A Quote by David Longstreth
I do feel like the hardest thing is to do something simple and tap into whatever remains of our common language rather than cultivating your own willfully esoteric vocabulary.
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As photographers, we have to find our own identity, our own voice, our own vocabulary. And my question all the time is whether this vocabulary is limited, like our own vocabulary that goes from A to Zed, or whether this vocabulary can carry on growing. And to me, I hope that it carries on growing.
I love emotional, intense stuff; it's easier to grab onto than just being simple. Being simple and relaxed can be the hardest thing. It can be easier to get your hooks into something big.
One way to think about what psychedelics are is as catalysts for language development. They literally force the evolution of language. You cannot evolve faster than your language because the language defines the culture of meaning. So if there's a way to accelerate the evolution of language then this is real consciousness expansion and it's a permanent thing. The great legacies of the 60's are in attitudes and language. It boils down to doing your own thing, feeling the vibe, ego-trip, blowing your mind.
I think for new artists the hardest thing is putting the face with a name. People maybe heard our song on the radio or something but until they get several impressions of who you are - from whatever it is, whether TV or a live show, I feel like they don't quite connect the dots.
So far as the advocates of a constructed international language are concerned, it is rather to be wondered at how much in common their proposals actually have, both in vocabulary and in general spirit of procedure.
I have now lived long enough to know that, whatever our situation, our troubles melt and disappear like frost in the morning sun when we dwell upon our blessings rather than our disappointments. No matter how pessimistic one's view may become of the times and the seasons, we can always fall back on special friendship, on faithful, personal love, and on simple, true dealings in our own personal lives.
Notes and chords have become my second language and, more often than not, that vocabulary expresses what I feel when language fails me.
It's like learning a language; you can't speak a language fluently until you find out who you are in that language, and that has as much to do with your body as it does with vocabulary and grammar.
Even if it's just a little thing, something like a song, there's still that sort of common language, that common denominator that we can all relate to.
More people should visit Antarctica, metaphorically speaking, on their own. That is one of the conclusions I have reached, one of my recommendations: explore something, even if it's just a bookshelf. Make a stab in the dark. Read off the beaten path. Your attention is precious. Be careful of other people trying to direct how you dispense it. Confront your own values. Decide what it is you are looking for an then look for it. Perform connoisseurship. We all need to create our own vocabulary of appreciation, or we are trapped by the vocabulary of others.
In animation, what's wonderful is that when you start to work with multiple nationalities, the common language becomes a visual language rather than a spoken language, which blends beautifully with the art form.
I don't know that I ever wanted greatness, on its own. It seems rather like wanting to be an engineer, rather than wanting to design something--or wanting to be a writer, rather than wanting to write. It should be a by-product, not a thing in itself. Otherwise, it's just an ego trip.
In Jazz, improvisation isn't a matter of just making any ol' thing up. Jazz, like any language, has its own grammer and vocabulary. There's no right or wrong, just some choices that are better than others.
...It's an unmeetable level of writing. But even if it's something I feel like I can't ever attain, it doesn't crush my spirit. I figured out early on that you gotta find your own strengths and hone them rather than trying to emulate something that impresses you.
I feel that as artists - whatever your medium is - I feel that we're watching what goes on around us and we take what we don't see, or we don't hear, or we don't feel and we do something that speaks of it; more about it, for it, or against it - whatever our perspective is - that's what our job is.
Sometimes I see my students, especially the ones with a gift for the lyrical, reaching far outside the realm of their own experience for language and images. I understand this impulse. We think, in the beginning, that striking exotic words together will create something entirely new. That we must be worldly in our vocabulary. We idolize the styles of other writers and don't trust or perhaps yet know our own.
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