A Quote by David Shields
I'm very fond of this phrase: 'Collage is not a refuge for the compositionally disabled.' If you put together the pieces in a really powerful way, I think you'll let a thousand discrepancies bloom.
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Collage is not a kitchen sink; it's not a refuge for the compositionally disabled.
I'm not interested in collage as the refuge of the composition-ally disabled. I'm interested in collage as (to be honest) an evolution beyond narrative.
The photo collage is a way to travel that must be used with skill and precision if we are to arrive... The collage as a flexible hieroglyph language of juxtaposition: A collage makes a statement.
It is said there are flowers that bloom only once in a hundred years. Why should there not be some that bloom once in a thousand, in ten thousand years? Perhaps we never know about them simply because this "once in a thousand years" has come today.
A lot of people don't want to hire disabled actors. They think you're going to take twice as long over a shot, or they don't want have to put up a ramp for disabled access. They think, 'Why would I do that when I can just hire an able-bodied actor to play the disabled character?'
I think a person who is disabled should be disabled by no act of their own. If you become disabled because of alcoholism, drugs, or things of that nature, I do not think those conditions qualify someone to be called disabled. I think those conditions result from personal decisions.
I feel very protective in the first draft, when all the pieces are coming together. I work in a way that is not linear or chronological at all, even with the short story. I will just be writing bits and pieces, and then when I have all the pieces on the table, that for me is when it feels like the real work begins.
Working on "Pieces of April" with Peter Hedges at a young age was really very powerful. It was a different kind of work. We shot that in 10 days and Peter was right there with us, right next to the camera. It was very grounded and I really liked working that way. I liked the way he directed us.
The shock of the way I mix patterns and fabrics can be disconcerting, but what I am trying to do is provoke new ideas about how pieces can be put together in different ways. I think this is a more modern way to wear clothes that in themselves are fairly classic.
Simply put, when you have very large pieces of software, most of the tools look at the individual lines of code as text. It is often extremely powerful to look not at individual pieces of code but at a system as a whole.
It's very much to do with how I'm feeling ... I love to be experimental and use eclectic mismatched things and put them together to see what third entity is created! I'm not really frightened by experimenting - that's the main thing. I really like mixing very old beautiful pieces that are from thrift shops or that have some historical value with quite new futuristic things.
I was very fond of Lagneau’s phrase: “I have no comfort but in my absolute despair.
When you put the subjectivity of the art together with the context of the science, you have this very powerful conjunction of opposites and together they are greater than either one could ever be.
I think it's such a powerful thing: Words and melodies, and you put them together. I couldn't really picture a world without music. It would be quite boring.
It is expected that there will be discrepancies between models and observations. However, why these arise and what one should conclude from them are interesting and more subtle than most people realize. Indeed, such discrepancies are the classic way we learn something new.
I think women are very powerful and I think we're more powerful together than separated.
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