A Quote by Elliott Smith
People are so... seem so chaotic internally, but being filtered through some form, like making a record, sort of filters it down into something that can be understood.
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You take a sound, any sound, record it and then change it's nature by a multiplicity of operations. You record it at different speeds; you play it backwards; you add it to itself over and over again. You adjust filters, echoes, acoustic qualities…you produce a vast and subtle symphony. It's a sort of modern magic. We think there's something in it. Some musicians believe it may become an art form in its own right.
I think that people have some sort of vision that everybody is moving towards perfection, and that there is some sort of set steps or something like that that you can move through to get to that place, and that that's sort of the project of being alive.
Adaptation is always the same process for me, which is some version of throwing the book at the wall and seeing what pages fall out. It is trying to imagine, remember the story, read it, put it down, and then write sort of an outline without the book in front of you with some hope that what you like about it will be filtered and distilled out through your memory and then that will be similar to what other people like about it.
Form is all we have to help us cope with fundamentally chaotic facts and assaults. Formulating something is a great start. I trust form, trust my feeling or capacity to find the right form for something. Even if that is only by being well organized. That too is form.
With tons of chaotic supply on the internet, you're going to have people who become very good at being curators or stylists. It's the same sort of people that I used to go to record shops for - I knew if certain people recommended something, it would be good. There's always going to be those people. It just depends on what they're called: curators or radio jockeys or bloggers.
In political sense, it doesn't really matter what I do on my own, but it's so important to rally some sort of collectiveness and reignite a collective vision, and I think that's something you can do effectively through art and music, and through writing and entertainment - and just through like, pop culture. It's about spreading ideas and making people think differently, essentially.
When the water of a place is bad it is safest to drink none that has not been filtered through either the berry of a grape, or else a tub of malt. These are the most reliable filters yet invented.
If you're creating something that has some sort of cultural currency - if the idea is getting out there - then that will probably yield money in some form, whether it's through selling art or selling books or being asked to give a lecture.
But doesn't it seem like Chelsea's sort of being pimped out in some weird sort of way?
I like the idea of people who've had some success in one form secretly wanting to be something else; I have some of that myself. I look for it in other people who've established themselves in some particular art form, and then you find out that they really would like to design running shoes, or edit literary magazines or something.
I haven't been walking around for years with some burning desire to do a solo record. If I had, maybe I'd have made a record that was experimental. Usually, the idea of a solo record is to get some weird stuff out of your system, but I don't think like that. I wasn't interested in making something that was a hard listen - maybe I'll get around to that some other time. I wanted it to sound effortless, not like I was trying to reinvent the wheel.
As a male, I thought the female voice was so strong, unique, real and accessible to most females. In some way, shape or form, they felt like they could relate to it, on some level, because they went through some form of unspeakable horror like what Kilgrave did to Jessica [Jones]. That, in itself, is something that most people shy away from, even in shows that are on cable or in movies.
Being a straight white guy in his, like, early twenties - there's some sort of thing about it. A sort of privilege, a sort of anger or something. You just say some really stupid things.
If you're stuck in a rut doing the same thing over and over again, what are you actually, really achieving? I'm someone who strives for success, for self-growth and new experiences, and to make a record that pushes me out of my comfort zone is something that's really exciting. It means you're making new decisions, you're making bold decisions, you're being scared, and you're getting through that - hopefully making something you're proud of, or being in a better position that makes you feel stronger as a human being.
The amazing thing is that chaotic systems don't always stay chaotic," Ben said, leaning on the gate. "Sometimes they spontaneously reorganize themselves into an orderly structure." "They suddenly become less chaotic?" I said, wishing that would happen at HiTek. "No, that's the thing. They become more and more chaotic until they reach some sort of chaotic critical mass. When that happens, they spontaneously reorganize themselves at a higher equilibrium level. It's called self-organized criticality.
Even in a gleefully negative comic, there is optimism, although it's slightly hidden: It comes out through a comic character's sheer tenacity. He keeps going and trying to find some sort of fulfillment regardless of his perpetual failure record. That's a form of hope, a form of optimism. Really hokey I know, but it's true.
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