A Quote by Dennis Prager
Complexity and profundity have been equated by the academic culture just as fame and significance have been conflated by the popular culture. Fame and significance have nothing to do with one another; and complexity and profundity have nothing to do with one another.
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Fame doesn't allow for complexity, especially complexity of character.
We academics - I am an academic - we love complexity. You can write papers about complexity, and the nice thing about complexity is it's fundamentally intractable in many ways, so you're not responsible for outcomes.
And there is also the paradox that the dominating culture imbues the Indian past with great meaning and significance; it is valued more because it is seen as part of the past. And it is the romantic past, not the present, that holds meaning and spiritual significance for so many members of the dominating culture. It has seemed so strange to me that the larger culture, with its own absence of spirit and lack of attachment for the land, respects these very things about Indian traditions, without adopting those respected ways themselves.
Whiteness is not a culture . . . Whiteness has nothing to do with culture and everything to do with social position . . . . Without the privileges attached to it, the white race would not exist, and the white skin would have no more social significance than big feet
I think our culture right now is a culture that's trying to find itself. They're trying to figure out what is it? Is it social media followers? Is it trying to be popular? Is it money? Is it fame? Is it power? They're searching for identity and so many of us have been there, and we'll get back to that place of what is our identity? Who are we? More importantly, whose are we? For me, I find my identity in a relationship with Christ.
I believe that music offers us possibilities for analysis, at least in my case, more profound in many ways, but at the same time that profundity is an accessible profundity that has atemporal repercussions.
If you ain't nothing when you get money and fame, you're just going to be more nothing. If you don't stand for nothing, when you get money and fame, you ain't suddenly fin to stand for nothing! You're just fin to be richer and more famous - standing for nothing!
Nothing arouses ambition so much in the heart as the trumpet-clang of another's fame.
No mature style of art in any culture has ever been simple. In certain cultures, an overall symmetry may conceal the complexity of the work at first glance.
Whenever I saw her, I felt like I had been living in another country, doing moderately well in another language, and then she showed up speaking English and suddenly I could speak with all the complexity and nuance that I hadn't realized was gone. With Lucy I was a native speaker.
Man is a culture, nothing but a culture! Question your culture! Just like monkeys picking lice from their skin, get rid of the stupidities in your culture!
Jesus is the only significance. Beside Jesus nothing has any significance. He alone matters.
Second law: The complexity barrier. Software complexity (and therefore that of bugs) grows to the limits of our ability to manage that complexity.
My interest in culture generally is a comparative one, and I think that's where the word joy, I think, can be applicable. There's joy in actually seeing the relatedness, the connectedness of different cultures or recognising, for instance, your own culture in another or another culture in your own culture and feeling an air to all of them.
My show 'Fame: Not the Musical' is about the fact that fame is seen in two ways in our culture: either as a glittering bauble we desperately covet, or as a narrative of tragedy and despair. My own experience of fame is a third, mundane way, which often involves being mistaken for someone else - Ian Broudie from the Lightning Seeds, or Steve Wright.
The really important facts were that spatial relationships had ceased to matter very much and that my mind was perceiving the world in terms of other than spatial categories. At ordinary times the eye concerns itself with such problems as where? — how far? — how situated in relation to what? In the mescaline experience the implied questions to which the eye responds are of another order. Place and distance cease to be of much interest. The mind does its perceiving in terms of intensity of existence, profundity of significance, relationships within a pattern.
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