A Quote by David Shields

Our lives aren't prepackaged along narrative lines and, therefore, by its very nature, reality-based art - underprocessed, underproduced - splinters and explodes. — © David Shields
Our lives aren't prepackaged along narrative lines and, therefore, by its very nature, reality-based art - underprocessed, underproduced - splinters and explodes.
In our culture, imitation-based experience dominates reality-based experience. I find this an awful thing. But there are artists who know from the bottom of their souls that art is about the experience of reality. The reason we have art is because you can’t get a real experience from the world.
'We live' writes Pursewarden somewhere 'lives based upon selected fictions. Our view of reality is conditioned by our position in space and time — not by our personalities as we like to think. Thus every interpretation o? reality is based upon a unique position. Two paces east or west and the whole picture is changed.
We must have song and dance in our lives; we've had it ever since the inception of cinema in India. Our stories are very social-based, very human-based. We are a very emotional nation.
As all of our lives become digital, the logic of encryption is all of our lives will be covered by strong encryption, and therefore all of our lives - including the lives of criminals and terrorists and spies - will be in a place that is utterly unavailable to court-ordered process. And that, I think, to a democracy should be very, very concerning.
We dissect nature along lines laid down by our native language.
The beauty of reality-based art - art underwritten by reality hunger - is that it's perfectly situated between life itself and (unattainable) "life as art".
I'd always wanted the show to be more reality based science fiction, something along the lines of The Day the Earth Stood Still, which I consider to be the classic science fiction film.
Jonathan Meese is not interested in the history of reality. Everything radical and precisely graphic is sustainable. Human ideologies like religions and politics are based on the past and therefore irrelevant to art. Art always transforms radicalism of the past into the future. Art is always the total time machine. Jonathan Meese is interested in the history of the future. Art is never nostalgic.
Art is not merely an imitation of the reality of nature, but in truth a metaphysical supplement to the reality of nature, placed alongside thereof for its conquest.
The art of seeing nature, or, in other words, the art of using models, is in reality the great object, the point to which all our studies are directed.
?Interdependence is a fundamental law of nature. Even tiny insects survive by mutual cooperation based on innate recognition of their interconnectedness. It is because our own human existence is so dependent on the help of others that our need for love lies at the very foundation of our existence. Therefore we need a genuine sense of responsibility and a sincere concern for the welfare of others.
If there was no risk, it wouldn't be art. It wouldn't be worth making. There is risk even in a fairy tale. Fiction is closest to pure narrative, and pure narrative is simply the logic we try to impose on an ever-changing reality.
There are moments in our lives, there are moments in a day, when we seem to see beyond the usual- become clairvoyant. We reach then into reality. Such are the moments of our greatest happiness. Such are the moments of our greatest wisdom. It is in the nature of all people to have these experiences; but in our time and under the conditions of our lives, it is only a rare few who are able to continue in the experience and find expression for it.
Back when we were Neanderthals or whatever, we evolved to think along tribal lines. Survival was based on this idea of who are we and who are the others who will come and take our resources. I think it's an animal and a human thing that we all see in terms of us vs. them, and race is a very easy way to separate who is us and who is them.
Do the structures of language and the structures of reality (by which I mean what actually happens) move along parallel lines? Does reality essentially remain outside language, separate, obdurate, alien, not susceptible to description? Is an accurate and vital correspondence between what is and our perception of it impossible? Or is it that we are obliged to use language only in order to obscure and distort reality -- to distort what happens -- because we fear it?
A crisis event often explodes the illusions that anchor our lives.
This site uses cookies to ensure you get the best experience. More info...
Got it!