point of view. You end up taking those points of view and that turns into your point of view as an actor.
The initial 18th-, 19th-century intention was to give the less-educated lower classes a way to move up into this new, rising middle class, to enable them to fit in. So our view of language as being class-based is an unintended consequence of the drive to help educate rising businessmen.
I've been an advocate against the view of the writer as a partitioned genius hanging in conceptual space, or up on a mountain, a bringer of Promethean fire, some unique transmission that comes out of nowhere. I prefer the opposite view - that writers come from somewhere. They read things, and they think about them, and they incorporate other people's thoughts.
The higher education system in these countries (US, Korea etc) has become like a theatre in which some people decided to stand to get a better view, promoting the others behind them to stand. Once enough people stand, everyone has to stand, which means no one is getting a better view, while everyone has become more uncomfortable.
When the space shuttle's engines cut off, and you're finally in space, in orbit, weightless... I remember unstrapping from my seat, floating over to the window, and that's when I got my first view of Earth. Just a spectacular view, and a chance to see our planet as a planet.
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