A Quote by George W. S. Trow
I have made sense of my life by developing an ability to analyze Mainstream American Cultural Artifacts.
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The three parts of the theory are analytical ability, the ability to analyze things to judge, to criticize. Creative, the ability to create, to invent and discover and practical, the ability to apply and use what you know.
One of the most important virtues of the American character is our ability to approach the complexities that life presents us with common sense and decency, .. The considered judgment of the American people is not going to rise or fall on the fine distinctions of a legal argument but on straight talk and the truth. It is time for the president and the Congress to follow that common sense for the good of the country.
I think I'm a very American director, but I probably should have been making movies somewhere around 1976. I never left the mainstream of American movies; the American mainstream left me.
Buildings for me represent opportunities of agency, transformation, and storytelling. They are not just artifacts. There is this big tradition of buildings-as-artifacts - constructed artifacts - but for me they are these incredible sites of negotiation.
We're rapidly entering a world where everything can be monitored and measured. But the big problem is going to be the ability of humans to use, analyze and make sense of the data.
You cannot build a cultural identity without the images and sounds of your culture. Most countries in the third world - poor countries - they've lost their memories. Because everyday, films and cultural artifacts disappear. Film is also a memory - of the character and imagination of a culture.
The widespread inability to understand technological artifacts as fabricated entities, as social and cultural phenomena, derives from the fact that in retrospect only those technologies that prove functional for a culture and can be integrated into everyday life are 'left over.' However, the perception of what is functional, successful and useful is itself the product of social and cultural--and last but not least--political and economic processes. Selection processes and abandoned products and product forms are usually not discussed.
Netflix has always had this interesting ability to get non-mainstream content to be watched by the mainstream.
The 'low' quality of many American films, and of much American popular culture, induces many art lovers to support cultural protectionism. Few people wish to see the cultural diversity of the world disappear under a wave of American market dominance.
I think Edward Sharpe's music is counter-cultural music in the strangest sense where you have a time now where love, optimism, hope and community are uncool and not part of the mainstream culture.
I've made it my mission to make movies starring African American actors and about the African American experience and put them in the mainstream. They're very universal stories I've told - every movie I've done.
As a first-generation "Asian American woman," for one thing, I knew there was no such thing as an "Asian American woman." Within this homogenizing labeling of an exotica, I knew there were entire racial/national/cultural/sexual-preferenced groups, many of whom find each other as alien as mainstream America apparently finds me.
The Great Migration changed American history not just for the migrants but for all of us. It made possible American cultural milestones like the Harlem Renaissance, Chicago blues, and Motown, just to name a few.
A good writer should be able to write comedic work that made you laugh, and scary stuff that made you scared, and fantasy or science fiction that imbued you with a sense of wonder, and mainstream journalism that gave you clear and concise information in a way that you wanted it.
Stages of life are artifacts. Adolescence is a useful contrivance, midlife is a moving target, senior citizens are an interest group, and tweenhood is just plain made up.
The kind of theater that I do is sort of ‘narrative realism,’ which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
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