A Quote by Paul Brown
I like Modernism. I grew up around these sort of eclectic, heavily carved, baroque, rococo, highly ornamented styles that were in my life from the time that I was a child until now in my business life. So I like clean, straight, minimalist lines.
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I'm a minimalist. I like things to look very clean, I like clean lines. I like everything to be tidy and have space.
We think we can't become a minimalist until our lives have settled down. But it's actually the other way around; we won't be able to settle down until we're living a minimalist life.
I'll never be a minimalist. The fact that the prose is more tightly controlled doesn't for a minute mean that it's minimalist. I very much like arcane words and baroque sentence structure.
I don't feel that I've had a life of abuse or that I am a victim in any way. My life is pretty typical of a lot of Americans of my generation who grew up in the sixties in families like mine that were sort of unconventional.
Modernism, rebelling against the ornament of the 19th century, limited the vocabulary of the designer. Modernism emphasized straight lines, eliminating the expressive S curve. This made it harder to communicate emotions through design.
I think that people all grow up and have their same personalities, but you can say, "Oh, I can see the roots of this personality, which I didn't like, but then you grew up, and I can still see you as that person, but I do really like you now." Which is sort of how I feel about children - I mean, about children who I knew when I was a child and grew up with, and they're still my friends, and children that I know as children who I see growing up, and every year I like them more.
When I say that there's commonality, I mean more in terms of the sort of techniques by which we perceive Baroque and minimalist music rather than the techniques used to compose them. I know that's being sort of overly complicated.
My family was in two businesses - they were in the textile business, and they were in the candy business. The conversations around the dinner table were all about the factory floor and how many machines were running and what was happening in the business. I grew up very engaged in manufacturing and as part of a family business.
In effect, I grew up in a sort of timewarp, a place where times are scrambled up. There are elements of my childhood that look to me now, in memory more like the 1940s or the 1950s than the 1960s. Jack [Womack] says that that made us science fiction writers, because we grew up experiencing a kind of time travel.
I look like if AJ Styles and Conrad Thompson had a child. But the child didn't grow full arms or legs; he just grew out from the belly.
Maybe time is nothing at all like a straight line. Perhaps it's shaped like a twisted doughnut. But for tens of thousands of years, people have probably been seeing time as a straight line that continues on forever. And that's the concept they based their actions on. And until now they haven't found anything inconvenient or contradictory about it. So as an experiential model, it's probably correct.
In Hollywood films everything is tidied up at the end with clean lines and clean character definitions. It's sort of unsatisfying.
I spend a lot of time looking at rococo books. And almanacs used to be huge sellers - they were pretty much part of the fabric of life. I thought, this is bizarre, I'd love to buy a book like this, and there isn't one. So I thought, all right then, this could be fun. I'll write an almanac.
I grew up in the Midwest, so I have sort of an honorable moral code. But I moved to a city and joined a sort of fast crowd. A lot of people who grew up in the city sort of aren't aware of manners and other ways of life and 'common decency.'
Kitsch is the contemporary form of the Gothic, Rococo, Baroque.
Space opera was the sort of story on which I grew up. When I was younger, I read heavily in pulp magazines. They were readily available in the stores.
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