I think that's life in general. It's the way it is when we pick stocks, all of them don't always work, so I guess I come to the view naturally. That's just the way life is for human beings so its going to be just as true for policy.
I have a very personal view of what I want in a café. I don't spend a lot of time thinking about what other people want. I have my enthusiasms, and it's exciting to work through them in this medium of coffee bars.
Two temptations that impair the value of their work inevitably beset public men who write memoirs. One is a tendency to reconstruct the past to suit the present views and feelings of the writer; the other is a natual desire to set his own part in affairs in a pleasing light.
I am fascinated by the indecisive moment and the peripheral view.
I was living in Monterey, a place where the classic photographers - the Westons, Wynn Bullock and Ansel Adams - came for a privileged view of nature. But my daily life very rarely took me to Point Lobos or Yosemite; it took me to shopping centers, and gas stations and all the other unhealthy growth that flourished beside the highway. It was a landscape that no one else had much interest in looking at. Other than me.
I assumed from the outset that photography was already art, and that I and other people working in photography were artists. I understand now that this was a minority point of view.
We don't agree with the depiction of buildings in the '20s and 1930s. Things were seen either from above or below which tended to monumentalize the object. This was exploited in terms of a socialistic view - a fresh view of the world, a new man, a new beginning.
The principal thing is the question of how our culture views age: that old is ugly. Take a photographer like Mapplethorpe. Every single photograph of his is about classical notions of beauty, of young beautiful black men, young beautiful women, and he selects subjects who are essentially interesting and good-looking and extremely physical. I can't stand them.
I want to show the event at the very moment it takes place.... My body must be anchored to the ground and seek the best point of view, without any visual taboos. But then, at the heart of the event, my effort is to disappear, I introduce a distance that borders on indifference.
In the future, readers of newspapers and magazines will probably view news pictures more as illustrations than as reportage, since they can no longer distinguish between a genuine image and one that has been manipulated.
What is important is that our optical awareness rids itself of classical notions of beauty and opens itself more and more to the beauty of the instant and of these surprising points of view that appear for a brief moment and never return; those are what make photography an art.
Fine-art photography is a very small world associated with galleries, museums, and university art programs. It's not like rock music; the products of this world have never been widely seen because the artists are often exploring things that are not already coded in general consciousness. It's not that photographers don't want to be famous, it's just that very few of the views from the edges of culture make the mainstream. Ansel Adams was an exception.
Photography, as an invention, was both art and science. The view it gave us of the world was in some measure acceptable because it was a product of our vision of the world; and it did so as part of the same process which seemed to impart 'truth': science.
I admired a tremendous number of photographers, but for some reason I arrived at a point of view of my own.
When people look at a photograph, they believe it... My photographs crawl along that edge. I document the world, but from my own biased point of view.
Perhaps the first photograph ever taken, Niépce's view of the rooftops over Saint-Loup-de-Varennes, was a truly pure photograph. The second one he took, he was already comparing nature to the first photograph he had taken.
Ansel [Adams] always jumped over the fence to photograph, walked past the garbage. He always looked to get an immaculate view, and I spent my life stepping back to include the garbage in my photographic view.
You should be constantly asking yourself: What do I want to say next? What do I believe in? Who am I? What is my image? To be a successful photographer, you have to have a unique point of view otherwise you'll get lost in the mix.
In my view, photography and painting really share one history. The influences that work on one, work on the other.
I've been saying for years that page view-based advertising is a corrupting force.
If a legislator is safe from competition, or if he represents groups with the same economic and political beliefs, he does not have to change his ideas or respond to the needs of the broader population. He can rest content with a mediocre, absentee performance knowing he will be returned to office. And as he is returned year after year the seniority system gives him immense control over people from other parts of the country whose views he need not heed at all.
Our view of the law is that it - if somebody is here without sufficient documentation, that is not reason for deportation.
I come to the table from a conservative or libertarian point of view, and I admit that. I'm a commentator. I'm not a journalist or anything else.
As Colin Wilson has written, "modern civilisation, with its mechanised rigidity is producing more outsiders than ever before-people who are too intelligent to do some repetitive job, but not intelligent enough to make their own terms with society." Those "intelligent enough" to make their own terms with society are what we will later refer to as artists of life. The outsider views himself as a product of a culture he rejects-the artist views himself as a culture-builder.
The Devil has seldom done a cleverer thing that hinting to the Church that part of their mission is to provide entertainment for the people, with a view to winning them. Providing amusement for the people is nowhere spoken of in the Scriptures as a function of the Church. The need is biblical doctrine, so understood and felt that is sets men afire.
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