A Quote by Francisco Goldman

Interviewing is in some ways the art of memory. — © Francisco Goldman
Interviewing is in some ways the art of memory.
As you may know, my motto is: "All memory is fiction." It could just as easily be: "All fiction is memory." Unpacked, these two statements defy the ease of logic, but offer some really important truths about narrative art, at the very least, and about memory. So I would say that all art is personal.
I learned that I never really know the true story of my guests' lives, that I have to content myself with knowing that when I'm interviewing somebody, I'm getting a combination of fact and truth and self-mythology and self-delusion and selective memory and faulty memory.
So many people that we met had some sort of connection to the [Olympics] games. Some story about how they volunteered there, or some sort of memory of it. It still is in the cultural memory and identity of these cities as much as it is in the physical and architectural memory. It's where these two things overlap, I think, that we're trying to explore with the photos.
Interviewing is not a democratic art.
But pain may be a gift to us. Remember, after all, that pain is one of the ways we register in memory the things that vanish, that are taken away. We fix them in our minds forever by yearning, by pain, by crying out. Pain, the pain that seems unbearable at the time, is memory's first imprinting step, the cornerstone of the temple we erect inside us in memory of the dead. Pain is part of memory, and memory is a God-given gift.
Art is the suitcase of history, carrying the essentials. Art is the life buoy of history. Art is seed, art is memory, art is vaccine.
I think in some ways - only in some ways - but in some ways, rock and roll has let me down. It really doesn't leave you a way to grow old gracefully and continue to work.
You get more out of doing a web series than a pilot, in some ways, especially when we were interviewing for writers. They had already seen what our show looked like, rather than something that we wrote that doesn't get picked up and they never see it.
I try to see interviewing as performance art, and just take it as it comes.
I love art dealers. In some ways, they're my favorite people in the art world. Really. I love that they put their money where their taste is, create their own aesthetic universes, support artists, employ people, and do all of this while letting us see art for free. Many are visionaries.
The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart.
I think we need to think of lots of ways to communicate. And we tried some at 350. We organised what they called the largest art project in the planet's history. We do a lot with art and music and things.
If I make a painting, it should be seen for what it's set out to do too. A lot of the things that I do, it's not all art. Some of it's design, some of it's illustration, some of it's graphics, some of it's concept, some of it's business and some of it, hopefully, is art.
If we remain wedded to the way education is currently provided we cannot imagine other ways. We need some imagination, some fantasy, some new ways of thinking - some magic in fact.
Poetry is a vocal art for me - but not necessarily a performative one. It might be reading to oneself or recalling some lines by memory.
I have a great memory. And actually, I remember Russia in some ways better than I remember Queens.
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