A Quote by Marilyn Strathern

In a world where concepts are so often deployed in an ad hoc fashion, half explored before being displaced by others, it is immensely refreshing to encounter such serious and sustained attention to the building blocks of inquiry—and to the responsibilities thereby incurred. Designs on the Contemporary is a work of profound importance to the philosophy of anthropology. In conjunction with Rabinow’s other works, it creates a nonpareil, a configuration of thought with no equal.
When the motives of artists are profound, when they are at their work as a result of deep consideration, when they believe in the importance of what they are doing, their work creates a stir in the world.
You know, the whole philosophy of ad hoc combinations has its strengths and its weaknesses.
Before my encounter with Thomist philosophy through Maritain, I had almost reached the same conclusions through the logical development of my work, intuition and thought, but what a great sense of joy I felt upon discovering, in Maritain, the confirmation of certain thought patterns, certain ways of clarifying these to myself and to others.
Though Israel may often be deserving of criticism, what is missing is the comparable criticism of equal or greater violations by other countries and other groups. This constant, often legitimate criticism of Israel for every one of its deviations, when coupled with the absence of legitimate criticism of others, creates the impression currently prevalent on university campuses and in the press that Israel is among the worst human rights violators in the world....it is not true, but if it is repeated often enough, it takes on a reality of its own.
In Africa there is a concept known as 'ubuntu' - the profound sense that we are human only through the humanity of others; that if we are to accomplish anything in this world it will in equal measure be due to the work and achievement of others.
Therefore, a grotesque account of a period some thousands of years ago is taken seriously though it be built by piling special assumptions on special assumptions, ad hoc hypothesis [invented for a purpose] on ad hoc hypothesis, and tearing apart the fabric of science whenever it appears convenient. The result is a fantasia which is neither history nor science.
I'm not avoiding your question on my relationship to the fashion world or my work being shown in a fashion setting. My work's most often seen in the streets on billboards. I don't know if it being seen in a shop is any much different.
I view all art as an effort to translate brain concepts into a work. These brain concepts are synthetic ones - the result of many experiences. But a single work of art, or even a series of works, more often than not cannot translate these synthetic concepts adequately. Yves Saint Laurent once said that he suffered greatly when creating. He is not alone in that. Most artists do the same and say as much.
I'm a pluralist about perspectives on literature. There seem to me to be all sorts of illuminating ways of responding to major literary works, some of them paying considerable attention to context, others applying various theoretical ideas, yet others focusing on details of language, or linking the work to the author's life, or connecting it with other works.
We bring about a world in consciousness that is partly what is given, and partly what we bring, something that comes into being through this particular conjunction and no other. And the key to this is the kind of attention we pay to the world.
I doubt whether there is any subject in the world of equal importance that has received so little serious and articulate consideration as the economic status of the family - of its members in relation to each other and of the whole unit in relation to the other units of which the community is made up.
Greenspun's Tenth Rule of Programming: any sufficiently complicated C or Fortran program contains an ad hoc informally-specified bug-ridden slow implementation of half of Common Lisp.
I think that it's difficult to talk about large questions of economics or social policy without understanding the building blocks of society. And those building blocks are organizations, the people who run them, and the people who work in them.
Listening is the oldest and perhaps the most powerful tool of healing. It is often through the quality of our listening and not the wisdom of our words that we are able to effect the most profound changes in the people around us. When we listen, we offer with our attention an opportunity for wholeness. Our listening creates sanctuary for the homeless parts within the other person. That which has been denied, unloved, devalued by themselves and others. That which is hidden.
I never thought about being on a series before. It seemed like such a big commitment. But I love going to work every day. This is not about ego, it's about work, and that's refreshing in this town.
Music is made up out of these building blocks. Studying how these blocks go together and what they consist of and the math of how it works - it's all the same stuff; it's just different aesthetics that we're talking about.
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