A Quote by Michel De Certeau
The panorama-city is a 'theoretical' (that is, visual) simulacrum, in short a picture, whose condition of possibility is an oblivion and a misunderstanding of practices.
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Can the vast technology beneath our gaze be anything but a representation? Any optical artifact... The city panorama is a theoretical (ie visual) simulacrum: in short, a picture, of which the preconditions for feasibility are forgetfulness and a misunderstanding of processes.
When I make a photograph I want it to be an altogether new object, complete and self-contained, whose basic condition is order (unlike the world of events and actions whose permanent condition is change and disorder).
The most common misunderstanding of disruptive innovations is to overestimate their impact in the short term and underestimate it in the long term. Another common misunderstanding is to associate disruptive with good.
But what if God himself can be simulated, that is to say can be reduced to signs that constitute faith? Then the whole system becomes weightless, it is no longer anything but a gigantic simulacrum - not unreal, but simulacrum, that is to say never exchanged for the real, but exchanged for itself, in an uninterrupted circuit without reference or circumference.
At times I can't help going for visual comfort. Sometimes a picture fills up your head, and you try to move the actors around to make that visual statement.
We would fight not for the political future of a distant city, rather for principles whose destruction would ruin the possibility of peace and security for the peoples of the earth.
You cannot attain and maintain physical condition unless you are morally and mentally conditioned. And it is impossible to be in moral condition unless you are spiritually conditioned. I always told my players that our team condition depended on two factors / how hard they worked on the floor during practice and how well they behaved between practices.
We would fight not for the political future of a distant city [Danzig], rather for principles whose destruction would ruin the possibility of peace and security for the peoples of the earth.
A bookcase is as good as a view, as much of a panorama as the sight of a city or a river. There are dawns and sunsets in books - storms and zephyrs.
The simulacrum is never that which conceals the truth--it is the truth which conceals that there is none. The simulacrum is true.
The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture will be realized, and the experience which brings them together.
If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
OBLIVION, n. The state or condition in which the wicked cease from struggling and the dreary are at rest. Fame's eternal dumping ground.
The tone of the picture and the atmosphere was in my head and in my blood in a way once I'd decided to make the picture. I had to find my way through that to choose, select, emphasise certain visual elements and sound.
In the Java world, security is not viewed as an add-on a feature. It is a pervasive way of thinking. Those who forget to think in a secure mindset end up in trouble. But just because the facilities are there doesn't mean that security is assured automatically. A set of standard practices has evolved over the years. The Secure Coding Standard for Java is a compendium of these practices. These are not theoretical research papers or product marketing blurbs. This is all serious, mission-critical, battle-tested, enterprise-scale stuff.
They're done by guys who have talked a good game and then have scrambled together the simulacrum of a drama, so actors are habituated to sometimes having to save a picture on the floor because it's usually part of their job, but they'd rather have a writer doing his job, so that they can do theirs. But I like nothing better than working with actors.
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