A Quote by Steven Pressfield
In the hierarchy, the artist faces outward. Meeting someone new he asks himself, What can this person do for me? How can this person advance my standing? In the hierarchy, the artist looks up and looks down. The one place he can't look is that place he must: within.
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The person who looks outward dreams, the person who looks inward awakens.
Well, to me, the tensile strength and the very definition of an artist is something that I would place at the top of a vertical hierarchy. To be an artist is to suffer and to lead a life without shelter. It takes a great amount of daring-do, self reinvention, imagination, familial loyalty, sacrifice, economic uncertainty, and the right to be wrong, the right to fail in order to achieve something of noticeable value.
I've never really had the desire to be a front person or a solo artist. I don't really create that much of a hierarchy in my mind.
I spend most of my time at concerts hoping for that one second that the artist looks at me, I look at the artist, and that's when I get to say, 'Thank you.'
Science, in its ultimate ideal, consists of a set of propositions arranged in a hierarchy, the lowest level of the hierarchy being concerned with particular facts, and the highest with some general law, governing everything in the universe. The various levels in the hierarchy have a two-fold logical connection, travelling one up, one down; the upward connection proceeds by induction, the downward by deduction.
What I've learned is that unless it's an emergency, like a fire or brain surgery, hierarchy is not necessary and may be damaging. If you have a hierarchy, you're repeating the strengths and weaknesses of one person without allowing for the accumulative strength of a group.
Women are networkers, women hate hierarchy and especially entrepreneurs hate hierarchy because when they see hierarchy structured in they see rules and regulations are commonplace, and they want to tear it down.
A person once asked me, in a provocative manner, if I approved of homosexuality. I replied with another question: 'Tell me: when God looks at a gay person, does he endorse the existence of this person with love, or reject and condemn this person?' We must always consider the person.
Things appear different from every different plane from which you look at them, and when a person standing on flat earth asks a person standing on top of a mountain, "Do you also believe something?" the person cannot tell much. The questioner must come to the top of the mountain and see. There can be no link of conversation between them until that time.
One of my first observations about New York that I was so fascinated with was that you'd be at a stoplight and you're with everybody; there's a homeless dude and some weird celebrity and a cop and someone who looks exactly like you. You're on foot and everyone is at street level and eye-to-eye. I think that's what's special about New York, because there's no hierarchy, there's no discrimination.
When a painting is finished, it's like a new born child, and the artist himself must have time for understanding. How then do you expect an amateur to understand that which the artist dos not yet comprehend.
If you are doing a peer review of somebody's paper before publication, the editor would not allow you to speculate about the person's motives, about their place in the hierarchy. It's not scientifically relevant.
When you see magazine articles and you go, 'Oh my God, that one looks so old or look how fat someone is' it has very little to do with the person in question and more to do with the person who's asking the question. People don't want to believe their own mortality.
An artist is above all a human being, profoundly human to the core. If the artist can't feel everything that humanity feels, if the artist isn't capable of loving until he forgets himself and sacrifices himself if necessary, if he won't put down his magic brush and head the fight against the oppressor, then he isn't a great artist.
In my work, it's simultaneously realities, instead of parallel. Simultaneous avoids the problem of alternate reality. In parallel reality, there's always a hierarchy, and there doesn't necessarily have to be a hierarchy. When you're in a palace like Blenheim, you're supposed to be in awe - why not be in awe of something different than the stuff they're showing you? It's about finding your own existential place.
There's the part of me that's the organizer, part of me that's the artist, part of me that's the person who, even with those two things, wants to figure out what my place in the world is. How to engage with it and whether my life has any meaning.
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