A Quote by Jake Barton

People are moving into modes of participation and self-generation, which apply to everything from museums and television to architecture. — © Jake Barton
People are moving into modes of participation and self-generation, which apply to everything from museums and television to architecture.
Wise men will apply their remedies to vices, not to names; to the causes of evil which are permanent, not the occasional organs by which they act, and the transitory modes in which they appear.
If the many and the One be indeed the same Reality, then it is not all modes of worship alone, but equally all modes of work, all modes of struggle, all modes of creation, which are paths of realization. No distinction, henceforth, between sacred and secular. To labour is to pray. To conquer is to renounce. Life is itself religion. To have and to hold is as stern a trust as to quit and to avoid.
I absorbed as many Impressionist paintings as I could, in Parisian museums and in many museums in the United States and in books, looking for clues to architecture, clothing, settings.
When Marcus Garvey spoke about self-reliance, he wasn't only talking about people of colour. It's like self-reliance in general, for anyone. Just keep moving and moving within the right direction, and everything will be all right.
When we talk of architecture, people usually think of something static; this is wrong. What we are thinking of is an architecture similar to the dynamic and musical architecture achieved by the Futurist musician Pratella. Architecture is found in the movement of colours, of smoke from a chimney and in metallic structures, when they are expressed in states of mind which are violent and chaotic.
Moving swiftly between different arenas like politics, architecture or commercial design is what I would consider defintive of my generation. I am looking at reality and playing fast and loose with it.
Only when architect, bricklayer and tenant are a unity, or one and the same person, can we speak of architecture. Everything else is not architecture, but a criminal act which has taken on form.
Today's children are living a childhood of firsts. They are the first daycare generation; the first truly multicultural generation; the first generation to grow up in the electronic bubble, the environment defined by computers and new forms of television; the first post-sexual revolution generation; the first generation for which nature is more abstraction than reality; the first generation to grow up in new kinds of dispersed, deconcentrated cities, not quite urban, rural, or suburban.
I live by 'Go big or go home.' That's with everything. It's like either commit and go for it or don't do it at all. I apply that to everything. I apply that to relationships, I apply that to like sports, I apply that to everything. That's what I live by. That's how I like it.
But our ways of learning about the world are strongly influenced by the social preconceptions and biased modes of thinking that each scientist must apply to any problem. The stereotype of a fully rational and objective scientific method, with individual scientists as logical (and interchangeable) robots, is self-serving mythology.
The rest of America, with some small exceptions, has been bulldozed and rebuilt and then bulldozed and rebuilt again. Our places have become interchangeable. Here in New Orleans, everything from the architecture to the way in which people eat, the way in which they talk, the way in which they do business, the way in which they dance, the manner in which everything is set to a parade beat, they're all from here. There's no place like it.
An obsession that I've developed in my old age, is great architecture. I bought a house in New Orleans and I became quite enamored of the architecture there. It began there. I travel a lot or my work, so now, wherever I go, I wasn't to find the most beautiful church, the most beautiful museums. Anything ancient.
We have so much information but maybe we don’t know what to do with that information. So we run the risk of becoming museums of young people who have everything but not knowing what to do with it. We don’t need young museums but we do need holy young people.
When you watch television, you never see people watching television. We love television because it brings us a world in which television does not exist.
I'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums.
Your rainbow panorama enters into a dialogue with the existing architecture and reinforces what is assured beforehand, that is to say the view of the city. I have created a space which virtually erases the boundaries between inside and outside – where people become a little uncertain as to whether they have stepped into a work or into a part of the museum. This uncertainty is important to me, as it encourages people to think and sense beyond the limits within which they are accustomed to moving.
This site uses cookies to ensure you get the best experience. More info...
Got it!