An idol is not necessarily something concrete, like a golden calf. It can also be something abstract, like matter. Is matter part of the created order? Sure it is. So the philosophy of materialism qualifies as an idol in the biblical sense.
I started by studying Kiswahili to learn the dialect. Then, I studied tapes, documentaries, footage, and audio cassettes of Idi Amin's speeches. And I met with his brothers, his sisters, his ministers, his generals' all kinds of people, in order to try to understand him.
My work throughout my life is always representative of the time we live in. It's all about keeping it in order and keeping it in gear.
My husband was getting his sea legs-rereading Joseph Conrad with a side order of C S Forester.
After World War II, American leaders were, in Dean Acheson's words, 'present at the creation' of a global order. Now at the end of the cold war, we desperately need that same vision, that leadership, that creativity to be applied to the governance of the global marketplace.
Who's elk horn do I have to blow in order to get something to eat around here?
Raccoons don't need to do poppers in order to come while they're having anonymous same-sex interludes in a highway rest area.
Whenever I heard a musician do something that I could not explain, I went back to the theory in order to figure it out.
Can you imagine being bilingual? Or even knowing anybody that was? I'm not even unilingual. Actually, I shouldn't say that. I don't give myself enough credit. I know enough English to, you know, get by. I can order in restaurants and stuff.
Walgreens, Rite Aid, CVS and Wal-Mart have all figured out the evolution of life and they grabbed all the products that are necessary for a life. And they stuck them in one aisle and they put them in order according to how you mess up... First thing you're going to see: condoms. Next to that: lubricant. Next to that: pregnancy test. Next to that: Pampers. Next to that: formula. And at the end of the aisle they sell beer.
I was troubled by the presence of a shoe museum because it forced me to ask a very burning question: would my body be able to physically survive the amount of dope I would need to smoke in order to visit a shoeseum?
I think comedy evolves constantly. I reinvent myself all the time. I always find a way to entertain myself because I truly believe you have to entertain yourself in order to relate it the right way to your audience.
Improv relies just as much on listening as it does you delivering dialogue. That's the hard for some people. Some people just concentrate on what they're going to say, and they're not listening. You have to listen in order to see where the other person is going to.
. . . our lives are shaped by our interactions with others. Whether we have a long conversation with a friend or simply place an order at a restaurant, every interaction makes a difference.
My school music teacher, Al Bennest, introduced me to jazz by playing Louis Armstrong's record of "West End Blues" for me. I found more jazz on the radio, and began looking for records. My paper route money, and later, money I earned working after school in a print shop and a butcher shop went toward buying jazz records. I taught myself the alto saxophone and the drums in order to play in my high school dance band.
To an ever greater extent out experience is governed by pictures, pictures in newspapers and magazines, on television and in the cinema. Next to these pictures firsthand experience begins to retreat, to seem more and more trivial. While it once seemed that pictures had the function of interpreting reality, it now seems they have usurped it. It therefore becomes imperative to understand the picture itself, not in order to uncover a lost reality, but to determine how a picture becomes a signifying structure of its own accord.
You are like a captain navigating a ship... You must give the right orders, thoughts and images to your subconscious which controls and governs all your experiences.
I am attempting to move away from the exclusionary practices of feminist theory, particularly anti-pornography rhetoric, in order to amplify the discussion about the complexity of pleasure for women.
Sometimes I think I disguise myself as a teacher in order to make the pictures I need to see.
My photographs tried to find the politicians at their most wary, most vulnerable, and perhaps most truthful moments. I wanted the photographs to reveal the person through stance and stare, when he or she was most reflective or off guard, in order to measure the person and event unfolding.
Usually I work with a digital camera and compose my works digitally or give them a finish on the computer, in order to make them meet my ideas perfectly.
[My work] includes something about death, and about love, because the photos always have something to do with death. The photograph is like taxidermy. It is like the animals I use. They are posed in order to appear to be alive, but they are dead. Their time has passed. The photos have to do with time and loss, and conclusion.
The familiar photographs that many people carry with them always obviously belong to the order of fetishes in the ordinary sense of the word.
I am interested in circulating past iconography in the present in order to get to the future.
I make myself into a new image in order to produce new images.
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