Artists from the United States

"It has not been in vain: the good, the enlightened of all ages and nations have found pleasure and consolation in the beauty of the rural earth. Prophets of old retired into the solitudes of nature to wait the inspiration of heaven. It was upon Mount Horeb that Elijah experienced the mighty wind, the earthquake, and the fire; and, heard the small still voice. That voice is yet heard among the mountains!"

"In a society that tries to standardize thinking, individuality is not highly prized."

"The Artist is a tiny reflection of the One Creative Spirit that generates and is all realities. God creates the cosmos with love. God is the creator of the unfinished masterpiece, "Time/Space Continuum," which each of us helps co-create. The artist faces the blank canvas and invents new realities, and in a very tiny microcosmic way this reflects the macrocosm. The highest art aligns us with the "Divine Imagination," as Blake called it, and empowers our Soul, catalyzing our path to becoming the greatest person we can be."

"I've noticed various stages of receptivity to my art. The work points to a mystic core of truth at the heart of all wisdom traditions and affirms an integral universal spirituality. If you have ever had a mystical experience you will understand my work immediately, if not it may take awhile. The human species is evolving and waking up to our self-destructive bender called materialism and the 20th century. Human evolution will allow access to dormant visionary physiology that allows us to see clearly, to more easily see when people are lying, and to recognize the common heart of love behind all our dualistic thoughts."

"I worked as a medical illustrator for about ten years. It was not my career ambition; it was a way to finance my addiction to art and support my family. Medical illustration gave me the opportunity to investigate and portray the bodily systems in dramatic ways. Prior to my work as a medical illustrator, I prepared bodies at a medical-school morgue, which provided important training for understanding the fleeting nature of life. It also provided unforgettable studies into the iridescent, fibrous architecture that forms our physical body."

"Around the age of 20, I was doing unusual performance pieces focused on the exploration of polarities. This was a somewhat naive and intuitive venture based on my dreams and visions. I hadn’t yet encountered Taoism or other mystical teachings related to duality and the union of opposites. … One of my more dramatic polarity performances was to journey up to the North Magnetic Pole. After returning from the Pole, having spent all my money, two life-changing events occurred: At a party, I took LSD for the first time. Sitting with my physical eyes closed, my inner eye moved through a beautiful spiral tunnel. The walls of the tunnel seemed like living mother-of-pearl; it felt like a spiritual rebirth canal. I was in the darkness, spiraling toward the light. The curling space going from black to gray to white suggested to me the resolution of all polarities. My artistic rendering of this event was titled "The Polar Unity Spiral." Soon after this, I changed my name to Grey as a way of bringing the opposites together. The other life-changing event was meeting my wife, Allyson, that same evening. She was the only other person at the party who had taken LSD. We made a profound connection at that time, and have been together ever since. It’s been twenty-five years."

"I was bom on November 29, 1953, which makes me a Sagittarius. I'm no astrologer, but I am interested in its symbols. The Sagittarian is a centaur archer aiming for the stars. You could say this is the sign of a philosophical idealist, someone who aims high. The horse/human hybrid aiming higher unites the animal body, the human mind and the flaming-arrow spirit. Sagittarius is also a fire sign; fire shows up strongly as a motif in my work."

"Art can be a spiritual practice. Not all artists consider this to be true for them, but with the proper motivation and focus, it can be. A spiritual practice is an activity that enables you to develop the qualities of mental clarity, mindfulness of the moment, wisdom, compassion and access to revelations of higher mystic states of awareness. A contemplative method, such as yoga or meditation, will stabilize and assist in the progress of spiritual awareness. An artist’s craft can become a contemplative method, and the creations may provide outward signs of an inner spiritual journey."

"The twentieth-century Surrealists operated in a territory without clear moral order: a dreamship adrift in the ocean of the unconscious. … The visions of the Surrealists help to define a dream realm where any bizarre juxtaposition is possible. A profound truth resides in such strangeness, for these visions can shock us into deepening our acknowledgement and appreciation of the Great Mystery."

"Every artist who’s really into their work disappears into the creative flow. This is akin to some of the concentration-oriented meditations of the various sacred traditions. Images come in all different ways. You can get visions when you’re tripping on drugs, when you’re dreaming or in a hypnogogic state before dropping off to sleep, while listening to music or even waiting for the subway."

"People generally begin to understand my work after they’ve had some experience with the subtle visionary inner-worlds. These altered states can occur in many ways, from meditation to psychedelics to near-death experiences. A fellow in Japan came to my exhibit and showed me a five-inch elliptical scar over his heart where he had been struck nearly dead by lightning. He claimed that he had entered the "universal mind lattice," one of the "sacred mirrors" I’ve painted, during his near-death experience. What these various experiences or altered states have in common is the person who experiences them is profoundly transformed. They now know there are dimensions beyond the physical that are deeply mysterious and equally infinite to the outer worlds."

"A universal spiritual art would be art that any person would recognize as having a spiritual intention. It could speak to the heart and soul of the individual and orient them toward the greater aspect of their own being, their interconnectedness with all life and the cosmos. A universal spiritual art would return the viewer to their own ultimate identity, which lies beyond representation, but can be pointed to when our inspired visions are brilliantly transmitted. The challenge to artists today is to integrate the vast history of art from as many cultures as possible, to reach deep inside themselves for their own personal insights into the transcendental and allow this to coalesce into the most powerful imagery possible."

"The Sacred Mirrors speak to our highest aspirations as a species: universal compassion, respect for all life, a deep appreciation of all cultures and wisdom traditions, awakened consciousness and a full flowering of our human potential. In a "chapel of beauty," they could contribute to the radical raising of awareness we so desperately need if we are to successfully navigate our way to a saner, more loving and life-affirming civilization."

"We seek through art To recover our center, To remember our soul's task, To stop sleepwalking in confusion, To stop managing our depression, To harness the passion of inexhaustible love, To find the One Godself Hidden throughout creation, Art is the scab healing the wound Of the separate self-illusion."

"Creators aligned with Divine Will Make the soul perceptible. Artist priests with minimal dogma Transfix, transform, and evolve The chaotic melding of cultures, Through the dross of ego To superconsciousness fusion With the Nature-field."

"uni : one verse : poem or song Godself sings one song moment by moment with infinite variations"

"Our current artistic dilemma is to wake up To the truth that we are the One Godself, Creating the Universe — Every day."

"1. GOD CREATES THE COSMOS WITH LOVE. 2. WHEN WE CREATE WITH LOVE WE ALIGN OURSELVES WITH THE GOD FORCE. 3. THE COSMOS AND OUR WORLD IS GOD’S EVOLVING CREATION, AN UNFINISHED MASTERPIECE WE EACH CO-CREATE."

"7. CREATING SACRED SPACE MIRRORS GOD’S CREATION. 8. OUR CHALLENGE AS CO-CREATORS IS TO MIRROR GOD’S LOVE AND BEAUTY IN ALL OUR CREATIONS."

"22. BECOME A WORTHY CONDUIT OF GOD’S LOVE AND CREATIVE POWER OF REALIZATION. 23. LIKE A LIGHTNING FLASH, WHEN CONDITIONS ARE PRESENT, THE LIGHT SUDDENLY FILLS US, ILLUMINATING THE WORLD FOR AN INSTANT."

"36. HUMANITY MUST BE AWAKENED, AND CREATIVE SPIRITUALITY HAS A VITAL AND HEALING ROLE IN THE ARCHETYPE OF AN UNDOGMATIC AND LOVINGLY ECSTATIC RELIGION. ALL ARE CALLED TO SEE THEIR OWN DIVINE BEAUTY AND UNFINISHED MASTERPIECE STATUS. 37. BUILDING SACRED SPACE TOGETHER IS A TASK BEYOND OUR INDIVIDUALITY TO WHICH WE CAN DEDICATE OURSELVES AND PROVE THE POSSIBILITY OF PEOPLE GETTING ALONG AND MAKING SOMETHING BEAUTIFUL TOGETHER. 38. THE DAWN OF PLANETARY CONSCIOUSNESS IS UP TO EACH OF US AS ARTISTS OF INNER LIGHT."

"40. ALL CREATURES ARE HOLY AND EACH ARE GOD’S CHILDREN. REVERE AND PROTECT THEM AND THEIR HOME."

"42. PRESERVATION AND RENEWAL OF WHAT REMAINS OF THE LIFEWEB IS STILL A POSSIBILITY. 43. SCIENCE AND SPIRIT MUST COMBINE FORCES THROUGHOUT ART, BRIDGING KNOWLEDGE WITH WISDOM, ENTERING HISTORY THROUGH CREATIVE ACTION. 44. FORGIVENESS OF HUMANITY BY THE WEB OF LIFE WILL BEGIN WHEN RITUALS OF CONFESSION OF WRONGDOING ARE ENACTED WORLDWIDE AND PRAYERS FOR HEALING THE LIFEWEB ARE COLLECTIVELY ENGAGED. 45. WHETHER OR NOT THE NEW ALLIANCE OF COLLECTIVE INTELLIGENCES CAN SAVE THE UNFINISHED MASTERPIECE OF LIFE ON EARTH IS UNKNOWN; HOWEVER, THE PLAN IS UNDER WAY."

"Mystic Art is spirit expressed into matter. A mystic artist receives and transmits revelation, providing their art as a medium for messages from the divine matrix of Creation."

"Mystic Art affirms the holy mystery and the ideals of truth, goodness and beauty. No other artistic ideal can fulfill the longing soul like the creation and appreciation of relevant sacred art."

"Universal Creativity, Flow through me, From my heart Through my mind to my hand, Infuse my work with spirit To feed hungry souls."

"Embryonic artworks grow In the womb heart of the artists, Until the fever of making seizes their limbs, And they deliver their art through labors of love."

"Bathe your eyes in images Divine, All Heaven unfolds, the opposites combine. Your eyes become temple domes for the Pleides Crystalline mandalas inhabited by Deities. Blessing every moment you see As glimpses of eternity."

"Drawing the line, The Boundary line Between this form and that Is what the mind does."

"Our minds are artists, always drawing lines. Making decisions, differentiating One thing from another, Calling it something. This is the way we know. This is how we think. We define by drawing the line."

"We separate. We oppose. We dramatize. We exaggerate. We add colors. We make it beautiful. We make it ugly. We separate."

"Behold, Just Behold. To speechlessly and artlessly Behold the Infinite One, The inseparable ground from whence all forms are drawn, Dissolves the tyranny of separation, The war of opposites, Caused by drawing lines."

"All Beings and Things are radiances interweaving, Seamlessly welded to the boundless ground."

"Between our fear of failure And our ultimate potential We are called to action, A line must be drawn. Commit to Realization And experimentation, Stay centered in the Uncreated Source of Creation, Leave the critics behind. Let Love draw the line."

"I acknowledge the privilege of being alive In a human body at this moment, Endowed with senses, memories, emotions, thoughts, And the space of mind in its wisdom aspect."

"It is the prayer of my innermost being To realize my supreme identity In the liberated play of consciousness, The Vast Expanse. Now is the moment, Here is the place of Liberation."

"The infinite vibratory levels, The dimensions of interconnectedness Are without end. There is nothing independent. All beings and things are residents in your awareness."

"I subject my awareness to the perfection of being, The perfection of wisdom and perfection of love, All of these being co-present in the Vast Expanse. I share this panorama of Being And appreciate all I can share it with… The seamless interweaving of consciousness With each moment Create perfection wherever you go With your awareness."

"Life is infinite creative play. Enjoyment and participation in this creative play Is the artists profound joy. We co-author every moment With universal creativity."

"Love is what makes us alive, That is why we feel so alive when we love. Service is being available to love. Life is the combustion of love. That we love ourselves here, That is the true magnificence In the mountains of being."

"We are constantly drawing the line between love and not love — Enter into the Non-duality Zone. All judgements dissolve in the Vast Expanse."

"Like an eruption of consciousness, We discover the source of love. Experience yourself as the Source And appreciate every moment as perfection. Sunrise–Sunset. Thank you, Thank you, Creator; Profound unstoppable connectedness of all beings, Pattern to everything, most radical no-thing, The Vast Expanse."

"You can never be lost. When have you ever been apart from me?"

"Alex Grey is one of the mast widely recognized psychedelic artists of our time. His paintings — they’ve graced Nirvana's In Utero and the Beastie Boys' Ill Communication albums, as well as the covers of High Times — peel back reality, showing the human body in ways both spiritual and startling. To see his work is to get a crash course in human anatomy, higher consciousness and magic."

"They work just fine, thank you."

"My mother was a strong, domineering woman, probably scared to death of the position she found herself in She was psychotic, attempting suicide several times and scaring the devil out of me as a kid with threats . . . One day [she] would say that she loved me, and the next day she'd scream that she was sorry I'd ever been born -- that I'd ruined her life . . . [She] would often stuff her mouth with cotton and hold her breath, pretending that she was dead, to scare me when I was small. Sometimes she'd tell me she really could walk and during the night she was going to get up, turn on the gas jets, and kill us both. I would be absolutely terrified . . . And yet . . . she encouraged my writing and would tell me that I was a good kid and she didn't know why she acted that way . . . but then she'd do it again."

"When I think of me as a psychic, I get hung up because I seem to be in the company of so many nuts. Writers may be as nuts as anyone else but it's a nuttiness that doesn't bug me -- there's no dogma attached."

"The routine in the gallery seemed eternal. The artists ate a skimpy breakfast, worked from seven in the morning until noon, ate lunch when lunch was available, exercised by shift in the courtyard below, worked again till six, ate dinner, and worked from seven until eight-thirty. The gallery housed writers, artists, and a few musicians. Sexes were segregated. Every two weeks the men and women were allowed to mix indiscriminately. Any children born were immediately put in the outside government nurseries where they were brought up as workers, beginning in the fields or chemical gardens at the age of six."

"If Utrillo's paintings depicted actual scenes from life, if they were not imaginative pictorial fantasies, then the whole world would have had to be completely different. If Utrillo's representation was valid, then it would mean that mankind had regressed to an astonishing, almost unbelievable degree. All the things that Fitch believed man capable of enjoying -- dignity, solitude, integrity -- would have been experienced in the past. And that, he thought, was impossible. If men had ever possessed these benefits, they would never have given them up."

"It's your knowledge of the past that we're concerned with. Manuscripts and all kinds of important information has been withheld from the public for so many generations that we're held back ourselves. We have to know what was tried in order to see where the race failed. We're in a very peculiar position. At one time the Rebellers had a positive plan of action. We still know what we're rebelling against, but we have no idea of what sort of civilization we want to put in place of what we have now."

"Now, he was filled with a distaste for a civilization in which the individual was so prone and in which he must be so diligent just to preserve his sanity."

"Our purpose is implicit in our name. We're rebelling against life as it is for the masses of people. We believe that man can be a creature of dignity, integrity, and creativity. Filth, starvation, crowded quarters lead to man's degeneration as a biological species, and indeed, will result in his extinction."

"At one time, the race depended upon quantity for survival," Toby said. "Now it is destroying itself. We believe that man's unique characteristics, imagination, psychic understanding, sympathy, and so forth, are being undermined. Even if the race survives physically, it won't be the same race. We won't be bright enough to recognize our fall from grace, either; that's the hell of it. Tests show that though our mental capacity is as great as ever, our use of it has slumped to an astonishing degree."

"It is my contention that if a large body of strong healthy men do not exist as a pool of hope for the race, then the race has no chance to survive. If twenty million starved neurotics manage to live through the plague, does this mean that humanity survives?" He paused, throwing the question at them and waiting until they formed their own answer. Then he shouted, "No, it does not! What is humanity, a physical form only? I say it is more. It is intellect and reason and dignity. It is these qualities that must survive, not the mere number of twisted sickly bodies."

"We didn't have a chance to form the world we were born into. Now we have the opportunity to make a new one."

"We might have a chance now to rebuild it all with what we have left. We might have learned that we can exist only as a part of nature, not apart from nature."

"Your own inner capabilities and potentials are more varied and powerful than you realize. The purpose of this book is to enable you to recognize and use them in daily life. You use them now, but in a subdued and inefficient manner. They work in spite of you."

"Our first introduction to Frank Withers came on December 2, 1963. In our earlier sessions, we had never been able to maintain any consistency between one sitting and another. When the Seth sessions began, one session began to instantly reinforce earlier ones. Seth specified that we have sessions twice a week, naming the evenings and the time. Sessions varied from two to three hours each. Sometimes they were longer. We have followed this schedule ever since, and sessions still continue."

"Q. Can you give us more information concerning the name Ruburt? A. That was Jane's name long ago as yours was Joseph. Both represented high points for your entities, images in the mental genes, blueprints for the spirit to follow. Joseph and Ruburt represent the full scope of your earthly personalities, towards which you must grow. But in another sense, you are already Joseph and Ruburt, since the blueprint exists. Through each life the individual tries to follow his. The pattern is not imposed, but is the entity's own outline."

"For this reason, all the experiments in this book should be supplemented with a healthy outgoing attitude toward other people and relationships. If you are already a withdrawn, introspective person, you should make efforts to relate yourself with others through outside activities. This will ensure a balanced growth of your abilities, and the gradual acceptance of your inner abilities by your conscious mind."

"Any such material, received through the board, through automatic writing, or voice communication, should be carefully studied. Generally speaking, if your messages claim to originate from famous dead personalities, you can discount them as valid information. In all probability, they are creative fabrications of your own personal subconscious."

"Neither of you have a need for children in your present personalities. You are almost finished with incarnations on the earth, so much so that the physical bodies will return completely and unfragmented upon your physical death. This is always the case in the final earth life. The physical property is left behind, no portion of it being carried on that plane through children."

"Intellectual truth alone will not make you free, though it is certainly a necessary preliminary. If this were the case your walls would fall away, since intellectually you understand their rather dubious nature. Since feeling is so often the cohesive with which mind builds, it is feeling itself which must be changed if you would find freedom from your particular plane of existence at your particular time."

"The personality when it leaves your plane for good will have developed its potentials as far as it possibly can."

"The emotions come closer than anything else to the vividness of inner data."

"Suggestion can shape dreams, and the dreams themselves then operate as action. A strong dream can be a more significant psychic action than any physical experience, and it can change the course of the personality completely."

"The fact is that your plane originated because enough entities needed certain types of experience to warrant such a creation, and they set about forming it through the process of evolution."

"A personality will not choose unfavorable circumstances of rebirth until he himself sees that necessary discipline can be achieved in no other manner. Therefore extremely hot and extremely cold countries go largely undeveloped."

"Full use of the inner senses is not even for me yet."

"Free will as I mentioned earlier certainly does operate, but you must remember that while it does operate, personalities on your plane are extremely limited as to choice. They can only choose to operate within their own camouflage pattern framework."

"Your plane is a training place in the use of manipulation of energy."

"Hypnotism will become more and more a tool of scientific investigation. Telepathy will be proven without a doubt, and utilized, sadly enough in the beginning, for purposes of war and intrigue. Nevertheless telepathy will enable your race to make its first contact with alien intelligence."

"One dream can change the development of a personality, and change his physical course."

"Telepathy accounts for the usefulness of spoken language. Without telepathy no language would be intelligible."

"Hatred does not exist as a basic psychological structure. It is, however, the result of psychological manipulation of fear; and fear is not a basic psychological structure."

"However faith in an idea is frowned upon in scientific circles, but no new concept or idea, or discovery, ever came unless there was first faith that it indeed existed."

"Energy projected into any kind of construction, psychic or physical, cannot be recalled, but must follow the laws of the particular form into which it has been for the moment molded."

"There are no ends that must be accomplished by any given personality, no ends that must be gained by a personality for the entity."

"With his superior knowledge the entity must leave hands off. His, the entity’s, only hope is to allow the personality complete independence, for it is the personality who understands more clearly than he the conditions of the particular plane upon which he existence happens. There is here no puppet, and there is no hand that moves the strings. If there were you see, you would indeed have a much more perfect world, but you would not have that one built-in prerequisite: complete as possible existence within all facets, and manipulation within all facets, of a given plane."

"I have told you that emotions also possess an electrical reality. Thoughts formed and sent out within the impulse range of emotion often succeed because of the peculiar nature of emotional electrical impulses themselves. They have a particularly strong electrical mass."

"The winter of the spirit must be journeyed through, and it must not only be conquered but the benefits used. Yet without it maturity cannot arrive."

"The expression of joy also makes the ego more resilient, less fearful, less resentful of diverse conditions when they occur. The emotion itself is an automatic signal that unites the conscious and subconscious is shared experience."

"An illness is a failure to solve a mental or psychological problem in the correct manner . . . The energy that would be used to solve the problem instead is spent maintaining the illness. It is therefore necessary that an attempt be made as soon as possible to solve the problem, which of course must first be discovered by the ego, which has avoided it."

"As a rule, each entity is born so that he experiences at least three roles, that of mother, father and child . . . Beside the three necessary roles there is another quality, different in dimension, which is also necessary for the personality, and this involves the fullest use of potential."

"I would suggest that you tell yourselves that you will henceforth be able to remember dreams from the deeper levels of your personality, and you should find that you will be able to do so. You can also tell yourselves when you wish that you will give special attention to the nature of time and space, as these appear within your dreams. You will discover then upon awakening that many perceptions concerning time and space within the dream state will remain within you."

"You are at a point where you are ready to look into yourselves and to take the next steps that must indeed be taken."

"The eating of meat without doubt focuses the physical mechanism closely to the physical system. There is nothing wrong with this. If you are trying to develop inner abilities however, and if you wish to allow yourself a mobility of focus, then moderation in this respect must be used."

"I may say that Buddhism does indeed come closer in essence to reality than other religions. However, the Buddhist either have not gone far enough, or have gone too far, according to your viewpoint. If they have gone too far, then they have been so concerned with inner reality that they have become too tolerant of physical disease and disasters. If they have no gone far enough, then they have not followed through sufficiently so that these physical disasters could truly be suffered without pain."

"Every action changes every other action. We return to our ABC's. Therefore every action in the present affects those actions which you call the past. Ripples from a thrown stone go to in all directions."

"I have told you that upon physical death the ego becomes the subconscious in the next existence, and that its conscious knowing is retained electromagnetically."

"On the other hand as I have told you, your past continually changes. It does not appear to change for you, for you change with it."

"Basically there is no difference between precognition and telepathy. The apparent difference is the result of an inadequate understanding of the nature of time."

"A survival personality is many respects is psychologically much different from the individual that he was. The ego is now under the control of what may be loosely called the inner self. When communications take place between a survival personality and a personality who exists within the physical system, then this involves a reshuffling, again, on the part of the survival personality, where the ego is momentarily given greater reign. There is the same sort of disorientation that the ego experiences within physical reality when an individual dreams . . . The survival personality therefore momentarily inserts his ego in its old position."

"When you dream of others they know it. When they dream of you, you know this."

"[S]uggestions should be given that only constructive suggestions will be reacted to."

"As a rule projection in some areas can only be achieved by those who are living their last earthly cycle."

"Projections involve many more aspects of the whole self, and are a mark that the personality is progressing in important ways. The inner senses are allowed their greatest freedom in projection states, and the whole self retains experience that it would not otherwise. When this knowledge becomes part of the usual waking consciousness, that is when you realize what you have done, then you have taken a gigantic step forward. An almost automatic determination must be set up however if projections with conscious awareness are to be anything but rare oddities."

"Physical activity is an excellent way of using and controlling the effect of aggressive reaction, and will prevent the buildup of aggressive emotions into unsupervised physical constructions, and also prevent the habitual piling up of such aggressions, where detrimental constructions result continually."

"Occasionally when a decision has been made by the ego, the subconscious will change it, because the decision is obviously such an unwise one."

"What happens in the case of a constructive psychic energy when it [the inner self] is purposely denied aggressive outlets? It finds out . . . How strong and potent is the energy that is at its command?... It is quite necessary that all these questions be answered, for the inner self is composed of energy, and in other fields of activity thoughts and emotions are instantaneously translated, their results instantly seen. There is no saving time lag."

"Identity is no longer limited to the outer ego alone. The outer ego is now familiar with the whole self, or the entire identity, and has available to it strength of which it was not previously aware. In periods of exuberance, when you are working well, and your health is extraordinarily good, when you are able to remember and manipulate your dreams, then such periods are signs of the emergence of this new consciousness."

"The senses serve to blot out many more aspects of reality than they allow you to perceive. They are actually rather rigid limiting devices, yet in many inner explorations you will automatically translate experience into terms that the senses can use."

"I mentioned the caffeine. I should also note that if coffee does not prevent or inhibit sleep, it will stimulate dream projections, and also aid you in bringing the critical faculties into the dream state."

"When a man is ill it is not necessarily because he wants to be ill subconsciously. It is not necessarily because he is receiving some hidden psychological benefit, or because the illness fulfills some need. He is ill often - always in fact - because of a distortion that is occurring within the self, and materialized in physical form."

"None of us are ever equipped, for general purposes, to perceive reality in all of its forms. The pyramid gestalts can do this, and we help the pyramid gestalts perform this feat. But as a rule we must pick and choose. There is too much for any consciousness to digest except those so highly developed that even I know little of them."

"Reincarnation and projection, you see, are one and the same thing . . . When you are attached to the physical organism your projections are not as complete -- the difference between a reincarnational instance and a simple projection from the physical state."

"With drugs, there are some dangers. There are dimensions in which you are completely incapable, and if through some molecular disturbance you fell into one of these it is possible that you could not find your way back."

"Those portions of the brain, seemingly unused, deal with these other dimensions, and physically, you begin to use these portions, though minutely, for the first time, under psychedelic situations."

"A fully developed psychology will not exist until reincarnation is accepted as a fact."

"Now there are classes indeed where the newly dead are instructed. I used to teach some of these."

"To create a harmonious inner existence is a positive act with far-reaching effects, and not an act of isolation. To desire peace strongly is to help achieve it."

"If you want to know what you think of yourself, then ask yourself what you think of others, and you will find your answer."

"There are those who are so tightly meshed within physical reality that the soul is squeezed dry. They are tight, sore, and chafing beneath too-severe habits and ideas. For them momentary release, such as the drugs can give is highly beneficial."

"The basic idea of karma is not punishment. Karma presents the opportunity for development; to make use of opportunities that were not taken advantage of, to fill in gaps of ignorance, to enlarge understanding through experience, to do what should be done."

"However, you will reincarnate whether or not you believe that you will. It is much easier if your theories fit reality, but if they do not, then you do not change reality one iota."

"An individual who has survived physical death can if he wishes recreate any portion of his own past as it was. He can recreate any portion of his own past in any way he wishes, changing his own actions within it if he so chooses, combining and reforming the entire composition. Such a procedure is usually a dead-end enterprise. The others involved are vivid hallucinations, and he may not realize this."

"Physicists however will be forced to recognize that the energy within molecular structures has its origin elsewhere. They will be forced to postulate the existence of an unknown force, always existing despite newer current theories. No postulated new force theory will be able to explain reality."

"This is not the Cayce material, with information seemingly coming from some vast storehouse of knowledge. In those terms no such storehouse exists. Knowledge does not exist independently of the one who knows. Someone gave Cayce the material. It did not come out of thin air. It came from an excellent source, a pyramid gestalt personality, with definite characteristics, but the alien nature of the personality was too startling to Cayce, and he could not perceive it."

"We are Seth, and whenever we have spoken we have been known as Seth. The entity had its beginning before the emergence of your time. It was instrumental, with many other entities, in the early formation of energy into physical form. We are not alone in this endeavor, for through your centuries other entities like us have also appeared and spoken."

"When I speak of All That Is, you must understand my position within it. All That Is knows no other. This does not mean that there may not be more to know. It does not mean, and here words quite fail us, it does not mean that All That Is, in any terms we can conceive of, may not be limited. It knows of no other."

"I told you once that in those terms I would be considered as Ruburt's number 6 or 7 self. You had better change Ruburt to Jane in that sentence. Ruburt then, would be considered Jane's third self in approximate terms. In the analogy these future selves would dwell in other dimensions, and usually self one, or Jane, would be relatively unaware of their, existence or knowledge. In this case self one is able to make such contacts however."

"In spiritualistic terms, Ruburt would be [Jane's] the guardian angel, you see."

"Now in the past, in your distant past, when I spoke through others, or portions of my entity did so, then such personal connections also existed with those through whom we communicated."

"Your system is not the most elementary, but it is one of the most elementary, and it is a way that the inner self acquaints itself with certain basic facts. It therefore provides itself with a large variety of environments in various reincarnations, with problems of various natures, and with diverse circumstances."

"You must remember, once more, that expectations are the blocks with which you build your reality. There are no exceptions to this rule."

"When the race is in deepest stress and faced with great problems, it will call upon someone like Christ. It will seek out and indeed from itself produce the very personalities necessary to give it the strength it needs."

"It (the fetus) is strongly aware of your feelings toward it. At times the personality traits that it had earlier color this perception. It pushes these aside impatiently. It has mental images of its own probable future, and parts of it do become frightened at times, to relinquish old adult powers for an infant's helplessness."

"The eye projects and focuses the inner image (idea) onto the physical world in the same manner that a motion picture camera transfers an image onto a screen. The mouth creates words. The ears create sound. The difficulty in understanding this principle is due to the fact that we’ve taken it for granted that the image and sound already exist for the senses to interpret. Actually the senses are the channels of creation by which idea is projected into material expression."

"Some people think that we are stuck in physical reality like flies in flypaper or victims in quicksand, so that each motion we make only worsens our predicament and hastens our extinction. Others see the universe as a sort of theater into which we are thrust at birth and from which we depart forever at death. In the backs of their minds people with either attitude will see a built-in threat in each new day; even joy will be suspect because it, too, must end in the body's eventual death. I used to feel this way. When I fell in love with Rob, my joy served to double the underlying sense of tragedy I felt, as if death mocked me all the more by making life twice as precious. I saw each day bringing me closer to a total extinction that I could hardly imagine, but which I resented with growing vehemence."

"Physical objects cannot exist unless they exist in a definite perspective and space continuum. But each individual creates his own space continuum . . . I want to tie this in with the differences you seem to see in one particular object. Each individual actually creates an entirely different object, which his physical senses then perceive."

"Still speaking of dreams, Seth says: "Energy projected into any kind of construction, psychic or physical, cannot be recalled, but must follow the laws of the particular form into which it has been for the moment molded. Therefore, when the dreamer contracts his multi-realistic objects backward, ending for himself the dream he has constructed, he ends it for himself only. The reality of the dream continues." The energy, as Seth explains it, can be transformed, but not annihilated."

"The waking consciousness, dear friends, is not the ego. The ego is only that portion of the waking consciousness that deals with physical manipulation."

"Later, in your time, all of you will look down into the physical system like giants peering through small windows at the others now in your position and smile. But you will not want to stay, nor crawl through the same enclosures . . . We protect such systems. Our basic and ancient knowledge automatically reaches out to nourish all system that grow--"

"Simply stated, this is one of the thumbnail passages that explain Seth's concept of God: "He is not human in your terms, though he passed through human stages; and here the Buddhist myth comes closest to approximating reality. He is not one individual, but an energy gestalt. If you remember what I said about the way in which the universe expands, that it has nothing to do with space, then you may perhaps dimly perceive the existence of a psychic pyramid of interrelated, ever-expanding consciousness that creates, simultaneously and instantaneously, universes and individuals that are given -- through the gifts of personal perspective -- duration, psychic comprehension, intelligence, and eternal validity."

"Most of your God concepts deal with a static God, and here is one of your main theological difficulties. The awareness and inner experience of this gestalt constantly changes and grows. There is no static God. When you say, "This is God," then God is already something else."

"All portions of All That Is are constantly changing, enfolding, and unfolding. All That Is, seeking to know Itself, constantly creates new versions of Itself. For this seeking Itself is a creative activity and the core of all action."

"There were three men whose lives became confused in history and merged, and whose composite history became known as the life of Christ . . . Each was highly gifted psychically, knew of his role, and accepted it willingly. The three men were a part of one entity, gaining physical existence in one time. They were not born on the same date, however. There are reasons why the entity did not return as one person. For one thing, the full consciousness would be too strong for one physical vehicle. For another, the entity wanted a more diversified environment than could otherwise be provided."

"No God created the crime of murder, and no God created sorrow or pain . . . Again, because you believe that you can murder a man and end his consciousness forever, then murder exists within your reality and must be dealt with . . . The assassin of Dr. King believes that he has blotted out a living consciousness for all eternity . . . But your errors and mistakes, luckily enough, are not real and do not affect reality, for Dr. King still lives."

"There is never any justification for violence. There is no any justification for hatred. There is no any justification for murder. Those who indulge in violence for whatever reason are themselves changed, and the purity of their purpose adulterated."

"It is wrong to curse a flower and wrong to curse a man. It is wrong not to hold any man in honor, and it is wrong to ridicule any man. You must honor yourselves and see within yourselves the spirit of eternal vitality. If you do not do this, then you destroy what you touch. And you must honor each other individual also, because in him is the spark of eternal vitality. When you curse another, you curse yourselves, and the curse returns to you. When you are violent, the violence returns . . . I speak to you because yours is the opportunity [to better world conditions] and yours is the time. Do not fall into the old ways that will lead you precisely into the world that you fear."

"When every young man refuses to go to war, you will have peace. As long as you fight for gain and greed, there will be no peace. As long as one person commits acts of violence for the sake of peace, you will have war. Unfortunately it is difficult to imagine that all the young men in all of the countries will refuse to go to war at the same time. And so you must work out what violence has wrought. Within the next hundred years, that time may come. Remember, you do not defend any idea with violence. There is no man who hates but that hatred is reflected outward and made physical. And there is no man who loves but that love is reflected outward and made physical."

"Above all, I am sure that Seth is my channel to revelational knowledge, and by this I mean knowledge that is revealed to the intuitive portion of the self rather than discovered by the reasoning faculties. Such revelational material is available to all of us, I believe, to some degree. From it springs the aspirations and achievements of our race. I think that revelational knowledge come first in the form of intuitions, dreams, hunches, or experiences such as mine, and that the intellect than (sic) uses the information provided. both are important."

"You do not understand the dimensions into which your own thoughts drop, for they continue their own existence, and others look up to them and view them like stars. I am telling you that your own thoughts and mental actions appear to inhabitants of other systems like the stars and planets within your own; and those inhabitants do not perceive what lies within and behind the stars in their own heavens."

"Plants will react quite sharply to an abortion. The fetus, however, will also react to the death of an animal in the family, and will be acquainted with the unconscious psychic relationships within the family long before it reaches the sixth month. The plants in a house are also quite aware of the growing fetus; the plants will also pick up the fact that a member of the family is ill, often in advance of physical symptoms. They are that sensitive to the consciousness within cellular structure. Plants will also know whether a fetus is male or female."

"This private multidimensional self, or the soul, has... an eternal validity. It is upheld, supported, maintained by the energy, the inconceivable vitality, of All That Is."

"Each mental act is a reality for which you are responsible."

"Success does not necessarily involve great intellect, or great position, or great wealth; it has to do with inner integrity. Remember that."

"Within your system, to kill is obviously a moral crime, but to kill another in punishment only compounds the original error. Someone very well known who established a church -- if you will, a civilization -- once said, "Turn the other cheek if you are attacked." The original meaning of that remark, however, should be understood. You should turn the other cheek because you realize that basically the attacker only attacks himself. Then you are free, and the reaction is a good one. If you turn the other cheek without this understanding, however, and feel resentful, or if you turn the other cheek out of a feeling of pseudomoral superiority, then the reaction is far from adequate."

"If you examine your thoughts for five minutes at various times during the day for several times a month, you will indeed receive a correct impression of the kind of life you have arranged for yourself in the next existence. If you are not pleased with what you discover, then you had better begin changing the nature of your thoughts and feelings."

"To dwell upon the possibility of illness or disaster is equally poor policy, for you set up negative webs of probabilities that need not occur. You can theoretically alter your own past as YOU have known it, for time is no more something divorced from you than probabilities are. The past existed in multitudinous ways. You only experienced one probable past. By changing this past in your mind, now, in your present, you can change not only its nature but its effect, and not only upon yourself but upon others."

"So the concept of God began to change as the ego recognized its reliance upon inner reality, but the drama had to be worked out within the current framework. Muhammadanism was basically so violent precisely because Christianity was basically so gentle. Not that Christianity was not mixed with violence, or that Muhammadanism was devoid of love. But the psyche went through its developments and battled with itself, denying some feelings and characteristics and stressing others, so the historic religious exterior dramas represented and followed these inner aspirations, struggles, and searches."

"I'm proud to publish this book under my own name, though I don't fully understand the mechanics of its production or the nature of the personality I assume in delivering it. I had no conscious work to do on the book at all. I simply went into trance twice a week, spoke in a "mediumistic" capacity for Seth, or as Seth, and dictated the words to my husband, Robert Butts, who wrote them down."

"The inner world of each man and woman is connected with the inner world of the earth. The spirit becomes flesh. Part of each individual soul, then, is intimately connected with what we will call the world's soul, or the soul of the earth."

"It might help if you imagine an inner living dimension within yourself in which you create, in miniature psychic form, all the exterior conditions that you know. Simply put, you do exactly this. Your thoughts, feelings and mental pictures can be called incipient exterior events, for in one way or another each of these is materialized into physical reality."

"Your experience in the world of physical matter flows outward from the center of your psyche. Then you perceive this experience. exterior events, circumstances and conditions are meant as a kind of living feedback. Altering the state of the psyche automatically alters the physical circumstances. There is no other valid way of changing physical events. It might help if you imagine an inner living dimension within yourself in which you create, in miniature psychic form, all the exterior conditions that you know. Simply put, you do exactly this. Your thoughts, feelings and mental pictures can be called incipient exterior events, for in one way or another, each of these is materialized into physical reality."

"You are in physical existence to learn and understand that your energy, translated into feelings, thoughts and emotions, causes all experience. There are no exceptions."

"Quite deliberately you use your conscious mind playfully, creating a game as children do, in which for a time you completely ignore what seems to be in physical terms and 'pretend' that what you really want is real. If you are poor, you purposely pretend that you have all you need financially. Imagine how you will spend your money. If you are ill, imagine playfully that you are cured. See yourself doing what you would do. If you cannot communicate with others, imagine yourself doing so easily. If you feel your days dark and pointless, then imagine them filled and joyful. Now this may sound impractical, yet in your daily life you use your imagination and your emotions often at the service of far less worthy beliefs; and the results are quite clear - and let me add, unfortunately practical."

"You get what you concentrate upon. There is no other main rule."

"The fact remains that there are probable past events that can "still happen" within your personal previous experience. A new event can literally be born in the past -- "now.""

"In daily practical experience, try to concentrate for a while upon seemingly subordinate abilities, ones that you think of as latent. If you do so consistently, using your imagination and will, then those abilities will become prominent in your present. The current beliefs will reprogram and alter past experience. It is not simply that past, forgotten, unconsciously perceived events will be put together in a new way and organized under a new heading, but in that past (now not perceivable), the entire bodily response to seemingly past events will change."

"Your desire or beliefs will literally be reaching back into time, teaching the nerves new tricks. Definite reorganizations in that past will occur in your present, allowing you to behave in entirely new fashions. Learned behavior therefore alters not only present and future but also past conduct."

"From infinite probable acts, comma, only one can be physically experienced as a rule, period. The dream world operates as a creative situation in which probable acts are instantly materialized, laid out in actual or symbolic form. From these you then choose the most appropriate for physical expression."

"Do not place the words of gurus, ministers, priests, scientists, psychologists, friends -- or my words --higher than the feelings of your own being. You can learn much from others, but the deepest knowledge must come from within yourself. Your own consciousness is embarked upon a reality that basically can be experienced by no other, that is unique and untranslatable, with its own meaning, following its own path of becoming."

"I was . . . questioning the students when something else caught my attention. First, dimly, then more vividly, I began to sense the presence of an invisible personality beside me. That is, I didn't see him, but felt his emotional reality quite as strongly as physical vision could ever show it. I'd "met" this same person in several previous classes when he told me mentally that he represented a past life of mine. Then, supposedly, I'd been some kind of jealous leader, demanding utmost loyalty. My friend Sue had been one of my followers. Now he wanted to confront her, feeling that she was going her own way this time and not following in her footsteps, as he thought she should have."

"Cordellas are invisible symbols that surface. As they do, they show the universe in a new light by the very nature of their relationships. In a very limited fashion, alphabets do the same thing, for once you have accepted certain basic verbal symbols they impose their discipline even upon your thoughts . . . and throw their particular light upon the reality you perceive. Alphabets are nevertheless tools that shape and direct perception. They are groups of relationships that you transpose upon "reality". To this extent they shape your conceptions of the world that you know. Their discipline and rigidity is considerable. Once you think of a "tree" as a tree, it takes great effort before you can see it freshly again, as a living individual entity. Cordellas do not have the same rigidity. Inner invisible relationships are allowed to rise, [with] the acknowledgment recognized reality viewed through the lenses of these emerging relationships."

"This conscious self is only one aspect of our greater reality, however; the part that springs into earthknowing. It can be called the "focus personality," because through it we perceive our three-dimensional life. It contains within it, however, traces of the unknown or "source self" out of which it constantly emerges. The source self is the fountainhead of our present physical being, but it exists outside of that frame of reference. We are earth versions of ourselves, beautifully turned into corporal experience. Our known consciousness is filtered through perceptive mechanisms that are a part of what they perceive. We are the instruments through which we know the earth. In other terms, we are particles of energy, flowing from the source self into physical materialization. Each source self forms many such particles or "Aspect selves" that impinge upon three-dimensional reality, striking our space-time continuum. Others are not physical at all, but have their existence in completely different systems of reality. Each Aspect self is connected to the other, however, through the common experience of the source self, and can come to some degree to draw on the knowledge, abilities, and perceptions of the other Aspects. Psychologically, these other Aspects appear within the known self as personality traits, characteristics, and talents that are uniquely ours. The individual is the particle or focus personality, formed by the intersection of the unknown self with space and time. We can follow any of our traits or emotions back to this source self, or at least to a recognition of its existence."

"Just as a telegram is composed of symbols called words, so the personagram is made of Aspect-prints that together combine to form the message. Only this message is written "on" a psychological structure by psychologically animate symbols. A telegram is inert itself; the information appears upon it, but it can't send a message or interpret its own. A personagram can."

"It wasn't that I mistrusted the Seth personality, but I felt it was a personification of something else -- and that "something else" wasn't a person in our terms. It was, I felt, a consciousness different from mine, but to call Seth a spirit guide, meaning a nonphysical person in usual terms, just didn't fit to me."

"Seth's book The Nature of Personal Reality, stresses the importance of personal beliefs in the private creation of daily reality. He emphasizes that it's important not to be afraid of thoughts or feelings, particularly of aggressive ones. Expressed naturally and easily through body motion, gestures, and activity, these are a necessary part of corporal reality. Only when we fear them and impede their natural expression dop they back up or become dangerous."

"Who needs poetry? All of us do. Poetry has always been the voice of the inner self, the carrier of revelations, dreams, and visions that often defy expression in ordinary prose."

"Let us, using our double vision, travel two worlds in one and form a single double song that splashes out in ripples of thought and blood that eddy, wrinkle and wake through the double skies of our single universe, and break into rainbow vowels that sing soft lullabies, and fall as light in both our worlds."

"But I thought: Of course -- Lyman was representing my own ideas about something else too; the overly gullible people who parade as skeptics. All many of them need is a word they've been some big shot in a past life, or known some famous person, and presto, they're confirmed "believers." People like that -- like the boy on the phone -- never trust their own vision."

"Others have provided maps for the psyche, but I've never trusted them. Those maps carried the marks of too many name-places in this reality. When you travel through the psyche, you necessarily journey through your own deepest mind -- and as you travel into inner realities, this means that you move into another kind of atmosphere, as you would if you were travelling in outer space. In the past, others have projected phantoms of their own minds there, then acted as if these were natural signposts. In my journeys I refused to follow those paths, feeling that they were not safe or dependable and fearing that they might cloud my own view or make me lose my way."

"I knew that the library was also the materialization of a certain level of the psyche, even as our world is. Only there, time is laid out like space is here. The windows of the library coincide with definite places in our space-time. In our world, these points of intersection may appear as natural objects, and these correlate with coordination points in your psyche. Moving toward these coordination points in your mind automatically lines up your consciousness to some extent with this other reality, and stabilizes conditions enough to allow for more or less conscious entry and return."

"I'm afraid that I got put off by the kings, queens, christs, disciples, priests, and priestesses who seemed to parade through the psyches of my contemporaries; and by the reincarnational data given by many psychics. It seems that almost everyone has a distinguished reincarnational family tree, blooming with famous historic personages. I've often thought that these purported past lives of fame and grandeur represent more heroic portions of the psyche, buried beneath prosaic life; I was willing to admit their value in reminding a contemporary personality of its own greater abilities and potentials."

"These classic models are everywhere mirrored in all universal systems, and in each they are the ideals from which all varieties and versions of themselves constantly emerge. They are, then, the source of all phenomenal life and represent the inner structure behind all life forms. They do not produce copies of themselves, however, but new creative eccentricities which, in turn, alter the models. They also appear as the biological working models of the genes and chromosomes, and they can be affected and changed at any time through mental experience. they are, in fact, instantly responsive to mental and psychic events, through the natural interchange between the psychological model accepted by the focus personality, and the reflections of that model through the entire body structure."

"Cave man and Industrial man are both versions of a model of man that is, itself, constantly changed by its own eccentricities -- and their subjective experience of reality is so different that the respective versions follow entirely divergent paths. Cave man did not turn into Industrial man. Nor is Industrial man a better version of an earlier model. Each chose eccentricities that involved specific orientations within the same time-space framework. Each uses the contents of a given earth differently."

"Everything was giant-sized, as if I were looking through binoculars. "I" was walking up giant stalks. At first I didn't know what they were or what I was, for that matter. The stalks were tall as redwood trees, and suddenly "I" realized that I was an insect of some kind. This was a grass blade. I thought I was a fly in a gigantic forest -- a giant fly, because everything was so large and super-real, and I'm used to thinking of flies as small. But I was an ordinary fly. I realized, and this was what the world looked like! Oddly enough, this made me feel better, I didn't care what I was; as long as I was something. So I felt myself go up the grass blade. It's impossible to verbalize the sensations I had, but I remember being aware of the weight of my wings. They seemed very sturdy and reassuring."

"Ruburt tuned in to the world view of a man known dead. He was not directly in communication with William James. He was aware, however, of the universe through William James' world view. As you might tune into a program on a television set, Ruburt tuned into the view of reality now held in the mind of William James. Because that view necessarily involved emotions, Ruburt felt some sense of emotional contact -- but only with the validity of the emotions. Each person has such a world view, whether living or dead in your terms, and that "living picture" exists despite time or space. It can be perceived by others."

"He said, for example: "Many people working with the Ouija board or automatic writing receive messages that seem, or purport, to come from historic personages. Often, however, the material is vastly inferior to that which could have been produced by the person in question during his or her earthly existence. Any comparison with the material received to the written books or accounts already existing would immediately show glaring discrepancies. Yet in many instances, the Ouija board operator or the automatic writer is to some extent or other tuning in to a world view, struggling to open roads of perception free enough to perceive an altered version of reality, but not equipped enough through training and temperament, perhaps to express it. . . ."

"The most legitimate instances of communication between the living and the dead occur in an intimate personal framework in which a dead parent makes contact with its offspring; a husband or wife freshly out of physical reality appears to his or her mate. But very seldom do historic personages make contact except with their own intimate circles."

"Each identity has free will and chooses its environment as a physical stance in space and time. Those involved in a given century are working on particular problems and challenges. Various races do not simply 'happen,' and diverse cultures do not just appear. The greater self 'divides' itself, manifesting in flesh as several individuals, with entirely different backgrounds, yet each embarked on the same kind of creative challenge."

"The psyche is awareized energy, in a state of constant creativity; a psychic pattern of multidimensionally expressed; each point within it changing in relationship to all other points, and thus altering the entire pattern or model. Each self is immersed in the psyche, yet immersed in its own individuality simultaneously, experiencing reality in time and out of it at once."

"I saw us as coming from a source self, free of space and time, into this reality. The focus personality (or the self we know) focuses in this life, but is also composed of other Aspects or parts of the source self that are latent within the psyche, though "alive" in other realities. These form the basic structure of the psyche from which the focus personality emerges. I call these "prime Aspects." A harmonious working relationship between these prime Aspects results in a well-balanced focus personality -- one that is reasonably happy, healthy, and creative."

"I believe too thoroughly that we create our own reality, for one thing -- an unpopular belief where violence is concerned -- but I'm convinced that the victim-to-be picks out the assailant with as much skill and craft as the murderer seeks his victim, and until we learn much more about both, we'll get nowhere battling crime. I'm not justifying murder by any means, but I'm saying that the victim wants to be murdered -- perhaps to be punished, if not by a vengeful god then by one of his fellows, and that a would-be murderer can switch in a minute and become the victim instead; and that the slayer wants to be slain."

"We are a multitude of selves, and the sooner we learn that, the better. And in that rich alliance of psychological Aspects lies the very secret of our practical operative stability. Only because we change our positions constantly in reference to the psyche and the world are we able to manipulate physically and translate inner experience into sense terms."

"Civilizations and social orders have not been geared to the fulfillment of human potential (even now, for all of our liberal thought), but to the suppression of abilities that did not fit in with the basic assumptions about the nature of the self. We inhibited any such evidence from conscious awareness, developing a kind of one-line official consciousness. Opposing data did not disappear, but formed powerful undercurrents that composed the unofficial knowledge of the race."

"Civilizations, both past and present represent projections of inner selfhood, and mirror the state of the mass psyche at any given time."

"The totem pole, for example, is a remnant from an era where there was much greater communication between man and the animals -- when, in fact, men went to the animals to learn, and from them first acquired knowledge of herbs and corrective medicinal behavior."

"This (precognitive ability) steers the cell through mazes of probabilities, while allowing it to retain knowledge of its own greater fulfillment -- the ideas of itself, which is always alive in any given period of your time. On a different kind of scale, then, each individual has the same sort of idealized version of the self, and so does each species. Here I mean each species, and I am not simply referring to mankind. Obviously these are not apparent to the physical senses, yet they are strong energy centers that to some degree stimulate the physical senses toward activity. To that degree, then, there are indeed "tree gods," gods of the forest, and "gods of being" connected with each person."

"There have indeed been civilizations upon your planet that understood as well as you, and without your kind of technology, the workings of the planets, the positioning of the stars -- people who even foresaw "later" global changes. They used a mental physics. There were men before you who brought back data quite as "scientific" and pertinent. There were those who understood the "origin" of your solar system far better than you. Some of these civilizations did not need spaceships. Instead, highly trained men combining the abilities of dream-art scientists and mental physicists cooperated at journeys not only through time but through space."

"Pretend that you are a writer of fiction, and you create a character. This character is so independent, alive and real, that it in turn forms other characters -- and each writes its own book, or forms its own reality. That is a truer picture of your position."

"There is no transmigration of souls, in which the entire personality of a person comes back as an animal."

"Through him I am aware of the nature and condition of your world, and offer from my viewpoint comments meant to help you. Through Ruburt, then, I am permitted to view the earth again in your terms. I exist apart from him, as he exists apart from me, yet we together a part of the same entity - and that simply carries the idea of the psyche further."

"Time expands in all directions, and away from any given point. The past is never finished, and the future is never completely formed. You choose to experience certain versions of events. You then organize these, nibbling at them, so to speak, a bit "at a time." The creativity of any given entity is endless, and yet all of the potentials for experience will be explored . . . You follow in terms of continuity one version of yourself at any given "time" . . . Quite literally, you live more than one life at a time. You do not experience your century simply from one separate vantage point, and the individuals alive in any given century have far deeper connections that you realize. You do not experience your space-time world, then, from one but from many viewpoints."

"It is fashionable to say: You must not eat meat because you are killing the animals, and this is wrong. But in deeper terms, physically and biologically the animals are born from the body of the earth, which is composed of the corpses of men and women as much as it is of other matter. The animals consume you, then, as often as you consume them, and they are as much a part of your humanity as you are a part of their so called animal nature."

"Part of the unknown reality, then, is hidden beneath language and the enforced pattern of accustomed words-so, for an exercise, look about your environment. Make up new, different 'words' for the objects that you see about you. Pick up any object, for example. Hold it for a few seconds, feel its texture, look at its color, and spontaneously give it a new name by uttering the sounds that come into your mind. See how the sounds bring out certain aspects of the object that you may not have noticed before. The new word will fit as much as the old one did. It may, in fact, fit better. Do this with many objects, following the same procedure. You can instead say the name of any object backwards. In such ways you break up to some extent the automatic patterning of familiar phrases, so that you can perceive the individuality that is within each object."

"Again, your being is never annihilated, but continues to develop its own existence in other ways. A portion of you has lived many lives upon this planet, but the "you" that you know is freshly here, and will never again encounter space and time in precisely the same way. The same applies to each life lived either before or after. Biologically you rest upon a heritage, however, and psychically the same applies. The soul, or this greater personage, does not simply send out an old self in new clothes time and time again, but each time a new, freshly-minted self that then develops and goes its own way. That self rides firmly, however, in the great flight of experience, and feels within itself all of those other fully unique versions that also fling their way into existence."

"I have memories of being Ruburt - but the Ruburt I was is not the Ruburt that Ruburt is in his reality."

"Ruburt’s life as he knows it is not in my memory -- because I did different things when I was Ruburt. And he is not bound by that reality that was mine."

"You take it for granted that interpretations of events change, but that certain definite events occurred that are beyond alteration. Instead, the events themselves are not nearly that concrete. You accept one probable event. Someone else may experience instead a version of that event, which then becomes that individual’s felt reality."

"However, suicides and would-be suicides often have such a great literal lust for life that they constantly put it into jeopardy, so that they can experience what it is in heightened form."

"In terms that I admit are difficult to describe, the creative solutions will change the course of history in the past, so that variations are taken, and technology does not progress in the same way that it has in your experience."

"You are not a miniature self, an adjunct to some superbeing, never to share fully In its reality. In those terms you are that superself - looking out of only one eye, or using just one finger. Much of this is very difficult to verbalize. You are not subordinate to some giant consciousness. While you think in such terms, however, I must speak of reincarnational selves counterparts, because you are afraid that if you climb out of what you think your identity is, then you will lose it."

"I thought you understood," he said. "The world is your teacher. It will be all around you. The ocean and the wind and the stars and the moon will all teach you many things."

"I know that the earth was new, but I didn't realize that it wasn't finished yet."

"It doesn't matter," WisestFrog answered. "You knew that the thoughts were beneath you and you felt small. And here in the Land of the Gods, everything is so creative that your thoughts may give results you don't expect at all. But you really have no problem. Just think big yourself bigger. Go ahead, think a big thought."

"There was a god or goddess of wind, rain, lightning, thunder, clouds, stars, sun, and of course, the moon goddess, and they all more or less worked under SkyMaker."

"The God of All Life was really more like a light than anything else, and the whole divine arena just lit up as if a universal spotlight was turned on from the inside of things, bathing every visible object. Everything Emir saw was lit up as if even the blades of grass had bulbs inside them, though bulbs hadn't been invented yet or spotlights either. Still, a new kind of superlight splashed out over the arena. More than this, the light itself was somehow kindly and alive, as if the God of All Life was everywhere at once, made of light, but with a presence inside that was invisible."

"The message of the God of All Life is in all of nature, everywhere. If you really listen, you'll hear it."

"The spirits of people and creatures and plants don't take up any room at all. But their bodies do. Bodies are like houses our spirits live in, only they're far nicer, of course. There's only room for so many bodies in the kingdom, whether they're plant bodies or creature bodies or people bodies. After a while, we have to leave our body-houses to make room for new things."

"Emir said: "This way everyone lives in a body of a kind for a while, and then leaves its body behind so that it can be remade for someone else. That's a very simple explanation, but it will do for now. Then all new life has a chance to live, and lots of room. Then we each take turns, so we can come back on new bodies when there's room available."

"To one extent or another, then, you learn to constantly monitor your behavior, so that it conforms to the established criteria set up for sane or rational experience. You are social creatures, as the animals are. Despite many of your cherished, erroneous beliefs, your nations exist as the result of cooperation, not competition, as do all social groupings."

"In dreams you are so 'dumb' that you believe there is a commerce between the living and the dead. You are so 'irrational' as to imagine that you sometimes speak to parents who are dead. You are so 'unrealistic' that it seems to you that you visit old houses, long ago torn down, or that you travel in exotic foreign cities that you have actually never visited. In dreams you are so 'insane' you do not feel yourself locked in a closet of time and space, but feel instead as if all infinity but waited your beckoning."

"A mind is a psychic pattern through which you interpret and form reality. You have physical limbs that you can see. You have minds that are invisible. Each one can organize reality in a different fashion. Each one deals with its own kind of knowledge. These minds all work together to keep you alive through the physical structure of the brain. When you use all of these minds, then and only then do you become fully aware of your surroundings: You perceive reality more clearly than you do now, more sharply, brilliantly and concisely. At the same time, however, you comprehend it directly."

"A relatively strong sexual identification is important under those circumstances - but (louder) an over-identification with them, before or afterward, can lead to stereotyped behavior, in which the greater needs and abilities of the individual are not allowed fulfillment."

"In larger terms, it is as natural for a man to love a man, and for a woman to love a woman, as it is to show love for the opposite sex. For that matter, it is more natural to be bisexual."

"Physically, however, the body is quite able to completely regenerate itself as it approaches old age. Indeed, a quite legitimate second puberty is possible, in which the male’s seed is youthfully strong and vital, and the woman’s womb is pliable and able to bear . . . Now, to some extent there is a connection between this innate, rarely observed second puberty and the development of cancer, in which growth is specifically apparent in an exaggerated manner."

"There are lost portions of the Bible having to do with sexuality, and with Christ’s beliefs concerning it, that were considered blasphemous and did not come down to you through history."

"The overly specific sexual orientation, then, reflects a basic division in consciousness. It not only separates a man from his own intuitions and emotions to some extent, or a woman from her own intellect, but it effectively provides a civilization in which mind and heart, fact and revelation, appear completely divorced. To some degree each person is at war with the psyche, for all of an individual’s human characteristics must be denied unless they fit in with those considered normal to the sexual identity."

"Many men, labelled homosexual by themselves and others, want to be fathers. Their beliefs and those of your society leads them to imagine that they must always be heterosexual or homosexual. Many feel a desire toward women that is also inhibited. Your male or female orientation limits you in ways that you do not understand. For example, in many cases the gentle "homosexual" father has a better innate idea of manliness than a heterosexual male who believes that men must be cruel, insensitive, and competitive."

"You cannot love someone you do not know -- not unless you water down the definition of love so much that it becomes meaningless."

"I don't feel "possessed" or "invaded during sessions. I don't feel that some superspirit has "taken over" my body. Instead I feel as if I am practicing some precise psychological art, one that is ancient and poorly understood in our culture; or as if I'm learning a psychological science that helps me map the contours of consciousness itself."

"In Framework 2, extra-natural help, energy, impetus, and knowledge are 'naturally' available. . . . But only when your own beliefs are clear enough so that the help is not blocked."

"Despite the beliefs and teachings of religion and psychology, impulses are biological and psychic directional signals to nudge the individual toward his or her greatest opportunities for expression and development privately, and also to insure the person's contribution to mass social reality."

"There aren't any even halfway reasonable dogmas around nowadays, not one that doesn't offend or outrage either the intellect or the intuitions."

"Old hates lie in wait for the infant till he grows into a man. Then they leap upon him when he puts his father's coat on. When the father's bones drop into the grave, the lice flock up as the dark earth turns, to feed on a son's guilt-love. No man can look in his son's face, for what was done to him, he does in turn, and he carries the hate in his blood; ghosts of times forgotten, tragedies unseen, unspoken,wait in the past's proud flesh, and nothing will shake them off."

"Some of my ideas certainly came from my mother's father. She and he had a family argument and didn't see each other for twenty years, though we all lived in the same town. Mother wouldn't let my grandfather in the house. She let me visit him though. He was part Indian and part French, a tiny dark-haired man with an Indian hoked-nose; tight-lipped and stubborn. But he talked to me about the spirits of the fire and the wind, and took me for long walks in a nearby woods, while he told me Indian legends."

"Looking back now, it's easy to see that I had no models for the socially accepted conventional female role, which was certainly a blessing."

"And I decided that if motherhood turned a "young American beauty" into that unhappy woman, then motherhood wasn't for me, either. That youthful, emotional decision (ill-formed and made for the wrong reasons) kept me from too much early sexual experimentation, and probably turned me into a bit of a tease. I'd "neck" but only go so far, because . . . well, I because I was going to be a writer, "free and unhampered." At the very least. I wasn't going to get pregnant in my teens."

"So I had to face the fact that I was blessed with abilities that were considered symptoms of emotional abnormality or mental derangement by psychology, often thought of as demonic by religion, and whose very existence was denied altogether by science. So in my darker moments I used to think that my psychic initiation and subsequent experiences were a mixed bag, to say the least. But the fact is that I was very sensitive to criticism for the very good reason that often I shared many of the beliefs that stimulated it."

"As to the origin of life, any life, I thought, we remain ignorant. Our science theorizes about the beginning of the cosmos or the birth of life. Our religions postulate endless versions of a man-God, hardly more rational than we are, as the Creator. In the past I have sometimes thought that maybe life is meaningless after all. Then I'd think that maybe the Seth material is a kind of cosmic poppycock -- the chemical composition of my mind somehow intelligent enough to understand the irony of its own meaninglessness, then spinning desperate yarns, as many psychologists would say; futile fantasies leading nowhere. But then I'd think that a brain that could conceive or order somehow had to emerge from a greater order. Besides that, earlier I hadn't realized (I thought, feeling better) that science and religion had spun some pretty weird yarns themselves, and if poppycock was being measured on a scale of one to ten, in my book anyhow they'd each get a twelve and a gold star."

"When we believe that science or religion "has the truth," we stop our speculations. While still referring to the theory of evolution, science accepts it as a fact, about existence, and therefore any speculation that threatens that theory becomes almost heretical. So often it seems that there is no other choice in the matter of man's origin than a meaningless universe and an earth populated by creatures who fight for survival, or a universe created by Christianity's objectified God. And to me, at least, the Eastern religions present no acceptable answers, either."

"I'm taking it for granted here that there is a Source or God, but that our visions of such a vast psychological reality are limited, even shoddy and destructive. The idea of a crucified God to me at least is aesthetically appalling, for example. Why not a God who loves earth and life for a change? If we're going to insist upon a superhuman God, then why a distant, tempestuous God 'the father'? Why not a God who has the finest human abilities carried to their fullest; God the superartist, superlover, superartisan or athlete or farmer? At least such designations would upgrade the conventional ideas of a godhead. And of course Christianity leaves out any goddesses, so that along with Darwinian and Freudian theories religion is not just parochial but 'sexist' as well. And no one ever talks about Christ, the lover of women . . ."

"If we are to end our wars, we have to dispense with a threatening, vengeful, bloodthirsty God. If we're to have any kind of world brotherhood, we have to dispense with a God who reserves his favors for a chosen few. Life is given to all. The sun shines freely on each of us. Would a God be less kindly? More than this, we must also dispense with our species God, and extend our ideas of divinity outward to the rest of nature which couches us and our religious theorizing with such a gracious and steady support."

"This 'God of Jane' idea, or 'God of Jim' or whoever, suits me in many ways. It suggests an intensely personal connection between each individual and the universe, for one thing. For another, it makes important distinctions between the private 'God' and the universal All That Is, while still maintaining the personal involvement. For instance, when I use the phrase 'the God of Jane', I'm referring to or trying to contact the portion of the universe that is forming me -- that is turning some indefinable divinity into this living temporal flesh. I want to avoid all other complications. I'm not trying to contact the God of Abraham, for instance, or the Biblical Christ, or the inexplicable power behind all of reality."

"It's never pleasant to have your integrity questioned, of course, no matter who you are. But when it's questioned by someone who doesn't even know you, someone who doesn't even have the facts straight, yet whose name carries the authority of science -- well, that's not exactly guaranteed to make your day."

""Science worships skepticism," I wrote, "unless skepticism is applied to science, its hypotheses, procedures, or methods. What we need are more skeptics who are not afraid to judge the claims of science with the same fine discrimination used to examine other alternate disciplines and fields of endeavor. Like The New York Times, science publishes 'all the news that's fit to print,' meaning all of the news that fits into the officially accepted view of reality. That news is already censored, and yet we're supposed to live our lives in accordance with that official definition of experience."

"The fact is that science itself must change, as it discovers that its net of evidence is equipped only to catch certain kinds of fish, and that it is constructed of webs of assumptions that can only hold certain varieties of reality, while others escape its bet entirely."

"Framework 2 is connected with the creativity and vitality of your world. In your terms, the dead waken in Framework 2 and move through it to Framework 3, where they can be aware of their reincarnational identities and connections with time, while being apart from a concentration on earth realities. In those terms, the so-called dead dip in and out of earth probabilities by travelling through Framework 2, and into those probabilities connected with earth realities. Some others may wind up in Framework 4, which is like Framework 2, except that it is a creative source for other kinds of realities not physically oriented at all and outside of, say, time concepts as you are used to thinking about them. In a way impossible to describe verbally, some portion of each identity also resides in Framework 4, and in all other Frameworks."

"What really made me angry though was finding myself agreeing with any of the journal's articles, and I did agree with several. The writers had a keen, if cold intelligence. They did a great deal of seeing through some of the nonsense concerned with the psychic field in general. Of course, they were almost vengefully gleeful when they could legitimately knock down some psychic performance, or show a psychic's predictions to be wrong. Only why couldn't they see their own scientific nonsense? And why couldn't their trained intellects perceive their own emotional vehemence? Because, I thought unhappily, they were scientific witch hunters."

"In schools, for example, there are courses in the criticism of literature, art criticism, and so forth. The arts are supposed to be 'not real.' It is quite safe, therefore, to criticize them in that regard -- to see how a story or a painting is constructed, or more importantly, to critically analyze the structure of ideas, themes, or beliefs that appear, say, in the poem or work of fiction. When children are taught science, there is no criticism allowed. They are told, 'This is how things are.' Science's reasons are given as the only true statements about reality, with which no student is expected to quarrel. Any strong intellectual explorations or counter versions of reality have appeared in science fiction, for example. Here scientists, many being science-fiction buffs, can channel their own intellectual questioning into a safe form. 'This is, after all, merely imaginative and not to be taken seriously.'"

"In a fashion, at least in your time, science has as much as religion to fear from the free intellect as religion does. And (with irony) any strong combination of intellectual and intuitional abilities is not tailor-made to bring you great friends from either category. Science has, unfortunately, bound up the minds of its own most original thinkers, for they dare not stray from certain scientific principles."

"The Crucifixion story represented, in your terms, now, the self-destructive aspect of the species at the time. And it represents the self-destructive elements of the species in this time for those who still accept it."

"There were, indeed, several 'Christs,' several people whose preaching and exploits merged to form the composite figure historically known as Christ. There are all kinds of contradictions in the Bible, and in Christ's own attitudes as depicted, because there were more Christs than one."

"Yet we are natural god-makers, a fact that certainly should be taken into consideration by our psychologies. In fact, our god-making tendencies characterize us. Throughout history, we've consistently formed these mental models of godly beings, who then, through visions and revelations, make their messages clear to the conscious mind, laying down the rules for our civilizations, structuring our institutions and directing our military establishments also, whatever their sophistication, or lack of it."

"I petted the pussy."

"There is no such thing as a chance encounter. No death occurs by chance, nor any birth. In the creative atmosphere of Framework 2, intents are known. In a manner of speaking, no act is private."

"Your impulses are your closest communication with your inner self, because in the waking state they are the spontaneous urgings towards action, rising from that deep inner knowledge of yourself that you have in dreams."

"The species is in a state of transition, one of many. This one began, generally speaking, when the species tried to step apart from nature in order to develop the unique kind of consciousness that is presently your own. That consciousness is not a finished product, however, but one meant to change, [to] evolve and develop. Certain artificial divisions were made along the way that must now be dispensed with. You must return, wiser creatures, to the nature that spawned you - not only as loving caretakers but as partners with the other species of the earth. You must discover once again the spirituality of your biological heritage."

"Those involved in such disasters - the survivors - often use such larger-than-life circumstances in order to participate in affairs that seem to have greater import than those possessed by previous humdrum existences. They seek the excitement, whatever its consequences. They become a part of history to whatever extent. For once their private lives are identified with a greater source - and from it many derive new strength and vitality. Social barriers are dropped, economic positions forgotten. The range of private emotions is given greater, fuller, sweep."

"Framework 2 is not neutral, but automatically inclined toward what we will here term good or constructive developments. It is a growth medium. Constructive or positive feelings or thoughts are more easily materialized than negative ones, because they are in keeping with Framework 2’s characteristics."

"Without exception, all of the horrors connected with Christianity’s name came from following the letter rather than the spirit of the law, or by insistence upon literal interpretations -- while the spiritual, imaginative concepts beneath were ignored."

"For an exercise, then, imagine for a while that the subjective world of your thoughts, feelings, inner images and fantasies represent the 'rockbed reality' from which individual physical events emerge. Look at the world for a change from the inside out, so to speak. Imagine that physical experience is somehow the materialization of your own subjective reality. Forget what you have learned about reactions and stimuli. Ignore for a time everything you have believed and see your thoughts as the real events. Try to view normal physical occurrences as the concrete physical reactions in space and time to your own feelings and beliefs. For indeed your subjective world causes your physical experience."

"If you believe in the sinfulness of the world, for instance, then you will search out from normal sense data those facts that confirm your belief. But beyond that, at other levels you also organize your mental world in such a way that attracts to yourself events that - again - will confirm your beliefs."

"People die when they are ready to die, for reasons that are their own. No person dies without a reason. You are not taught that, however, so people do not recognize their own reasons for dying, and they are not taught to recognize their own reasons for living — because you are told that life itself is an accident in a cosmic game of chance."

"Do not personally give any more conscious consideration . . . to events that you do not want to happen. Any such concentration, to whatever degree, ties you in with those probabilities, so concentrate upon what you want."

"You usually think . . . that your feelings about a given event are primarily reactions to the event itself. It seldom occurs to you that the feelings themselves might be primary, and that the particular event was somehow a response to your emotions, rather than the other way around... You are... literally hypnotized into believing that your feelings arise in response to events. Your feelings, however, cause the events you perceive. Secondarily, you do of course then react to those events."

"Many people feel duty-bound to express skepticism as if it were an automatic badge of honor and intellectual superiority. I'd done the same thing in the past, so I could understand the attitude."

"Schizophrenia is caused by a personality fragment that is broken off, so to speak, from the primary acting personality; operating often in direct opposition to it, but in any case, operating as a secondary personality."

"Rob liked Seth immediately. the two of them set up an excellent rapport. Through me, Seth related to Rob. Almost from the beginning he was an objectified personality to Rob; a visitor regardless of the unconventional situation; someone in whose ideas Rob was tremendously interested. On the other hand, I only knew what had been said and when the trance (or the fun) was over."

"A plane is not necessarily a planet. A plane may be one planet, but a plane may also exist where no planet is. One planet may have several planes. Planes may also involve various aspects of apparent time. Planes can and do intermix without the knowledge of the inhabitants. A plane may be a time . . . or only one iota of vitality that exists all by itself. A plane may cease to be. A plane is formed for entities as patterns for fulfillment along various lines. It is a climate conducive to the development of unique and particular capabilities and achievements . . . an isolation of elements."

"But I still couldn't quite believe in personal life after death. I preferred to think of our psychic experiences as emphasizing, instead, the unknown abilities of our present consciousness. "The Seth material could be coming from some deep inner source, an intuitive bank of inner knowledge available to everyone if they only look for it," I said."

"I don't want to give you the idea that existence without your camouflage patterns is bland and innocuous because this is not the case. The inner senses have a strong immediacy, a delicious intensity that your outer senses lack. There is no lapse of time in perception, since there is no time."

"As you can experience days or hours within its framework in the dream state and not age for the comparable amount of physical time, so as you develop, you will be able to rest and be refreshed within psychological time even when you are awake. This will aid your mental and physical state to an amazing degree. You will discover and added vitality and a decreased need to sleep. Within any given five minutes of clock time, for example you may find an hour of resting which is independent of clock time."

"The consciousness of being human was fully developed in the cave man, of course, but the human conception was alive in the fish. We have spoken of mental genes. These are more or less psychic blueprints for physical matter, and in these mental genes existed the pattern for your type of self-consciousness."

"Human consciousness was inherent and latent from the beginning of your physical universe."

"If Seth had read Mark's mind, this was an excellent progression. If not, then Mark had deceived himself, and Seth had gone along and taken advantage of the deception. And if Seth was a personification of my subconscious, then this would be an excellent example of subconscious fraud."

"The life of any given individual could be legitimately compared to the dream of an entity. While the individual suffers and enjoys his given number of years, these years are but a flash to the entity. The entity is concerned with them in the same way that you are concerned with your dreams, and as you obtain insight and satisfaction from them, though they involve only a portion of your life, so the entity to some extent directs and gives purpose and organization to his personalities. So does the entity obtain insights and satisfactions from its existing personalities, although no one of them takes up all of its attention."

"Joseph was correct when he spoke of entities creating stages upon which to act out their problems. The point is that once the play begins, the actors are so completely engrossed in their roles that they forget that they themselves wrote the play, constructed the sets or are even acting. The reason is rather apparent: If you know that a situation is 'imaginary,' you are not going to come to grips with it."

"It goes without saying that a bird's death is inevitable, but a cat killing a bird does not have to juggle the same sort of values with which a man must be concerned. For now, suffice it to say that to kill for self-protection or food on your plane does not involve you in what we may call for the first time, I believe, karmic consequences. To kill for convenience . . . or for the sake of killing involves rather dire consequences, and the emotional value behind such killing is often as important as what is killed. That is, the lust [for] killing is also a matter that brings consequences, regardless of the living thing that is killed."

"Yet the fact remains that there is a dream reality with a "structure," "landscape" and images that appear to be made of matter -- but matter that obeys different rules than those with which we are familiar. Dreams are not just psychological events. There is a dimension of reality (an "objective" dimension, if you prefer), in which all dream events happen. There are rules: Seth calls them root-assumptions that operate in all realities, our own included. We have to learn what root-assumptions govern dream reality."

"All layers of the personality are 'conscious.' They simply operate like compartments, so that often one portion of the self is not aware of other portions."

"Illnesses can be seen as impending actions representing actual blockages of energy, ation turned into channels that are not to the best interests of the personality. The energies appear concentrated and turned inward, affecting the whole system."

"According to Seth, poor health is caused mainly by destructive mental feeling patterns that directly affect the body because of the particular range within the electromagnetic system in which they fall. Bad health, for example, does not happen first, resulting in unhealthy thoughts. It is the other way around."

"The effect of any thought is quite precise and definite and set into motion because of the nature of its own electromagnetic identity. The physical body operates within certain electromagnetic patterns and is adversely affected by others. These effects change the actual molecular structure of the cells, for better or worse, and because of the laws of attraction, habitual patterns will operate. A destructive thought, then, is dangerous not only to the present state of the organism, but is also dangerous in terms of the 'future.'"

"In following Seth's dream recall instructions, we found ourselves collecting some excellent examples of precognitive dreams. Some were clear-cut and almost exactly matched the foreseen future event. Others were partially disguised in symbolism. Still others were so interwoven with other dream material that we marked them as indicative of precognition and let it go at that. Sometimes dreams that seemed nonsense contained one clear, important image that shortly -- within a few days -- would appear in a different context entirely. In several cases, two or more future events would be condensed into one dream."

"I have mentioned that any action has an electromagnetic reality. In telepathic and clairvoyant experiences, the electromagnetic pattern is transmitted. It must then be transformed into a pattern that can be distinguished by the ego, if the individual is to be consciously aware of the data. Often the information that is picked up translated by the subconscious and acted upon without conscious approval or recognition. In almost all cases, however, there must be an emotional attraction, for this is what allows for the initial transmission, and makes it possible."

"You will discover definite correlations that exist between the incidence of precognitive dreams and data having to do with the temperature and weather."

"Any one moment in physical time then is a warp, opening into these other dimensions of actuality, and any one moment can be used as a passageway or bridge. The act of crossing will be reflected in a million other worlds, but these reflections will create still another vortex of actualization."

"The soul is too great to know itself, yet each individual portion of the soul seeks this knowledge, and in the seeking creates new possibilities of development, new dimensions of actuality. The individual self at any given moment can connect with its soul."

"You do not need to feel guilty over the creation of any probable selves. They come into reality with problems, but all of you come into reality with challenges that you have set 'ahead of time.' You have given them the gift of existence. They will learn how to use it and develop their own abilities in their own way. You have also given them individuality, which means that they are not yourselves, but variations on yourselves."

"If you would have some idea of what the probable universe is like, then examine your own dreams, looking for those events which do not have any strong resemblances to the physical events of waking existence. Look for dream individuals with whom you are not acquainted in normally conscious life. Look for landscapes that appear bizarre or alien, for all of these exist somewhere. You have perceived them. They do not exist in the space you know but neither are they non-existant (sic), mere imaginative toys of the dreaming mind, without substance."

"Reincarnation is but a part of this probability system, the part that falls within your particular universe. There are also root dreams shared by the race as a whole. Most of these are not as symbolic as Jung thought them to be but are literal interpretations of the abilities used by the inner self. For that matter, as you know, flying dreams need not be symbolic of anything. They can be valid experiences, though often intermixed with other dream elements."

"The ego becomes more like the inner ego and less like its old self, comparatively speaking. It accepts large portions of reality that it previously denied. Structurally, it remains intact, yet it has changed chemically and electromagnetically. Now it is far more open to inner data. Once this freedom is achieved, the ego can never return to its old state."

"Yet none of this is meant to deny the individual, for it is the individual upon whom all else rests, and it is from the basis of the individual that all entities have their existence. Nor are the memories or emotions of an individual ever taken from him. They are always at his disposal."

"The dream body is the one with which you are most familiar. It has been called the astral body. It strikes you as being physical when you are in it, but you can do things with it that can't be done ordinarily. You can levitate, for example. As a rule, however, you do not go through walls with this body. This is the body you use for ordinary dreams. Levitation is possible with it but on a limited basis. When you enter a different dimension, the abilities of the body form change, and for all intents and purposes, it is a different body form -- which we will now call a mind form. It still seems physical in shape, but you can walk through physical matter with it."

"It is possible for you to project to a future event in which you will be involved and by an act that you make in the projection, alter the course that this future will take. Such an action would therefore appear to happen twice, once in your present and once in your future. But in the future, you would be the one whose course is altered from this traveling self from the past."

"And I tell you that whether or not these projection images are hallucinations, they can be dangerous and you must respect the reality in which they exist. I want to be sure that you realize that some of these constructions will belong to other systems. You are safe as long as you do not meddle. You may explore, and freely, and that is all."

"The projected form does make some impression upon the physical system. It is possible for it to be detected. It is a kind of pseudo-image, materialistically speaking, but it has definite electromagnetic reality and chemical properties. Animals have sensed such apparitions. They react to the chemical properties and build up [the perception] from these. These chemical properties are more diffused in such an apparition than in a physical form, however."

"When you awaken -- or seem to awaken -- in the middle of the night, try to get out of the body and go into another room. This is a pleasant and easy method. With some experience you will discover that you can maintain control, walk out of the apartment and outside. You may then attempt to normal locomotion or levitate."

"Eggs and asparagus are helpful as far as diet is concerned. I am obviously not suggesting a whole diet of eggs and asparagus. These plus fish oils are beneficial, however, but not when taken with acid foods."

"Now, there are electromagnetic changes [during projections] that can be perceived with instruments. Certain electrical fields will make themselves known under these conditions. The fields have always existed, but they will become apparent to physical instruments only when they are being crossed -- in other words, at the very act of projection. Other hints: A cool body temperature but with room temperature between 73.8 and 75.9. High humidity is poor. The color of a room is important. Cool colors are best. Too warm colors are detrimental, being too closely allied with earthly conditions."

"Projections actually involve a change of atomic structure. Consciousness simply changes its form. When projection is first accomplished, there is a strong charge of sexual hormones which are also utilized in projection. After projection is accomplished, however, there is a marked decline in chemical activity and hormone action, a drop in body temperature and a drop in blood pressure. The rapid eye movements noted by dream investigators cease entirely."

"There is a subtle difference in the way sugar molecules are utilized. Momentarily, the body uses less sugar. However, sugar is important in fueling the consciousness on its journey. It also aids in connecting the consciousness to the body. In other words, there is indeed a connection that is and must be partially physical, between the body and the travelling consciousness, and it is based upon a certain sugar molecule in a form not normally seen. Before conscious projections I would therefore recommend that you take a small amount of starchy or sugar food. A small snack before bed is a good idea from this viewpoint. Alcohol is of some benefit, though not to any great degree. Excellent results can be achieved in a dream-based projection during the day, in a nap."

"Your closest approximation of the purpose of the universe can be found in those loving emotions that you have toward the development of your children, in your intent to have them develop their fullest capacities."

"Thoughts of such magnificent vigor began to think their own thoughts-and their thoughts thought thoughts. As if in divine astonishment and surprise, All That Is began to listen, and began to respond to these generations of thoughts and dreams, for the thoughts and dreams related to each other also."

"Value fulfillment itself is most difficult to describe, for it combines the nature of a loving presence - a presence with the innate knowledge of its own divine complexity - with a creative ability of infinite proportions that seeks to bring to fulfillment even the slightest, most distant portion of its own inverted complexity. Translated into simpler terms, each portion of energy is endowed with an inbuilt reach of creativity that seeks to fulfill its own potentials in all possible variations - and in such a way that such a development also furthers the creative potentials of each other portion of reality."

"Each unit of consciousness inherently possesses within itself all of the information available to the whole, and its specific nature when it operated as a particle rests upon that great body of inner knowledge."

"Each individual of whatever species, and each consciousness, whatever its degree, automatically seeks to enhance the quality of life itself - not only for itself but for all of reality as well."

"Many people ask, for example: What is the purpose of my life? Meaning: What am I meant to do? But the purpose of your life, and each life, is in its being. That being may include certain actions, but the acts themselves are only important in that they spring out of the essence of your life, which simply by being is bound to fulfill its purposes."

"Children - change that to infants - dream of their past lives, remembering; for example, how to walk and talk. They are born with the knowledge of how to think, with the propensity for language. They are guided by memories that they later forget."

"Beyond that, however, genetic messages are coded in such a way that there is a constant give-and-take between those messages and the present experience of any given individual. That is, no genetic event is inevitable."

"The genetic systems is not closed, therefore. The genes do not simply hold information without any reference to the body’s living system. It does not exist, then -- the genetic structure -- like some highly complicated mechanism already programmed, started and functioning blindly so that once it is set into operation there is no chance for modification."

"The planet has seen many changes. It has appeared and disappeared many times. It flickers off and on -- but because of the intervals of your attention each on period seems to last for millions of years, of course, while at other levels the earth is like a firefly, flickering off and on."

"Now the origin of the universe that you know, as I have described it, was of course a master event. The initial action did not occur in space or time, but formed space and time."

"Devils and demons have no objective existence. They have always represented, again, portions of mankind’s own psychological reality that to some extent he had not assimilated -- but in a schizophrenic kind of expression, projected instead outward from himself."

"Jehovah and the Christian version of God brought about a direct conflict between the so-called forces of good and the so-called forces of evil by largely cutting out all of the intermediary gods, and therefore destroying the subtle psychological give-and-take that occurred between them -- among them -- and polarizing man’s own view of his inner psychological reality."

"Its (reincarnation) reality, however, serves to generate activity throughout time’s framework as you understand it, to unite the species, to reinforce structures of knowledge, to transmit information, and perhaps most of all to reinforce relationships involving love, brotherhood, and cooperation between generations of men and women that would otherwise be quite separate and apart from each other. Through such relationships, for example, say, the cavemen and people of the 22nd century rub elbows, where in strict terms of time the species would seem to be quite disconnected form its earlier or later counterparts."

"Your modern methods of communication are in fact modeled after your inner ones."

"One of the main purposes of dreaming, therefore, is to increase man’s pleasure, which means to increase the quality of living itself."

"Many body events that you think of in your society as negative -- certain viruses, for example -- are instead meant as self-corrective devices, even as fever actually promotes health rather than impedes it."

"In terms of earthly life as you understand it, it is overly optimistic to imagine that eventually all illnesses will be conquered, all relationships be inevitably fulfilling, or to foresee a future in which all people on earth are treated with equality and respect."

"It may also strike you, my readers, as quite shocking when I tell you that there is no such thing, basically, as disease. There are instead only processes. What you think of disease is instead the result of an exaggeration or overextension of perfectly normal body processes. You are not attacked by viruses, for instance, for all kinds of viruses exist normally in the body. There are no KILLER viruses, then but viruses that go beyond their usual bounds."

"The inner ego always identifies with its source-identity as a beloved, individualized portion of the universe. It is aware of the universal love that is its heritage. It is also aware of the infinite power and strength that composes the very fabric of its being. Through being made aware of these facts, the exterior ego can begin to feel a quicker sense of support and nourishment. The knowledge can let it relax, let go, so that it feels its life couched and safe, and knows itself to be indeed a beloved child of the universe, both ancient and young at once, with an identity far beyond the annals of time. It is of great value, then, that each person remember this universal affiliation."

"I am not advising my readers to refuse to have their children vaccinated, since you now have to take vaccination into consideration because of the prominence of it in society. It is very possible, however, that science itself will in time discover the unfortunate side effects of many such procedures and begin to reevaluate the entire subject."

"This leads me of course to at least mention here the cruel methods used in the slaughtering of animals and fowls for human consumption. The creatures are treated as if they possessed no feeling or consciousness of their own - and such attitudes show a most unfortunate misreading of natural events. As a direct result, at least as many diseases develop through such procedures as would exist in a highly primitive society with unsanitary conditions."

"I am not saying that the events in one life cause the events in another, but that there is an overall pattern - a bank of probable events - and that in each life each individual chooses those that suit his or her overall private purposes. Yet those lives will be connected. An individual may have a serious illness in one life. That event may turn up as one uncomfortable nightmare in another existence. In still another life, the individual might have a dear friend who suffers from the same disease. In still another existence the individual might decide to be a doctor, to seek a cause and a cure for the same disease."

"I want to assure you that regardless of your circumstances, age, or sex, you can indeed start over, re-arousing from within yourself those earlier, more innocent expectations, feelings and beliefs. It is much better if you can imagine this endeavor more in the light of children’s play, in fact, rather than think of it as a deadly serious adult pursuit."

"It is possible for your ideas to cause chemical reactions that impede your body’s ability to accept nourishment. If you believe that the body is evil, the purest health-food diet will or may do you little good at all, while if you have a healthy desire and respect for your physical body, a diet of TV dinners, and even fast foods, may well keep you healthy and nourished."

"Some people might say, I have a right to die, when they are arguing the case for suicide. And while this is true, it is also true that the people on your planet need every bit of help and encouragement they can get from each person alive. In a certain sense, the energy of each individual does keep the world going, and to commit suicide is to refuse a basic, cooperative venture."

"Behind the entire problem, however, is the fear of using one's full power or energy. Cancer patients most usually feel an inner impatience as they sense their own need for future expansion and development, only to feel it thwarted."

"Before health problems show up there is always a loss of self-respect or expression."

"It is unfortunately often - but not always - true that individuals who carry strong religious feeling are often bothered more than usual by poor health and personal dilemmas. The fact is that religions have been the carriers of some of the best ideas that man has entertained - but it has also held most stubbornly to the most troublesome concepts that have plagued mankind."

"It is far better to eat moderate amounts of food in all of the food ranges, and to consume smaller portions more often. I realize that your social mores also dictate your eating habits - but four light meals a day will overall serve you very well, and give the body a more steady, regulated nourishment."

"She said that she was technically a virgin when she married Rob. That after she and Walt were married, when they first came to making love and she caught sight of his penis, she'd cracked up because it was so big and she couldn't see how in hell they'd manage it. She never said in so many words, "I never had sexual interourse with Walt," e.g. But when I asked her, "So you were technically a virgin when you married Rob" (words to this effect), she said yes. She said that whenever she and Rob made love before a Seth session, or before a class session, that the results for the ensuing session were spectacular. And that sometimes she and Rob would make love for the sake of these results in a session."

"Jane never said much about this to me, and the few comments she did make, about a priest who "chased her around the bed," were delivered casually in group settings. with deprecating humor, no hint of the frightening child-molesting scenario or later sexual browbeating that Rob's notes make plain."

"To label Seth as a spirit guide is to limit an understanding of what he is . . . The minute I found out after my first book was published that this automatically put me in what people called the psychic field . . . I was so humiliated I could hardly hold my head up. I'm using my writing [and] my life to transform intuitive, sometimes revelationary material into art, where it can be enjoyed, understood to varying degrees, and stand free of the stupid interpretations . . . The whole psychic bit as it is, is intellectually and morally psychologically outrageous as far as I'm concerned and I want no part of it or the vocabulary or the ideas."

"Jane's attitude toward reincarnation (like mine) was strongly ambivalent. The idea of physical life being expressed in many historical situations made emotional and intuitive sense to her. Intellectually, however, she was highly suspicious of the standard notion of reincarnation, particularly as any kind of pat answer to present problems. Thus, when class started to experience the theory of reincarnation in emotionally-charged drama form, Jane would often find herself in a most uncomfortable one-foot-on-the-dock, one-foot-in-the-boat position, at once intellectually scandalized and intuitively involved. Even on those occasions when the inner events would "click," or when Seth gave past-life information that made complete sense to people, Jane worried about it for days afterwards. What was the meaning of such memories? Where did they come from? Were we creating the events through suggestion, combined with a need for emotional outlet? Or did we actually remember people who lived -- in our terms -- long before any of us were born? These questions demanded the class maintain a balance, from which Jane never let things stray too far."

"The spiritual kernel of The Dark Crystal is heavily influenced by Seth. I've always felt that the idea of perfect beings split into a good mystic part and an evil materialistic part which are reunited after a long separation is Jim's response to the teachings of that book. Jim admitted that he didn't understand the book himself, and that everyone would understand it — or not understand it — in their own way. But he thought it opened up a whole different way of looking at reality, which I think was one of his goals in the making of The Dark Crystal."

"They certainly demonstrate that Seth, whether an aspect of Jane Robert's unconscious mind or a genuine "spirit," was of a high level of intelligence. Yet when Jane Roberts produced a book that purported to be the after-death journal of the philosopher William James, it was difficult to take it seriously. James's works are noted for their vigour and clarity of style; Jane Robert's "communicator" writes like an undergraduate . . . there is a clumsiness here that is quite unlike James's swift-moving, colloquial prose."

"Consciousness, individual consciousness, is many-faceted, and in that respect a portion of James's consciousness is reflected through Ruburt's [Jane's]."

"His comment about a book whose author claimed was channeled from the spirit of William James, the great American psychologist and philosopher: "If the vapid writings . . . did indeed emanate from him, I can only say that this implies a terrible post-mortem reduction of personal capacities. (Survival of death with such an appalling decay of personality makes it, at least to me, a rather unattractive prospect.)""

"Now: James's consciousness is to some extent, then, reflected through Ruburt's, shining with a different cast, and henceforth forming a new combination -- one that is original and represents a new creative world view. In this combination or gestalt, Ruburt's identity predominates...""

"The message I got from my record label at the time — and this was on purpose — was that I wasn't selling enough. Even when the single was a hit, it wasn't enough of a hit — I never got to number 1; I only got to number 5. And MTV didn't like the first video for the song, and we had to do another one. So I never felt anything except how bad I was and like, "Oh, shame on you!""

"Damn I wish I was your lover I'll rock you till the daylight comes Make sure you are smiling and warm."

"I am everything Tonight I'll be your mother— I will Do such things to ease your pain Free your mind and you won't feel ashamed."

"Shucks, for me there is no other You're the only shoe that fits I can't imagine I'll grow out of it."

"I'm dancing in the shadows of life And death is all around me tonight I miss you making love to me right Beside myself I'm holding you tight Someone is waiting for me to rise And drive into the ocean I cried And I cried and I cried my baby to sleep Beside myself my soul to keep Right beside you I see Right beside you I stay Right beside you I'll be Right beside you always."

"It felt like spring time on this February morning In a courtyard birds were singing your praise..."

"As I lay me down to sleep This I pray That you will hold me dear Though I'm far away I'll whisper your name into the sky And I will wake up happy"

"It's not too near for me Like a flower I need the rain Though it's not clear to me Every season has its change And I will see you When the sun comes out again."

"This documentary has lifted the lid off a coffin, and now I'm looking at stuff that I didn't know was there."

"So many people are throwing up their hands because the world has gotten so dark, but I went against the current and I actually found more light and positive energy. That was a great feeling."

"The reality is that we're all in the wilderness, and we have to survive on our own, and things constantly change and if we don't accept that, then we're just trying to fool ourselves. But the beauty of wilderness is that sometimes you can wake up in the morning and feel so sweet and whole."

"Before I was signed, I just wanted to get into the system, even though I didn't know what that meant. After I got signed I found that I was confused by all the mixed messages from the label about what I'd have to do to keep their support. I fought and fought to maintain my identity and grow as an artist at the same time, but when I realized that to get their support on Timbre I'd have to start working with schlocky writers and totally sell out, I decided to pack up my marimba and split."

"I used to be more dogmatic, more disciplined and segregated about my time to work; now I have to jump from one song to another, or score a scene in a movie, then get out the door for a performance at a moment's notice. The illusion of control over my schedule is totally obsolete. There is no way to say, "I can't do that right now." It's "Yes, thank you for the opportunity, whatever it takes to get the music out there.""

"He's clearly a man with a mission, but it's not one of vengeance. Bruce is not after personal revenge... He's much bigger than that; he's much more noble than that. He wants the world to be a better place, where a young Bruce Wayne would not be a victim... In a way, he's out to make himself unnecessary. Batman is a hero who wishes he didn't have to exist."

"I don't think so. ... Well, let's put it this way. This month, I don't think so. It's been a long couple of months."

"My Sin City heroes are knights in dirty, blood-caked armor. They bring justice to a world that gives them no medals, no praise, no reward. That world, that city, often kills them for their brave service."

"For some reason, nobody seems to be talking about who we’re up against, and the sixth century barbarism that they actually represent. These people saw people’s heads off. They enslave women, they genitally mutilate their daughters, they do not behave by any cultural norms that are sensible to us. I’m speaking into a microphone that never could have been a product of their culture, and I’m living in a city where three thousand of my neighbors were killed by thieves of airplanes they never could have built."

"It is, not to put too fine a point on it, a piece of propaganda ... Superman punched out Hitler. So did Captain America. That's one of the things they're there for."

"I can tell you squat about Islamism. But I know a lot about Al Quaeda, and they need to burn in hell."

"American comics are so constipated."

"I think it's quite enough to simply be sarcastic about something. I like to do that quite a lot, and it's one of my favorite things to look at. That's why I think there's a thin line between melodrama and satire, and I like to dance across that line sometimes. I like the story to take a very funny turn or have a character who is much more of a cartoon."

"If ever there was a theme song for the business end of the industry, it's: "We can't do that; we didn't do that yesterday.""

"In the world of comic books, "troublemaker" means someone who has some sense of dignity."

"It's not movies and it's not "fine art." The beauty of a comic is that it's clear, direct communication. My work is getting simpler and more cartoony because I'm much more interested in communication now than in any illustrative value."

"There is no time like the pleasant."

"Many are called but few get up."

"Diplomacy: Lying in state."

"My wife has a whim of iron."

"A woman's mind is cleaner than a man's—she changes it oftener."

"Darling: the popular form of address used in speaking to a person of the opposite sex whose name you cannot at the moment recall."

"Only the young die good."

"Manuscript: something submitted in haste and returned at leisure."

"I don't recall your name, but your manners are familiar."

"Modesty is the gentle art of enhancing your charm by pretending not to be aware of it."

"Actresses will happen in the best-regulated families."

"Cat: A pygmy lion who loves mice, hates dogs and patronizes human beings."

"A man must love a thing very much if he not only practices it without any hope of fame and money, but even practices it without any hope of doing it well."

"Age, like distance, lends a double charm."

"The habit of breaking up one's colour to make it brilliant dates from further back than Impressionism—Couture advocates it in a little book called 'Causeries d'Atelier' written about 1860—it is part of the technique of Impressionism but used for quite a different reason."

"Impressionism was the name given to a certain form of observation when Monet, not content with using his eyes to see what things were or what they looked like as everybody had done before him, turned his attention to noting what took place on his own retina (as an oculist would test his own vision)."

"Every time I paint a portrait I lose a friend."

"Anywhere I found wood I took it home and started working with it..to show the world that art is everywhere, except it has to pass through a creative mind."

"Art is an ever-changing universe and we as artists need to continue to evolve. The concept of short term display spaces is echoed in the digital world, as well as, in this dimension."

"It was fun yet challenging to play the dual roles. I'm a really nice guy, and the character [of Dubious] is egocentric and hard-edged, so I had to pull out the negative aspects of me to attribute to the role."

"The Arts, especially film, transcend all cultural barriers, hopefully offering an avenue where all people can find a common place to meet, understand each other, and nurture a safe world for all our children to grow strong within."

"...to harness and directed peaceful energy from the viewers under the mountain through a twenty foot, five pointed Texas Star Vortex which was hung between the two massive exterior columns on the balcony into the historically tarnished Dallas Dealy Plaza and book depository hoping to honor John F. Kennedy's memory."

"A is for audition sense, knowing what to prepare for auditions and finding your niche; B is for business sense, submitting through Back Stage, reading Ross Reports, allocating funds every week for materials; C is for common sense, knowing how to weed out scam artists and follow your instincts, not your ego D is for driving sense, performing regularly, taking classes, practicing your craft; and E is for exit sense, which, he says, means know when to leave an audition; exit your emotions. Look for and enter the next audition fresh and enthusiastic."

"When I was eight years old, I played a story game with my younger brother and sister to help them fall asleep. The 'word-story game' was where they would choose a word and I would create a story. Acting and directing are similar to this game, where I am given the words then I fill in the life of the characters."

"Remembering my grandfather, Colonel Sweet's pride with his membership in the Sons of the American Revolution, I am proud to be an American Compatriot."

"Taking on the responsibility of portraying a real person in history, preserving his genius while demonstrating the vulnerable crumbling of his personality, I researched carefully, and gained great respect for the contributions Mr. Hughes shared with the world."

"As actors, we need public relations to campaign for our next possible role, and any media promoting our work seems positive in nature; but whether in theater or on a film set, a bad unprofessional photograph at the wrong angle may not be as flattering to some actors, and may be considered a harmful exposure."

"Reflecting on the Preamble of the United States Constitution, `We, the People...`includes all races and ethnicities, all ages and sexes, all creeds of beliefs, religions, and spiritualities, to be re-embrace and made anew in 2021. GIAA is resolute with our efforts to nuture these words...The Arts are the crossroads all societies meet."

"Animal rights acitivists always say to me, "How could you kill a chicken for a movie?" Well, I eat chicken and I know the chicken didn't land on my plate from a heart attack. We bought the chicken from a farmer who advertised freshly killed chicken. I think we made the chicken's life better. It got to be in a movie, it got fucked, and then right after filming the next take, the cast ate the chicken!"

"Wouldn't you rather your kid be a drug dealer than a drug addict?"

"To me, camp is two older queens talking about Rita Hayworth under a Tiffany's lampshade."

"I've always tried to push things to the limit, but when I started, the censors to be feared were old, conservative, religious men, whereas today the censors are young, rich, liberal men who seem to be against the freedom of expression I fought for. [...] people should be able to have an opinion they don't agree with and still be friends, have a dialogue, or argue about it."

"We're husky, we're hairy, we're homosexual, and out of the second closet."

"And we can cuddle all night!"

"To me, bad taste is what entertainment is all about. If someone vomits while watching one of my films, it's like getting a standing ovation. But one must remember that there is such a thing as good bad taste and bad bad taste."

"To understand bad taste one must have very good taste."

"I would never want to film hard-core pornography, because it always looks like open-heart surgery to me."

"[I] pride myself on the fact that my work has no socially redeeming value."

""How could you think of such awful things?" liberal critics always ask. "How else could I possibly amuse myself?" I always wonder."

"Life is nothing without a good sense of humor."

"I'll never be able to do a sequel to Pink Flamingos because it would have to end with Divine taking a shit and the dog eating it."

"Parents should worry if their children haven't been arrested by the time they turn sixteen. Being a juvenile delinquent is a birthright and as much a part of healthy adolescence as smoking cigarettes or getting pimples."

"I'd never trust anyone who hadn't spent at least one night of his youth in the local jail. The more hell you raise as a teen-ager, the sweeter your memories will be."

"I would never want to live anywhere but Baltimore... It's as if every eccentric in the South decided to move north, ran out of gas in Baltimore, and decided to stay. No one moves here."

"I stopped taking drugs when I realized that pot smelled bad and LSD trips were becoming like TV reruns. I had had enough inner journeys — I felt I knew myself well enough, thank you."

"All people look better under arrest."

"Going to a sensational murder trial is the only way I can relax."

"Cheer up. You never know — maybe something awful will happen tomorrow."

"If you go home with someone and they don't have books, don't fuck them."

"We watched everything...A family favorite was Cry-Baby starring Johnny Depp. Whenever the John Waters film broke out in song, we would all scream and start singing, too."

"Waters might, once upon a time, have been a candidate to be the American Buñuel, especially when he had the raw hatred of Divine under his command..."

"Art and work and art and life are very connected and my whole life has been absurd. There isn't a thing in my life that has happened that hasn't been extreme - personal health, family, economic situations...absurdity is the key word..."

"I think the circle is very abstract. I could make up stories of what the circle means to men, but I don't know if it is that conscious. I think it was a form, a vehicle. I don't think I had a sexual anthropomorphic, or geometric meaning. It wasn't a breast and it wasn't a circle representing life and eternity....I remember always working with contradiction and contradictory forms which is my idea also in life. The whole absurdity of life, everything for me has always been opposite. Nothing has ever been in the middle. When I gave you my autobiography, my life never had anything normal or in the center. It was always extremes."

"We had some problems with the Howard newspaper strip, which led to problems with the Howard book, which ultimately led to the lawsuit. Marvel wouldn't pay the artist to draw it. Gene Colan and I were supposed to get a percentage of the syndicate's take for the strip. The problem was, the money came in 90 days, 120 days, six months — I don't remember how long exactly — after the strips were published. So, essentially, the artist was working for nothing up until that time, and no artist can afford to do that. [In comparison with Stan Lee and John Romita|'s Spider-Man comic strip,] Stan, as publisher of Marvel, had a regular salary coming in, and John Romita, I believe, was also on staff at the time. They didn't have quite the same problem."

"The game of life is the game of boomerangs. Our thoughts, deeds and words return to us sooner or later, with astounding accuracy."

"Every great work, every big accomplishment, has been brought into manifestation through holding to the vision, and often just before the big achievement, comes apparent failure and discouragement."

"If one asks for success and prepares for failure, he will get the situation he has prepared for."

"Intuition is a spiritual faculty and does not explain, but simply points the way."

"And when he came to the place where the wild things are, they roared their terrible roars and gnashed their terrible teeth and rolled their terrible eyes and showed their terrible claws till Max said, "Be still" and tamed them with the magic trick of staring into all their yellow eyes without blinking once. And they were frightened and called him the most wild thing of all and made him king of all wild things."

"And now," cried Max, "let the wild rumpus start!"

"Please don't go. We'll eat you up. We love you so."

"Certainly we want to protect our children from new and painful experiences that are beyond their emotional comprehension and that intensify anxiety; and to a point we can prevent premature exposure to such experiences. That is obvious. But what is just as obvious — and what is too often overlooked — is the fact that from their earliest years children live on familiar terms with disrupting emotions, fear and anxiety are an intrinsic part of their everyday lives, they continually cope with frustrations as best they can. And it is through fantasy that children achieve catharsis. It is the best means they have for taming Wild Things."

"There must be more to life than having everything!"

"I believe there is no part of our lives, our adult as well as child life, when we're not fantasizing, but we prefer to relegate fantasy to children, as though it were some tomfoolery only fit for the immature minds of the young. Children do live in fantasy and reality; they move back and forth very easily in a way we no longer remember how to do."

"I wanted my wild things to be frightening. But why? It was probably at this point that I remembered how I detested my Brooklyn relatives as a small child. They came almost every Sunday, and there was my week-long anxiety about their coming the next Sunday... They'd lean way over with their bad teeth and hairy noses, and say something threatening like "You're so cute I could eat you up." And I knew if my mother didn't hurry up with the cooking, they probably would."

"You cannot write for children... They're much too complicated. You can only write books that are of interest to them."

"Children are tough, though we tend to think of them as fragile. They have to be tough. Childhood is not easy. We sentimentalize children, but they know what's real and what's not. They understand metaphor and symbol. If children are different from us, they are more spontaneous. Grown-up lives have become overlaid with dross."

"We've educated children to think that spontaneity is inappropriate. Children are willing to expose themselves to experiences. We aren't. Grownups always say they protect their children, but they're really protecting themselves. Besides, you can't protect children. They know everything."

"I don't believe in things literally for children. That's a reduction."

"One of the few graces of getting old — and God knows there are few graces — is that if you’ve worked hard and kept your nose to the grindstone, something happens: The body gets old but the creative mechanism is refreshed, smoothed and oiled and honed. That is the grace. That is the splendid grace. And I think that is what’s happening to me."

"An illustrator in my own mind — and this is not a truth of any kind — is someone who so falls in love with writing that he wishes he had written it, and the closest he can get to is illustrating it. And the next thing you learn, you have to find something unique in this book, which perhaps even the author was not entirely aware of. And that’s what you hold on to, and that’s what you add to the pictures: a whole Other Story that you believe in, that you think is there."

"When you hide another story in a story, that’s the story I am telling the children."

"We were the "chosen people," chosen to be killed?"

"I’m gay. I just didn’t think it was anybody’s business … All I wanted was to be straight so my parents could be happy. They never, never, never knew."

"Once a little boy sent me a charming card with a little drawing on it. I loved it. I answer all my children’s letters — sometimes very hastily — but this one I lingered over. I sent him a card and I drew a picture of a Wild Thing on it. I wrote, “Dear Jim: I loved your card.” Then I got a letter back from his mother and she said, “Jim loved your card so much he ate it.” That to me was one of the highest compliments I’ve ever received. He didn’t care that it was an original Maurice Sendak drawing or anything. He saw it, he loved it, he ate it."

"We're animals. We're violent. We're criminal. We're not so far away from the gorillas and the apes, those beautiful creatures. … And then, we're supposed to be civilized. We're supposed to go to work every day. We're supposed to be nice to our friends and send Christmas cards to our parents. We're supposed to do all these things which trouble us deeply because it's so against what we naturally would want to do. And if I've done anything, I've had kids express themselves as they are, impolitely, lovingly — they don't mean any harm. They just don't know what the right way is. And as it turns out sometimes the so-called "right way" is utterly the wrong way. What a monstrous confusion."

"I'm not Hans Christian Andersen. Nobody's gonna make a statue in the park with a lot of scrambling kids climbing up me. I won't have it, okay?"

"I wasn't gonna paint. And I wasn't gonna do ostentatious drawings. I wasn't gonna have gallery pictures. I was gonna hide somewhere where nobody would find me and express myself entirely. I'm like a guerrilla warfare in my best books."

"I was talking about kids I knew and me. A book, an American book, where the child actually daunts his mother and threatens her. No way. No way. And then on top of that, she puts him in a room and denies him food. No way. Mamas never do that kinda thing. Kids never get pissed at their parents. Unheard of. And the worst offense, he comes home. She leaves food for him. And he's not punished. Not punished."

"I often went to bed without supper 'cause I hated my mother's cooking. So, to go to bed without supper was not a torture to me. If she was gonna hurt me, she'd make me eat."

"Maybe there are lots of children or certainly those who are not drawn to my work because they don't want to see those shadows. But, I'm telling what it was like for me. And I know it was not unique for me. I've known many children, many unhappy and many disturbed children who don't know how to talk about it. And you know, the strangest thing... the fan mail I get from kids are asking me questions which they do not ask their mothers and fathers. Because if they had, why write to me, a perfect stranger?"

"I certainly don't spell it out. But they have to know it's possible things are bad. But, they are surrounded by people who love them and will protect them but cannot hide the fact that there is something bad."

"You can't get rid of evil. We can't, and I feel that so intensely. All the idiots that keep coming into the world and wrecking people's lives. And it is such an abundance of idiocy that you lose courage, okay? That you lose hope — I don't want to lose hope. I get through every day — I'm pretty good — I work. I sleep. I sing. I walk. But, I'm losing hope."

"The blackbirds are in this book, they're both pro the kids and against the kids. Just like fate. Sometimes it goes your way. Sometimes... and also a blackbird is from my passion for Schubert songs and his blackbirds and his birds of doom or birds of good. … some people were baffled that in the last big picture of that book, there's a crucifix on the wall of the children's house. Everybody assumes the hero and heroine are Jewish and the mother is Jewish. They're not. They're not. — That was my point. Those kids were in the wrong place at the wrong time. And all children were in the Holocaust. Everybody was in the Holocaust. So, I made sure my hero and heroine were not Jewish children. That was too easy. That was too easy."

"Hitler made a film about "Hitler gives a camp to the Jews". And they look all shiny. And they're drawing. And they're playing volleyball. And people are dancing. And people are having a wonderful time. And everybody fell for it."

"Art has always been my salvation. And my gods are Herman Melville, Emily Dickinson, Mozart. I believe in them with all my heart. And when Mozart is playing in my room, I am in conjunction with something I can't explain — I don't need to. I know that if there's a purpose for life, it was for me to hear Mozart. Or if I walk in the woods and I see an animal, the purpose of my life was to see that animal. I can recollect it, I can notice it. I'm here to take note of. And that is beyond my ego, beyond anything that belongs to me, an observer, an observer."

"Herman Melville is a god. … I cherish what he did. He was a genius. Wrote Moby-Dick. Wrote Pierre. Wrote The Confidence-Man, wrote Billy Budd. … Oh, yes. Look at him. … Scares the bejesus out of people and makes them hate him. Because he's so [[good.] Claggart has him killed in that book. Claggart has his eye on that boy. He will not tolerate such goodness, such blondeness, such blue eye. Goodness is scary. It's like you want to knock it. You want to hit it. Are we a country of beating down things? We love seeing people go down."

"My big concern is me and what do I do now until the time of my death. That is valid. That is useful. That is beautiful. That is creative. And also, I want to be free again. I want to be free like when I was a kid … Where we just had fun. What I mean by this is I've had my career. I've had my success. God willing, it should have happened to Herman Melville who deserved it a great deal more, you know? Imagine him being on Bill Moyers' show. Nothing good happened to Herman Melville. I want to see me to the end working, living for myself. "Ripeness is all." Now, interpreting what ripeness is our own individual problem. … So, what is the point of it all? Not leaving legacies. But being ripe. Being ripe."

"The ripeness was a letter that John Keats wrote to his brother who emigrated to America describing what it was like to have a peach or piece of a peach in his mouth. And it's one of the sexiest things you will ever read of how slow you should take the peach. Don't rush it. Let it go through your palette. Let it lie on your tongue. Let it melt a little bit. Let it run from the corners. It's like describing the most incredible sex orgy. And then, you bite. But, it must be so ripe. It must be so delicious. In other words, you must not waste a second of this deliciousness which for him was life and being a great poet. That you savor every, everything that happened. I want to get ripe."

"To young readers Sendak's "kiddie books" – in particular, 1963's hugely popular Where the Wild Things Are – were anything but idiotic, creating imaginative visions of childhood that adults might have considered dark, cruel or disturbing, but which thrilled and delighted three generations of children."

"He is, at heart, a curmudgeon, but a delightful one, with a vast range of knowledge, a wicked sense of humor and a talent for storytelling and mimicry. … He spends his days pondering his heroes: Mozart, Keats, Blake, Melville and Dickinson. He admires and yearns for their “ability to be private, the ability to be alone, the ability to follow some spiritual course not written down by anybody.” Mr. Sendak is quick to insist that a vast distance stands between his own accomplishments and theirs. “I’m not one of those people,” he said. “I can’t pretend to be.” Still, he has the feeling that “I will do something yet that is purely for me but will create for someone in the future that passion that Blake and Keats did in me.” What he has failed to consider, though, is that he may already have."

"He’s one of the most important, if not the most important, writers and artists ever to work in children’s literature. In fact, he’s a significant writer and artist in literature. Period."

"No one does children's stories like Maurice Sendak … over a hundred books in all. He's won nearly every major prize for children's literature plus the national medal of arts. And no wonder. Just look at these titles: In the Night Kitchen; Higglety Pigglety Pop!; Outside Over There; Chicken Soup with Rice; and of course, the most loved and famous of all, Where the Wild Things Are. Our own tattered copy is a Moyers family keepsake. We read it to our children when it was first published forty years ago. We've read it to our grandchildren in the last decade and we fully expect that one day they will be reading it to their grandkids, too. But let me share a Sendak secret with you. A seven-year-old hearing this story couldn't have more fun than a 70-year-old reading it. Where the Wild Things Are is ageless and timeless."

"Bill Finger was a contributing force on Batman right from the beginning. He wrote most of the great stories and was influential in setting the style and genre other writers would emulate … I made Batman a superhero-vigilante when I first created him. Bill turned him into a scientific detective."

"Bill Finger and I created the Joker. Bill was the writer. Jerry Robinson came to me with a playing card of the Joker. That's the way I sum it up. [The Joker] looks like Conrad Veidt — you know, the actor in The Man Who Laughs, [the 1928 movie based on the novel] by Victor Hugo. … Bill Finger had a book with a photograph of Conrad Veidt and showed it to me and said, 'Here's the Joker'. Jerry Robinson had absolutely nothing to do with it. But he'll always say he created it till he dies. He brought in a playing card, which we used for a couple of issues for him [the Joker] to use as his playing card"."

"There were other Batman writers throughout the years but they could never capture the style and flavor of Bill's scripts. Bill was the best writer in the business and it seemed that he was destined to write Batman."

"Robin was an outgrowth of a conversation I had with Bob. As I said, Batman was a combination of Fairbanks and Sherlock Holmes. Holmes had his Watson. The thing that bothered me was that Batman didn't have anyone to talk to, and it got a little tiresome always having him thinking. I found that as I went along Batman needed a Watson to talk to. That's how Robin came to be. Bob called me over and said he was going to put a boy in the strip to identify with Batman. I thought it was a great idea."

"A lot of people don't give him [Kane] as much credit for his art, but I thought he had a flair. It was rudimentary, but in a way that worked to his benefit in the strip. He didn't know much about perspective and anatomy, so he had to improvise."

"Bob and I got on very well during the years I worked on Batman. He was a mild-mannered individual who made no demands on Jerry [Robinson] and me, and in general, he was terrific to work for."

"What the fuck is DC anyway? They'd be better off calling it AOL Comics. At least people know what AOL is. I mean, they have Batman and Superman, and they don't know what to do with them. That's like being a porn star with the biggest dick and you can't get it up. What the fuck?"

""How to do Everything in Just One Lifetime" is a Statement, not a question. I don't understand why people keeping imagining a question mark at the end."

"All the possessions in the world cannot fill an empty heart with love."

"While traveling, I’ve found that spontaneity keeps things fresh, while serendipity guides me through it all. There have been a lot of rough moments along the way, but they often bear the best memories."

"Being born in New York City, tends to lead to big expectations, expectations that I only started to realize after I had left."

"I’m the type of person that likes to dream big, and I’ve often found that every great journey begins with a dream"

"In 1995, when I was backpacking through Europe solo, I would head to the train station, look up at the big board, and decide right there and then where I would go that day."

"During my youth, I was fascinated by the colors of Van Goth's paintings"

"My favourite painting is often the one or the collection that I am currently working on. This is probably due to the fact that I don’t yet know where it will take me."

"A Modern Rothko: Color field Paintings by Joseph Pisani"

"There's none of this wisecracking and cynicism that you see in … some of the other cartoons. He's supposed to be a role model for kids. He cares about other people."

"The essence of Gumby is that he makes children feel safe. He's their greatest pal."

"Clay is embedded in our subconscious. It has been there for at least 50,000 years."

"I didn’t allow merchandising for seven years after it was on the air because I was very idealistic, and I didn’t want parents to think we were trying to exploit their children."

"It’s so satisfying, and when you see it on screen, you feel like God because you’re bringing life to clay."

"Clokey says he underwent "a marvelous, life-changing experience" by taking LSD in supervised doses in the late 1960s. "It opened my awareness to what life is all about," he says. [...] — There's a master's thesis for someone who wants to hunt for the psychedelic influence in the shows."

"There are two kinds of genius, the imitable and the inimitable. "Gumby" is a work of the second sort, the thing so completely, singularly itself, so far off down its own road, so unpredictable and odd, bizarrely constituted and eccentrically executed that there's nowhere for anyone to take it, no variations to play on the theme. He is original and inarguable, and though he has gone in and out of fashion, been parodied and abused [...] whatever insults have been done him are only further testament to his iconic power."

"I realized the wood was better before I cut it, than after. I did not improve it in any way [by carving it]."

"Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes. There is nothing else in his painting. Stella is not interested in expression or sensitivity. He is interested in the necessity of painting. Symbols are counters passed among people. Frank Stella's painting is not symbolic. His stripes are the paths of brush on canvas. These path leads only into painting."

"Emerson writes in his Journal that all men try their hands at poetry, but few know which their poems are. The poets are not those who write poems, but those who know which of the things they write are poems."

"The course of development"

"PROPOSAL FOR AN EXPLOSION - An appropriate contractor is retained to place and fuse an explosive charge sufficient to produce a crater 12 inches deep and 144 inches diameter. The charge is detonated by the sculptor, Carl Andre 5-7-[19]67"

"There should be no one place or even a group of places where you should be. [quote, 1969]"

"FORM = STRUCTURE = PLACE"

"We live in a world of replicas, and I try desperately in a world of replicas to produce things that are not replicas of anything."

"Whole poems are made out of many single poems we call words.. .I am trying to recover a part of the poet's work which has been lost. Our first poets were the namers, not the rhymers."

"When I visit places remote from where I ordinarily work, people ask me long, elaborate questions that could not possibly have any relationship to my work. The people haven't ever seen it, and so I say: 'But my dear sir, have you ever seen my work?' The response is: 'Of course, I've seen many of your works.' - 'But where?' - 'in [the art-magazine] 'Artforum', Art in America..' - I say: 'Have you ever actually seen one of the objects, have you actually stood on one of them?'"

"Well sure, my sculptures are floor pieces. Each one, like any area on the surface of the earth, supports a column of air that weighs – what is it? – 14.7 pounds per square inch. So in a sense, that might represent a column. It's not an idea, it's a sense of something you know, a demarked place. Somehow I think I always thought of it going that way, rather than an idea of a narrowing triangle going to the center of the earth.. .I have nothing to do with Conceptual art [in contrast to his Physical Art, as Carl Andre called his sculpture art already in 1969]]. I'm not interested in ideas. If I were interested in ideas, I'd be in a field where what we think in is ideas.. .I don't really know what an idea is. One thing for me is that if I can frame something in language, I would never make art out of it. I make art out of things which cannot be framed in any other way. [quote from a talk with the audience, December 1969]"

"I like the description 'Physical art'. I think maybe art emerged when man first began to distinguish himself from nature. Art is part of himself, which he returns perhaps as an homage to the nature which he left. Of course, he never left nature. The rise of consciousness, perhaps.. .The main thing we believe, that separated us from not only animals but from the stones, is the fact that we are not stones, that we are not dogs. Now that is an assumption, perhaps it's a false assumption. But anyway, somehow I think one of the greatest functions of art is that man can feed back to his own consciousness through the knowledge that he is not a stone or not a dog. [December 1969; quote from a talk with his audience]"

"As I have said many times, for me an artist is a person who says he's an artist, and an artwork is what an artist says is an artwork. Although for myself, I am not interested in ideas as the burden of art.. ..the important thing about art is how it stimulates us. I think the more you are stimulated by more different kinds of art, the more demanding you're going to become on the level of your stimulation. The key to art is experience of it and proximity to it."

"You might say that a creative person is a person who simply has a desire to have something, to add something to the world that's not there yet, and goes about arranging fort that to happen.. ..when you desire a work of art and make it, you've added to the stock of art in the world. Artists are one of the people who can do that: add to the stock of things."

"It comes to me as a desire to have something in the world. And again to quote Blake, 'It is better to murder an infant in the cradle than to nurse an ungratified desire.'.. .You might say that a creative person is a person who simply has a desire to have something, to add something to the world that's not there yet, and goes about arranging fort that to happen.. ..when you desire a work of art and make it, you've added to the stock of art in the world. Artists are one of the people who can do that: add to the stock of things."

"The Duchamp thing is played both ways. The 'Urinal' [famous 'ready-made' of Marcel Duchamp ] signed R. Mutt, is played as an art object, and then as the opposite of a legitimate art object. And it vacillates back and forth. Well perhaps that is a nice thing, but I don't know. I find Duchampianism a bore. It's very adolescent. I was very much excited by it when I was a teenager.. .My tradition is quite different. My conscious tradition is through Constantin Brâncuși, and Brancusi just strikes me as an infinitely wiser and infinitely more talented, an infinitely stronger figure than Duchamp. I think I could have done my work if Duchamp had not lived. I could not have done my work if Brancusi had not lived."

"I'm an anti-Platonist, so I wouldn't say that stock was a stock of ideas or certainly not an ideal form, because I don't believe there is something out there, except out there. There's something in here and there's something out there, and there's mediation between the two."

"A work will be treated as art within a certain circle – that is, within the circle of let's say ten thousand people. There are about ten thousand in the world today who are prepared to take it on face value if you present anything to them as art, they deal with it straight on as art and tell you whether it stimulates them, moves them, or not. Some of them might even buy it.. .Anyway, it seems to me that within that ring of ten thousand, fortunately, that sincerity issue [the issue: is something art or not] is over. The reason why that issue failed is that it became obvious no one would live a life of art, a life of poverty, just to pull somebody's legs. In other words, there were compensating sacrifices for what people did."

"People keep on wanting fetish figures, and things like that are very popular. That's Pop art. There was an enormous resistance to Abstract Expressionism and there still is to that school, which is not dead at all. But Pop art came as a reaction to that because kids can't paint abstract expressionism unless they're under five year of age. Because it really is tremendously hard work and it's very challenging. But the point is, people love an immediately recognizable word – if you put a word in anything, they lie it.. .I am not interested in culture at all. Once a work of art has gotten into the culture, its dead as far as I'm concerned. I think there is a difference between art and culture. Or as the sage once said, 'Art is what we do; culture is what is done to us'."

"Fortunately, the less you have to rely on art materials – what are considered classic art materials which are all overpriced anyway – the more you can rely on materials at large in the culture and the more you should rely on them. The more free you are because you're not tied down to a higher-priced set of materials. That's the advantage of getting out in to the streets. I find that work I'm interested in now is made out of things which have been discarded by people – metals and things which I find in vacant lots. I don't want all of it. I want only certain kinds for certain purposes. But this is of interest to me now, just so I won't get into a trap where I have to work and continue with more and more expensive materials."

"I mean artists like Joseph Beuys, who is really a tough, strong artist. B E U Y S. He's been working in Germany for years. He doesn't bother with the burden of ideas. What he desires to do is fill your house with margarine. Let you live encased in fat, die encased in fat. He would take three hundred pounds of margarine and put it exactly where Pat Kelly is now, and then leave it there. That's sort of the tenor of his work."

"I think it's called Arte Povera. But it doesn't mean 'poor art'. It means the art which you would do out there if you were nobody at all. Aspects of this are street art and so forth. Earthworks interest me to the single extent that it means a great extension of the possibilities of materials. Dirt is a wonderful material to make things out of. And mud and rocks and things like this..."

"I want to warn against being seduced by technology. I don't think that the really interesting materials to use are those miracle plastics and miracle alloys or fiber composites or anything like that. The real miracle materials are the ones which have been abandoned by modern technology. Beautiful land and things like that. I am utterly disenchanted with technology, because the super uses of technology are the ones being used in Vietnam and that, to me, is not beautiful.. .I don't say no to the new technology, I don't say no to lasers, I don't say no to advanced plastics. The trouble is, people over and over again use new materials, new materials for old purposes. I'm not interested in that. I think by using old materials you've got to find new purposes. In a way, what is abandoned is more of a challenge than what has just been discovered."

"I've been educated in some pretty lively barrooms, like the Cedar Bar in New York. And I went to high school with Frank Stella and when he got out of college he went to New York and started painting.. .I was working with sculpture in a kind of dilatory way, and he said to come up and work in his tiny loft when he wasn't there. At the same time I sort of dabbled in a little bit of painting, and a kind of confusion. I was an eye, ear, nose, and throat person too.. .One day Frank Stella just said to me, 'Look, if you paint another painting I'm going to cut off your hands.' I asked, 'Can't I become a good painter?' Frank said, 'No, because you are a good sculptor now.' That's really my formal education.. ..the company of artists is the great education. We educate each other. I've learned from older, wiser people by the old Greek method of sitting down and drinking with them. And that's how I received my education."

"In the years when I was trying to get my work shown and accepted and so forth, I went to work for the Pennsylvania Railroad and that was my formal art school. You can learn a hell of a lot about sculpture, working in a railroad. The thing about getting a job outside of art is the fact that you can finds out whole areas of materials. I don't mean new ones. I mean old ones like scrap iron. A railroad is essentially a big collection of scrap iron, and that’s why it's great. You get out and beyond the art confine."

"So I had carved one face with hollows curving in-out, in-out, very simple really. I set the timber upright and Frank Stella came in and came over and looked at the chiseling and said it looked good. He turned around to the back of the piece which was uncut – the backside of the timber – and he said, you know that's sculpture too. I supposed what he meant to say was, that cutting was a good idea and the idea of not cutting was good too. But you know, I thought to myself, yes the uncut side is really much better than the cut side. The form of the timber was by no way improved by my cutting into it. From that time, I began to think that the next timbers I get I'm not going to cut. I'm going to combine the timbers; I'm going to use them as cuts in space. I began to look for what I call 'particles' – that is, units which are identical in shape – and finding ways to combine these particles by properties of the individual particles. That is, no gluing and no nailing and no joining."

"Magnets have an inherent quality that they can adhere to each other, so there are certain things you can do with magnets that you can't do with non-magnetic material. There are certain characteristic things you can do with very heavy things you can't do with very light things. By that, I mean it seems to me that very light things and very small things have a different characteristic way that they should be arranged, and big heavy things have a different characteristic way they should be arranged. That's subjective. I can't prove that to you. So my work is essentially combining particles – but again, combining particles according to the properties of individual particles, not imposing properties on the particles. These particles, of course, always work in a gravitational space and meet the plane of resistance that you always meet, as long as you aren't the center of the earth."

"Talking about the particles, I know I don't have any special theory of particles. It's just the way it came out and that's the way I want to do it. Also, there are advantages to particles: you can't break them; they don't break apart. They don’t have any rigid connections; there are no rigid connections to break. The particles are always shifting around a little bit and you have to kick them back into shape. It's like tuning a piano every once in a while. I like the idea of something being permanent by being non-rigid, being absolutely non-rigid but not having a rigid form that can be broken. But a theory of particles, I don’t know. Maybe late one night after a few drinks I explained to Lucy Lippard a theory of particles. I'm sure I didn't remember the next day."

"All I'm doing is putting Brancusi's 'Endless Column' on the ground, instead of in the sky. Most sculpture is priapic with the male organ in the air. In my work, Priapus is down on the floor. The engaged position is to run along the earth."

"Up to a certain time I was cutting into things. Then I realized that the thing I was cutting was the cut. Rather than cut into the material, I now use the material as the cut in space."

"My work is atheistic, materialistic and communistic. It's atheistic because it's without transcendent form, without spiritual or intellectual quality. Materialistic because it's made out of its own materials without pretension to other materials. And communistic because the form is equally accessible to all men."

"Actually my ideal piece of sculpture is a road."

"The sculpture of Carl Andre is more than simply flat.. .Andre demonstrates a new use or possibly non-use of space. Several conclusions can be drawn from these sculptures ['The Razed Sites']: that it is the lowest level of space that counts most; that the space above that level can be filled without being enclosed; and that, ultimately, it is human scale that determines sculptural space."

"Mr. Andre is not opposed to visitors walking on his [floor] sculptures [during the show]. He said yesterday that the friction of their feet would keep it polished and bright.. .It was rather like a used steel railway."

"That was always the thing with Minimalism, there was no content allowed of course, but only the thing in the space, that was what Sol LeWitt was always about, and Carl Andre – it was all about avoiding content. I was always very interested in this [content], right from the beginning, especially with my 'Ellipsoids' [she made 1981 - 1983]. They look like Minimalism, but in the end there is a lot going on there."

"He [Carl Andre] does not mind that Minimalism is no longer the avantgarde, he accepts as inevitable that his art, which enjoyed a brief moment of glory in the 1960's and 1970's, will for some decades be regarded as passé."

"Carl, that's sculpture, too!"

"Look, if you paint another painting I'm going to cut off your hands.. (I [= Carl Andre] asked Stella, 'Can't I become a good painter?') No, because you are a good sculptor now."

"Calendar Reform is the final act of history, and the first step toward Earth Regeneration in the cradle of galactic culture."

"When a man's work is full of life and in harmony with his environment, it becomes a work worth studying."

"After working with oil, pastel, and watercolors, I have intentionally returned to working with graphite. It is the most challenging mode of expression to master"

"I caught a glimpse of sun rays filtering through a window, thus lighting up a portion of this magnificent building. I was racing against the sun, desperately trying to finish my sketch before the light disappeared. I knew I had only an hour and a half before sunset."

"After I finished my books, I felt I had to do another one and I thought that if I were to choose a subject, it had to be mosques."

"It is the things of the spirit, the arts of the country, which have always led mankind forward, and it is to this spirit that the craftsmen of the world must lend themselves."

"A good life is found only where the creative spirit abounds, where people are free to experiment and create new ideas within themselves."

"I love to dance."

"If a man’s life is not long enough, a dog’s is even shorter and anything you can do to make that fuller is worthwhile."

"Much of the pleasure of shooting is what accompanies it and sharing it all with a good friend."

"And if gunning over an intelligent handsome setter enriches my sport, certainly a hearthful of them on a winter evening or speckled faces peering out of our station wagon are things to value."

"I want there to be woodcock forever flying over in October, and solitude, and Hunter’s Moons. But most, I want there always to be Grouse- of all wild things, the wildest- in these endless mountains we call home."

"Be worthy of your game"

"If I could shoot a game bird and still not hurt it, the way I can take a trout on a fly and release it, I doubt if I would kill another one. This is a strange statement coming from a man whose life is dedicated to shooting and gun dogs. For me, there is almost no moment more sublime than when I pull the trigger and see a grouse fall. Yet, as the bird is retrieved I feel a sense of remorse for taking a courageous life. About the time I passed fifty I noticed this conflict becoming more pronounced..."

"How then, can you love a bird and kill it and still feel decent? I think the answer is, to be worthy of your game. Which boils down to a gentleman's agreement between you and the bird, never forgetting that it is the bird that has everything to lose. It consists of things you feel and do, not because someone is looking or because the law says you may or must not, but because you feel that this is the honorable way to do it."

"If you can approach shooting as something to be enjoyed, not a frustrating obsession, it can enrich your life."

"I think we are drawn to dogs because they are the uninhibited creatures we might be if we weren't certain we knew better. They fight for honor at the first challenge, make love with no moral restraint, and they do not for all their marvelous instincts appear to know about death. Being such wonderfully uncomplicated beings, they need us to do their worrying."

"My gun diary indicates how many grouse were moved each day these dogs hunted, each productive point they made. For me, this is what gunning for grouse is about, not dead birds to tally up – to gun for grouse with a dog, not just over him, and once that has been savored, anything less seems watered down."

"The man must learn to know his dog as a personality, not a formula. I have no objection to a grouse dog swinging on his cast and coming in from behind me – a misdemeanor by trial standards. Grouse terrain is such that if it can best be covered by the dog’s working in an unorthodox manner, I consider him intelligent if he does so."

"Ruffed grouse dogs are bred, not born, and once born they are developed, not made."

"Time that gives so much and Time that takes so much away has put its mark on this place that is Old Hemlock almost without altering anything. In that gray-black blend of night-to-dawn I lie and think of all that Kay and I possess, aware that what is good is not what is new but what is loved and used, with a patina from hands and years."

"I know, as I've always known, that a gunner’s paradiso lies within himself, involved in his attitude toward his dog, his reverence for his bird; the boundaries are mental, not physical."

"Without quality in life, there is only Death waiting at the end for all of us, like the bird. Being one of those fortunate men whose existence burns more brightly because of gunning grouse, I have learned that the place to look for quality is within yourself."

"When you are very young, you tend to accept standards for such momentous judgments as to whether a girl is beautiful; when you reach the age of experience you come to know beauty in the sense that “knowing” is to possess. Beauty does more than reflect light, it is the action of energy on form, glowing as a total function. This is singularly true of a grouse dog in his consecration to his bird."

"A gunner owes consideration to the birds and to the land itself. He usually does not own the deed, but in a strange way he possesses a grouse covert as he is possessed by it, holding special title to that particular corner of this earth, a carry-over from the age when man discovered wild land and made it his."

"A gun, no matter how rare, a dog, no matter how brilliant, cannot mean fulfillment without keenness in the man. It takes the sportsman’s edge honed fine, an “eye,” a sense of what is good, the ear for what is right – the heart. There is something about the wilderness, something in the blood that draws nourishment from the game."

"The child tells what he got for Christmas, the mature man tells how he spent the day; the immature hunter tells how many birds he shot, the mature gunner tells of the experience. If I can impart a sense of gunning values through my writing, I urge the gunner at any age to lift himself above the childish state of mind, thinking only of himself and not what he is doing to the birds."

"Each of us has that ember within him to create his own Camelot, to form his life by taste. Being different from the crowd, like quality, is not a vice. Tradition and standards shape shooting as surely as manners make the man."

"Quality grouse shooting cannot be evaluated by numbers any more than diamonds can be measured by the pound. It is not a process but a reflection – a reflection in the gunner from the dog he shoots over and the gun he carries, and above all a feedback from the grouse. When these things happen well, looking back at end of day is to be as content as it is given a man to feel. It has been my past, it is my life and my hereafter, like these mountains endless in their splendor."

"A grouse deserves better than to be shot on the ground."

"Grouse shooting is what it is for you, not for someone in some fabulous faraway place. Grouse gunning can be either a game of numbers or identification with a live bird somewhere ahead. It can be a mindless urge to wipe out a string of birds, or it can be the instant when one bird and the dog and the gun exist in unity."

"To shoot a grouse exacts something from the thinking man. It requires principle, which like good manners is not old-fashioned and never has been. It is something in your heart and in your head. The perceptive gunner is immersed in the style and charm of his dog’s work and in the shot, but with it all, he is one with what happens to the bird. His shooting is not vindictive, a getting-even because the grouse is so hard to hit. To regret a miss is normal animal response to temporary failure, not to be confused with sentient “the bastard got away.” Emotions are drawn to such thin threads they reach the breaking point, but when finely-honed tensions balance, shooting becomes a spiritual thing between you and the grouse."

"Seventh and Ninth generation Old Hemlocks, I see in them all of those ancestors, not just the bloodline and shape of the skull, but the character, the way they feel. […] They are all in my heart, not gone to some vague afterland to enjoy a happier life, for they were happiest with me. If I could have l kept one of them with me for all Time, it would have meant missing all the others."

"Some men dream of wealth and power. I tell of days. Of woods taking me where they wanted to go, hawthorns scarlet with October, the lacy loveliness of hemlocks, old lanes gold with Autumn, fall colors like stained glass showing through the leaded lines of black branches, each tree a love, each leaf a now, the dry-bone look of maple twigs in winter, the silent snow. For more than seventy Indian summers I have begged each one not to go, even as I spoke, the leaves showered down around me."

"The gunner tends to live with Death without giving thought to dying, the shot heard so deeply it is not heard at all. The gunner is the grouse while the grouse is living; he dies a little when the grouse is dead. They have that in common, the bird and he, and he had better know if he is worthy to terminate that glorious life. It is a responsibility not easy to face, yet he doesn't dare not face it."

"There is time, and you must take it,to lay your hand on your dog's head as you walk past him lying on the floor or on his settle, time to talk with him, to remember with him, time to please him, time you can't buy back once he's gone"

"In pursuing the wraith that was Paul Curtis, I more than ever was aware that what lives after a shooting man is what has been published of his writings. Memories of the man grow dim and not too rarely become confused […] almost but not quite capturing for me a presence that surfaced like a zither theme in a suspense movie."

"I have not written this book as something that is over. When you have lived like that, it will be present always, like the gun I shot and the dogs and those grouse living in the subcellars of my brain."

"Being an artist now means to question the nature of art. If one is questioning the nature of painting, one cannot be questioning the nature of art. If an artist accepts painting (or sculpture) he is accepting the tradition that goes with it. That’s because the word art is general and the word painting is specific. Painting is a kind of art. If you make paintings you are already accepting (not questioning) the nature of art. One is then accepting the nature of art to be the European tradition of a painting-sculpture dichotomy."

"Fundamental to this idea of art (conceptual art) is the understanding of the linguistic nature of all art propositions, be they past or present, and regardless of the elements used in their construction. (note: Without this understanding a 'conceptual' form of presentation is little more than a manufactured stylehood, and such art we have with increasing abundance.)"

"Art before the modern period is as much art as Neanderthal man is man'. It is for this reason that around the same time I replaced the term "work" for art proposition. Because a conceptual work of art in the traditional sense, is a contradiction in terms."

"If one wanted to make a work of art devoid of meaning, it would be impossible because we’ve already given meaning to the work by indicating that it’s a work of art."

"The work process begins when I start selecting quotations from a large collection I already have, given that I use such texts often in my work and have for a long time. In fact, appropriation of this kind––along with other kinds––has been part of my work since the beginning in the ’60s. I go through hundreds of these amassed quotes from my own research and that of my staff, make my choices, and then continually add them in relation to the quotes I already have selected. The surplus meaning that is constructed by using the words of others in conjunction with each other, which is my goal, is a far more delicate operation than it may seem."

"Traditional philosophy, almost by definition, has concerned itself with the unsaid. The nearly exclusive focus on the said by twentieth-century analytical linguistic philosophers is the shared contention that the unsaid is unsaid because it is unsayable."

"The 'value' of particular artists after Duchamp can be weighed according to how much they questioned the nature of art."

"It is necessary to separate aesthetics from art because aesthetics deals with opinions on perception of the world in general. In the past one of the two prongs of art’s function was its value as decoration. So any branch of philosophy that dealt with “beauty” and thus, taste, was inevitably duty bound to discuss art as well. Out of this “habit” grew the notion that there was a conceptual connection between art and aesthetics, which is not true. This idea never drastically conflicted with artistic considerations before recent times, not only because the morphological characteristics of art perpetuated the continuity of this error, but as well, because the apparent other “functions” of art (depiction of religious themes, portraiture of aristocrats, detailing of architecture, etc.) used art to cover up art."

"Works of art are analytic propositions. That is, if viewed within their context – as art – they provide no information whatsoever about any matter of fact. A work of art is a tautology in that it is a presentation of the artist’s intention, that is, he is saying that that particular work of art is art, which means, is a definition of art."

"I also found so-called great art too pompous, too stiff. What at this time was called minor art was freer, more imaginative, more open to all kinds of unorthodox expression, all kinds of daring in the handling of materials, and I preferred to surround myself with this type of art than with the great collectors' pieces."

"Copy nature and you infringe on the work of our Lord. Interpret nature and you are an artist."

"I am the most curious of all to see what will be the next thing that I will do."

"Imagination is a very precise thing, you know — it is not fantasy. Remember, the other day I gave you the example of what I mean, what the difference between fantasy and imagination is. I gave you the example of the man who invented the of the man who invented the wheel while he was observing another man walking."

"For me sculpture is divinity. This is the only answer that I could find for myself. Art is man's distinctly human way of fighting death. Through art, man achieves immortality and in this immortality we find God."

"Cubism is not a formula, it is not a school. Cubism is a philosophy, a point of view in the universe. It is like standing at a certain point on a mountain and looking around. If you go higher, things will look different; if you go lower, again they will look different. It is a point of view."

"All my life as an artist I have asked myself: What pushes me continually to make sculpture? I have found the answer — at least the answer for myself. Art is an action against death. It is denial of death."

"The period during the First World War was a very exciting time in Paris, with artists, philosophers, and poets continually discussing and arguing about the work with which they were involved. Although I myself am little concerned with abstract theory, I certainly do think of cubism as a form of emancipation essentially different from artistic movements that had preceded it. Thus, impressionism, while it was a revolutionary technique, was still an essentially naturalistic movement concerned with a precise examination of the nature of light and the effect of changing lights on representational scenes and objects. Cubism did add a new dimension to painting and sculpture, a dimension that changed our way of looking at nature and the work of art."

"I remember one day when Juan Gris told me about a bunch of grapes he had seen in a painting by Picasso. The next day these grapes appeared in a painting by Gris, this time in a bowl; and the day after, the bowl appeared in a painting by Picasso."

"By the early 1920s I knew that I needed to move beyond the simple cubist vocabulary I had learned and to find a new content, a new personal expression.Abstraction was never enough for me."

"Jacques Lipchitz and Marc Chagall were among the European artists who settled in New York City during the war. Just before and after he arrived in 1941, Lipchitz gave his works such titles as Flight (1940), The Exile's Path (1941), The Rape of Europa (1941), and Theseus and the Minotaur (1942)."

"Purge the world of bourgeois sickness, ‘intellectual’, professional & commercialized culture ... PROMOTE A REVOLUTIONARY FLOOD AND TIDE IN ART, ... promote NON ART REALITY to be grasped by all peoples, not only critics, dilettantes and professionals ... FUSE the cadres of cultural, social & political revolutionaries into united front & action.""

"Never lend Paik a television. He destroys all televisions."

"If you are really short of $ I could send you some (after my next pay, since I have spent my resent pay 99%). Wait another 5 days, I will send some – don't starve meanwhile. Eat grass mixed with chopped leather belt and boiled old shoes – it's vitamin and protein rich. – That's what the Russian guerillas used to eat."

"The Fluxus movement... developed its 'anti-art', anti-commercial aesthetics under the leadership of George Maciunas. Fluxus staged a series of festivals in Paris, Copenhagen, Amsterdam, London and New York, with avant-garde performances often spilling out into the street. Most of the experimental artists of the period, including Joseph Beuys, Yoko Ono and Nam June Paik, took part in Fluxus events. The movement, which still continues, played an important role in the opening up of definitions of what art can be."

"When I started in video I was one of two or three dozen video artists in 1970. And now, to paraphrase Andy Warhol, everyone's a video artist. Video, through your cellphone and camcorder, has become a form of speech, and speech is not James Joyce. It's great, and to be celebrated, but it has to find its own level."

"The world is full of objects, more or less interesting; I do not wish to add any more."

"Vito Acconci’s extraordinary career—poetry, art, architecture: a sort of triathlon of the arts—began in the Bronx, where as an aspiring author of seven years he wrote stories about cowboys and athletes. At his Catholic college, he published sexy stuff about priests and nuns that got the school magazine banned for three issues running. He went on to write fiction in the Iowa Writers’ Workshop. But when he came back to New York in the early ’60s, something changed, and he began writing poems. Highly conceptual constructions, they did not tell stories, express feelings, or evoke a fictional world. They were not representational. Maybe you could call them presentational: this is a word, this is a sentence, you are reading."

"For me the art world is like a huge river, which began somewhere in the past and keeps flowing towards the future."

"Fear is the reason for making art. It is a means to freedom."

"Ilya and Emilia Kabakov have been collaborating since 1989, 3 years before their marriage in 1992. Ilya was born in 1933 and spent years working as an artist prior to meeting Emilia, but the couple’s meeting sparked the installation practice that defined their aesthetic trajectory."

"[Ilya Kabakov] saw Total Installation as a new art form that incorporated all the forms that had come before, including painting, drawing, sculpture, plus the theatrical forms of scene-making, music, and the atmosphere created by the interaction of light and color. If the artist has properly manipulated all these elements, those who enter become "simultaneously both a 'victim' and a viewer, who on the one hand surveys and evaluates the installation, and on the other, follows those associations, recollections which arise in him; he is overcome by the intense atmosphere of the total illusion."

"A painter should never speak because words are not the means at his command. Words cannot express visually dimension at a glance they can only establish their own relationship in time. However, it is possible for a painter, at certain moments of his development to formulate some of the problems he is facing in the growth of his work. A painting cannot be explained. Words can only stimulate the act of looking. A visual problem is never put a priori as a mathematical problem but is born in the process of painting and evolves in a state of unawareness of the painter."

"Seeking an English equivalent for peinture relative, Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian (1872-1944), with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas."

"Barry was one of the first to see that mass and volume in sculpture were not dependent upon visibility... But also, and perhaps more importantly, that language was a necessary component to communicate the idea in conceptual art."

"But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness." This is part of the pity of Modernism, one of the sacrifices it enjoins..."

"Two small and rather unappealing animals possess patterns of behaviour that have great relevance for the student of intelligent systems. These are the wood louse and the maggot of the common housefly, and it is the difference in their behaviour which is so illuminating. It has to do with the way in which they orient themselves to their environment. Wood lice like moist places and succeed in aggregating there by the simple device of slowing down their otherwise random movements as the humidity increases. The maggot, which, during a certain stage of its development needs to come out of the dark, finds light by a slightly more sophisticated system. It has a single, non-directional light-sensing organ at the forward end of its body and as it moves along it swings this end left and right, allowing the amount of light gathered during each swing to determine the extent of its forward motion. In this way it keeps altering its course until the amounts of light sensed are equal for both sides, by which time it must be heading straight for the light."

"The idea of making machines that think has an unfailing fascination, not only for science fiction readers, but for all who can see it is a possible way of gaining some understanding of the working of our own minds. Thinking, however, is not an easily defined phenomenon, although it is often considered to be the process of solving problems."

"In perception itself, two distinct processes can be discerned. One is the gathering of the primary, sensory data or simple sensing of such things as light, moisture or pressure, and the other is the structuring of such data into information."

"I am not really suggesting that we should construct cybernetic cigarette boxes, merely that the situation described contains all the elements which would have to be taken into account in a design of a practical cognitive system. These can be described as:"

"...three artworks created in the mid and late sixties stand as landmarks in the development of robotic art: Nam June Paik and Shuya Abe's Robot K-456 (1964), Tom Shannon's Squat (1966), and Edward Ihnatowicz's The Senster (1969-1970). While these works are very significant in their own right, they acquire a particular meaning when re-considered today, since seen together they also configure a triangle of new aesthetic issues that has continually informed the main directions in robotic art."

"Edward Ihnatowicz (1926-1988) built one of the world's first computer-controlled robotic sculptures, The Senster, in 1968-70. Rather than concentrate entirely on this groundbreaking and influential piece of work, this paper describes the stages he went through in developing his ideas, as an illustration of how a conventional artist became a cybernetic sculptor."

"There can be no doubt that Tsai's phenomena (whether they be works of art in the strict sense, or whether they be fantastic artifices) are extremely important. They show what promises and dangers may be in here in a "play," if it is proposed by a great artist. Because, even if Tsai's phenomena be considered artifices, there can be no doubt that Tsai is a great artist. Not because what he does is pleasant, or because he proposes a play, or because he represents the spirit of our times, but because he reveals to us, through artifice or works of art, the concrete experience of a future full of promise or abysmal danger."

"As far as the sensory experience of the spectator goes, the most outstanding American kinetic artist is unquestionably the Chinese-born Wen-Ying Tsai. His pieces, which are perfect on the technological level, serve the primary purpose of giving a complete visual experience to the spectator, whose sound solicitations provoke a choreographic, chromatic and rhythmic response in the ‘cybernetic sculptures’. [...]"

"Tsai's Multi-kinetics were dynamically integrated multiple constructions, employing thirty-two kinetic units, each of which contains a configuration of multi-colored gyroscopic forms. With these elements he created an active environmental field that could, apparently, be infinitely extended. Each motorized unit was a self-sufficient entity, and when it was combined with other similar units produced a large-scale kinetic work that joined visual intensity with mechanical power. By controlling the time sequence of each unit in skillful compositions, Tsai used engineering principles to achieve aesthetic ends."

"Ever since Marshall McLuhan has become a household name, people have become aware of the tremendous force, both actual and potential ; that TV is having and will have on their lives."

"My father resigned during the Depression, so I had that responsibility at an early age. Like any other business, the Depression had hurt us a lot and we had a lot of labor unrest among the 300-400 employees. I decided that I had better take a good look at the situation, and I got in touch with a labor consultant . He suggested that since we were a relatively small business we could keep an intimate relationship with the employees, so I did that. We had 10-year and 25-year clubs, and when it came my turn to get the gold insignia, or whatever it was, for my 25 years with the company I realized, "My God, 25 years," and I decided to quit."

"I thought I would combine my artistic experience with my business experience and start a gallery in Cleveland because there really was no gallery of any stature there. I felt that Cleveland was artistically avery closed and ingrown community. The only real modern work that was shown was local work . My objective in opening a gallery in Cleveland was to bring the art from various centers in Europe and America."

"The shape and direction of video art's accelerated growth, since virtual nonexistence in the mid-'60s up to the present, has been influenced primarily by the priorities of major funders-the New York State Council on the Arts, the Rockefeller Foundation, the National Endowment for the Arts, among others . It has matured without the bevy of individual collectors who support more established forms such as painting and sculpture. Within video's media arts centers and funding organizations, there are many advocates, administrators, and curators who provide an infrastructure which enables artists to produce and distribute work, often doing so with little publicity or recognition. In this realm, Howard Wise stands out as an individual benefactor who preceded and has supplemented private foundations and public monies. He has been a central figure in the visibility, production, and acceptance of video art. For almost 20 years, he has been one of the few patrons of video art."

"Howard Wise is one of the people who is responsible for the idea of an alternative television."

"Howard was very important because he went against the mainstream in his gallery."

"Howard Wise, [was] an art patron and a former dealer who gave important early support to the technology in art movement in the United States... In 1964 his Howard Wise Gallery in Manhattan presented On the Move, the first survey in the United States of contemporary kinetic art. The gallery's exhibition Lights in Orbit three years later was the first comprehensive survey in this country of kinetic light art. Mr. Wise also organized the first exhibition of the budding video art movement, TV as a Creative Medium, in 1969, and two years later he founded , a nonprofit organization that distributes artists' videotapes and provides editing and post-production facilities for independent videomakers."

"Traditional guerrilla activity such as bombings, snipings and kidnappings complete with printed manifestos seem like so many ecologically risky short change feedback devices compared with the real possibilities of portable video, maverick data banks, acid metaprogramming, Cable TV, satellites, cybernetic craft industries, and alternative lifestyles. Yet the guerrilla tradition is highly relevant in the current information environment. Guerrilla warfare is by nature irregular and non-repetitive. Like information theory, it recognizes that redundancy can easily become reactionary and result in entropy and defeat."

"The arrangement I worked out with Fordham was that I would do my alternate service there as a conscientious objector, working with McLuhan directly during the 1967–1968 academic year and then experimenting with video for 1968–1969. It was terrific. I had an office two doors away from his. McLuhan would stop me in the hall and with great excitement tell me about a book he read the night before on the sense ratio of Russian peasants. Once he invited me into his office to talk about a paper I had written about war. He sat on this couch, spun around, lay on his back, held the paper up, read a bit from it, put it down, and continued to lie on the couch for a good hour, free-associating."

"Paul Ryan, a research assistant with Marshall McLuhan at Fordham University, lent Fordham's equipment to Frank Gillette, a painter; filmmaker Ira Schneider met Gillette at a party and later taught a video workshop at Antioch College with Gillette... Completing the variety of work in "TV as a Creative Medium" was Everyman's MobiusStrip, by Paul Ryan (who, along with Gillette, was soon to become the theoretical mover in the video collective Raindance). Working with McLuhan, Ryan was exploring video as a psychological mirror, asocial tool, and a communications device."

"You are sitting in a curtained booth on a stool, a TV aperture hangs before you like a surrealistic picture frame, beyond which the portable video camera sits and observes, as you are prodded ever so gently by calculatedly stimulating questions: "React to the following people : Nixon, your mother, Eldridge Cleaver, Teddy Kennedy, you... for the next ten seconds, do what you want... now let your face be sad..." You watch yourself in full audio-picture recap of your "interview," erasing all but the fewest frames of the previous tape as your tape will be obliterated by the next."

"The most important thing was the notion of information presentation and the notion of the integration of the audience into the information. One sees oneself exiting form the elevator. If one stands there for 8 seconds, one sees oneself entering the gallery from the elevator again. Now at the same time one is apt to be seeing oneself standing there watching Wipe Cycle. You can watch yourself live watching yourself 8 seconds ago, watching yourself 16 seconds ago, eventually feeling free enough to interact with this matrix realizing one's own potential as an actor."

"Eventually, I'd like one monitor at the North Pole, one at the South, and two at the equator, big monitors switching images back and forth."

"Ira Schneider's 1974/2006 Manhattan is an Island was one example (of the surprises)... On 23 monitors mounted on unusually tall pedestals of varying heights, suggesting skyscrapers and evoking Manhattan, Schneider presented black-and-white video footage of people moving about he city, capturing the ceaseless intensity of life on the sidewalks and streets."

"Ira Schneider was a pioneer of video in the late 1960s and early 1970s. In his work with video installation and single-channel tapes, he explored the manipulation of time, interactivity and simultaneity as formal and conceptual devices. A participant in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in 1969, he created several important early multi-channel video installations, including Manhattan is an Island and, with Frank Gillette..."

"In an effort to put different video artworks into separate categories, authors have come up with various solutions. Already in 1976 Ira Schneider and Beryl Korot observed three basic approaches to the video image: video in which the artist/performer is subject; video in which the environment is subject; and video in which the abstract synthesized image is subject."

"Howard Wise is one of the people who is responsible for the idea of an alternative television."

"The antithesis of 10th St. Howard was, at first, like a pariah uptown. He was very midwestern and his gallery had wall-to-wall carpeting."

"Merging a rich visual sensibility with an almost scientific engagement with taxonomy and ecological systems, Frank Gillette is a video pioneer whose multi-channel installations and tapes focus on empirical observations of natural phenomena. An early theorist of video's formal and aesthetic parameters, in 1969 he was a founding member and president of the influential video collective Raindance. With influences ranging from cybernetics to painting, Gillette was an innovator of the multi-channel installation form, experimenting with image feedback, time-delay and closed-circuit systems. His seminal installation Wipe Cycle (1969), produced in collaboration with Ira Schneider, was included in the landmark 1969 exhibition TV As A Creative Medium at the Howard Wise Gallery in New York."

"There have always been two aspects to my work: formal innovation and strong content. That goes for Steve’s tape pieces as well. To make a work together, we had to be engaged by the subject matter, and we shared an interest in technology as it has advanced. Looking back at the Hindenburg and , and forward in “Dolly” to new technologies, was a way of rethinking and understanding the soup in which we swim. We call this a theater of ideas, but its success as a work depends on the strength of the video and the music."

"I was attracted to video art because it allowed me to combine a strong sense of content with formal innovation. The field was wide open and allowed for a great deal of experimentation for creating new forms."

"Germany at that time was synonymous with the Holocaust to me and as a Jew it was necessary to face that."

"In making the four-channel video work Dachau, my experience as a weaver directly influenced the basic structuring of the work. The content itself was taped in 1974 at the former concentration camp Dachau. The symmetry of the architecture and the present ambience of the space were the focus of the recordings. The past was recorded only insofar as the sounds of the voices of the present commingled with the feeling absorbed in the wood and revealed in the structure of forms which has no amount of time can erase."

"Just as the spinning and gathering of wool serve as the raw material for a weave, so the artist working with video selects images to serve as the basic substance of the work. All technology, in its capacity to instantly reproduce, store, and retrieve information, has moved continually in a direction that seeks to free us from laboring with our hands by giving us greater conceptual freedom to organize, select, and judge."

"Since the early 1970s, Beryl Korot has been recognized as a pioneer of video art and of multiple channel work in particular. She was co-editor of ', the first publication to discuss the possibilities of the new video medium in 1970, and co-edited Video Art: An Anthology with Ira Schneider in 1976. Her study of the technology of the loom, in 1974, marks a critical shift in her own investigations and played a significant role as a thinking tool in her subsequent video work. Her first multiple-channel works, “Text and Commentary” and “Dachau 74”, are groundbreaking efforts that moved the video medium beyond the television’s frame and into a vocabulary of installation. By 1980, these and earlier works were featured at Dokumenta 6, The Kitchen, Leo Castelli Gallery, The Everson Museum, The , among others and was featured in Video Viewpoints at the ."

"In an effort to put different video artworks into separate categories, authors have come up with various solutions. Already in 1976 Ira Schneider and Beryl Korot observed three basic approaches to the video image: video in which the artist/performer is subject; video in which the environment is subject; and video in which the abstract synthesized image is subject."

"Bob: The inquisition in Europe was masterminded by the Jesuits… Only this time instead of Dominican monks wearing rives, the Vatican used the Gestapo wearing Nazi uniforms."

"Bob: Adolph Hitler was never excommunicated as a Catholic for his crimes against the Jews. Instead, the Vatican considered him to be a hero."

"Bob: Today the Vatican is a tremendous political and religious power. It has one billion citizens, and it controls the wealth of the world."

"Bob: Our government's friendly policies attract millions of Catholic immigrants."

"Mr. Weiss: What will stop the Vatican? Bob: Jesus Christ will stop it!"

"Mr. Weiss: I know that Jesus is the Christ, the Son of the living God."

"Christ's finished sacrifice was sufficient. By participating in the mass, Roman Catholics are calling Him a liar! It's an abomination in the eyes of God."

"Mary is embarrassed, because the people are bowing down to statues of her."

"Mary sheds tears because men call her "The Mother of God.""

"Mary weeps because men teach she was really sinless."

"In these last days, the key to pulling all the religions together is the worship of the satanic mother goddess."

"It took guts for Noah to build the ark because it had never rained. Got watered the earth with a mist."

"The documents proving the ark existed were given to a Russian soldier to deliver to the Czar. When he reached Moscow, he was captured by the Communists. Rumor has it he was shot, and the documents fell into the hands of Trotsky, the Communist leader. All the documents disappeared!"

"God gave His laws to Moses… and like it or not, God condemns the sin of homosexuality."

"Because I really care about homosexuals… and I want them to know that they will face a horrible judgment."

"My friend, the moon god was Allah. He was just one of 360 idols in the Ka'aba in Mecca. And Muhammad knew all about this. The crescent moon is everywhere in Islam. Even Ramadan begins and ends with the crescent moon. Ask your mullah why!"

"Don't tell God they were only little globs of tissue. They were real live persons, being formed in their mother;s womb."

"Germany is rebuked for its past. But look at the new holocaust!"

"Boy dressed as the devil: Everybody's afraid of the devil! Girl: Not me! Boy dressed as a ghost: How come? Girl: Because Jesus loves me and the devil is afraid of Jesus."

"Cop: Stinking straight!"

"Bob: To God, homosexuality is no joke!"

"Ray: Oh God, I'm in trouble…How many young people have I enticed into the gay lifestyle? I'm facing God, covered with the responsibility of ruining their lives."

"Holy Joe: And on the day of judgment everything will be replayed, even your thoughts"

"Those dinosaurs that were in the ark were "fruitful and multiplied" like other animals. But now the dinosaurs had a big problem... THE AIR HAD CHANGED! Remember those trillions of destroyed plants? They made the air rich with oxygen. And big animals need lots of it to survive. In the thinner air it was harder to breathe - they got slower and easier to catch. Now you know how the dinosaurs really died. Because of sin, the Lord destroyed the earth by water. But the next time... IT WILL BE BY FIRE!"

"John: [S]piritually, you're as dead as a doorknob and heading straight for hell!."

"John: We're all like zombies. The spirits inside our souls are dead, thanks to Adam."

"By nature, we're Adam's children - not God's. Because of Adam's sin, his kids became sinners, and spiritually children of the devil."

"The most beautiful home on earth is just a dump compared to the magnificent mansion Jesus is building for you up in heaven."

"Catholicism is a religion of idols."

"Jesus will destroy the sinful Vatican."

"But you can't kill a demon because they're evil spirits, like a ghost."

"Demons control all kinds of religions."

"The biggest sin is unbelief. God wants us to believe Him. But we rebel against God when we refuse to trust Him."

"God's gift of forgiveness and eternal life in heaven is absolutely free!"

"I think [the movie Light of the World] will help a lot of pastors. It should get a lot of people sold—uh, saved."

"I love Catholics."

"I'm sure the pope will have seen this movie by next week."

"They have all my stuff at the Vatican. I'm one of the few who stands up against Rome. That all started years ago when I met Alberto."

"I don't let my picture be taken. I'm on too many hit lists."

"It was occurring to me that, despite his friendliness, Chick might well be uncomfortable with my presence—especially if he really was the paranoid conspiracy nut he outwardly appears to be. He probably was not looking forward to watching the film with a presumed Jesuit agent sitting by his side."

"As I drove home, I reflected on my meeting with the king of Fundamentalist kitsch. He came across as a kind, gentle old man. He was nothing but polite. He smiled. He laughed. Unlike the characters in his comic books, he didn't saw "Haw! Haw!" when he laughed. From meeting him one would never suspect him to be the most infamous broadcaster of hate and paranoia in the Christian comics world."

"Jack Chick was a graphic artist who lived his delusional life in lies, prejudice and paranoia, promoting racist, sexist credo-specific bigotry against everyone smarter than him, or who understood things better than he did: which is pretty much everyone since he was really impressively fucking stupid -even compared to other creationists. He was so bad that Chick Publications is recognized as a hate group by the Southern Poverty Law Center. So now I hear that this creepy old dogmatic fucktard has finally stopped breathing at 92 years old. I’m unapologetically glad about that. His death makes our world a better place. I think that everyone who believes the way that he did should show solidarity by burying their faces in the sand and holding their breath until Jack Chick breathes again. Because our world just doesn’t need anyone like that -making life irritating for everyone capable of rational or compassionate thought."

"In truth, Jack Chick was the Leni Riefenstahl of American cartooning. Like the Nazi filmmaker who made Triumph of the Will, Chick was an artist of genuine skill who put his talent in the service of an odious ideology."

"There's one thing about baldness; it's neat."

"I feel that story, first. I know those people, first. When I put them down they've already lived."

"Darkseid is very evil. He's the equivalent of a mass murderer, but he wouldn't waste his super-powers on just one individual. He wouldn't go out of his way just to kill one man; it would be ridiculous. He wouldn't do it. He'd just walk away. That's how my villains think."

"If someone took control of your mind and you were not able to think as yourself any longer, you would no longer be yourself. You'd be something in his command. You as an individual would be dead. That's Anti-Life. In other words, if you gave yourself to some cause, and gave up everything as an individual and you were at the beck and call of some leader, you would be dead as an individual. And that's what Darkseid wants. He wants control of everybody. If it was snowing outside and you weren't wearing any shoes and it was 38 degrees below zero and this guy says, "Go out and get me a bologna sandwich," you have to go through all that; you obey him automatically, you obey him meekly. You walk out without a coat and you freeze to death. He doesn't care. You do it anyway despite the fact that you don't want to do it. You're dead as an individual. You have no choice. You can't object and you have no stature as a person. You're dead. A slave is a dead man. That's what Darkseid wants. Darkseid wants complete subjugation of everything at a word - his word. He wants every thinking thing under his control. I believe it's an evil concept but he doesn't think so."

"The right idea to Darkseid is anything that benefits him. He isn't going to worry about you. He sees the world from where he sits, and of course what he sees is big. He's a big man. Darkseid is a tremendous, powerful, evil figure, and he's going to see everything in a cosmic view. He's not going to see a view of the candy store around the corner or what's playing at the Palladium next week. Darkseid is going to see everything in an over-powering cosmic view, and of course what else would he want but complete subjugation of everything? Earth is included in that everything, and my concept is that somewhere on Earth is someone who can solve the Anti-Life Equation, and Darkseid is after that poor soul."

"Darkseid considers anything evil that's going to stop him. If you stop me, I consider you evil."

"I don't classify gods as far as their power goes. I classify them as far as their personality goes. Each god, if he used his power right, could defeat another god. If I used my power right I could defeat anyone on Earth if I wanted to. As a man, if I used my physical strength at its best, I could overpower anybody I wanted to. If I did it right. It's the same way with the gods. If they used their super-powers right, they could defeat any other god. Darkseid is no different except that Darkseid is an evil guy with a lot of class. He's the kind of guy that might outthink you, and with super-powers involved it could be in a very dangerous and earthshaking way."

"I feel that nonviolence coupled with some kind of sustaining influence can work in comics. I don't feel that you have to show blood and gore and guts. I think it's repellent. I've seen enough of it in its reality, and it's just as repellent when it's drawn as in reality. I see nothing of any value in anything that has what you call shock value. I see nothing in that except using that sort of thing to prove a point. In other words if you're making an anti-war document or if you're trying to tell the truth about a certain subject, and the blood and gore was a part of that subject, I wouldn't omit it. If I were going to make an exposé on anything I would show anything connected with it. For instance, in a gangster movie I would show the results of being a gangster-the life activities as well as the end and death. I would show exactly how it is they ended. I would show the bullet holes because it's part of the picture, but I wouldn't exploit it for its value alone. I see no entertainment in that sort of thing."

"I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done."

"The romance genre was all around us. There was love story pulps, and there was love story sections in the newspapers. There was love stories in the movies. Wherever you went there was love stories! That’s how we got our new material, and it suddenly struck me that that’s what we haven’t done. We haven’t done any romance stories!"

":No, we didn’t do horror in the sense of haunted houses or people with masks the way you might see them today; something lurking in an anteroom. Our stories were more like peasants sitting around a fire. We had the “Strange World of Your Dreams”. Ours didn’t run to bloody horror. Ours ran to weirdness. We began to interpret dreams. Remember, Joe and I were wholesome characters. We weren’t guys that were bent on the weird and the bizarre. We were the kind of guys who wouldn’t offend our mother, who wouldn’t offend anyone in your family, and certainly not the reader. So we knew that we had to depart from adventure and that there were other ways to go and we came up with the “Strange World of Your Dreams”."

"I was a young man. I was still growing out of the East Side. The only real politics I knew was that if a guy liked Hitler, I’d beat the stuffing out of him and that would be it."

":I knew this much — that everybody voted Democrat down my way. If you were poor, you voted Democrat and if you were rich you voted Republican."

"::Oh, communism! That was a burning issue. It was an outrageous issue. To be termed a communist would damage your whole family, damage your whole world — your friends wouldn’t talk to you. I’m talking about other people — because I wouldn’t go near the stuff. Sure, I was against the reds. I became a witch hunter. My enemies were the commies — I called them commies. In fact, Granny Goodness was a commie, Doubleheader was a commie."

":::Anything radical was dangerous to me, as it was to the average American. Nobody knew where a thing like that would lead and we were always afraid of chaos. So communism became the doorway to chaos, and the doorway to chaos was the doorway to evil. Your family might be hurt. Your friends might be hurt. You didn’t want to see a thing like that."

"::::I enjoyed working on any story. I’m essentially a storyteller. You name the subject, and I’ll give a good story on it."

"I always enjoyed doing monster books. Monster books gave me the opportunity to draw things out of the ordinary. Monster books were a challenge — what kind of monster would fascinate people? I couldn’t draw anything that was too outlandish or too horrible. I never did that. What I did draw was something intriguing. There was something about this monster that you could live with. If you saw him you wouldn’t faint dead away. There was nothing disgusting in his demeanor. There was nothing about him that repelled you. My monsters were lovable monsters."

":To make the [reader] happy was not my objective, but to make the [reader] say, “Yeah, that’s what would happen” — that was my objective. I knew the [reader] was never happy all the time. You take the Thing, he’d knock out 50 guys at a time and win — then maybe he’d sit down and kind of reflect on it: “Maybe I hurt somebody or maybe we could have done it some other way” like a human being would think, not like a monster. In other books the guy would knock out the gangs and that would be the end of it. You would see the guys in jail, and that’s it. Or it would say, “Wait until next week.”"

"::The artist is the lowest form of life on the rung of the ladder. The publishers are usually businessmen who deal with businessmen. They deal with promotional people. They deal with financial people. They deal with accountants. They deal with people who work on higher levels. They deal with tax people, but have absolutely no interest in artists, in individual artists, especially very young artists."

":::I know all about Thor and Balder and Mjolnir, the hammer. Nobody ever bothered with that stuff except me. I loved it in high school and I loved it in my pre-high school days. It was the thing that kept my mind off the general poverty in the area. When I went to school that’s what kept me in school — it wasn’t mathematics and it wasn’t geography; it was history."

"::::The Hulk I created when I saw a woman lift a car. Her baby was caught under the running board of this car. The little child was playing in the gutter and he was crawling from the gutter onto the sidewalk under the running board of this car — he was playing in the gutter. His mother was horrified. She looked from the rear window of the car, and this woman in desperation lifted the rear end of the car."

"Superheroes may be superhuman in stature but inside they’re human beings and they act and react as human beings. It doesn’t matter whether you’re doing legendary characters like Hercules or modern characters, you’ll find that humans are humans and they’ll react the same way in certain situations."

"I never do fairy tale people, I do people just as they are."

"If somebody wants to kill you, they make you a scout."

"Before setting off for duty, the auteur cranked out an increased flow of comics, stating that he wanted “to get enough work backlogged that I could go into the Army, kill Hitler, and get back before the readers missed us.""

"There were mostly women and some men; they looked like they hadn’t eaten for I don’t know how long. They were scrawny. Their clothes were all tattered and dirty. The Germans didn’t give a shit for anything. They just left the place; just like leaving a dog behind to starve. I was standing there for a long time just watching thinking to myself, ‘What do I do?’ Just thinking about it makes my stomach turn. All I could say was, ‘Oh, God.’"

"…I don’t think there was one state that wasn’t represented there. The experience helped me appreciate the variety of the country, in the people, the language, and culture. It is incredible to think that we are as diverse as we are and how we have held together as one culture. Really, it is the one clear fact of this country that makes it unique to the world."

"Jack Kirby’s massive contributions to comics are common knowledge. His influential pulp-epic motifs. The revolutionary dynamism of his art. But here I’d like to talk about a more specific set of “King” Kirby’s innovations—his use of “minority” protagonists. Whether stressing the multi-ethnic makeup of America or revising racist preconceptions of Africa, Kirby’s work challenged comics’ unremarked upon WASPiness and white supremacy in quiet and not-so-quiet ways."

"Jack didn’t have the resources or the stomach lining to fight Marvel over copyrights, character ownership or past contractual sleights that he believed he suffered."

"Even when he was given someone else's idea, he would build it into something unbelievable and new, like a man who was asked to repair a vacuum cleaner but instead built it into a functioning jet pack."

"Unlike other comic book creators who were given either stateside or way-behind-lines assignments, and perhaps because Kirby understood Yiddish, the Jewish German dialect spoken by his family, he was sent as a scout behind enemy lines to draw maps. He endured and survived many harrowing violent experiences during his service, almost losing his feet to trench foot. He had no time for fascists or racists."

"His real dream was to make movies."

"My favorite thing about Kirby’s artwork was his storytelling. He was really a film director doing comics."

"I can’t get over this guy. He creates 100 villains at a sitting and then kills off half of them. Any one of these villains I can make a million off of."

"Jack Kirby—co-creator of the Marvel Universe and big chunks of DC’s—remains one of the most influential writer/artists in the history of comics. Many of Kirby’s works involve the fight against fascism, embodied in characters such as Doctor Doom and the Red Skull. This wasn’t just an imaginary battle for Kirby, who killed Nazis in World War II and was ready to throw down with any fascists he encountered stateside. Many people have fought for freedom in the military; many others have done it through art. Few have waged the war for freedom on two fronts quite like Kirby."

"…Jack took a call. A voice on the other end said, ‘There are three of us down here in the lobby. We want to see the guy who does this disgusting comic book and show him what real Nazis would do to his Captain America’. To the horror of others in the office, Kirby rolled up his sleeves and headed downstairs. The callers, however, were gone by the time he arrived."

"I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt through ... about 25 years."

"Jack’s aliens did not look like anyone else’s aliens. They were dangerous with “alieness.” His characters in general, alien or human, posed with drama. There was something alive, almost sinister, about the locations he drew, whether it was the swamp where the alien craft first landed, or the boarding house where the chase finally ended. Even the coloring was strange, full of raw hues and knockouts where one color was washed over most of a panel, like a raw spotlight shining on the scene. Most of all, the work was vital, bursting with energy even in those panels where characters were merely standing around. And if they were in motion, they moved with authority. It was like no other comic book I had ever seen. In microcosm, that was the genius of Jack Kirby. He was like no other artist who worked in comics, a uniquely gifted individual who brought a new sensibility and a fire to the art and storytelling of American comic books, a fire that burns to this day. I’m happy to say I’m still learning from him."

"He created a new grammar of storytelling and a cinematic style of motion. Once-wooden characters cascaded from one frame to another—or even from page to page—threatening to fall right out of the book into the reader's lap. The force of punches thrown was visibly and explosively evident. Even at rest, a Kirby character pulsed with tension and energy in a way that makes movie versions of the same characters seem static by comparison. The frenetic action and the rooftop fighting so common on the superhero set did not just materialize out of nowhere. Mr. Kirby remembered much of it from his Depression-era youth on New York’s Lower East Side, where, he once told an interviewer, the incessant fights among rival gangs were often staged up and down fire escapes and during running battles across tenement rooftops."

"There was power in the work of Jack Kirby that changed the way I looked at things. There was no one else like him and there never will be."

"Darkseid constitutes the kind of men Kirby was acquainted with in his youth. The slum lords, made famous in Will Eisner’s A Contract With God, were men (perhaps women?) with agendas. They operated on morals dictated by their business mindset. The cost of rent, the living conditions, and the quality of life they allowed for their tenants was in line with their standards. To them, that standard was appropriate. To call them “evil” or “unethical” is an inaccurate assessment. They were gods within the worlds they created."

"We don't deliberately desire to scare anybody - we design our creatures to fit in harmony with the story and, of course, our forte is the grotesque. That's why our films were classified so many times as horror films, which they weren't. I would call a war film a horror film because in those you see guts split and people being slaughtered, but our films deal with fantasy and are more theatrical than realistic."

"[The skeleton] in Seventh Voyage of Sinbad was more frightening than the seven in Jason and the Argonauts. [...] Because we had seven skeletons I thought we were going to get seven "X" certificates but we got a "U" instantly. But one skeleton on its own is possibly more frightening than seven, and also in Seventh Voyage the skeleton was in a dark, spooky chamber, while in Jason the seven were out in the open on a sunny hilltop."

"I suppose we would be monsters to a Venusian. [...] We depicted the outer space creature as something strange rather than as a monster. He was from a strange place and therefore out of place in our familiar surroundings."

"I teethed on Frankenstein and Dracula but I feel that those films were made with greater taste than horror films are made today. They dwell too much on the gorier aspects of their subjects for some reason. I suppose it's because people are more jaded now."

"I enjoyed Young Frankenstein. I didn't think I would because I like my Frankensteins pure and clean like the original but I was very amused by Young Frankenstein - I thought it was very well-done. On the whole I dislike tongue-in-cheek sendups. But I'm sure I wouldn't enjoy Flesh for Frankenstein. From what I've heard about it the film approaches the subject from the gorier side and neglects the profundity of the original."

"We don't set out to deliberately scare with our creatures, we try to make them as awe-inspiring as possible."

"The art of motion has always intrigued me. How a body - when it throws its weight from side to side and sits down - actually sits down. What muscles interact to bring that simple movement to its conclusion. Movement is a fascinating process and each creature I have made and animated has had its own character according to its physiognomy."

"I am often asked if I would have liked to have been involved with Jurassic Park. The plain answer is no. Although excellent, it is not with all its dollars what I would have wished to do with my career. I was always a loner and worked best that way. Since the very beginning I fought and struggled under constant pressure to keep the design and final result within my hands. As time moved on this became more difficult, until I was forced to bow to the fact that my method of working, in the financial sense, was no longer practical. Model animation has been relegated to a reflection, or a starting point for creature computer effects that has reached a high few could have anticipated. However, for all the wonderful achievements of the computer, the process creates creatures that are too realistic and for me that makes them unreal because they have lost one vital element - a dream quality. Fantasy, for me, is realizing strange beings that are so removed from the 21st century. These beings would include not only dinosaurs, because no matter what the scientists say, we still don't know how dinosaurs looked or moved, but also creatures of the mind. Fantastical creatures where the unreal quality becomes even more vital. Stop-motion supplies the perfect breath of life for them, offering a look of pure fantasy because their movements are beyond anything we know."

"I remember once, in my garage studio whilst I was animating a dinosaur, that things were not going right. Gradually they got worse and worse, as they do in situations where you don't keep your temper, and in a fit of accumulated rage I threw a hammer at the floor. Unfortunately, it bounced and went through a huge plate glass painting I had been preparing to use in a miniature set and which I had spent weeks carefully painting. I almost cried with frustration, and there and then decided that if I wanted to make this my career, I would have to control my temper. I am not saying that I didn't lose my temper after that incident - I did - but I always tried to remember that plate glass painting. It was a timely and necessary lesson."

"For some reason the creation was called a rhedosaurus, and although I can't remember where this name came from, I suspect Hal Chester or one of the writers coined it. Over the years, people have suggested that the first two letters relate to the initials of a certain animator. I have no comment."

"The task of instilling pathos into a creature that was, after all, an innocent victim of circumstances was something I had set myself from the outset, although I was restrained by the script... The Beast is a poor lost soul brought back to life by man and then destroyed by man. If it sounds familiar, it is. King Kong was a huge influence, as he would be in all the other creatures I would be father to."

"The Ymir and Kong before him are both creatures wrenched from their natural environment against their will and finally killed by man. Although these creatures must always die, they should go out with a touch of pathos."

"Greek and Roman mythology had never been a favourite subject of mine at school, but as I grew older I began to appreciate the legends and realize that they contained a vivid world of adventure with wonderful heroes, villains and, most importantly, lots of fantastic creatures."

"It seems ironic that for most of my career I have been trying to perfect smooth and life-like animation action, but for Talos (which was the longest animation section of the film), it was necessary to create a deliberately stiff and mechanical movement in keeping with a bronze statue that had sprung to life."

"The most popular exhibits in any natural history museum are, without doubt, the dinosaurs. These creatures' popularity grows each year, partly because of the recent resurgence of dinosaur movies, but also because a skeleton of a full-sized tyrannosaurus rex still has the ability, even 65 million years after its death, to chill us to the bone."

"Although Gwangi had been an allosaurus in Obie's version, I decided to make him more of a tyrannosaurus, and so I used elements from both species to make what I suppose could be called a 'tyrannosaurus al'. This combination allowed me a flexibility between aggressiveness and agility. If you like, he was glamourized."

"When it came to the tiger, I found that animating the movements of a large feline animal posed some difficulties, as it required precise and miniscule advancements in movement throughout its body. As well as tigers, I also studied domestic cats, and by so doing managed to achieve a combination of mannerisms represented by both. The overall impression is of latent ferocity and a lust for blood, but at the same time there are also slow, graceful movements that mask the creature's power."

"Clash was destined to be my last hero picture, and looking back, the decision to end my career at that point was absolutely right. With all the problems involved in production, and the knowledge that I was losing precious control of solo animation, I was forced to concede that it was time to stand aside for others and their new technology to take over."

"God has sent me pictures of the angel that stands by me and directs me what to do."

"I have no imagination. I never plan a drawing, they just happen."

"I’m without a teacher. My teacher... God has sent me teachers: the angel that stands by me, stands by me and directs me what to do. Time for me to paint a picture and I be tired I say I’m going to rest up for a couple of days. He won’t let me. Come down grab my feet and shake me. Beat me."

"My, my. I don’t know how I did it. (Laughs) But I did it."

"My whole life has been dreams."

"I had day visions — they would take advantage of me."

"Something told me to draw or die."

"We are a society that only sells commodities. We do not create anything unless it's to be bought and sold, so the idea of doing something where there isn't a commodity to sell, or what the commodity is to sell is very confusing, is extremely interesting to me."

"We were talking about waste, throwing things away, and taking something that’s old and making it new again, putting the human hand back into a world that reeks of manufacturing. It felt very appropriate to do that in 2000."

"It’s not just how they feel about it, but what it feels like to wear. It’s not a comfortable process to go through, on a daily basis, and actors will often complain about how I torture them and stuff. I don’t want to torture them - though in some cases I do [laughs] - but I also want to know if they’re just being a baby or if they’re being realistic about it. So I’ll try it on to see which is the most uncomfortable, or what might become annoying after a number of days. So at least I know what it’s like on the other side, so I can sympathize with them, or tell them they’re full of crap, or whatever. Because I’ve worn it, and I know it’s not that bad."

"I do quite like hairy things. That probably came out of my growing up in front of the television as a kid in the 50s. I saw a lot of the classic Universal films, and was really attracted to the Wolf Man - I thought that was such a cool idea. And, you know, Mr Hyde. So many things I like had hair on. So I started making hairy things and never stopped, you know?"

"When you have a good actor, in good makeup, and he's been sitting in the makeup chair looking at himself in the mirror, seeing himself become something else, and then he walks onto a set and he knows where he is, he knows what he looks like, he gives a performance that he's never going to give on a motion-capture stage."

"Many cissexual people seem to have a hard time accepting the idea that they too have a subconscious sex — a deep-rooted understanding of what sex their bodies should be. I suppose that when a person feels right in the sex they were born into, they are never forced to locate or question their subconscious sex, to differentiate it from their physical sex. In other words, their subconscious sex exists, but it is hidden from their view. They have a blind spot. (5 - Blind Spots: On Subconscious Sex and Gender Entitlement)"

"There are numerous forms of marginalization that exist in our society: , classism, sexism, , heterosexism, and so on. If you happen to be on the wrong side of any of these hierarchies, you will face many inequities and injustices. ... Some people are single-issue activists that are only concerned about a single form of marginalization, usually one that impacts them personally. Single-issue perspectives create a distorted view of the world, and lead activists to propose solutions that will help some people while hurting others and leaving countless more behind. ... In contrast, others of us take a more intersectional approach, recognizing that all forms of marginalization intersect with and exacerbate one another, and that we must challenge all of them simultaneously."

"People usually gravitate toward single-issue activism because they are unconcerned about forms of marginalization that do not personally impact them."

"The “principal contradiction” refers to the idea that there is some original or primary form of oppression that gives rise to all the others. ... Of course, there is really only one purpose for making such a claim: to persuade others to join you in your single-issue activist campaign, under the pretense that once your pet oppression is eliminated, all other forms of marginalization will subsequently fall by the wayside too. But the thing is, there is simply no evidence for a principal contradiction. ... There is no primary contradiction, just lots of different hierarchies that people may or may not endorse."

"Here is how I describe the concept of privilege to skeptics: Do you believe that marginalized/minority groups face discrimination and are as a result? If the answer is yes, then another equally valid way of describing the same situation is to say that dominant/majority groups are relatively advantaged in comparison. “Privilege” simply refers to those advantages. One of the reasons why activists frame such matters in terms of privilege is to illustrate how *all of us* are impacted by unjust hierarchies and systems, even if it is not always apparent to us."

"Once a person acknowledges that they possess some form of privilege, they are more likely to accept the reality that they are not in any way objective about the form of marginalization in question"

"I mentioned at the outset that I dislike the term "identity politics." This is because the phrase seems to suggest that our identities (rather than the marginalization we face) is the most salient feature of our activism. Indeed, this is probably why those who oppose IP-umbrella activism seem so fond of calling it “identity politics” in the first place. [...] In contrast, within IP circles, the term is often reserved for a specific brand of single-issue activism that completely precludes perspectives from those who do not share the identity in question."

"Accusations that IP is inherently “narcissistic” and “divisive” have become quite prevalent among EC-centric leftists lately. [...] In addition to disregarding all forms of non-EC marginalization, accusations that IP activism is inherently “narcissistic” or "divisive" severely confuse cause and effect. After all, I’m not the one who is “obsessed” with my identity. [...] It’s the people who harbor anti-trans attitudes who are obsessed with my identity, not the other way around! While I would absolutely love to live in a world where my trans identity was not especially notable or worth calling attention to, these people insist on making an issue out of it. Furthermore, by making a distinction between transgender people (who they single out for discrimination) and non-transgender people (whose identities and experiences they respect), it is they (not us) who are the ones being divisive. Once we acknowledge this causality, it becomes clear that IP is not an expression of navel-gazing or narcissism, but rather a form of organized resistance against those who are actively trying to delegitimize and disenfranchise us."

"I would love to live in a world where the word “transgender” serves the same simple purpose — a mere sharing of information about my life experiences — but unfortunately, it doesn’t. On top of being a descriptor, the word "transgender" is also politically loaded. But that is not my, nor other trans people’s, fault. As discussed in the last section, there’s a long history of people hating, ostracizing, and criminalizing us, and much of this history took place before words like "transgender," "transphobia," and analogous terms even existed. In fact, those terms were created in response to that marginalization, not the other way around. And even if I were to relinquish my trans identity, those people would still exist and continue to discriminate against me for supposedly being a sinner, or freak, or deviant, or for being delusional, or whatever other rationales they might concoct in order to justify their bigotry."

"Women who insist that trans women are not women often object to being called “cis women” under the false assumption that it somehow undermines their femaleness — this is not at all the purpose of this language. The sole purpose of cis terminology is to name the unmarked majority (similar to how one might refer to white women, or heterosexual women, or able-bodied women, etc.). In other words, referring to someone as “cisgender” simply means that they have not had a transgender experience."

"Trans women differ greatly from one another. Perhaps the only thing that we share in common is a self-understanding that there was something wrong with our being assigned a male sex at birth and/or that we should be female instead. While some cisgender people refuse to take our experiences seriously, the fact of the matter is that transgender people can be found in virtually every culture and throughout history; current estimates suggest that we make up 0.2 – 0.3% of the population [or possibly more]. [...] In other words, we simply exist."

"Like women more generally, many trans women are feminists. Feminism and transgender activism are not in any way incompatible or mutually exclusive. As feminists who acknowledge intersectionality, we believe that we should be fighting to end all forms of sexism and marginalization — this includes both traditional sexism and transphobia. Forcing trans women into a separate group that is distinct from cis women does not in any way help achieve feminism’s central goal of ending sexism."

"Claims that trans women are not women often rely on essentialist (and therefore incorrect) assumptions about biology. For instance, people might argue that trans women are not “genetically female,” despite the fact that we cannot readily ascertain anybody’s sex chromosomes. Indeed, most people have never even had their sex chromosomes examined, and those that do are sometimes surprised by the results. Other common appeals to biology center on reproduction — e.g., stating that trans women have not experienced menstruation, or cannot become pregnant. This ignores the fact that some cisgender women never menstruate and/or are unable to become pregnant. Claims about genitals are similarly problematic: Women’s genitals vary greatly, and as with chromosomes and reproductive capabilities, we cannot readily see other people’s genitals in everyday encounters. If you and I were to meet, should I refuse to recognize or refer to you as a woman unless you show me your genitals? And frankly, what could possibly be more sexist than reducing a woman to what’s between her legs? Isn’t that precisely what sexist men have been doing to women for centuries on end?"

"While gender socialization is quite real, all of us are capable of overcoming or transcending the socialization that we experienced as children. And gender socialization doesn’t simply stop when one reaches adulthood: All of us are constantly facing gender-related social pressures, expectations, and obstacles throughout our lives. If you believe that these statements are true for cis women, then they also must be true for trans women."

"Trans women do not transition out of a desire to be feminine; we transition out of a self-understanding that we are or should be female (commonly referred to as gender identity)."

"Trans women who are conventionally feminine are not in any way asserting or insinuating that all women should be conventionally feminine, or that femininity is all there is to being a woman. Like cis women, trans women dress the way we do in order to express ourselves, not to critique or caricature other women."

"As a trans woman, I will be the first to admit that I cannot possibly know what any other woman experiences or feels on the inside. But the thing is, the trans-women-aren’t-women crowd cannot possibly know what any other woman experiences or feels either! Every woman is different. We share some overlapping experiences, but we also differ in every possible way. Every trans woman I know acknowledges this diversity. In contrast, it’s the cis women who attempt to exclude us who seem to have a singular superficial stereotypical notion of what constitutes a woman, or of what women experience."

"Trans women are women. We may not be “exactly like” cis women, but then again, cis women are not all “exactly like” one another either. But what we do share is that we all identify and move through the world as women. And because of this, we all regularly face sexism. That is what we should be focusing on and working together to challenge. And as I said at the outset, forcing trans women into a separate group that is distinct from cis women does not in any way help achieve feminism’s central goal of ending sexism. In fact, it only serves to undermine our collective cause."

"People tend to harbor essentialist beliefs about sex — that is, they presume that each sex category has an underlying "essence" that makes them what they are. This is what leads people to assume that trans women remain "biologically male" despite the fact that many of our sex characteristics are now female. However, there is no “essence” underlying sex; it is simply a collection of sexually dimorphic traits. Some people will presume that sex chromosomes must be this "essence," even though we cannot readily see them, plus there are non-XX or XY variants. Others presume that genitals are this "essence" (probably because they are used to determine our birth-assigned and legal sex), although they can vary too, and may eventually change (e.g., if one undergoes sex reassignment surgery). In day-to-day life, we primarily rely on secondary sex characteristics to determine (or more precisely, presume) what sex a person is — and of course, these traits may change via a simple hormone prescription. Like I said, there is no mystical “essence” underlying sex."

"Sex is a collection of traits that, while generally dimorphic, can vary greatly in the population, and some can change over time. While the terms "male" and "female" have some utility, we should not view them as strictly dichotomous or mutually exclusive. Rather, “female” and “male” are best thought of as umbrella terms that describe groupings of people (or animals) who generally share many of the same traits, albeit with considerable variability and some exceptions."

"The most infuriating assertion regularly made by the "trans women are biologically male" camp is that trans people are somehow "denying" or "erasing" biological sex differences, and that this hurts cisgender women/"[w:Female|biological females]].” This is patently untrue. I can assure you that trans people are highly aware of biological sex differences — the fact that many of us physically transition demonstrates that we acknowledge that sexually dimorphic traits exist and may be important to some people! I would reframe things this way: Transgender people often have a more complicated relationship with our sex-related traits (as they may be discordant with our identified and lived genders), and thus the language that we use to describe or discuss these traits may seem arcane, or nonsensical, or unnecessary to the average cisgender person. And because they are unfamiliar with this language (and/or flat-out antagonistic toward us), some cisgender people will subsequently misinterpret this language and differing perspective as some sort of "denial.""

"desirable or not, just about any humanoid, mammal, and even monster can have sex with another species of life a mutant dog mated with a mutant cat, while they may make a cute couple, can never give birth to a half dog, half cat child. NEVER!"

"I also got exposed to the poets that were being read at the colleges at that time. The only poetry I had remembered before that time were those horrible, long Longfellow-type things que nos hacían leer in high school [that they made us read in high school]. So I was turned off. But . . . one vato [guy] that I read was doing something that was exciting to me because he seemed to do it with a facility that I could relate to somehow . . . that was Walt Whitman. Me caiba su poesía [I dug his poetry] so I went with his trip for a long time. By then I was also starting to read T. S. Eliot, Ezra Pound and the Welshman Dylan Thomas. Y me fui prendiendo con esos vatos [and I got attached to those guys]. And the other vato that I really dug a lot around that same time was William Carlos Williams. I also thought he was getting away with something. And I thought all these guys were getting away with something I was being told not to do. Por eso los veía como rebels a ellos. [That's why I saw them as rebels.] How could they get away with it and I get put down for trying it."

"I remember Richard broke a wooden box to use one of the pieces as a ruler and he was trying to figure out how to best create the image of the eagle…He noticed the detailed work of the eagle on the American dollar bill and the one on the Mexican flag and he wanted something similar but nothing was coming out right. So, he created a simple black one that was still powerful in its own right. I never thought it would still be around today in its true and original form."

"Realizing later that it was not by choice that we remained mute but by a conscious effort on the part of those in power, I realized that my art could only be that of protest—a protest against what I felt to be a death sentence."

"I remember sometimes growing up I would feel ashamed of my mom or my dad if they came to pick us up at school, because they never looked like all the other mothers and fathers; they were always dirty because they had been out in the fields, drove in to pick us up at 3:00 so we could go to work…So I remember when I heard Chávez speak, when I saw him on television, I remember thinking that my mom and dad had actually contributed to the wealth of this country and I shouldn’t feel embarrassed by them or feel bad for them."

"I see their role as the same as ever; the artist is to give voice to the issues that are given to us in a confused manner, so that people can understand the role that they must play…I think the role of the cultural worker is to define those things we receive from those that are in power, and give it back to the community, presented it in a more clear way."

"I am much more articulate and able to express myself more eloquently through my art…It is with this voice that I attempt to communicate, reach out and touch others."

"…there was the portrait of John the Baptist draped in furs, with a long furry beard, long hair, bushy eyebrows, and so covered in hair. Well, to a child of I must have been, I'm like four or five now, and this would have been one of our return trips because to a child of that age, it could very easy look like a gorilla. And one of the reasons I mention this story is that, for me, my first impression of art was both horrifying and absolutely magical, because I really believed that was a gorilla…"

"…I think Disney personifies some of the American ideals in art and in culture in total, because what he was trying to do and specifically with Fantasia. And it was the spirit of the thirties, I believe; it was the post-Depression period, where people were trying to think popular art, art that was consumable by the masses high art that could be put in a tin or another form, a package…"

"At some point in our lives, each of us realizes how really finite we are. For me this realization has been a driving force in my creativity and in my life in general. I paint with a new abandonment almost trying to deny the fact that I too will someday pass on and the only thing remaining will be the images that I leave behind."

"[I realized] I can’t tell your story, I can only tell mine. I can’t be you, I can only be me."

"Political people don’t seem to understand art…It’s not what they’re trying to do. And if it is, let them do that. Don’t tell me what to do, because I have to look at this many years from now and be happy that I did it, not unhappy. And I would be unhappy with the ‘Kill whitey.’ It’s not my thing."

"I was encouraged to look around me and to paint what I saw. I painted my story, and it had a lot of angles to it. I was trying to explain how I saw life as a black person living in America, and I put things together that were not acceptable. A lot of people did not want these kind of paintings representing America in any sense, but I wanted to tell my story and what I saw…"

"…Quilting was a method of artistic expression that could also be used to cover people, to keep them warm, but which also put designs together to make them beautiful…"

"I think they were a little bit too bold in that I was showing the relationship between black and white people, the struggle for independence and freedom that black people were pursuing during the civil rights era. It was just a little bit too damn much going on. The struggle was one thing when you talk about it, another thing when you picture it. I wanted people also to look at that work and see themselves. Whichever part you were playing, this is what's going on…"

"I was a Leap Year baby, and it seems to me that I have been leaping ever since."

"I have created nothing really beautiful, really lasting, but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work."

"I hear so many complaints to the effect that Negroes do not take advantage of the educational opportunities offered them. Well, one of the reasons why more of my race do not go in for higher education is that as soon as one of us gets his head above the crowd there are millions of feet ready to crush it back again to that dead level of commonplace thus creating a racial deadline of culture in our Republic. For how am I to compete with other American artists if I am not to be given the same opportunity?"

"He almost whipped the art out of me."

"Isn't it rather odd that such people should always suppose that when a colored girl gets a chance to develop her natural powers it must be that she will want to become white? It gets to be a tiresome task explaining to them that the desire to become better or more capable is a common quality of all human beings."

"We are sneered at for not being the social and intellectual equals, after sixty years of Western civilization, of people with thousands of years of this same civilization; yet when we set out to try to lessen the distance between us we are treated as if the attempt were a crime. Why not give us the chance to try? Are some white people really afraid that we might succeed?"

"I think that all art is political. I think that art is always an expression of a human experience, and I very much believe that the arts are central to our society…"

"I think that people often think that culture is neutral, but culture is a major battleground. People have to understand that the culture they're seeing is reflective of a power structure that is impeding our progress as a society…"

"The anti-immigrant movement has successfully been able to dominate the immigration debate by pushing out messages about migrants that are inhumane, racist, xenophobic and hateful. But those of us who fight for migrant rights are not only fighting back, we want to reframe the way migrants are viewed, artists especially. We want to expose the tragic losses that have resulted from unjust immigration laws, and we want to inspire and challenge people to reimagine migration as something beautiful and natural — somethign [sic] we all do."

"Art is uniquely able to speak to our understanding of the world by delivering potent, powerful and empathetic content. People engage with art in a very different way than they engage with a policy paper or a news article or even a protest. This is why I believe in the power of art to shape thoughts, change hearts, and ultimately help shape laws and policy. Art has the potential to distill the most complex social challenges down to their most basic and simplest values. Values like love, family, caring for the other, caring for those in need, and fighting the things that cause human suffering."

"Culture is power. The music we listen to, the social media we consume, the food we eat, the movies and television shows we watch-these all inform our values, behaviors, and worldviews. Culture is in a constant battle for our imagination. It is our most powerful tool to inspire the social change these times demand."

"As the old narrative of capitalism reveals its devastating failures, we urgently need more compelling and relatable stories that show us what a just, sustainable, and healthy world can look like."

"Our current relationship to the Earth is based on a worldview of domination that supports an extractive economy."

"When it comes to climate change, most of the stories and cultural content that exist to inform and organize people are overwhelmingly pain oriented, outdated, and hella White."

"Where is the pop culture that makes riding public transportation and eating a plant-based diet fun, cool, and accessible to diverse audiences? Imagine the power of being exposed to an abundance of stories, songs, and images that challenge our fundamental consumption culture and expand our perspectives by helping us feel the consequences of our choices. What if we made it uncool to use fossil fuels in the same way smoking became uncool?"

"We actually need to make it cool to be a part of Earth Day."

"We have to be able to connect the dots, that ultimately our problem is the exploitation of the planet, of life on the planet, whether it’s the four-legged or the two-legged"

"when we’re thinking about what’s next, we’re saying don’t bail out the fossil fuel industry, don’t bail out the airlines. Bail out people."

"When we’re dealing with a crisis like COVID, which is disproportionately affecting people of color — and it’s a respiratory disease! — and then you consider that Black and Latino people overwhelmingly live in polluted communities, the disparities just become really clear."

"I advocate for a lot of issues around food security because I grew up in a community that had only fast food. And when I recognized that not only were we getting sick from what we ate, but that we are part of the gears of the machine, whether it’s on the farm picking food or killing animals — because remember that it is the beef industry that is destroying the lungs of the planet — who works in this industry? It’s overwhelmingly Latinx people, overwhelming immigrants."

"together as a global community, we are recognizing the failures of the system. It is so clear. People are upset. People are seeing, like, ‘Wow, our governments are not set up to take care of us, even though we have all this wealth and even though people work so hard. We don’t have the infrastructure, whether it’s the health infrastructure or economic infrastructure, to truly be resilient."

"We need to actually tell the stories in a way that helps people understand both what the problem is as well as the solution. Because I don’t think it’s just about being reactive. It’s about putting forward a solution — and I can assure you that the right wing is definitely already doing this. They are already helping people imagine."

"I started calling myself an artist when I was 18 years old and attending UC Berkeley. I had been an activist for a few years, and a lot of the ways I would contribute to social justice movements would be through my art. I would design the posters and flyers. I would bring art activity to the people. I met a woman through my Chicano studies class. Her name was Yreina Cervantez, and she was and continues to be a very well-known Chicana artist. She saw my work and told me that I was very talented and connected me to Self Help Graphics in Los Angeles, which was one of the first institutions in which I really was able to produce my first body of work. So although I did not go to art school, I took on my own artistic learning, and I haven’t stopped ever since."

"I’ve been tremendously inspired by artists like Judy Baca, who is a muralist in Los Angeles who has transformed what murals mean in our communities and has also built her own institution. Artists like Nina Simone and James Baldwin, who were able to create work that really spoke about the conditions facing Black people and work that would remain universal contributions to culture—something that would continue to shape generations. I’m inspired by people like Víctor Jara, who was a musician in Chile during the very oppressive government. He was actually killed by the government, but nevertheless, his music continues to inspire generations today. I was also inspired by Frida Kahlo. She was the only Latina artist I was exposed to in high school, so she was a role model because she was the only one I studied when I was younger."

"I have always been committed to opening doors for other artists of color, and I’ve always been committed to justice. Largely, that’s because I grew up in Oakland during the era of the War on Drugs, and I experienced hip hop. I experienced the remnants of the Black Panthers, so I’ve always been shaped by the idea that culture is not only something very healing, but it is truly what gets us through the hardest time. Art and culture give us the language to talk about what we are experiencing as oppressed people."

"As a movement who cares about climate justice and justice overall, we need to better leverage the power of culture because culture is what transforms the imagination—culture shows us what’s possible. And we can do that by including artists and culture makers in our organizing work. We can train and educate artists on what are the key issues we’re facing in climate. We can pass the mic to artists of color when it comes to climate change. So many people think of white men as the primary spokespeople around climate, but that needs to shift. We need to ensure that it’s BIPOC artists who are speaking about the true impact of the climate crisis. We need people of color and especially culture makers of color to be sharing the stories of what’s happening in our community."

"We need to be able to have writers in television rooms write about the Black children who are getting asthma, the Latinx farmworkers who are working in extreme heat. All of these stories exist. They’re happening, but we need to find the bridge so that these stories can be transformed into cultural content that will move audiences."

"The power of art and culture is that it speaks to our heart. It speaks to our emotions, but it also opens up our imagination to show us what’s possible. It takes us to another world, and we can experience that world. What we urgently need in our climate movement is to be able to imagine solutions and see ourselves in a different kind of relationship to nature. In order for us to halt the climate crisis, we have to reimagine our relationship to energy. We have to think about our consumption, especially as Americans. We could tell very different kinds of stories around how we achieve happiness and success. How we do that is by reconnecting to each other and to the natural world."

"I really long for a time when I can look at art and listen to music and watch films that remind me of my relationship to nature, that help connect me to all of the beautiful animals that we share this planet with, the ocean, the forest. That relationship has been broken. It has been altered and severed. That is the effects of white supremacy and colonialism. This is why in so many movements, there is a demand to return land to Indigenous communities and to center Indigenous voices because Indigenous people continue to be the ones who are most protecting our world’s biodiversity. And if you look at culture from an Indigenous perspective, they are very different kinds of stories. They are stories about being stewards of the Earth, stories about protecting the salmon."

"The power of art is that it can help us heal our relationship to nature and help us as human beings understand that we can move away from an extractive relationship toward a regenerative one. Culture can do that, but we have to do it by replacing the old fairy tales. Greta Thunberg called them “fairy tales of endless extraction” because, in reality, they are fairy tales. They are stories. They are a form of culture that has gotten us here—and largely a culture of colonialism that deemed some life could be exploited for the benefit of other life."

"The narrative we need is to respect all life, including all human beings. How do we build our reconnection to each other as human beings? Because that’s what’s going to transition us away from an extractive economy and solve the climate crisis."

"Favianna Rodriguez is one of the first people I met who brought up sex in a public context with no attempt at mass seduction. She was incredibly matter-of-fact about her truth that, as an artist, as an organizer, her pleasure and her freedom are part of her larger radical creative path."

"Poetry shows up where language shows up – a mysterious supplement, to borrow or deform an old Derrida epithet, that we cannot do without, and that just might be the basis of the material world as we know it. Well, if not language as such, then sound…"

"Writing is a transformative act and writing the occult, which I interpret as writing what’s invisible, or apparently invisible, is inevitably connected to writing my desire as a woman…"

"Asking poetry to fulfil a (merely) political function would be a mistake. This tends to lead us to poetry that, however cleverly or inventively, can do no better than denounce the apparently evil and/or praise the good. Worse, we get something that is very much in fashion right now: the fetishisation and weaponisation of our own pain.…"

"The study and practice of poetry can equip you to 'boldly go where no man has gone before,' but it's not enough to go there—you have to be able to bear witness. Without witnessing, experience dissolves into nothing."

"…My pieces come from people and feelings and life rather than research. During my life, I’m listening and feeling, and I’m also calibrating the emotions in the room and asking people about their lives, and from there I go into creating. I wouldn’t be able to do research and then create a piece. It would be so flat. It would be filled with ideas and not emotion. Mine is more of an emotional based work."

"…New York. Invisible New Yorkers. Folks that aren’t talked about in the theatre as much. Love. Instead of love it’s more like service. Service to one another. Death always seems to follow every show I do. It’s really life and death…"

"As an American, I always want to create work that reminds the world that people of colour have been great contributors to American history, culture, and tradition and that our stories exist and matter."

"I really tried very hard to not repeat color schemes, every one of the Goosebumps covers had its own set of colors. Different variations. I’m using the same six ingredients, but I’m mixing them up in a different way and hopefully it tastes different when you get it."

"I put in hours and hours, and weeks, to create something that people are going to react to in three seconds, and they’re either going to like it, or they’re not going to like it, they won’t warm up to it, they won’t do anything, they’re going to have an immediate visceral response."

"I am best known for painting scary pictures, but I’m not into scary that much, yeah, that’s completely ironic."

"People know my work, they know specifics about it, a lot of them know the history about it, as an artist that’s the coolest thing ever."

"I’ll do good work, and I’ll get it done on time. Getting work done on time in the book business is as important as doing good art."

"You gotta have people supporting it because it’s entertainment so if you’re not entertaining anyone or making sure that you’re growing that grassroots fanbase or you’re not going to get anywhere."

"The secret to productivity in so many fields -- and in origami -- is letting dead people do your work for you. Because what you can do is take your problem, and turn it into a problem that someone else has solved, and use their solutions."

"When you get math involved, problems that you solve for aesthetic value only, or to create something beautiful, turn around and turn out to have an application in the real world. And as weird and surprising as it may sound, origami may someday even save a life."

"I thought that was the end of my illustration career, boy was I ever wrong."

"It was a pleasure to do, but I never thought it would be as huge as it is now."

"To me, art has always been a fun way to be creative."

"I didn't know what a white shark looked like, really, but I combined pieces of them to make the shark on the book cover."

"We never thought we could or would return to Vietnam. It was almost 20 years before the possibility arose. Memories are ever shifting when you live in exile."

"Landscape, at its best, is not a narrow category. It is a source of surprise. It allows for the sudden assertion of a place, like an unexpected time signature within a melody."

"One thing great journalists and artists have in common is a desire to be surprised, to find yourself with way more than you bargained for when you began an inquiry with little more than a sense of intuition."

"I am acutely aware of the complex role Vietnam plays, as both history and myth, in the country I have adopted as my own and in the culture I have raised my children. I can’t say I embrace every American characterisation of Vietnam. But I see the Hollywood clichés, the lasting psychic scars and even the cheap fetishes as expressions of something very real and very human. Vietnam remains an unavoidable and unresolved subject. As history, place and subject, it is still unfolding."

"I certainly want to give my viewer the ability to “step into” an image and have a physical and mental experience, so it is necessary that the print be large enough; for me, that’s fifty to sixty inches wide, which is rather modest."

"Biography can be a red herring in visual art. For writers it’s a genre and a process. They organize life stories, and I imagine that the craft of biography or autobiography is largely about organizing facts in a compelling way. For me, biography is interchangeable with curiosity. My story has been valuable to my work only because it provided me with intense curiosity about certain situations, places, and sensations."

"While my return to Vietnam was intensely emotional, connecting to the landscape allowed me to disengage somewhat and gain perspective. I wanted to show Vietnam in a way I had not seen it shown before—not devastated, not victimized, not romanticized. I felt I could do that best through my exploration of the landscape."

"I have always been terrified by the idea that my photographs would be “just” beautiful. Beauty is often seen as lacking in substance. Over time, I have become confident in my ability to apprehend situations that are defined by a kind of complicated beauty, when you are pulled in by the beauty but also pushed back by something problematic."

"The one constant in my life is the landscape, in a broad sense of the word. I love the openness of the land and worry about how we’ve built our lives upon it, how little we maintain it, and how we assault it. It’s one reason for me to want to photograph it."

"At this time of crisis, I find great comfort in returning to nature, the wilderness, the richness and vast scale of the land. It has shaped the American identity; circling back to the landscape gives me hope for the future."

"I think anyone can make one, two great photographs. It is the endeavor, the sustained effort and exploration of an idea or a subject that is more significant."

"Most art photographers understand and often benefit from or engage with the fact that their medium plays a role in journalism, as evidence, propaganda…this is something we know. But the ambitions of the grey areas of subjectivity and experimentations one finds in photography is what I relate too. Color brings my work dangerously close to photojournalism. I rely on the tension between the objective and subjective within a picture to complicate a photograph. I also depend on a carefully crafted sequence of images in a sort of “essay” form to explore a complicated subject."

"Art is always made against the backdrop of politics. Artists think historically. They think about the history of art, the history of their medium, they think about their personal history. Politicians should do more of that. At the current moment it seems that the aesthetics and artistry within how each political party or ideology is presented is vigorously critiqued."

"I feel that the early part of my life was dictated by American foreign policy. This idea of human lives being caught in a much larger web of uncontrollable events was impressed upon me so the notion of scale have always been important to me. My interest in human endeavor or culture within the larger context, within the landscape has been a continuing foundation for my work."

"I always take it one step at a time. I see each new project as a response to a certain dissatisfaction, to unanswered questions from the previous work. As we experience life, we change overtime and develop different concerns. Teaching, becoming a parent, losing a parent are some of the important markers that have influenced my work."

"The topic of the military raises questions in ways that other topics would not. There are photographers who have dealt with extreme poverty, or who have photographed horrific labor conditions, and they are not held accountable in the same way. They aren’t asked: what do you think of poverty? But the question of the military is so complicated that it riles up people’s opinions."

"I think artists deal with something messy, and they keep it messy. Which is frustrating for people, especially when it comes to topics in which everyone has an opinion. I think we do move the conversation forward, but I also like to keep it messy. It is not a math problem. In a way, we should approach these topics in the way one would write an essay."

"I do use the phrase “to take a picture,” but I think my work involves labor. It is a certain reworking of what you see and of the facts, in order to create this new fiction. It is certainly a making, a transformation."

"For me, the landscape has always been the constant in my work. I work with scale as a way to give context to human endeavors, military endeavors, and the history of power. In the end, Vietnam has endured many battles and gone through so many changes. The Chinese invasion, the Japanese occupation, the colonialism of the French, the Indochina War, the Americans—the constancy was always the landscape. And people change, cultures change over time, but there is something about the land. Even as our world modernizes, there is a certain consistency, a certain authenticity."

"I think at sea, it is always about some greater force. The forces of the weather, the sky, the wind, all these uncontrollable things, you really feel the greater force of nature. But at the same time, you are on this massive aircraft carrier that costs about one million dollars a day to run! You really see that tension between the natural world and the force of technology. I think for me, the sublime is always a tension of something that you can’t quite control. It creates these emotions in you that are rare, and that make you aware."

"Rather than whether or not there is a future for combat photography, I think one of the big differences now is the role of the civilian—the amateur photographer. Conflicts will always be newsworthy, someone will always need to be there to document. Now the technology is such that anyone can be there and take a quick picture, post it, and send it out to the world. In these pictures you don’t look at the artistry anymore—if there is such a thing—it is just information."

"War photographers were always placed on a pedestal. They put their lives at risk. Of course it is still very dangerous, but it also seems that now, there could just as easily be a civilian taking the picture. Maybe it is less a question of whether war photography will continue, and more a question of whether this idea of the heroic, self-sacrificing combat photographer will live on."

"My rest as a Black woman in America suffering from generational exhaustion and racial trauma always was a political refusal and social justice uprising within my body."

"This is about more than naps. It is not about fluffy pillows, expensive sheets, silk sleep masks or any other external, frivolous, consumerist gimmick. It is about a deep unraveling from white supremacy and capitalism. These two systems are violent and evil. History tells us this and our present living shows this. Rest pushes back back and disrupts a system that views human bodies as a tool for production and labor. It is a counter narrative. We know that we are not machines. We are divine."

"There’s a stigma around caring for yourself. Unless it’s attached to capitalism, then it’s okay. You can pay $200 for a facial, and then you’re taking care of yourself. But if you’re caring for yourself with something as deep as sleep, which is one of our most ancient and primal needs, if you’re doing that in public, caring for your body, that’s shameful. I tie that back to capitalism and to white supremacy and these notions around not seeing humans as divine and not seeing our bodies as belonging to us."

"I employ a vocabulary from art and design to describe melody and rhythm..."

"Representing a place through sound is my response to our image-saturated media."

"I think sound is still undervalued as a means to measure environmental health, regional identity, and personal narrative."

"[Regarding field recordings] I try not to edit or assign value to what I find...What I'm trying to do is get enough material so the artist and musician in me can develop some sort of beautiful response using those sounds."

"If we think about places sonically, I’d say the Midwest [of America] is more of a whisper than a shout... I suppose I need to hold the microphone a little closer, sit a little more quietly, and be a little more patient. This place—topographically, culturally, spiritually—does not just jump out at you; it takes time to reveal its wonder. It requires a lot of listening."

"The best art provides someone with something that they didn't know they needed, that touches them in a way they may not be able to verbalize."

"The [musical] thinking leans heavily on vocabulary and thoughts that one develops in design and architecture school...I think about space and structure and skin and texture. I think about color and movement, and all of these things that have no direct relation to quarter notes and half-notes and rests."

"I also want to encourage others to work in this field [of recording sounds] without having to spend a lot of money on gear. Putting a sock on your smartphone and laying it next to a bird’s nest can yield some pretty incredible recordings!"

"I fell in love with making art because of the images in children’s books."

"As a community arts advocate and gallerist, I always encouraged artists to take every opportunity to “show your work.” If no one sees it, it is not doing an important job. Some artists balked at the idea of showing in restaurants or cafes. But I contend that art directors eat, museum curators eat and collectors eat. To that end, I was “showing my work” at a local ice cream store. Someone from Candlewick Press came in with their daughter for an ice cream cone and saw the work."

"if I had to explain it I would say that my work is about my life and community. Therefore it is seated on a foundation of Black Art traditions. Through a colored lens that may include quilt making, gardening, cooking, interior design, fashion, the healing arts, and spirituality."

"I work primarily in collage and mixed media using lost and found papers, objects, and stories. Lately, I’ve been inspired by the profound and timeless writings of James Baldwin, Frederick Douglass, Toni Morrison, and Nina Simone."

"I think the story is the most important thing. Kids (and adults) love stories. The art – its colors, characters, form, and style serve the story. To the extent that we can imagine ourselves in the story, we can embody and explore its values and lessons."

"I would encourage displays of books about artists (not just Black artists) and making available tools and activities that encourage choice and creativity. The library is a place for browsing and learning what we are visually attracted to – what we are curious about. Great librarians are always paying attention and help us with our interests. Artists’ visits and presentations add a dimensionality to reading about a particular topic."

"Absolutely not. If I saw a brown face it was because I colored it in myself. Even at my church, in our bible stories, not one face was tan, brown or black. In college there were two or three Black artists included in my courses. However a black professor opened up my world by helping to arrange a trip to the National Conference of Artists – A Black artists organization that had as members, Jacob Lawrence, Elizabeth Catlett, Samella Lewis and a host of other from around the country. It was like water to a thirsty child."

"I can only remember what was NOT my favorite – Canterbury Tales!! But I was in love with Greek and Roman Mythology…"

"Like the history of Black Americans, once we shine a light on the story, we see its great complexity, depth, detail, and beauty."

"My Aunt, Ms. Barbara Clarke Elam was a librarian. In her time, as a Black librarian, she was a rare creature. A Simmons graduate in Library Science, she went on to train School Librarians in Boston. Many express their indebtedness to her for opening up the world of literature and education to them. She taught by her actions that reading was fundamental to a rich inner life. It was her love for sharing books and innumerable trips with her and my cousins to the Egleston Branch of the Boston Public library in Roxbury that introduced me to art, found on the pages of books like “Curious George,” “Make Way for Ducklings” and “Madeline and the Bad Hat.” The images in those books intrigued me as a child and set my feet on the path to becoming a visual artist."

"Reading and rereading the manuscript. Reading it out loud. Recently I’ve begun taping myself and listening to myself reading the manuscript. Makes for a great before bed activity with a nice cup of tea. Next, I think about colors and the mood I want to set for the book. Then on research: Google and the Public Library."

"Illustrated books for children can be extraordinary and powerful vehicles for young people to explore the world. For many, children’s books also provide the first introduction to art. Contemporary children’s book publishing is broadening and transforming at a rapid pace and responding to the longstanding need for children’s literature to be reflect the lives and experiences of all readers. Holmes’ distinctive artistic vision is at the forefront of this positive change. Her richly detailed visual narratives captivate and challenge audiences of all ages, inviting all to see the world anew."

"Birds are real. If I had to justify extreme birding, that would be my first defense. Even as we dash around in a mad quest for the biggest list of bird sightings, we are keenly attuned to reality—not just the birds but also geography, weather patterns, forest types, tide schedules, and myriad other factors, because everything in nature is connected. Other people may take up hobbies to escape reality, but birding has the opposite draw. It’s a deep dive into the real world."

"But I should have known—when the gods seem to smile, they may in fact be laughing."

"They were good-looking, too—not in the plastic Hollywood sense, but with the healthy good looks of active young women who spend time outdoors."

"The list total isn’t important, but the birds themselves are important. Every bird you see. So the list is just a frivolous incentive for birding, but the birding itself is worthwhile. It’s like a trip where the destination doesn’t have any significance except for the fact that it makes you travel. The journey is what counts."

"You had to make the effort to have the luck."

"We were talking about the insulation of human experience. We live enclosed in artificial structures with controlled climates, synthetic food, and purified water. No wonder our glimpses of the real world come as a shock."

"“Come on,” I said, feeling tired and angry. “You don’t really think that. Nobody thinks that any more, do they? How can the public image be so far off from the reality? Does everybody pay more attention to damn television than to real life?”"

"The whole thing might have been erected by a demented billionaire—which it was, I reflected, since it had been built by the U.S. government."

"The spark for a relationship might come for free—a look, a word. But the fuel to keep it going would always be expensive. Money might not buy happiness, but the lack of money could buy endless unhappiness for any two people."

"It did not matter to me what country I was in. Bird-list regions, like political regions, were just human inventions. The birds were wonderful, regardless of where you saw them. It was silly, I told myself, to be preoccupied with how a bird’s location was relative to some artificial boundary."

"One thing was becoming obvious to me now: list-chasing was not the best way to learn birds. It had been a good way to start, an incentive for getting to a lot of places and seeing a lot of species. But the lure of running up a big list made it all too tempting to simply check off a bird and run on to the next, without taking time to really get to know them."

"Perhaps my Big Year attempt had no value in itself, but it had led me to incredible places, a whole series of extraordinary destinations. It had taken me through life-changing experiences. Regardless of final list totals, it had been worthwhile. Listing, at its best, could be a wonderful quest, I reflected. We list-chasing birders, at our best, could be like knights seeking the Holy Grail—except that the birds were real, and we birders were rewarded at every turn. If we made an honest effort, the birds would come."

"I began writing poetry because nothing else in my adolescence interested me. It was in Beirut and for awhile the sea permeated absolutely everything. I was being in love with the sea, and the sun was everywhere, and I felt that the sun had more divine presence than all the nonsense taught in school about religion or morality. I saw that the sea and the sun were first woman and first man, first being and first present to me, and that was my first poem. Then every time something appeared to be the most important thing, the all-pervasive thing, I wrote about it and such things are called poems. To be an Arab is already being a bit an American. And being an American is already being almost an Arab, even without knowing it. Americans are a nomadic people. Arabs are a nomadic and restless people. Both are restless and reckless. Because Americans are nomadic they could but go to the moon. And Arabs were astronomers and mathematicians and opened the new age-the age that made it possible later to go to the moon and to go to the stars. But poetry does not have a place in American society because American society is alienated from itself. Americans are storytellers and they are often poets: visual poets, language poets, visionaries, delinquents, street poets, mad poets. But poetry has no place in American society because this society which is American is living under thick clouds of advertisings, and the metaphysical insecurity which makes great poetry is buried under a thick cloud of government-induced and market-induced and doctor-induced insecurity. Still you can hear American poets in your sleep. And knocking at your door."

"Etel Adnan's brief, extraordinary novel Sitt Marie Rose"

"It's perfectly useless to ask people why they get married, but I fancy I know the reason, just the same. They may think it is one reason or another, but the real reason, to my mind, is an old one: The Eternal Purpose is making use of them to carry on the business of the world."

"Long ago, when the world was young for many of us, we believed in marriage as a great adventure, and if the world has been kind to us and has spared us our ideals, it is still the great adventure upon which some of us have embarked, while others still linger on the shore."

"Who honestly believes that he or she is extravagant? Not one, believe me. We all have our little ways of saving string, of doing without something, from early strawberries to diamond tiaras, which lead us to believe we are in the saving class."

"Many able women in early middle life, having mastered the art of home-making in the finest school in the world--a busy and happy household--seek a wider sort of home-making. They have a vision of the city they know best, or the State or the nation, as a greater household, to be organized and made happier through the influence of a larger motherhood. It was so with Mrs. Park."

"Mound Bayou was an oasis in turbulent times. While the rest of Mississippi was violently segregated, inside the city there were no racial codes ... At a time when blacks faced repercussions as severe as death for registering to vote, Mound Bayou residents were casting ballots in every election. The city has a proud history of credit unions, insurance companies, a hospital, five newspapers, and a variety of businesses owned, operated, and patronized by black residents. Mound Bayou is a crowning achievement in the struggle for self-determination and economic empowerment."

"The occupation was always about values, it was about reconfiguring the relationship between people and profit so that people are privileged instead of profit. There's a natural affinity between those values and struggles over housing and land."

"Never in the whole of human history at any time or anywhere has there been a terrain more suitable for the making of pictures and telling of stories than our own West."

"[Absinthe-drinking] ate away the brains of the French aristocracy and brought vulgar folk into control of the salons and everything else."

"You start with a detailed charcoal drawing and then paint over that—the most distant thing first. If there are no clouds, the sky may take no more than a day. The distant figures may be done in a week. It gets more difficult as you approach the foreground—a large canvas may take four to six months altogether— but the most economical way is to finish as you go. At least that's what / was taught."

"It is not how a picture is painted that matters, it is what you paint. Some modern artists have sunk to imbecility, not pitiable imbecility but vicious imbecility."

"The worst thing the Government could have done for the nation was to allow these thousands of dub painters to put those frightful abortions called murals all over the country, especially in schools where the nation's children are brought up on them. The only thing it can lead to is insanity."

"Instead of 'Africanizing' Western stories, I'm interested in reclaiming African history rendering them into what is happening in the present day."

"I would like to insert myself in the tradition of African storytelling through cinematic language."

"Being a Black woman who was born and raised in America to African parents is, naturally, where I draw my inspiration from as an artist and filmmaker."

"Through my artwork and films, I hope to open audiences up to a new dialogue between the continents of Africa and America; one that incorporates more than just stereotypes, but includes both conventionalized and un-conventionalized discourses of race in its service. By creating complex contradictions, I hope that new meaning can emerge and be deposited into the universal consciousness. If I can do this by creating an experience for the audience that enables them to experience what it is like to find oneself, while being foreign in a community, then perhaps I can help that new meaning come to light."

"My definition of success isn’t about the accolades and the awards, but being authentic and consistent in my work and opening audiences up to seeing other perspectives in film."

"I don't think about race before I start drawing. I think about how to make that mark to fit whatever purpose I need it to fulfill. Being a black artist, the first thing people want to talk about is your blackness, the importance of your blackness, and your black presence."

"Being a black artist, the first thing people want to talk about is your blackness, the importance of your blackness, and your black presence."

"The graphic style itself is influenced by a lot of very layered and detailed comics that I read as a kid, like 'Vagabond' by Takehiko Inoue."

"For a while, I was nervous about portraying women because of the objectification that automatically comes with it, whether the artist intends or not."

"I'm really interested in independent publishers and memes and mini comics. But even before that, I was interested in Japanese manga and anime."

"I moved around a lot when I was a child; two of the houses I grew up in have totally disappeared. One was burnt in a riot, and the other was pulled down."

"I kept wanting to push my image as validity; I wanted to see my portrait on a wall and know it was okay."

"The social media bit is really about documenting process. I like the dialogue if it's constructive, but I'm now at a crossroads. I've accumulated a lot of followers, and it's great, but I'm also at that teetering point where people are feeling themselves a little too much, commenting a little too much."

"My identity is not based on performance; it's based on something that's pre-determined by someone else, and I don't even understand what that is because I'm an African who came to America."

"When I was in school, I conceptually didn't want black people to have context, to take it out of all that history. I wanted nothing to indicate where they are or what time it is, to place them anywhere."

"I don't think about race before I start drawing. I think about how to make that mark to fit whatever purpose I need it to fulfill."

"I only realised well into it that that was one of the things that was incredibly appealing to me,” Davis said, noting how she’s also gotten into archery, horseback riding, ice skating and sword fighting for other film roles. “You get satisfaction from how well you did instantly, without anybody else’s opinion having to come into it."

"What was so striking was the intense reaction to the film. It changed everything about how I chose roles moving forward."

"Thelma and Louise end up driving off a cliff, and still viewers felt exhilarated by their story. It made me realize how few opportunities we give women to come out of a movie feeling inspired and empowered by the female characters. It changed everything about how I chose roles moving forward."

"I was raised on TV shows where there were very few female characters that I wanted to pretend to be,” “My best friend, Lucyann, and I, every day after school, would play characters from The Rifleman. Because I was taller, I would be the father, Lucas, and she would be my son, Mark. It never occurred to us that there weren’t female characters that we wanted to play."

"I'm very fortunate I was in a couple of movies that really resonated with women and sort of struck a nerve."

"The normality of the world we live in is completely insane. Okay? Now, what are you going to do? All of you have to make a living, so you have to get a job. I would say you don't have to do that. You can do whatever you want. You don't have to get a job. You don't have to earn that money. You can do something else -- if you wish. If you're willing not to have security. If you're willing to work with other people. If you're willing to take that beautiful Zen statement: leap and your net will appear."

"When Koyaanisqatsi came out in 1982 (it was begun in 1975), this film taught me to look at the root of the future. Bob Dylan's song "Blowing in the Wind" comes to mind. Our future is blowing in the wind. You can see it in the tense I've created for my films, "the future present", or the rooted future. What we saw in Koyaanisqatsi almost 300 years ago, is even more coming true now because of the rooted future we live in. If you want to change things, I suggest you say no to the rooted future and create a future for yourself. We have a choice to change what's happening."

"I call the films I make experiental. If this doesn't sound too weird, I look at the films I've been involved in as my children. When they're born, then they take on a life of their own. To try and remake your child is not a very good idea. What advice would I give to you? Whatever you're interested in, whatever you can do, do it. Boldness has genius, magic and power in it. (That's a paraphrase of a Goethe quote)"

"The technology we have, is probably the most violent act against the planet that we can conceive of, more than the wars on the battlefield. The price we pay for technological happiness is bringing the planet to our knees. It's not something we use, it's as ubiquitous as the air we breathe."

"What is patriotism other than mysticism? The sadness and the danger, of course, is that we have become totally dependent on mass society for life itself. It’s not as if we have much choice. What can we do? These concepts are unutterable. They’re now beyond the pale of language. This is partly why I have used Hopi, a non-literate language, to name my films."

"I have a lot of admiration for the director [Godfrey Reggio] because he knew how to give not just pretty pictures or images but was able, through a play of images, to give a critique of the modem world that is very close to my own. But it's rather amusing to consider how differently different people can interpret this film. My wife, for example interpreted it as the story of the development of the world and its progression -- as a presentation of the creation of the world moving along into, very probably, an apocalypse. But one of my friends had a completely opposite reaction to the film. He thought that in the beginning it presented chaos, then moved after that into showing the progressive development of order. So you can see that the interpretation of images is very difficult."

"It does help if you can absolutely convince yourself that you're destined for greatness. It's not even an ego thing--it's just a way to prevent doubt and insecurity from hindering you."

"I've always been obsessed with creating stuff, I spent my spare time doodling, making music, writing... basically all the different aspects of making a game. I just didn't know at the time that I would find a way to combine all those things to bring a cohesive vision to life."

"You should be free to work yourself to the bone, but not to force someone else to do that for you."

"There’s a balance you have to have between being very critical of yourself and your work while also maintaining a strong faith in your own ability. Your unique voice and perspective matter and if you can find a way to bring that out then you will create something special."

"There is no "secret" to being successful, you just need to have great dedication and perseverance and adopt a "can do" attitude."

"My strategy with the community is simple: no strategy at all. I think that, as an indie developer, you should just be yourself and be a real human. I try to act online like I do in real life: treat everyone with respect, and be as honest and straightforward as possible."

"I think it's a lot easier to stay driven when you're doing your own project, knowing that there are no limits to how far you can go."

"I just persevered and forced myself to learn. You realize the thing that you thought was good actually isn’t. You realize why and you improve on it. And that’s just an endless cycle."

"It’s very important to me that I make good on my promises."

"Making art, making video games, is my way of sharing who I am with the world. My goal, deep down, is that I want to connect with the rest of humanity, and maybe have them connect with me in some way."

"My whole goal as a game creator is to create these moments where I want people to feel something, like actually feel this connection to something deeper than you would normally feel like in a video game. I want to go deeper, and connect with people in a real way that’s memorable, that they’ll take with them for the rest of their life. I think music is integral to that."

"I’m just making music, I’m not even thinking about what it’s for, and it gives me ideas for the game. It will make me think of a particular scenario or environment, and then I really envision it through the music and put that into the game. That’s my favourite way to develop, actually."

"Music is somehow pure, you don’t think of it in terms of symbols. It just exists, it’s like magic. It feels like a way you can almost directly interface with the transcendental or divine."

"If you’re creating music from the heart, you're basically tapping into this supernatural power."

"It all goes back to human nature and what we're meant to do as humans."

"What really makes me feel good, makes me feel like my life has been totally worthwhile, is the fact that Stardew Valley has brought such joy and happiness to people. People describe it as a therapeutic game. Because I know that this little game brings so much positivity to the world... that really feels good."

"It feels like my life has been worthwhile because of Stardew Valley, even if I were to die tomorrow. It feels good to see it manifest in new ways, and see people appreciate it."

"I want to create a collection of games during my career, so that when I’m on my deathbed I can look back and see that I created all these wonderful things that brought people joy."

"I pray God will curse the writer, as the writer has cursed the world with its beautiful stupendous creation, terrible in its simplicity, irresistible in its truth—a world which now trembles before the King In Yellow."

"To come is easy and takes hours; to go is different—and may take centuries."

"The ambition of Caesar and of Napoleon pales before that which could not rest until it had seized the minds of men and controlled even their unborn thoughts."

"Come and see my rose-coloured bath full of death!"

"Strange is the night where black stars rise, And strange moons circle through the skies, But stranger still is Lost . ...Song of my soul, my voice is dead, Die thou, unsung, as tears unshed Shall dry and die in Lost Carcosa."

"It is well to avoid actually recognized myths such as vampirism, reincarnation, etc., and invent one’s own obscure violations of cosmic law. What common myth, for example, does Blackwood use in "The Willows"? Or Chambers in "The Yellow Sign" ? Or Hodgson in The House on the Borderland? These writers create a sort of distinctive awe of their own and manage to say something fresh despite all that has been said before."

"Ultimately, terrazzo is a floor material, which is meant to be walked on."

"Sound is just ripples in the air. Musicians are like shamans; they learn how to manipulate people’s brain functioning through those ripples in the air. I have an important responsibility to capture those vibrations and transmit them, to spread those vibrations around the world."

"Why do people need to have control over the lives of others? Why this fear of the other? This fear of difference — the fear of change — why this fear of our own bodies? Why this inability to accept our own death? What are the connections between those things?"

".. the way I work ... I'm really seized by the scruff of the neck each time. ... Something pounces. It's absolutely irresistible and often will pounce at three in the morning ... or at six in the morning ... And I will get up and start writing. ... I really count on novelty and synchronicity and dreams to direct me and to kind of release the energy."

"... it's not an accident that the creative imagination is the first thing that's punished when tyrannies take over …"

"You don’t get to dictate the terms under which the work you put out there is received. “Mlle Bourgeoise Noire” is an extremely directed body of work. This trilogy that I did, [it was all about] what’s wrong with the art world, and what we need to do to remedy it. That work became so popular that it just took over. It’s been a bit of a struggle to get the other work—which is more what I consider the core of what I’m about, the anti-binary argument and all that—that’s a little bit harder to establish, I’ve found. "Lorraine O'Grady Has Always Been a Rebel" The New Yorker (interview by Doreen St. Felix published on September 29, 2022)"

"During World War II, Violet Oakley crafted twenty-four portable intended for American battleships, military bases, and airfields. While they seem conventional at first glance, a closer inspection uncovers distinct elements, such as the spirit’s victory over matter, which promises triumph and tranquility. With Oakley, art created by Christian Scientists matured. She demonstrated that illustrating Christian Science books is not essential to conveying the principles and spirit of the religion within the evolving realm of modern art."

"I often most often work in ways that are designed to reach as many people as possible. To me that’s sort of a basic question for every artist, “Who are you making artwork for?” If you’re just making it for yourself, that’s cool, no need to show anyone else."

"I’m making artwork for other people to experience, so I work in ways like public street art, public web sites, social media, digital printmaking, artists books and zines, mass media, video and audio files, many different ways that can be easily distributed and reach wide audiences and create and take part in larger conversations."

"I love QR codes. They are just an amazingly powerful and also often completely useless system for sharing digital information and artwork, through these weird little abstract, physical black-and-white designs. I also love that most people just have no idea what to do with them."

"And also I love the idea of codes. I love secrets, trading secrets. I love the act of encoding, I love the space where you don’t know what the code means, and I love the act of decoding and the moment of understanding."

"I try to find people who shore up my weaknesses"

"We get so stuck on our own viewpoints — we need help to be shown other options"

"If it’s the right thing to do, you push your qualms aside and you do it"

"Leadership does not come from the top down,Gaddis said. It comes from the bottom up"

"Go with your gut but use your brain"

"Hard work, knowing my personal power and working with an extremely talented and dedicated team is a big part of my success…After reinventing myself many times over, it is a great honor to be on the cover of Texas CEO Magazine with the hopes of inspiring other businessmen and -women to take big leaps in their lives and careers"

"If someone calls me authentic, that’s the biggest compliment they could give to me"

"You need ‘rough riders’ in your life – the people who will shoot straight with you. They can call bullshit on you, they can tell you how great you are"

"I didn’t intend to be a weaver; it began as a tenuous thread, but it became my lifeline. It didn’t lead to a concise understanding of the world or even of the nature of weaving itself, but unfolded into ever-evolving questions about the mechanism of the process, what it has been, can be, and what could I make of it."

"I’ve tried to live a holistic life, honoring my general curiosity, acknowledging the wonderful diversity of human societies while noting the similarities of our species. I didn’t intend to be a weaver; it began as a tenuous thread, but it became my lifeline. It didn’t lead to a concise understanding of the world or even of the nature of weaving itself, but unfolded into ever-evolving questions about the mechanism of the process, what it has been, can be, and what could I make of it."

"References to weaving abound in literature throughout human history. The process of weaving takes hundreds of individual threads, and combines them into a cohesive plane. It is the perfect metaphor for how we build our lives from multiple identities and interests into a singular personality. It is also a good metaphor for interconnectedness of any sort—family, community, governance. Weaving doesn’t always yield narratives, but in my work, the resulting combination of images and words reveal a propensity towards storytelling. Rooted in the physical making of the work, I honor the skill that has developed in my hands from years of weaving; and I listen for the insights that arise from my hands to my head, and vice versa."

"Almost from the start, I tried to map my mental activities in a series of woven collages. Just as thoughts loop, certain imagery is found again and again—my handwritten calculations for converting images into physical threads, repetitive counting, diagrams, and glimpses of nature are some of the phenomena that fill my head and these canvases. Over the years my work has seesawed between identifiable narratives and abstract imagery; my quest to understand spiritual systems has entered the weavings in recognized and abstract symbols; and I never shied away from beauty."

"I consider all work as studies, just one step on the path from here to there—and who knows where there is going to end up being. However, with time, the nature of weaving itself became more prominent in my work. So you find notations about how they are made, diagrams of weave drafts, and recordings of their materials. This also became helpful in my teaching. Instead of looking for written notes on the work, I could just refer to the work itself."

"Weaving has been the thread that has held my life together for more than fifty years. One has to fill the minutes, hours, days and years that are given to you with something, and it seems that weaving chose me. In essence, I see my life as the latest iteration in the long line of weavers that stretch back beyond recorded history. I feel blessed to be in this lineage."

"Although the assassination at Sarajevo was certainly the crucial precedent of the European war that its conspirators had sought, it was not the historical cause. ... The implication is that the war was, if not inevitable, at least impending, so that the assassination acted as a lever, prying the various powers into predictable paths."

"The day I decided to commit to being an artist was one of the best days of my life. I knew what I loved to do and what I now had to do. Although it was a totally frightening career choice, it was also one of the most liberating."

"Moving to New York to get an MFA in poetry was a pretty affirming moment. I started to research poets who were performance artists and discovered people like Vito Acconci. From there, my poems walked off the page and into the streets in an action poem style. Photography has always been a big part of my life and when I started researching early performance work, I never understood why the “documentation” of the work was of such bad quality. I went back to school, to the International Center for Photography, to learn the skills necessary to capture aesthetically compelling work, to eliminate the hierarchy between the performance and video and photos. At that point, I hit my stride."

"When I was 15, I fell in a frozen lake. I was walking on a lake outside of Boston and the ice started cracking. The next thing you know, I was fighting to get out. The lake was a water reservoir so it was illegal to walk on it. Afterward, I was scared to tell anyone about what happened for fear of getting into trouble. Even though I was freezing for days after, it was also kind of exciting."

"When I do these performances now, the feeling in my body seems to mirror that lake experience. I did a performance a few years ago where I threw myself through sheets of glass and after that I found the vocabulary to describe how I felt physically eluded me. It was like a secret in my body. When thinking about how to approach the reenactment, I started reading about how William Turner worked. He would take real-life events and turn them into the most beautiful images using color and light. He was also very interested in the sublime—man’s powerlessness in the face of nature. I channeled him as an inspiration when making the video."

"There are two phases of the exhibition—day and night. When you walk into the gallery during the day, in this reality, it is actually night. There are 75 night-blooming jasmine plants in boxes with shop lights above them suspended from the ceiling. Because the lights are off, the plants are tricked into thinking it is night and release their rich smell. The viewer walks through a maze of flowers and arrives at the video projected on a screen of myself walking and falling through a frozen lake in the center of the gallery. There is an audio score accompanying the video by experimental jazz composer Jason Ajemian. Every day at 5:30pm, the video turns off and the lights start to turn on in a synchronized choreography to a piece of music. The "day" then begins and the lights turn off again at 5:30am. It is a very sensorial experience with smell, video, light, color, and sound."

"It’s sort of like building a puzzle. I get an idea and then see how it best fits. If it is an idea for a performance, I start to think, Should it be live? Is it best for video? What time of day? What kind of camera? Where should it be shot? Then I think, How should it be installed? Single-channel or installation? If it is for a live audience, then everything changes; now you are thinking outside the frame and with a 360-degree view. Then the questions start again. All the projects start with an image. If the work is physically challenging, then I work backward to figure out how I can make it. How can I cover myself with bees while doing tai chi? How can I throw myself through sheets of glass? How can I fall through the middle of a frozen lake?"

"I start researching and make calls to people whom I think can help me. The first 10 calls are all usually the same: “You can’t do that, it's impossible.” But then I find someone who is one the same page as me and the fun starts. When we finally have a date, then I prepare physically and mentally. Trampoline training, tai chi practice, ice baths, ashram stays, etc. A lot of research goes into the projects—the goal is to make the final image."

"For this project, I am wearing a suit made of raw silk inspired by William Turner’s color palette in "The Burning of the Houses of Lords and Commons." I wanted the fabric to reflect the light like the golden flames in the painting."

"On the day of, usually, I am just focused on all that needs to get done to get the shot right. When I am performing, I switch into my body and try to be as in the moment as possible. When I fell through the lake, I opened my eyes and it was so incredibly peaceful. Frozen lake water is this deep emerald green, and all I saw was this thick liquid that was so quiet. I held myself under the ice for as long as I could to experience it."

"Falling in the lake the first time wasn’t what I would call traumatic. It was while it was happening —don’t get me wrong, but after, it was more of an exciting mystery. It was kind of like recovering from an intense illness. Or losing your virginity and wondering what the hell happened? I did feel an immense sense of power after I shot it last winter. I was in total control of the situation this time, which was more fun."

"Adrian Piper is incredible. I also love the work of Ana Mendieta, Chris Burden, Vito Acconci, Nam June Paik, Pipilotti Rist, Patty Chang, Diane Arbus, Nikki S. Lee, Hito Steyerl, Tino Seghal, T.S. Elliot, Wallace Stevens, Sylvia Plath, Emily Dickinson, Frank O’Hara. The list is endless and always changing."

"Ezra Pound said poetry is “news that stays news,” which I’ve always liked."

"I feel like Miami is growing so fast it is hard to pinpoint what it is anymore because everything is constantly changing here, but at the same time, it’s Miami—this surreal, gritty, gorgeous city that attracts a unique type of person. The art community here reflects that. It is unconventional in its core; it is hardworking, dedicated, supportive, and fun."

"Process work doesn’t appeal to me. That’s why I like drypoint and not just an etching. I’ve done only twenty-five bitten etchings in my life because I don’t care for all that business that goes on that gets between you and the work. I love drypoint and I think that actually it gives you the same wonderful satisfaction that carving in stone must give to a person. You’re really making something with great effort. And I think that effort is very important in the production of any work of art. If it’s too easy, if you’re just gliding around on a wax surface and then biting it in acid, it doesn’t give you that sensation of making something … That wonderful feeling that you have for the material and the real strength that you have to employ to get the line the right depth and richness and to do the cross-hatching so that the metal doesn’t break down but still you get a rich black. It gives you, oh, a great sensation"

"Pin-head, parsimoniously covered with thin dark hair, on a short, dumpy body. Small features, prominent nose, chipmunk teeth and no chin, conveying the sharp, weak look of a little rodent. Absent-minded eyes with a half-glimmer of observation. Prim, critical mouth and faint coloring. Personality lifeless, retiring, snippy, quietly egotistical. Lacks vigor and sparkle."

"A field has no center, and is not really flat, so I use no flat areas. The form of grass as grass, leaves as leaves, is what I’m exploring…Line as form. Grass as form. Grass is also random and random is a natural computer facility. Computer grass is natural grass."

"without conscious understanding of what a drawing is we could not use the computer as a drawing medium…We ask this new medium questions and get new (and old) answers. But some of the answers were there from the beginning."

"Jeff and I have been making two-dimensional art for a long time. I've been making paintings and drawings since childhood and was educated as an artist. Jeff has been thinking what mathematicians think and writing it down since childhood and was educated as a mathematician and as an artist. In the 1960's Jeff became involved with computers and their programming and with using the computer to help people solve their problems."

"When the University of Kansas was given a plotter in 1967, Jeff was asked to test it. We began to think of drawing lines with it in ways that we found visually interesting. Together, we had enough common background and experience to begin to use the computer graphically. Together we draw with the computer and sign the drawings ."

"The subject of all my work has been landscape. The elements of both the computer work and my hand work are often repetitive, like leaves, trees, grass and other natural landscape elements are. There is sameness and similarity, yet everything is changing. Landscape yields both texture and form. The pictorial form is usually all-over, with non-focus details which form patterns, since I feel these as essential properties of landscape. A field has no center, and is not really flat, so I use no flat areas. The form of grass as grass, leaves as leaves, is what I'm exploring."

"I always seem to be in the process of learning about line and land forms. I learn from what I see and what I draw. What my hand-eye draws is different from what the computer draws. A computer helps by offering new visual ideas. These ideas in turn enrich new hand work which generates additional ideas which extends my thinking about computer generated lines. The learning circle closes on itself. The computer and Jeff force me to verbalization and conception of what the making of a graphic drawing really is about. And I in turn force Jeff to think about the programming of serious aesthetic drawing problems. Together we try to define what makes up a drawing we would like to see. Without conscious understanding of what a drawing is we could not use the computer as a drawing medium."

"A line carves out form on a white sheet of paper, a line carves out implied visual space. A line is an abstract element which I have seen and explored. A line is grass or the edge of a leaf, a shape, a symbol. The line does not exist, it can be drawn."

"When we found that there was a device, a plotter which could draw lines, and a device, a computer, which could perform the calculations for driving the plotter resulting in lines which I only partly thought of beforehand, we found a very exciting but very difficult drawing medium. Using a computer-plotter extends my hand-eye-head. The computer draws, my eyes see, my hand draws, the computer is programmed by Jeff, the computer draws...in an endless productive cycle. Computer drawn lines enrich my hand lines which in turn enrich my computer drawn lines..."

"Jeff and I use the computer as a traditional drawing medium. The resulting drawings are to be seen, to hang on a wall, to communicate. They are not just examples of computer technology, not just geometry, not just mathematics. We ask this new medium questions and get new (and old) answers. But some of the answers were there from the beginning...landscape. That it is possible to use mathematical formalism and pure geometry while attempting a humanistic exploration to us is one of the primary advantages of the use of the computer as a drawing medium."

"Now I am beginning to see what a line is about. To see that I can choose to draw little lines, a one big sweep of the arm line, a coiled or an uncoiled line, crossing lines, spiraled lines, decorative lines, random lines, and it's all the same line. Where and how these lines are placed and colored make the drawing what it is, that composition is perhaps the truly difficult element in the making of a drawing. Now I have really to think about what I am doing while drawing in order for Jeff to write a program to deal with what I can do as second nature. This thinking has made the making of the hand work much clearer. We consider each drawing element as an independent element. This is artificial. Yet, this artificiality is precisely one aspect of the use of a mathematical attitude—the separation and isolation of individual elements of a problem. Our computer graphic efforts have shown us just how complex even the most simple meaningful hand made drawing is. In addition to making drawings using the computer, we appear to be finding out just what the making of a drawing is about regardless of its medium."

"To me, the impact of the computer on the art of drawing will be profound. If I and Jeff and a computer can formulate visual ideas which communicate more clearly to ourselves and to others than just I alone can by hand, certainly the computer's effect on other artists will be even more profound. A new kind of renaissance is beginning. All those now working visually with the computer are Giottos announcing the coming of a new visual age. Just as the technical development of the camera changed people's visual experiences and changed art during the last hundred years, the computer will affect the visual dimensions of people's lives. The pre-camera, pre-computer Chinese artist took a life-time of understanding in order to make one meaningful ink filled brushstroke. It may take a life-time to develop a computer program to make one new communicating pen line which is meaningful for us."

"I like wrapped things like Egyptian mummies, American burial costumes, and other archaeological finds."

"I was always interested in Egyptian mummies […] but later on, during the Vietnam War, when I saw all these bodies in plastic bags […] then I thought of that whole thing too. […] The string does have to do with imprisonment. […] I am very concerned about the political prisoners all over the world, and of course it had to do with my own past experiences, where I was not tied up, but it does not mean literally, physically tied up. [Y]ou can be in prison without being in a locked room. You are imprisoned by your own fears, inhibitions, phobias."

"Everything I’ve done is a statement on the, as they say, ‘human condition."

"“I always think that if I let go and go into the large outer space, I won’t find my way back. It’s just fear of the unknown…and I don’t know if I could come back…. I have fear of the unknown in general, whereas other people want to go out and explore the unknown."

"Today, Wallace’s work feels like a whisper from a deeper source. It invites us to slow down, tune in, and consider the possibility that consciousness is not confined to the brain and that art can be a form of spiritual technology. For audiences drawn to esoterica, mysticism, and the aesthetics of the unseen, Wallace offers a rare synthesis: the rigor of a journalist, the imagination of a mystic, and the hand of a visionary. His drawings are portals to another world. And though the Ricco/Maresca exhibition has closed, Wallace’s psychic radio is still broadcasting. All you have to do is listen."

"The Deaf theme in my work relates to my own experience as a deaf human being; my genre is De'VIA."

"I no longer paint what people would like to see. I paint for myself. It is about my own experience, my love of ASL and pride in our Deaf heritage. I sometimes create works that have no particular relation to the Deaf."

"Deaf art expresses the values of Deaf culture — the beauty of sign language and its painful oppression, the joys of Deaf bonding, communication breakdowns between signers and non-signers, the discovery of language and community, and the history of Deaf people."

"Remember: Simple is sometimes best."

"Be the glue that holds it all together, if you can be, and it's ok if you can't yet - it will be ok!"

"I think what matters the most - is what kind of person you are and were. The rest can get sorted later."

"DO A ZINE ABOUT YOUR INTERESTS"

"ONLY Ü CAN DECIDE WHAT CHANGES TO MAKE IN A POSITIVE WAY"

"New England! ours Art thou, as England's thine: thy children own The common parentage. Nor they alone, But wheresoe'er is heard our English tongue — World-widely flung For coming hours. Be with us then, Thou greater England! second but in time: Our age shall welcome our young giant's prime, As in his sons a father takes delight, Proud of the height Of younger men."

"Ideally, if anything were any good, it would be indescribable."

"I think style chooses you... if I could choose, I would write like Jane Austen and I would draw like Rembrandt."

"If you're doing nonsense it has to be rather awful, because there'd be no point. I'm trying to think if there's sunny nonsense. Sunny, funny nonsense for children—oh, how boring, boring, boring. As Schubert said, there is no happy music. And that's true, there really isn't. And there's probably no happy nonsense, either."

"Of course I believe in graphology, also palmistry, the I Ching, the tarot, astrology, and all those other delicious things you can find in places like thesaurusi (can that be the plural? No, it can't, it must be thesauri), which turn out to mean prognostication by means of snail tracks or something."

"I used to maintain that if it couldn't be put into words it didn't exist; if anything I believe rather the opposite now."

"Well, I'm neither one thing nor the other particularly. I suppose I'm gay. But I don't really identify with it much... I've never said I was gay, and I've never said I wasn't... What I'm trying to say is that I am a person before I am anything else."

"One scarcely knows to whom to complain."

"Enjoying an extraordinary knowledge of languages (ancient and modern), literature, and art, by his cultured personality and reflective conversation he greatly influenced all who knew him. Though naturally a questioner he venerated the traditions of religious art, and preserved always his childlike Catholic Faith and reverence."