A Quote by Genesis P-Orridge
My artwork is in order to seduce people into thinking.
Related Quotes
Whenever I work on an album and the time comes to do all the artwork, the only thing I think of is the LP artwork. When we worked on the 'Electric Trim' artwork, we spent weeks and weeks making the LP artwork great, and then the CD artwork came together in a day or two. The LP is what's important to me.
Artwork operates on two different levels: On one level there's artwork as a mode of expressivity, and then there's the other side, where the image is a construction that is meant to engage in a discursive field in order to preform a particular function.
Artwork operates on two different levels: On one level, there's artwork as a mode of expressivity, and then there's the other side, where the image is a construction that is meant to engage in a discursive field in order to perform a particular function.
The real art is in the street, is making the artwork, and for that you have to involve people. The action is actually the artwork.
You got men who can't hold peace and women who can't control their tongues. The rich seduce the poor, and the old seduce the young.
In a sense, the artwork is the most important thing in getting somebody to buy a book. The person probably won't buy a book if he doesn't like the artwork. Once you buy it for the artwork, you hope that the story will also be good.
The greatest act of love was to make a tape for someone. It was the only way we could share music and it was also a way of advertising yourself. Selection, order, the lettering you used for the track list, how much technical detail you went into, whether or not you added artwork or offered only artwork and no track list at all, these choices were as codified as a Victorian bouquet.
That's a movie quote, right? You know, if you do that with books, people think you're intelligent." Sophie lowered her chin. "If this is your pathetic attempt to seduce me again, you're falling miserably." "I don't seduce woman." Phin shoved back his chair and stood up. "They fall into my open arms." "Clumsy of them.
When you make a book or you make a movie, it is almost like hitting on somebody. It's not because you want to seduce people that you will seduce them; you can hit on somebody and it doesn't work. But when you hit on them and it works, then it's really cool.
True power is invisible and impeccable, like good taste. It is never clumsy or artless. Powerful people whisper, suggest, seduce, in order to coerce. They only use volume for effect. This is how you can tell a blowhard from a mogul. ... Most powerful people don't need to coerce; their mere presence is coercive.
If you want to "get in touch with your feelings," fine, talk to yourself. We all do. But if you want to communicate with another thinking human being, get in touch with your thoughts. Put them in order, give them a purpose, use them to persuade, to instruct, to discover, to seduce. The secret way to do this is to write it down, and then cut out the confusing parts.
I like comedy, but I like comedy as a device in drama. It's more interesting for me to use comedy to seduce people into thinking about something serious. If you want to hit a beat in a drama, you can distract people with a little comedy, and you can punch them in the gut with some emotion.
I begin by imagining an artwork verbally. I try to describe in writing what the project is, what it is trying to do. I need to understand the artwork without giving it a specific materiality or solid form.
You can't really control how people are going to feel about you; all you can really do is be yourself. Because if you seduce somebody, and you seduce them by pretending to be a certain way, once they are seduced they are going to find that you are not that way. And then you have to maintain an image that's not real, so you really screw yourself. The best is to be yourself and hope they like you.
To communicate, put your words in order; give them a purpose; use them to persuade, to instruct, to discover, to seduce.
I try to just put a blank stage in front of them, and say, "This is your space; you tell me where you're coming from and where you're going." At a certain point, it was interesting as the project started to become what it is now, The Source, which has a physical installation and also an online presence. As we started building the installation, I started thinking, "It's really strange that we're building this installation, this piece of architecture you can go into." It's almost strange because I suppose it's an artwork, but it's an artwork that's really constructed out of ideas.
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