A Quote by Michael Craig-Martin
If you were really interested in being creative in teaching, it was possible to try new methods and that was really what we did in Goldsmiths - we used the freedom of the time.
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In my time at Arsenal, we had a really good balance. We had players who were fast, players who were really strong physically, and players who were really creative. When you look at the generation of Arsenal at the moment, they may be playing better football than we used to, but they win less than we used to - so, where's the balance?
Remember when you were a kid, and everyone used to say, 'Would you rather be interested or interesting?' And to me, it was always like, 'Interested!' How is that even a question? I feel very lucky that I'm just really, really interested in a lot of things.
Teaching and writing, to me, is really just seduction; you go to where people are and you find something that they're interested in and you try and use that to convince them that they should be interested in what you have to say.
I have been teaching you all the methods of meditation. You can choose any method that suits you. There are only one hundred and twelve methods; there is no possibility of adding more. It is exhaustive. All the methods possible have been explored. The simplest is witnessing.
I know I certainly wouldn't be writing books if it hadn't been for the feminist blogosphere, and I think that's a really amazing thing. And just the sheer power of outreach I think is incredible. It used to be that if someone was to get involved in feminism, it was probably because they were already interested. They were already interested in feminism; they were already interested in being an activist, and they found their way to like a NOW meeting or to a consciousness-raising group or something like that.
Around 2008 was a really special time culturally. There were a lot of cool things going on in music, in fashion, politically. It was a really hopeful time and a really creative time.
Science really creates wealth and opportunity which did not exist before. Whereas the old order was based on competition, the new order of science makes possible, for the first time, a cooperative creative effort in which every one is the gainer and no one the loser.
There is a great need for a new approach, new methods and new tools in teaching, man's oldest and most reactionary craft. There is great need for a rapid increase in the productivity of learning. There is, above all, great need for methods that will make the teacher effective and multiply his or her efforts and competence. Teaching is, in fact, the only traditional craft in which we have not yet fashioned the tools that make an ordinary person capable of superior performance. In this respect, teaching is far behind medicine, where the tools first became available a century or more ago.
For time flows on, and if it did not, it would be a bad prospect for those who do not sit at golden tables. Methods become exhausted; stimuli no longer work. New problems appear and demand new methods. Reality changes; in order to represent it, modes of representation must also change. Nothing comes from nothing; the new comes from the old, but that is why it is new.
The concept of emergent gameplay is really exciting. That's when players are really crafting their own experience. So if you're clever and creative, you can do things that even developers of the game didn't know were possible.
We have creative freedom because of budgets. Ever since I have been doing low budget movies, we've really had creative freedom.
Sometimes I really regret that I did not live in those times when there was still so much that was new; to be sure enough much is yet unknown, but I do not think that it will be possible to discover anything easily nowadays that would lead us to revise our entire outlook as radically as was possible in the days when telescopes and microscopes were still new.
Just as certain Cold War binaries were collapsing, new binaries of Sunni versus Shia or Arab versus Kurd were being created by the new occupation force. It's the corruption of that moment that I am really interested in.
My parents were really, really cool about supporting what I wanted to do at a really young age. I think I was about 10 when I caught the bug. They would drive me down to New York if there were auditions. When I was 12, I did this show on Broadway called 'High Society,' so we moved to New York for the run of that.
The whole cast and creative team were definitely aware of the 'This is the death of Broadway!' kind of thing about 'SpongeBob,' but we've been really ready to change people's minds. I'm really proud of being part of something that took the most creative route to a commercial entity.
Teaching is enormously satisfying because I'm constantly learning more. Just constantly being exposed to new voices and new life experiences and new worldviews and new structural dilemmas and new characters - it's really exciting for me.
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