A Quote by Janet Echelman

My whole career I've been interested by the distinction between an emotional and an intellectual response to an artwork. — © Janet Echelman
My whole career I've been interested by the distinction between an emotional and an intellectual response to an artwork.
What I must do is all that concerns me, not what the people think. This rule, equally arduous in actual and in intellectual life, may serve for the whole distinction between greatness and meanness.
I wanted to make an artwork that really underlined the contradiction between how machines see and how humans see. Because music is so affective and is just as corporeal as it is cerebral, I thought coupling a music performance with machine vision adds up to something that work on an emotional, aesthetic, and intellectual level.
I'm interested in the way the whole cultural landscape can shift over time. Okay, this will seem like a silly example, but look at the whole discourse around "selling out," a concept people say is irrelevant because there's no more distinction between mainstream and underground, inside and outside (which I don't really believe, but that's another issue).
It is in the intellectual and emotional response, the conscious and subconscious associations of the artist, that the potential power of painting lies.
I was really into artwork in high school and my art teacher made it clear to me that it's not really a career. She insisted that if I wanted to make a living this way, I would have to find a career that might actually reward me for the artwork.
My emotional and intellectual response to Hiroshima was that the question of the social responsibility of a journalist was posed with greater urgency than ever.
It's a big criticism of Greenaway films that they are far too interested in formalism and not enough interested in notions of emotional content. It's a criticism I can fully understand from a public that has been brought up by Hollywood movies that demand intense emotional rapport.
For years I have told my students that I been trying to train executives rather than clerks. The distinction between the two is parallel to the distinction previously made between understanding and knowledge. It is a mighty low executive who cannot hire several people with command of more knowledge than he has himself.
The distinction between the world of commerce and that of "culture" quickly became the distinction between infrastructure and superstructure, with the former clearly determining the latter.
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.
In my experience with print journalists, the distinction between remarks being uttered on- or off-the-record is held sacrosanct, but the distinction between truth and falsity sometimes isn't.
I'm not interested in the fact that a writer may label himself as being intellectual or anti-intellectual. l'm really interested in the stuff he's turning out.
Long-term career aspirations encompass emotional and intellectual impact of work on society.
The sharing of joy, whether physical, emotional, psychic, or intellectual, forms a bridge between the sharers which can be the basis for understanding much of what is not shared between them, and lessens the threat of their difference.
It's not just the emotional, intellectual, and physical gaps between you and money. The real gap is always between what you think you want and what you actually want, deep down.
Certain things leave you in your life and certain things stay with you. And that's why we're all interested in movies- those ones that make you feel, you still think about. Because it gave you such an emotional response, it's actually part of your emotional make-up, in a way.
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