A Quote by Maggie Nelson
I don't think there's any formula for what makes great art.
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We love Formula One and think Formula One's great. But we think Formula E is different. We would be making a big mistake if we tried to compete with Formula One and be similar to Formula One, we have to be radically different to Formula One to have a chance of survival. I don't mean survival by beating Formula One but co-existing complimentary to Formula One.
I went to SG Formula and became Formula Renault 2.0 Champion. I went then to ART in Formula 3 and became Champion. Then I stayed with the team in GP2 Asia Series, and again, I became Champion. Then the first year of GP2 was really great. I was P4 at the end of the season, which was a fantastic result.
I think a lot of brands reach a point where they say, 'We kind of have a formula - we've got it made.' Our formula is there's no formula.
I think that's a very good point they're bringing into Formula One at the moment, to get rid of all the electronics. And I think that's what a Formula One driver needs. That's why they are a Formula One driver. They need to drive themselves.
The need to be a great artist makes it hard to be an artist. The need to produce a great work of art makes it hard to produce any art at all. . . Fear is what blocks an artist. The fear of not being good enough. The fear of not finishing. The fear of failure and of success. The fear of beginning at all.
From a prestige standpoint, the U.S. needs to host Formula 1. And I think Formula 1, they know they need the U.S. as well. So many companies that are global are based in the United States support Formula 1.
I think for me, any great art is art which communicates human emotion.
The need to be a great artist makes it hard to be an artist. The need to produce a great work of art makes it hard to produce any art at all.
There is no simple formula for the relationship of art to justice...In the end, I don’t think we can separate art from overall human dignity and hope. My concern for my country is inextricable from my concerns as an artist.
Age, style, where you come from, where you were born, it's different every time, which, to me, is refreshing because it says that there isn't any one thing, one formula or kind of character that makes a great comedian. Everybody has had a different approach.
I know that a lot of people like to say "formula." I think that as soon as you start to have a formula imputed to your work, you're in danger of becoming formulaic. So the one formula I have as a rule is falling in love with the material.
Most action is based on redemption and revenge, and that's a formula. Moby Dick was formula. It's how you get to the conclusion that makes it interesting.
Culturally, I think we have operated as if we had the formula figured out, and it was all about optimizing, in its various constituent parts, the formula. Now it is about discovering the new formula.
My ad-hoc empirical formula is that wherever you grow a lot of rice, there is a lot of art developing as well. My theory goes on to say that after having a nice meal of rice, one feels lethargic and don't think of work. When you don't think of work, you think of art.
Music is an emotional experience, and that is what imprints itself on the soul. And I think for me, any great art is art which communicates human emotion.
When you're a little kid, you just like music that makes you happy and is fun. As you get older, you reach college or your 20s and you decide that music should be challenging and all art should be smart. So you start to think it makes you like high art more to put down things you consider low art. I don't even think things are low art.
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