A Quote by Terry Eagleton
It is important to see that, in the critique of ideology, only those interventions will work which make sense to the mystified subject itself.
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The Marxist critique is only a critique of capital, a critique coming from the heart of the middle and petit bourgeois classes, for which Marxism has served for a century as a latent ideology.... The Marxist seeks a good use of economy. Marxism is therefore only a limited petit bourgeois critique, one more step in the banalization of life toward the "good use" of the social!
Approaching subject matter to photograph is like meeting a person and beginning a conversation. How does one know ahead of time where that will lead, what the subject matter will be, how intimate it will become, how long the potential relationship will last? Certainly, a sense of curiosity and a willingness to be patient to allow the subject matter to reveal itself are important elements in this process.
I've developed my anarchism, my critique of Marxism, which has been the most advanced bourgeois ideology I know of, into a community of ideas and ultimately a common sense of responsibilities and commitments.
Every work of art (unless it is a psuedo-intellectualist work, a work already comprised in some ideology that it merely illustrates, as with Brecht) is outside ideology, is not reducible to ideology. Ideology circumscribes without penetrating it. The absence of ideology in a work does not mean an absence of ideas; on the contrary it fertilizes them.
The dialectical critique of positivist habits of mind ... is interested only in behaviour which is 'important' to the actor; that is, behaviour which is emotionally charged to the degree that it is either frequently recalled, reflected upon, or day-dreamed about. ... That science which is less discriminating in the behaviour it chooses to investigate gains clarity and distinctiveness at the cost of confining itself to the trivial.
If you work diligently... without saying to yourself beforehand, 'I want to make this or that,' if you work as though you were making a pair of shoes, without artistic preoccupation, you will not always find you do well. But the days you least expect it, you will find a subject which holds its own with the work of those who have gone before.
Whatsoever accidents or qualities our senses make us think there be in the world, they are not there, but are seemings and apparitions only. The things that really are in the world without us, are those motions by which these seemings are caused. And this is the great deception of sense, which also is by sense to be corrected. For as sense telleth me, when I see directly, that the colour seemeth to be in the object; so also sense telleth me, when I see by reflection, that colour is not in the object.
A work of art does not need an explanation. The work has to speak for itself. The work may be subject to many interpretations, but only one was in the mind of the artist. Some artists say to make the work readable for the public is an artist’s responsibility, but I don’t agree with that. The only responsibility to be absolutely truthful to the self. My work disturbs people and nobody wants to be disturbed They are not fully aware of the effect my work has on them, but they know it is disturbing.
As you see something that yo want to shot and it's bearing down on you, it's important to start framing long before the subject gets close to you. The light will reveal itself possibly long before you want to take the image, but you have to wait until the picture comes to you, and if you've been anticipating carefully when the subject will be in position, the background will have been figured out in advance.
You'd better discover a more important motive than publication for your work or else you'll go crazy. My sense is that you'll be writers only if you are convinced that to write is something for which there is no substitute in your life. You must therefore be ambitious for your work rather than for its promotion. The good news here is that if you assign secondary importance to publishing and primary to writing itself, you will write better, and will thus increase your odds of getting publishing.
Now the myths represent the Gods themselves and the goodness of the Gods subject always to the distinction of the speakable and the unspeakable, the revealed and the unrevealed, that which is clear and that which is hidden: since, just as the Gods have made the goods of sense common to all, but those of intellect only to the wise, so the myths state the existence of Gods to all, but who and what they are only to those who can understand.
From my experience let me say this: in today's world it is no bad thing for a politician to have had the benefit of a scientific background. And not only politicians. Those who work in industry, in commerce, in investment. Indeed, so important has it become that I believe we are right to make science a compulsory subject for all schoolchildren.
If there is any method in the way I take pictures, I believe it lies in this: See the subject first. Do not try to force it to be a picture of this, that or the other thing. Stand apart from it. Then something will happen. The subject will reveal itself.
As soon as you look at the world through an ideology you are finished. No reality fits an ideology. Life is beyond that. That is why people are always searching for a meaning to life. But life has no meaning; it cannot have meaning because meaning is a formula; meaning is something that makes sense to the mind. Every time you make sense out of reality, you bump into something that destroys the sense you made . Meaning is only found when you go beyond meaning.
Whatseems to take place outside ideology (to be precise, in the street), in reality takes place in ideology. What really takes place in ideology seems therefore to take place outside it. That is why those who are in ideology believe themselves by definition outside ideology: one of the effects of ideology is the practical denegation of the ideological character of ideology by ideology: ideology never says, 'I am ideological.'
I have what I call an iron prescription that helps me keep sane when I naturally drift toward preferring one ideology over another and that is: I say that I'm not entitled to have an opinion on this subject unless I can state the arguments against my position better than the people who support it. I think only when I've reached that state am I qualified to speak. This business of not drifting into extreme ideology is a very, very important thing in life
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