A Quote by William S. Burroughs
You see, should I stand in front of a landscape and paint it, I'm completely ignoring the factor of time. While I am painting it, it's changing, clouds are changing, all sorts of things. So there's the myth there of someone creating in a timeless vacuum.
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Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.
I am learning to see. I don't know why it is, but everything enters me more deeply and doesn't stop where it once used to. I have an interior that I never knew of... What's the use of telling someone that I am changing? If I'm changing, I am no longer who I was; and if I am something else, it's obvious that I have no acquaintances. And I can't possibly write to strangers.
We completely deny the existence of a self-existent I, or a permanent, independent soul. Every aspect of your body and mind is impermanent: changing, changing, changing.
The way that people are watching TV is changing. The landscape of television is changing. Movies are becoming much more insular. They're like a walled garden, where you know what you're going to see and you expect it. But in the world of TV, because it's episodic, you can explore any area because you have time to do that. You can take risks on the kinds of storytelling that you're doing.
I am very proud of the fact that 20 years on people tell me they became a vegetarian as a result of 'Meat is Murder'. “I think that is quite literally rock music changing someone's life - it's certainly changing the life of animals. It is one of the things I am most proud of.
I'm just a landscape painter. I look out the window and I see what's going on, and I paint it. While I'm painting it, I also write thoughts about what I see going on out there.
Here's the problem: we are living in a time when the act of reading is changing. The nature of a reader's attention is changing. The capacity for deep literary engagement is changing.
Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither. At every point in nature there is something to see. My work contains similar possibilities for the changing focus of the eye.
The landscape for business isn’t changing because of social media, it’s changing because consumer expectations are evolving.
As far as the banking industry is concerned - and I am sure it must be true for various industries as well - is that the only thing that is constant is change. Your business models are changing, the customer demands are changing and the regulations are changing constantly.
I imagine that as contemporary music goes on changing in the way that I'm changing it what will be done is to more and more completely liberate sounds from abstract ideas about them and more and more exactly to let them be physically uniquely themselves. This means for me: knowing more and more not what I think a sound is but what it actually is in all of its acoustical details and then letting this sound exist, itself, changing in a changing sonorous environment.
People ask me what my predictions are for publishing and how digital is changing things and I tell them my only real prediction is that is it's all changing. Amazon, Google and all of those things probably aren't the enemy. The enemy right now is simply refusing to understand that the world is changing.
I am not interested in changing who I am to fit someone else's idea of what a category should be or look like.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
People say to you, 'you've changed', or something like that, well, I hope, for the sake of God, that you have changed, because I don't want to be the same person all my life. I want to be growing, I want to be expanding. I want to be changing. Because animate things change, inanimate things don&'t change. Dead things don't change. And the heart should be alive, it should be changing, it should be moving, it should be growing, its knowledge should be expanding.
Painting is an illusion, a piece of magic, so what you see is not what you see. I don't know what a painting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere.
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