A Quote by Richard Lewontin
Like all biologists I simply acknowledge the gravity of the current situation. There are scenarios under which things work out well and to that extent I'm a cautious optimist.
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We have absolutely done as much work as we can on finding out things like that and we'll try to get all the information that we can as that would apply to any current situation, which I can't talk about.
Let's be cautious about dreaming up extreme scenarios. The situation in Iraq is still salvageable.
An optimist is neither naive, nor blind to the facts, nor in denial of grim reality. An optimist believes in the optimal usage of all options available, no matter how limited. As such, an optimist always sees the big picture. How else to keep track of all that’s out there? An optimist is simply a proactive realist.
The first function of violence in Native American literatures is simply to acknowledge that violence is implicit, like gravity and sunlight, in the world and our relations with the world.
If the task of scientific methodology is to piece together an account of what scientists actually do, then the testimony of biologists should be heard with specially close attention. Biologists work very close to the frontier between bewilderment and understanding.
Biology is complex, messy and richly various, like real life; it travels faster nowadays than physics or chemistry (which is just as well, since it has so much farther to go), and it travels nearer to the ground. It should therefore give us a specially direct and immediate insight into science in the making.
Broadway remains the closest thing we have to a national theatre, the place where the greatest number of people can potentially see new work. For an American playwright to say it doesn't matter is simply to capitulate to the current situation.
Well, my intention is to make work about being uncomfortable. About being in a world that isn't always the world you want to be part of. I talk a lot about the free fall, the moment in the scene where gravity takes over, and the beautiful awkwardness when gravity wins. Gravity is hilarious. Gravity always wins.
I would like to suggest to you that the extent to which government in America has departed from the original design of in habiting the destructive actions of man and invoking a common justice; the extent to which government has invaded the productive and creative areas; the extent to which the government in this country has assumed the responsibility for the security, welfare, and prosperity of our people is a measure of the extent to which socialism has developed here in this land of ours.
I'm a born, cautious optimist.
I don't buy into the dystopian scenarios of self-aware robots enslaving mankind, but you don't have to be a sci-fi conspiracy theorist to acknowledge that plenty of good, well-paying jobs are being taken over by machines.
I think of myself as a doom person. I'm a worrier. But I like the idea of being an optimist. Maybe I'm the kind of optimist who deep down knows it's not going to work.
Life as an astronaut in space is a very interesting one. There are things we all take for granted here on earth, like gravity, that can make things a bit challenging. One of the fun things about getting here is the zero gravity and floating around. But it also makes things very difficult.
Remember, this is back in the 1940s, and it was sculpture which probably - in my instance probably came out of the European influence, [Alexander] Archipenko and things of that sort, [Jacques] Lipchitz to a certain extent, and I was influenced by those things and attempted to do work that emulated their style.
Well, there is a contradiction in a sense. If you're making commercials which sell products which are unhealthy or which are unnecessary, I think that you are part of a system - I am part of a system which encourages people to buy things and do things which are not to their best interest. And to that extent you could say it was contradictory.
I think it is important to acknowledge the extent to which the black middle class tends to rely on a kind of imagined struggle that gets projected into commodities like kente cloth for example on the one hand and images like the Million Man March.
As a musician-turned-actor, you ordinarily face one of two scenarios. Either all the pressure of success or failure is on your shoulders, so if the picture does poorly, you might never get another movie role, or you have a situation where you already have an anchor, which allows you to work your way up the ranks.
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