A Quote by Sara Genn
Some artists approach their 'why?' intuitively, and work toward giving it a voice through their technical skill. Others begin as technicians, and develop, or discover, their 'why?' as they become stronger communicators.
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The fun for me musically is that you never quite know what works and why. So why pretend you do? Why not just put things together and discover, in the creative process, if and why they work? That approach has served me well.
When you die and go to heaven our maker is not going to ask, 'why didn't you discover the cure for such and such? why didn't you become the Messiah?' The only question we will be asked in that precious moment is 'why didn't you become you?'
When a person is in a miserable situation, then, yes, it is difficult to develop genuine compassion toward others. That's why I find it difficult to say to poor people, "Please have compassion toward millionaires." That's not easy.
Every form has its own meaning. Every man creates his meaning and form and goal. Why is it so important - what others have done? Why does it become sacred by the mere fact of not being your own? Why is anyone and everyone right - so long as it's not yourself? Why does the number of those others take the place of truth? Why is truth made a mere matter of arithmetic - and only of addition at that? Why is everything twisted out of all sense to fit everything else? There must be some reason. I don't know. I've never known it. I'd like to understand.
This approach to voice is designed to liberate the natural voice and thereby develop a vocal technique that serves the freedom of human expression. The basic assumption of the work is that everyone possesses a voice capable of expressing, through a two- to four-octave natural pitch range, whatever gamut of emotion, complexity of mood, and subtlety of thought he or she experiences.
Why not you? Why not you to do something for work that you love? Why not you to have a healthy body? Why not you to have healthy love? Why not you to be, have or do anything you have ever dreamed? We are so quick to think others are deserving over ourselves. The truth is that we are all deserving.
So why not YOU?
The separation of talent and skill is one of the largest misconceptions in modern society. Talent is something you born with, but skill can only be attained through Hours and Hours of hard work perfecting your talent as a craft. Which is why Talent will fail you without skill.
It's really hard to know why certain artists become famous and others don't.
Why do some people have to go barefoot so that others can drive luxury cars? Why are some people able to live only 35 years in order that others can live 70 years? Why do some people have to be miserably poor in order that others can be extravagantly rich? I speak for all the children in the world who don't even have a piece of bread.
There are many aspects about what and why we photograph: visual pleasure, personal empathy, intellectual stimulation, technical excellence, etc. Serious photographers and artists will try to create works that are original. Over a career period they may develop a singular identity in their images.
The question is why one should be so inwardly preoccupied at all. Why not reach out to others in love and solidarity or peer into the natural world for some glimmer of understanding? Why retreat into anxious introspection when, as Emerson might have said, there is a vast world outside to explore? Why spend so much time working on oneself when there is so much real work to be done?
The basics teachings of Buddha are about understanding what we are, who we are, why we are. When we begin to realize what we are, who we are, why we are, then we begin to realize what we are not, who we are not, why we are not. We begin to realize that we don't have basic, substantial, solid, fundamental ground that we can exert anymore. We begin to realize that our ideas of security and our concept of freedom have been purely phantom experiences.
Why don't you go on west to California? There's work there, and it never gets cold. Why, you can reach out anywhere and pick an orange. Why, there's always some kind of crop to work in. Why don't you go there?
All great contemporary artists, schooled or not, are essentially self-taught and are de-skilling like crazy. I don't look for skill in art... skill has nothing to do with technical proficiency... I'm interested in people who rethink skill, who redefine or reimagine it: an engineer, say, who builds rockets from rocks.
I know I am a human being. I can give myself to one year for a project. That is why I say I'm primitive in the way I work, especially compared to most artists. I came to New York in 1974, knowing that it is the art center of the world. But I didn't go to find people for my work. I do the work, and the people come to me, and I learn from them. That has always been my approach - to do the job first and then to respond to it after I finish and learn what people think about it. That's how I develop, and I'm more of an outsider in that way.
When you listen and read one thinker, you become a clone… two thinkers, you become confused… ten thinkers, you’ll begin developing your own voice… two or three hundred thinkers, you become wise and develop your voice.
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