A Quote by Garry Winogrand

Let's say that what's out there is a narrative. Often enough, the picture plays with the question of what actually is happening. Almost the way puns function. — © Garry Winogrand
Let's say that what's out there is a narrative. Often enough, the picture plays with the question of what actually is happening. Almost the way puns function.
If you just got enough expertise and enough special techniques and read up enough, then you could shape a child into the kind of adult you wanted. There's almost this kind of competitive enterprise. That picture is the picture I think people often imply when they use the word "parenting".
To read fiction means to play a game by which we give sense to the immensity of things that happened, are happening, or will happen in the actual world. By reading narrative, we escape the anxiety that attacks us when we try to say something true about the world. This is the consoling function of narrative — the reason people tell stories, and have told stories from the beginning of time.
Because for me to go fully experimental, it would turn into an artist book actually. And I'm not opposed to that. But I wanted to toy with the conventions of traditional narrative and sometimes to do that all the way, you have to actually utilize traditional narrative, I think - or it's one way to do it.
There is no way for the American economic system to function without advertising. There is no other way to communicate enough information about enough products to enough people with enough speed.
We think is happening in the brain, the way I like to think about it is, it's almost like, you're brain is going through all these stages of sleep and it's developing in children so fast that it's almost like you're shifting gears in a car. And at some point, you actually stall out a little bit, and that's kind of what happens during a night terror.
I'm not sure plays tell people anything. I think plays include an audience in an experience that is happening in that moment, and that's the specialness. What people take away has almost as much to do with what they bring as what we do.
We're affable guys in They Might Be Giants. We're not gonna do the periscope-down thing, but it's a little bit mind-bending. The biggest struggle is trying to figure out a way to back up far enough in your answer that it can be read without the context of the question. Every declarative statement you see that comes out of an interview with somebody is actually in response to a question. So it's sort of like this very real interpersonal dance where one of the people involved is invisible.
People who are looked up to in America will often say, 'I don't get math.' And they'll often say it like they're being humble, but they seem almost proud of it because it's acceptable to act this way.
Plays, especially great plays, yield their secrets over a long period of time. You can't read it three times and say, 'OK, I got it. I know what's happening.'
What is actually happening is often less important than what appears to be happening.
It's what people have always done. They have always told stories, put on plays. It's characters and narrative and thought and context and resolution so you reflect the way the world is in some way. It comes out of experience. I think it's OK to do that.
What I love about Inuit carving is that it's so narrative, but it doesn't have the temporal dimension of an illustrated picture, where it feels like something happens before or after. Everything is happening in the sculpture, and you can hold the whole story in your hand. A lot of these sculptures are small enough that you can hide them in your hand completely so you're not looking at them, you're just feeling them. I
I think that this misses out on some of the interesting narrative realities, which is that it actually doesn't work very well, that eliminating diversity is actually a really good way to make a species and its individuals less robust.
I say 'as it were' or 'so to speak' too often because puns and double entendres keep insinuating themselves into my consciousness as I'm talking.
The question is, will we continue to fight what may be a rearguard action to defend universal literacy as a central goal of our education system, or are we bold enough to see what's actually happening to our culture?
When I was a student at Cambridge I remember an anthropology professor holding up a picture of a bone with 28 incisions carved in it. "This is often considered to be man's first attempt at a calendar" she explained. She paused as we dutifully wrote this down. 'My question to you is this - what man needs to mark 28 days? I would suggest to you that this is woman's first attempt at a calendar. It was a moment that changed my life. In that second I stopped to question almost everything I had been taught about the past. How often had I overlooked women's contributions?
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