A Quote by Serge King
[T]he shaman treats all realities as subjective, much like some modern theoretical physicists are beginning to do. In such a viewpoint the question of whether an experience is real or not makes no sense, because the answer is yes and no, depending on your point of view.
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A new question has arisen in modern man's mind, the question, namely, whether life is worth living...No sensible answer can be given to the question...because the question does not make any sense.
Yes, over the centuries economic progress has reduced some gross disparities - modern Americans are relatively unlikely to simply starve to death (though it can happen), so in that sense the gap between rich and poor has narrowed. But the question isn't whether society is, in some sense, more equal than it was in 1900. It's whether it is radically more unequal than it was in 1970. And of course it is.
Everything is up for grabs, everything is relative. Except nothing is if you are serious about it because the moment you become serious about answering a question you have a stake in it. Relatively goes out of the window, in one sense because you're putting your a** out there - you are depending on the answer, you need the answer.
It has long been my personal view that the separation of practical and theoretical work is artificial and injurious. Much of the practical work done in computing, both in software and in hardware design, is unsound and clumsy because the people who do it have not any clear understanding of the fundamental design principles of their work. Most of the abstract mathematical and theoretical work is sterile because it has no point of contact with real computing.
In the theater the audience is generally riveted to a single angle of observation. The movie director, though, can rapidly shift from objective to subjective--and to any number of subjective points of view--and in so doing seem to pull the audience directly inside the frame of his picture, giving the spectator the sense of experiencing an action from the viewpoint of a participant. Identification of the viewer with the film character, then, can be much more intimate than the analogous situation in the theater.
Humans in modern societies are driven by a perhaps desperate hope that they might find some way of mobilizing their theoretical and empirical knowledge and their evaluative systems so as both to locate themselves and their projects in some larger imaginative structure that makes sense to them. ... Furthermore, many modern agents would like it to be the case that the form of orientation which their life has is, if not true, at least compatible with the best available knowledge.
It's to a writer's advantage to contain within himself elements of each sex, or any sex. It's to his advantage because it makes him able to write from the female point of view as well as the male. In some cases, of course, you will find some homosexual writers who can only write from a f - - -'s point of view. But I don't regard myself as a f - - -! Some people may. Also audiences wanted escapism. They don't like too much protest or criticism of their way of life.
What is art?... From a strictly logical point of view, a question with no clear answer comes under the suspicion of being meaningless. But a strictly logical point of view never shows us much about art.
Your funny gets developed pretty early on. Comedy requires that you understand as much as possible about the viewpoints of all people and everything that's going on around you. It genuinely requires a true point of view, a real sense of your own view of things in the world.
I'm a trained engineer, so I'm conditioned to come up with a right answer to a difficult question, but when it comes to art, there is no definite answer because it's so subjective.
Philosophers often think all scientists must be scientific realists. If you ask a simple question like "Are electrons real?" the answer will be "Yes". But if your questions are less superficial, for example whether some well-known scientist was a good scientist. Then, they had insisted that only empirical criteria matter and that they actually did not believe in the reality of sub-atomic entities. Ask "If that turned out to be true, would you still say they were good scientists?" The answer would reveal something about how they themselves understood what it is to be a scientist.
The problem is one of opposition between subjective and objective points of view. There is a tendency to seek an objective account of everything before admitting its reality. But often what appears to a more subjective point of view cannot be accounted for in this way. So either the objective conception of the world is incomplete, or the subjective involves illusions that should be rejected.
I gained everything. Or at least I'll think so," he growled, suddenly impatient, anxious, "when you give me a bloody answer to my bloody question. How many times are you going to make me ask you? Will you marry me, Gabrielle O'Callaghan? Yes or yes? And in case you're still managing to miss the point, the correct answer is 'yes.' And, by the way, anytime you'd like to tell me you love me, I wouldn't mind hearing it.
I do think it's possible for me to go back to the studio, and for a lot of women filmmakers to be going back into studio filmmaking with a different sense of their own agency, and a different sense of the respect that they can command. When you asked the question about whether women want to be making big studio movies, the answer is almost always yes. It's just, how do they want to be treated? What is that experience going to be? And if you know the experience is gonna be shitty going into it, I personally am at a place where I'm not willing to punish myself any longer.
In claiming that prohibition, not the drugs themselves, is the problem, Nadelmann and many others - even policemen - have said that "the war on drugs is lost." But to demand a yes or no answer to the question "Is the war against drugs being won?" is like demanding a yes or no answer to the question "Have you stopped beating your wife yet?" Never can an unimaginative and fundamentally stupid metaphor have exerted a more baleful effect upon proper thought.
I've always been a big proponent of point of view in cinema. Not necessarily that the point of view has to be subjective, but that in all great films the point of view has been taken into account and established.
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