A Quote by Abigail Washburn

I would still describe China as a vast, invigorating puzzle that will never make sense to my western upbringing. — © Abigail Washburn
I would still describe China as a vast, invigorating puzzle that will never make sense to my western upbringing.
We still insist, by and large, in thinking that we can understand China by simply drawing on Western experience, looking at it through Western eyes, using Western concepts. If you want to know why we unerringly seem to get China wrong... this is the reason.
I've never left China. My family's been there for 600 years. But my architecture is not consciously Chinese in any sense. I'm a western architect.
I would still describe myself as a hacker. I still remember feeling the magic, the sense of discovery, when I first connected to a bulletin board. It seemed like the world was somehow brighter, the greens were greener. Like I'd stepped through a portal to the other side. I knew back then that things would never be the same again for me.
The world of counterterrorism is like that old jigsaw puzzle in the back of the closet: Its many missing pieces and extra parts jumbled in from other puzzles make it almost impossible to assemble. But in Ghost, Fred Burton manages to join together enough pieces to give us a discerning look at that world. This is a story, told in human terms, that will help make sense of the great puzzle of our times.
You look at something like Russia, or you look at something like China, where you actually allow free markets to go in. And you haven't seen the change that we, in the western world, would probably like. You still have a bit of a dictatorship - some people would say more than a bit of a dictatorship - in Russia and in China.
Songwriting is like working on a jigsaw puzzle, and it doesn't make any sense until you find that last piece. It has to make sense or it doesn't work.
Some Western demographers have posited, due to the female shortage created by the one-child policy, that China will be forced to field a vast force - as in tens of millions strong - of wifeless men who'll gladly wage wars around the planet to burn off all those unrequited hormones.
It would be possible to describe everything scientifically, but it would make no sense; it would be without meaning, as if you described a Beethoven symphony as a variation of wave pressure.
China wants Western countries to be timid. Its strategic foreign policy has been to make any criticism of the Communist Party of China seem unreasonable or even Sinophobic.
If some Western politician claims he is in a position to use the normal Western methods to feed and clothe 1.2 billion Chinese, we would be happily prepared to elect him president of China.
The reason why China forecasting has such a poor track record is that Westerners constantly invoke the model and experience of the West to explain China, and it is a false prophet. Until we start trying to understand China on its own terms, rather than as a Western-style nation in the making, we will continue to get it wrong.
Wrong education and upbringing produces ugly personalities, whereas a fine upbringing and good education will bring forth superior sense and feeling, as well as nobility and purity of mind.
When you have a solid upbringing and a strong sense of place, that sustains you. My sense of home never leaves me.
To describe this film as dishonest and demagogic would almost be to promote those terms to the level of respectability. To describe this film as a piece of crap would be to run the risk of a discourse that would never again rise above the excremental. To describe it as an exercise in facile crowd-pleasing would be too obvious. Fahrenheit 9/11 is a sinister exercise in moral frivolity, crudely disguised as an exercise in seriousness.
[I] never talk about gratitude and joy separately, for this reason. In 12 years, I've never interviewed a single person who would describe their lives as joyful, who would describe themselves as joyous, who was not actively practicing gratitude.
There is the specter of "realism" that is still haunting Chinese contemporary art - that art is only an instrument, an instrument to reflect society, that it must be useful for society. Also, I have noticed many Western media outlets are very insistent on understanding contemporary art in China through this kind of realist approach. Sometimes I even sense that they are intent on, as we say in China, "picking bones of politics out of an egg of art." Or perhaps they see art as merely an instrument to reflect society.
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