A Quote by Stephen Shore
There's something essentially fictive about a photograph. That doesn't mean that if you understand that, and you understand how the world is transformed by the camera, that you can't use the limitations or the transformation to have an observation that is a very subtle perception of the world.
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The kind of hope that I often think about…I understand above all as a state of mind, not a state of the world. Either we have hope within us, or we don’t. It is a dimension of the soul It’s not essentially dependent upon some particular observation of the world or estimate of the situation. Hope is not the conviction that something will turn out well, but the certainty that something makes sense, regardless of how it turns out.
Look at the things around you, the immediate world around you. If you are alive, it will mean something to you, and if you care enough about photography, and if you know how to use it, you will want to photograph that meaningness. If you let other people's vision get between the world and your own, you will achieve that extremely common and worthless thing, a pictorial photograph.
You'll realize the transformation is not for you alone. You'll learn that you're here to use this gift to shine light on the dark world around you. You become a miracle worker in the world. As you begin to understand how love is crucial to the healing of the world, your miracle work will take on a whole new meaning.
I would argue that if you understand how the cells of the brain are organized into circuits, almost computational circuits if you will, and we see how information flows through those circuits and how it's transformed, we might have a much firmer grasp on why our brains make decisions the way that they do. If we get a handle on that, maybe we can overcome some of our limitations and at the very least we'll understand why we do what we do.
One of the magical things about photography is the transformation that takes place when you photograph something. Something that inherently has very little going for it in terms of the interest you take in it, can become infinitely more interesting when rendered as a photograph. It's no longer a building. It's a photograph.
I think more to the point, these pivotal times means something other than a politician. I understand the economy. I understand the world. I have a lot of foreign policy experience. I understand bureaucracies. I understand technology, and I understand leadership.
I think most serious photographers understand that there's this large gap between the world and how the world looks through a photograph.
Today, of course, the world's perception of India has changed tremendously. People understand its role in world affairs; they understand that India is not some backward nation. In fact, it is the fastest growing free-market democracy in the world today, and that says it all.
Theatre artists are essentially sort of charlatans and thieves, I mean that's the tradition that we come from, so I have absolutely no, I make no bones about the fact that I steal from here and I take from there, and we all do it, that's perfectly all right, that's the nothing, there's nothing new in the world, there's nothing actually new in the way that you do something, but the point is is how do you take something and use it to articulate what is essentially a core of any given theatrical production.
The world is not something separate from you and me; the world, society, is the relationship that we establish or seek to establish between each other. So you and I are the problem, and not the world, because the world is the projection of ourselves, and to understand the world we must understand ourselves. That world is not separate from us; we are the world, and our problems are the world's problems.
I think my love of science comes from an interest in wanting to understand the world and wanting to understand our place in it. If I can hook, and reveal, and then, show something, illuminate something about the world, then that's important to me.
The words represent ideas first of all. That is something you have to understand. I mean, it is not just an object, but it is an object with a history and it is loaded with all kinds of implications and ideas. They exist in the world in a very special way. So they kind of represent some aspect of the world that we perceive, as do photographs, as do drawings of trees or whatever. And they are not a one to one. They are not the world, but they kind of refer to the world and they also exist in the world.
The themes that run through all my work are that consciousness is the ultimate reality; and that by understanding consciousness, you understand everything about yourself, about perception, about creativity, about behavior, about relationships. By understanding consciousness, you have the ability to create anything in your world. And you have the ability to influence also the collective consciousness to not only bring about personal healing, but social transformation, and ultimately healing our planet, which happens to be extremely wounded.
Nothing would catch me off guard, because I understand the world I live in. I understand it very well. And the world I live in is not necessarily a fair or just world. I have dealt with these injustices for the bigger part of my life.
When it comes to the mental world, when we design things like health care and retirement and stock markets, we somehow forget the idea that we are limited. I think that if we understood our cognitive limitations in the same way that we understand our physical limitations … we could design a better world.
The key to teaching anything is to remember what it was like not to understand that thing. That's a very hard thing to do. Every time you come to understand something you didn't understand before, you are transformed. You become a different person from who you were before. The key to teaching someone else to understand that same thing is to remember your former, untransformed self. If you can do that, I think you can teach anything, even physics.
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