A Quote by Henry Flynt
In classical oil painting, there seemed to be a radical turn to seeing things as the camera sees them, with that technological modification. I began to have a tremendous problem with all of this.
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Painting requires skill. Photography is created by the camera, and one cannot fully control what the camera sees. So people take many photographs because several must always be discarded.
It is said that the camera cannot lie, but rarely do we allow it to do anything else, since the camera sees what you point it at: the camera sees what you want it to see.
I am not trying to be one of those sadistic, Kubrickian directors who is trying to make these tensions any worse or exploit them, but... the camera sees what the camera sees.
What is important is for me to do my best work on camera. The camera is inches away from you and sees every micromovement of every muscle of your eye. And if you're not relaxed, the camera sees it.
When I began to photograph nudes, I let myself be guided by this camera, and instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.
When we look at other people comparatively and competitively, we're not seeing them as our brothers and sisters. We're not loving them more than we love ourselves, and we we're definitely not seeing them as God sees them.
From the very early days of seeing patients, I noticed that many of them seemed to be concerned with issues of their mortality, and so the philosophy training I had taken began to seem rather important to me.
Classical economics values things by seeing how much someone will pay for them. But this is where classical economics is wrong. What it fails to account for are all the 'externalities' - the services people regard as free goods: pollination services, flood protection, climate regulation, soil stabilization, carbon sequestration.
Photography is painting with light! The blurs, the spots, those are errors! But the errors are part of it, they give it poetry and turn it into painting. And for that you need as bad a camera as possible! If you want to be famous, you have to do whatever you're doing worse than anyone else in the whole world.
I have no problem with technological solutions to social problems. The key question for me is, 'Who gets to implement them?' and, 'What kinds of politics of reform do technological solutions smuggle through the back door?'
My background is in painting but in school in the sixties, like many artists of that time, I believed that painting was dead. I began to work in collaboration with other artists in the creation of performances and installation works. Soon after, I started making video and photographic works and in the process became fascinated with the media itself. Before long I was setting things up just for the camera. In l970 I got a dog and he turned out to be very interested in video and photography as well.
When through the power of sight we see white, that which comes about in the soul through the act of seeing is a modification. And on the basis of this modification, we are able to say that the white which is affecting us exists.
On stage, it is a tremendous thing to be able to make people laugh. But one of the things that I have always loved is when I am in shows where you can turn the audience upside down and make them cry or move them. That is when things are the most rewarding.
I think, until I was 16, classical music had just seemed like a little bit of a rhythmic wasteland for me. Coming from bluegrass, where one conducts oneself rhythmically, it seemed like such a different approach, and at that point the difference that I was noticing was a real turn off to me.
You think OWS is radical? You think 350.org was radical for helping organize mass civil disobedience in D.C. in August against the Keystone Pipeline? We're not radical. Radicals work for oil companies. The CEO of Exxon gets up every morning and goes to work changing the chemical composition of the atmosphere. No one has ever done anything as radical as that, not in all of human history.
The modification of prejudice takes a long time, and occurs as the result of a thousand things that happen to the prejudiced person - things he sees and hears and reads, people he talks to, and places he visits. Any given reformer must be content to take a small and obscure place in a chain of cumulative pressures.
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