A Quote by Stephen Shore
A work can do many things at once, and it doesn't have to be just about the world, it could also be about photography, it could be about perception, it could be an exploration of the medium. It could be a document, it could be a visual poetry, and it could be a formal exploration all at the same time.
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It could be anything. It could be Jesus and it could be the Furby and it could be the lint that lives in my navel, but it's probably not. Whatever it is, I doubt we as humans on Earth could have any perception of it while we're here. So, why give yourself a headache thinking about it. Just be a good person. That's what an ethicist is.
[My photography teacher] gave me the Mexican Day Books of Edward Weston and just blew me away with this work. The fact that you could be this fabulous visual artist, with all this milieu of people like Diego Rivera and you could sleep with these gorgeous, amazing women, that you could live that life - that photography could deliver you that life.
I believed even then that if I could transform my experience into poetry I would give it the value and dignity it did not begin to possess on its own. I thought too that if I could write about it I could come to understand it; I believed that if I could understand my life—or at least the part my work played in it—I could embrace it with some degree of joy, an element conspicuously missing from my life.
My husband was a serial adulterer, and there was nothing I could do about it: no questions I could ask him, no argument I could have with him, no explanation he could give me or pleas he could make for forgiveness.
The graphic novel? I love comics and so, yes. I don't think we talked about that. We weren't influenced necessarily by graphic novels but we certainly, once the screenplay was done, we talked about the idea that you could continue, you could tell back story, you could do things in sort of a graphic novel world just because we kind of like that world.
We could go work on curing cancer. We could go work on building spaceships. We could go work on art projects. What's fun about working at Asana is we get to work on all of them at the same time.
When I heard about the Windrush issue, I thought, 'That could be my mum... it could be my dad... it could be my uncle... it could be me.'
You could make a very focused exploration game, that was about player creativity and exploration. But then it wouldn't have these very meticulous scientific kinds of puzzles in it, that Braid has. And so, it was just about picking something and understanding what it was that was chosen, and sticking to it, ruthlessly.
The '80s was all about this idea that women could have it all. You could have a career, and you could have a husband, and you could have children.
You could be a victim, you could be a hero, you could be a villain, or you could be a fugitive. But you could not just stand by. If you were in Europe between 1933 and 1945, you had to be something.
The eyes sparked a lot of things for me, it could be somebody remembering something they had witnessed or heard about, or it could be the person in the photograph that was experiencing a tragedy or it could also be the spectator looking on from a safe distance.
Everything inspires me. It could be a movie. It could be a book. It could be a house. It could be one word - I'll think for hours and hours about one word sometimes. It could be anything.
I had two things I could do: I could run over you, and I could put a good stiff arm on you. That was about it.
And the rules were so clear, you could not deviate from that all. And I think it especially damaged my sisters because there was nothing they could do to get my father's attention, to win his approval. They could not play sports. They could not do these other things. They could not be tough. They could not be macho. And so I think they suffered just from sheer neglect if nothing else.
He believed that he must, that he could and would recover the good things, the happy things, the easy tranquil things of life. He had made mistakes, but he could overlook these. He had been a fool, but that could be forgiven. The time wasted--must be relinquished. What else could one do about it? Things were too complex, but they might be reduced to simplicity again. Recovery was possible.
But he could not taste, he could not feel. In the teashop among the tables and the chattering waiters the appalling fear came over him- he could not feel. He could reason; he could read, Dante for example, quite easily…he could add up his bill; his brain was perfect; it must be the fault of the world then- that he could not feel.
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