Lgbt People

"[I] could not design forms and colors that would achieve some preconceived result.. .I wasn't going to hire them. I was more interested in working WITH them than in their working for me."

"[I have] various tricks to actually reach that solitary point of creativity. One of them is pretending I have an idea. But that trick doesn't survive very long because I don't really trust ideas – especially good ones.. .Rather, I put my trust in the materials that confront me, because they put me in touch with the unknown. It is then that I begin to work.. ..when I don't have the comfort of sureness and certainty. Sometimes Jack Daniels helps too. Another good trick is fatigue. I like to start working when it's almost too late.. ..when my sense of efficiency is exhausted."

"I still have a struggle reading [dyslexia] and so I don't read much.. .Probably the only reason I'm painter is because I couldn't read yet I love to write, but when I write I know what I'm writing, but when I'm reading I can’t see it, because it goes from all sides of the page at once. But that's very good for printmaking."

"I think a picture is more like the real world when it is made out of the real world."

"I feel a conscious attempt to be more and more related to society. That's what's important to me as a person. I'm not going to let other people make all the changes; and if you do that, you can't curt yourself of.. .I'm only against the most obvious things, like wars and stuff like that. I don't have any particular concept about an utopian way things should be. I have a prejudice or a bias, it is that there shouldn't be any particular way. Being a complex human organ, we are capable of a variety; we can do so much. The big fear is that we don't do enough with our senses, with our activities, with our areas of consideration; and these have got to get bigger year after year."

"I like the aliveness of it [theater] – that awful feeling of being on the spot. I must assume the responsibility for that moment, for those actions that happen at that particular time. I don't find theater that different from painting, and it's not that I think of painting as theater or vice versa. I tend to think of working as a kind of involvement with materials, as well as rather focused interest which changes."

"I think the ideas [as starting point for his paintings] are based upon very obvious physical facts – notions that are also simple-minded, such as, in the 'White Paintings', wanting to know if that was a thing to do or not, or in 'Factum', wondering about what the role of accident is. Those aren't really very involved ideas."

"I have another feeling that in working with a canvas, and with something you picked up off the street and you work on it for three or four days or maybe a couple of weeks and then, all of a sudden, it is in another situation. Much later, you go to see somebody in California, and there it is. You know that you know everything about that painting, so much more than anybody else in that room. You know where you ran out of nails.. .At the time I did that early piece, I didn't know it was the lower right-hand corner that had the new element – that that part would grow and that other parts would relate more to the past."

"You could waste years arguing. All I had to do was make one [image] and ask: 'Do I like that?' 'Is there anything to say there?' 'Does that thing have any presence' 'Does it really matter that it looks bluer now, because it is late afternoon? Earlier this morning it looked quite white.' 'Is that an interesting experience to have?' To me, the answer was yes. [on his 'White Paintings']"

"It's almost as if art, in painting and music and stuff, is the leftover of some activity. The activity is the thing that I'm most interested in. Nearly everything that I've done was to see what would happen if I did this instead of that."

"It was because of the general inclination, until very recently, to believe that art exists in art. At every opportunity, I've tried to correct that idea, suggesting that art is only a part – one of the elements that we live with.. .Being a painter, I probably take a painting more seriously than someone who drives a truck or something. Being a painter, I probably also take his truck more seriously. In the sense of looking at it and listening to it and comparing it to other trucks and having a sense of its relationship to the road and the sidewalk and the things around it and the driver himself. Observation and measure are my business."

"With the black ones [his 'Black Paintings'] I was interested in getting complexity without their revealing much – in the fact that there was much to see but not much showing. I wanted to show a painting that could have the dignity of not calling attention to itself. In both the blacks and the whites [paintings] there was none of the familiar aggressiveness of art that says, 'Well, here it is, whether you like it or not'."

"I don't think he [ Josef Albers ] ever realized that it was his discipline that I came for. Besides, my response to what I learned from him was just the opposite of what he intended.. .I was very hesitant about arbitrarily designing forms and selecting colors that would achieve some predetermined result, because I didn't have any ideas to support that sort of thing – I didn't want color to serve me, in other words."

"Albers [on Black Mountain College ] was a beautiful teacher and an impossible person. He wasn't easy to talk to, and I found his criticism so excruciating and so devastating that I never asked for it. Years later, though, I'm still learning what he taught me, because what he taught me had to do with the entire visual world. He didn't teach you how to 'do art'. The focus was always on your personal sense of looking.. .I consider Albers the most important teacher I've ever had, and I'm sure that he considers me one of his poorest students."

"[Art is] a means to function thoroughly and passionately in a world that has a lot more to it than paint."

"I am sick of talking about What and Why I am doing. I have always believed that the WORK is the word. Action is seen less clearly through reason. There are no shortcuts to directness. [around 1965]"

"The character of the artist has to be responsive and lucky. Personally I have never been interested in a defensible reason post card for working achievement functionally is a delusion. To do a needed work short changes art. It seems to me that a great part Indian moccasins of urgency in working lies in the fact that one acts freely friends and associates may become more closely allied with you real soon."

"I find it nearly impossible free ice to write about jeep axle my work. The concept I plantatarium struggle to deal with ketchup is opposed to the logical continuity lift tab inherent in language horses and communication. My fascination with images open 24 Hrs. is based on the complex interlocking of disparate visual facts heated pool that have no respect for grammar. The form then Denver 39 is second hand to nothing. The work then has a chance to electric service become its own cliche. Luggage. This is the inevitable fate fair ground of any inanimate object Freight-ways by this, I mean anything that does not have inconsistency as a possibility built-in.."

"Every minute everything is different everywhere. It is all flowing.. .The duty or beauty of a painting is that there is no reason to do it nor any reason not to. It can be done as a direct act or contact with the moment and that is the moment you are awake and moving. It all passes and is never true literally as the present again leaving more work to be done."

"I didn't even know that there was art until I left Texas when I was eighteen. The only painting I knew (and I didn't know it was a 'painting' until much later) was 'Hope' [of George Frederic Watts, 1886] the woman sitting on the globe with.. .that green [of the painting 'Hope'] you only get in reproductions]! I think that negates the idea of a painter's relation to official – old master art. It was neutral ground – that one picture – I responded to visual things.. .'Hope' was just sort of visual thing there, not art."

"Outside the big idea that there is art I don't think of other's paintings. But I defend the idea of art and know that it is made up of all these paintings. Classic pictures are objects that may or may not influence what you're doing, just like anything else. Like the radio.. .But it hasn't anything to do with your own art or the artist's intention."

"I don't feel any direct relationship between what I do and existing art. Though there is unavoidable progression: the things all paintings have in common are paint, and color, and some means of application. With the standard you can make any two pictures appear either alike of different. I don't think whether they're alike or different is really very interesting."

"Josef Albers's [a former art teacher of Rauschenberg, on Black Mountain College ] rule is to make order. As for me, I consider myself successful when I do something that resembles the lack of order I sense. (around 1949 during Black Mountain College, fh)."

"It is completely irrelevant that I am making them. 'Today' is their creator."

"The truth emerging from this scattered picture of nuclear proliferation is simple: there is a stronger chance of a nuclear bomb being used now than at almost any point in the Cold War."

"Oddly, the person I feel sorriest for isn't Brand himself – although he certainly comes across as a rather pitiable figure, projecting his own brokenness on to the world around him – but Johann Hari. Drummed out of Fleet Street for plagiarism, the former Independent columnist has washed up as "my mate Johann, who's been doing research for this book". For a genuinely talented polemicist, it would have been a humbling experience to have to treat this sub-undergraduate dross as the scintillating wisdom of a philosopher-king."

"At the moment false claims spread on social media far faster than the truth, because of the algorithms that spread outraging material faster and further."

"around one in five car accidents is now due to a distracted driver."

"So if you check your texts often while trying to work, you aren’t only losing the little bursts of time you spend looking at the texts– you are also losing the time it takes to refocus afterwards, which can be much longer."

"There’s one key fact, he said, that every human being needs to understand– and everything else he was going to explain flows from that. ‘Your brain can only produce one or two thoughts’ in your conscious mind at once. That’s it. ‘We’re very, very single- minded.’"

"For the average American, it’s three hours and fifteen minutes. We touch our phones 2,617 times every twenty- four hours."

"I don’t think it’s a coincidence that this crisis in paying attention has taken place at the same time as the worst crisis of democracy since the 1930s. People who can’t focus will be more drawn to simplistic authoritarian solutions– and less likely to see clearly when they fail."

"The outbreak of cholera in Zimbabwe became a symbol of that country's collapse — but who noticed the spread of cholera across Iraq? The McCainiacs chorused that "the surge worked" — but a study by the journal Environment and Planning found the truth. Between 2003 and 2007, Iraq was ripped by a massive ethnic cleansing. The mixed Sunni-Shia areas were destroyed. By the time the surge started, there was nobody left to purge: the country was carved into ethnically homogeneous neighbourhoods. All the surge did was build vast concrete walls between the collapsing hoods, cementing the cleansing. That's success?"

"We now have a global business system that is virtually unregulated, with trade unions crippled and politicians largely bought by the super-rich to serve their interests. And what is the result? Inequality has returned to 1920s levels, and movement between the classes has collapsed. We have bank runs unseen in a century. And now even senior Wall Street figures mutter — with only a hint of hyperbole — about a looming Depression and "the worst crisis since 1929." All we need now is rising unemployment and Zelda and F Scott Fitzgerald boozily waltzing through Wall Street, and we are back where this story began."

"We have been living in an ideological bubble — one of market fundamentalism.From the trauma of the Great Depression to 1973, there was a broad consensus across the democratic world that markets were absolutely essential to generate wealth, but they will also cause all sorts of problems if they are left unregulated. Economists like JM Keynes and JK Galbraith taught us that if you abolish markets, you get starvation; but if you abolish all the democratic checks and balances on markets, you get a system that eats itself. Unregulated businesses will cause unsustainable levels of pollution and inequality, and ultimately start pursuing unhinged business models that cause the whole system to collapse."

"The lamest defence I could offer - one used by many supporters of the war as they slam into reverse gear - is that I still support the principle of invasion, it's just the Bush administration screwed it up. ... The evidence should have been clear to me all along: the Bush administration would produce disaster."

"The greatest trick the rich — and their cheerleaders on the right — ever pulled was convincing the world that class didn’t exist. Out here in the real world, it is more real and more rigid than it has been for a century."

"For all the chatter that Britain has moved beyond class, recent studies have found that it determines the life chances of British people more today than at any point since the Second World War... A child born into a rich family in Britain will almost certainly live and die rich, while a child born into a poor family will almost certainly live and die poor."

"The bombs held in current nuclear arsenals are seventy times more powerful than the bomb dropped on Nagasaki. If we don’t begin opposing the drift towards more and more of them, we will live in the shadow of the mushroom cloud for the rest of our lives — and millions may die there."

"My feeling about the war was — given a choice between these two things — obviously I want to see a world with much better choices than that — but given that was the choice we were confronted with, the best way through it was to try to find out what Iraqis prefer."

"There is an emerging scientific consensus that global warming is making hurricanes more intense and more destructive. It turns out that Katrina fits into a pattern that scientists and greens have been trying to warn us about for a long time."

"We are entering a world of rapidly multiplying nuclear stand-offs like this. India vs Pakistan. Iran vs Israel. America vs. China. Within decades, North Korea vs Japan and South Korea. Not one Cold War, but many - and the risk is doubled each time."

"The climate-change deniers are rapidly ending up with as much intellectual credibility as creationists and Flat Earthers... They are denying the reality of a force that — unless we change the way we live pretty fast — will kill millions."

"Fantasies aren't reality, I know, I know, I know. Except when they are. Except when you make them into reality."

"My fantasies have never been safe ones. Don't fuck with me, unless you understand that."

"And the harder the SSC ["safe, sane and consensual"] gets pushed at me, the harder I feel like pushing back. Passion, that's what I'm into, passion and blood and honor, so powerful that it pounds through my veins and blinds me, so terrible that I can't look away. Danger, Dementia, and Denial. I want to hear that panic, scream "No, Please!" and struggle through the haze of pain and pleasure and all that stuff that goes on between the moment we touch eyes and the moment when we both collapse and try to catch our breaths and break the silence."

"There are times when I just want to walk through a room, grab that girl, slap her hard and make her cry. Push her down and fuck her mind over twice as hard as her body. Sometimes, I want to be that girl."

"Fact is, I'm tired of being told what's OK for me. I'm fucking tired of multiple safewords, and sometimes I'm tired of safewords altogether. I don't want to negotiate everything to death, I want to be surprised, or surprise someone. I want to be afraid — I want to cause genuine fear."

"The trouble is, SMers are allowing themselves to be defined by what they are not. We think, "Oh, so many people believe that we're all murderers and rapists, and we have to explain that we're not!" Uh — so, a slogan for the gay civil rights movement should be "Normal, Non-threatening and Not After Your Children"?"

"I can hear the whines — "But it's BAD to do these things without consent!" No fucking kidding. It's bad to conduct medical experiments on people without consent, yet I don't see the AMA adopting the slogan, "Healthy, Helpful and Consensual!""