A Quote by Taryn Simon
In my work, I construct texts and images. Between those two points the blur occurs. Each is altered by the other again and again, back and forth.
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Distinction between species and specimen is very much like the distinction between images and actual pictures, or, you know, objects that have a definite material identity. The classifications, the categories, the stereotypes, and the images are on one side, and the material pictures, statues, texts, and so forth are on the other.
Again and Again, however, we know the language of love, and the little churchyard with its lamenting names and the staggeringly secret abyss in which others find their end: again and again the two of us go out under the ancient trees, make our bed again and again between the flowers, face to face with the skies
So we [with Kate DiCamillo] would act them out, we would toss ideas back and forth, we would laugh, we would argue. Sometimes it went really well, sometimes it was such a pain in the ass. Our other rule was that we wouldn't work on it at all when we weren't in the other's presence. It was really hard not to do that. We'd start going on email back and forth, 'What do you think about this, what do you think about that?' But, no, no, no, it had to be live. So we forced ourselves not to look at it except during those two-hour stretches when we were actually with each other.
The best path between two points is upside-down, between, then inside-out and round again.
I do not enlighten those who are not eager to learn, nor arouse those who are not anxious to give an explanation themselves. If I have presented one corner of the square and they cannot come back to me with the other three, I should not go over the points again.
Once you play with these scenes and you're outlining it, again and again, and telling each other the narrative, and telling it to people you know, trying to make sure that the mathematics of the story work, you feel that those are in place, and the actual writing and final draft doesn't take as long.
The world is rather shot to pieces [end of World War II - 1945], but the spectators climb out of their caves and pretend to have again become normal and customary humans who ask each other's pardon instead of eating one another or sucking each other's blood. The entertaining folly of war evaporates, distinguished boredom sits down again on the dignified old overstuffed chairs.. .May I report about myself that I have had a truly grotesque time, brim-full with work, Nazi persecutions, bombs, hunger, and again and again work - in spite of everything [a. o. using his bed sheets as canvas for the new paintings].
Memory blurs, that's the point. If memory didn't blur you wouldn't have the fool's courage to do things again, again, again, that tear you apart.
I'll find a place to rest my spirit if I can Perhaps I may become a highwayman again Or I may simply be a single drop of rain But I will remain And I'll be back again, and again and again and again and again...
How long were the stretches of toilsome tacking back and forth, of being blocked, of being thrown back again and again. But all that was annulled by the periods when I had my technique in hand and succeeded in doing what I wanted.
Strip back the beliefs pasted on by governesses, schools, and states, you find indelible truths at one's core. Rome'll decline and fall again, Cortés'll lay Tenochtitlán to waste again, and later, Ewing will sail again, Adrian'll be blown to pieces again, you and I'll sleep under the Corsican stars again, I'll come to Bruges again, fall in and out of love with Eva again, you'll read this letter again, the sun'll grow cold again. Nietzsche's gramophone record. When it ends, the Old One plays it again, for an eternity of eternities.
When you stop for months and you come back, you try everything, and I worked so hard to get back but then you do it again and again and again. You disappoint yourself and other people at the club, the manager, everybody. You don't know how to get it right.
The state of love is this constant flux back and forth between who's saving and who's rescuing, who's wanting and not wanting, who's needing and who isn't. It's always going back and forth between two people who are actually attached.
I'm sorry," I heard him say again. Then, out of the corner of my eye, I saw a sudden blur of movement as he slid out of his seat, left some bills for the breakfast he wouldn't eat, and walked away. And as he did, I thought again of those mornings in the hallway at school, way back in ninth grade. Everything had started in such sharp detail, each aspect pronounced and clear. Obviously, endings were different. Harder to see, full of shapes that could be one thing or another, with all the things that you were once so sure of suddenly not familiar, if they were even recognizable at all.
They say productivity is the key to confidence, and confidence ... to productivity. And they're happy walking back and forth between these two rooms, each the excuse for the other.
This is the eighth game in the series and when we work on a Mario Kart title, we work on courses and we create them and then we work on them again, and again, and again, and we revise until we come up with something that we think is going to be fun for everyone to play over and over again. So we have a lot of confidence in our ability to do so, but we understand what a tough challenge it is to create those courses.
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