A Quote by Cathy Davidson
Americans are so often thrown by Japan. It looks familiar but, an inch below the surface, it isn't anything like the West at all.
Related Quotes
My photographs don't go below the surface. They don't go below anything. They're readings of the surface. I have great faith in surfaces. A good one is full of clues.
The memory of oppressed people is one thing that cannot be taken away, and for such people, with such memories, revolt is always an inch below the surface.
My husband and I went to Japan for our honeymoon, and you look at, like, the presentation of the food, and it's ridiculous. It looks like a Mondrian painting or something. Everything looks like a bunch of little Hello Kitty erasers when you eat a little bento box in Japan. It's so precise and beautiful and processed and neat.
Errors like straws upon the surface flow, Who would search for pearls to be grateful for often must dive below.
My photographs don't go below the surface. They don't go below anything. They're readings of the surface. I have great faith in surfaces. A good one is full of clues. But whenever I become absorbed in the beauty of a face, in the excellence of a single feature, I feel I've lost what's really there been seduced by someone else's standard of beauty or by the sitter's own idea of the best in him. That's not usually the best. So each sitting becomes a contest.
What may be on the surface looks like one thing but it's often a much larger problem.
The more familiar people are with the ecosystem that lives below the surface - invisible until you're actually in the ocean - the more likely they are to do what they can to protect it.
When I come to a new city is I combine: I say, well, it's like Barcelona and Edinburgh, though I can't imagine what that would be. But Toronto, the last few times I've been here, what always comes up is Chicago and West Berlin. It's a big, sprawling city beside a lake, of a certain age and a certain architectural complexity. But the high-end retail core looks more like West Germany than the Magnificent Mile. Yonge Street is like K-Damm. There's an excess of surface marble and bronze: it's Germanic and as pretentious as pretentious can be.
Video looks like reality, it's more immediate, it has a verite surface to it. Film has this liquid kind of surface, feels like something made up.
America is a country of comparatively recent immigrants, so I'm part of a line there and the old Americans were thrown off their land by the new Americans, and now the new Americans are being thrown off their land by the corporations.
If the children acquiesce, they may learn to suppress their anger to avoid retribution. But the rage remains inside, often just below the surface.
The ocean is interacting with the surface. There is a possible biosphere that extends from way below the surface to just above the crust.
You have to get inside the people you are writing about. You have to go below the surface. And that's to a very large degree what all writers are doing - they're trying to get below the surface. Whether it's in fiction or poetry or writing history and biography. Some people make that possible because they write wonderful letters and diaries. And you have to sort of go where the material is.
The [Moon] surface is fine and powdery. I can kick it up loosely with my toe. It does adhere in fine layers like powdered charcoal to the sole and sides of my boots. I only go in a small fraction of an inch, maybe an eighth of an inch, but I can see the footprints of my boots and the treads in the fine sandy particles.
Once established, a successful style looks like an inevitability - maybe that's the definition of a successful style - but there's often the time when it looks like anything but.
The surface of the quieted river, as I think now, is like a window looking into another world that is like this one except that it is quiet. Its quietness makes it seem perfect. The ripples are like the slates of a blind of a shutter through which we see imperfectly what is perfect. Though that other world can be seen only momentarily, it looks everlasting. As the ripples become more agitated, the window darkens and the other world is hidden.the surface of the river is like a living soul, which is easy to disturb, is often disturbed, but, growing calm, shows what it was, is, and will be.
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