Journalists From The United States

"[On Putin] He just keeps talking. And throwing numbers out there. Most of them wrong. It's meant to create the impression that he knows what he's talking about. But it's also just meant to drown you in meaningless stuff."

"[On Trump] He talks and you don’t even know where the punctuation marks fall. And the more you try to engage with those words, the less they mean."

"No powerful political actor had set out to destroy the American political system itself — until, that is, Trump won the Republican nomination. He was probably the first major party nominee who ran not for president but for autocrat. And he won."

"Trump has struck more countries with more fire power in a week than Putin often does in a year. Where Putin's unpredictable persona is a carefully cultivated one, Trump has given no evidence that his madman act is an act."

"Putin's madman-on-the-world-stage shtick forced saner world leaders to devise strategies for minimizing the damage Russia can do. But now that Donald Trump has demonstrated that he will not only speak without thinking but also fire missiles without interrupting dessert, he has one-upped Putin."

"So Trump dropped the "mother of all bombs"—the largest non-nuclear bomb in the US arsenal—on Afghanistan, because, surely, the reason ISIS has not yet been defeated is that America has not used a big enough bomb."

"[In answer to the question: "You were born in Russia, spent your teenage years in America then moved back to Moscow as an adult. Do you feel more Russian or American?"] It doesn't really work that way. But when you have emigrated as often as I have, you learn the benefits of being an outsider. I am very comfortable not belonging. I find it extremely beneficial to my work as a journalist to be highly attuned to this culture yet at the same time hovering outside of it."

"Public space frightens the Putin regime, which has worked hard, and effectively, to destroy it."

"Russian activists and journalists who get enough death threats and take them sufficiently seriously to hire bodyguards are also usually careful about what they ingest. Soon after the chess champion Garry Kasparov quit the sport to go into politics full time, in 2004, he hired a team of eight bodyguards, who not only accompanied him everywhere but also carried drinking water and food for Kasparov to eat at meals shared in public. Three years ago, Kasparov told me that what he liked most about foreign travel was being able to shed his bodyguards for a while. A year after that, threats drove him to leave Russia permanently."

"Attacks by poisoning are possibly even more common in Russia than assassinations by gunfire. Most famously, Alexander Litvinenko, a secret-police whistle-blower, was killed by polonium in London, in 2006. Last week, British newspapers reported that a Russian businessman who dropped dead while jogging in a London suburb in 2012 had been killed by a rare plant poison. He had been a key witness in a money-laundering case that had originally been exposed by the Moscow accountant Sergei Magnitsky, who was tortured to death, in 2009, in a Russian jail."

"After nearly fifteen years of systematic destruction of public space, engineered by Putin, the normal ways by which regular people absorb information about the state of their country are gone. Only a person who had lost his livelihood or half his savings would have been able to report that the economy was failing."

"Like the Soviet regime before it, the Putin government spreads fear by destroying the illusion that one can protect oneself... People who work at two Moscow restaurants have warned me, separately, about the precise locations of listening devices at the eateries. The warnings came unbidden. The food at both places was, incidentally, not only very good but also apparently safe. That, along with the springtime sun, helps maintain the bizarre sense of normalcy that has a way of going hand in hand with the mortal danger that has become a fact of everyday life."

"It’s a no-brainer that we should have the right to marry, but I also think equally that it’s a no-brainer that the institution of marriage should not exist. Fighting for gay marriage generally involves lying about what we are going to do with marriage when we get there — because we lie that the institution of marriage is not going to change, and that is a lie."

"Lying is not a side effect of what RT does; it is the channel's heart."

"[Following conciliatory messages from, among others, Hillary Clinton and President Barack Obama after the result of the 2016 presidential election became known] However well-intentioned, this talk assumes that Trump is prepared to find common ground with his many opponents, respect the institutions of government, and repudiate almost everything he has stood for during the campaign. In short, it is treating him as a "normal" politician. There has until now been little evidence that he can be one."

"Listening continuously and taking notes for an hour is an unusual cognitive experience for most young people. Professors should embrace — and even advertise — lecture courses as an exercise in mindfulness and attention building, a mental workout that counteracts the junk food of nonstop social media."

"Freud spoke of oceanic consciousness as that in which we feel our individual existence lost in mystic union with the universe. Nothing could be more appropriate to contemporary experience, when for the first time man has left the boundaries of this globe. The oceanic effect of synaesthetic cinema is similar to the mystical allure of the natural elements: we stare in mindless wonder at the ocean or a lake or river. We are drawn almost hypnotically to fire, gazing as though spellbound. We see cathedrals in clouds, not thinking anything in particular but feeling somehow secure and content. It is similar to the concept of no-mindedness in Zen, which also is the state of mantra and mandala consciousness, the widest range of consciousness."

"For some years now the activity of the artist in our society has been trending more toward the function of the ecologist: one who deals with environmental relationships. Ecology is defined as the totality or pattern of relations between organisms and their environment. Thus the act of creation for the new artist is not so much the invention of new objects as the revelation of previously unrecognized relation- ships between existing phenomena, both physical and metaphysical. So we find that ecology is art in the most fundamental and pragmatic sense, expanding our apprehension of reality."

"For some time now it has been clear that intermedia art is trending toward that point at which all the phenomena of life on earth will constitute the artist’s palette. It is the purpose of this chapter to illuminate the direction of that trend and to cite a few pertinent examples. As with all other Paleocybernetic phenomena, the direction is simultaneously toward inner and outer space, the microcosm and the macrocosm. On the one hand, intermedia environments turn the participant inward upon himself, providing a matrix for psychic exploration, perceptual, censorial, and intellectual awareness; on the other hand technology has advanced to the point at which the whole earth itself becomes the “content” of aesthetic activity. The term “light show” must now be expanded virtually to include the aurora borealis, since hemispherical lumia displays are possible in the creation of artificial plasma clouds in space (see color plates), the launching of rockets to generate atmospherical events, or urban environmental generators such as Nicholas Schoffer’s monumental Cybernetic Light Tower, which transforms the skies of Paris into panoramic fantasias of color."

"As a design-scientist the artist discovers and perfects language that corresponds more directly to experience; he develops hardware that embodies its own software as a conceptual tool for coping with reality."

"Anyone who looks at the historical record of the juncture of art and technology finds you nearly unaccompanied when it comes to documenting this historical record between the years of the late-1960's up to the early 1990s. Basically there is you, Jack Burnham's book Beyond Modern Sculpture (1968), and Gene Youngblood's reference work Expanded Cinema (1970). Specifically, your (Frank Popper's) books Origins and Development of Kinetic Art (1968), Art, Action and Participation (1975) and Art of the Electronic Age (1993) are indispensable research tools in helping us figure out how art got to where it is today - in your terms virtualized."

"When we say expanded cinema we actually mean expanded consciousness. Expanded cinema does not mean computer films, video phosphors, atomic light, or spherical projections. Expanded cinema isn't a movie at all: like life it's a process of becoming, man's ongoing historical drive to manifest his consciousness outside of his mind, in front of his eyes. One no longer can specialize in a single discipline and hope truthfully to express a clear picture of its relationships in the environment. This is especially true in the case of the intermedia network of cinema and television, which now functions as nothing less than the nervous system of mankind."

"We live in and age of hyper-awareness, our senses extend around the globe, but it's the case of aesthetic overload: our technical zeal has outstripped our psychic capacity to cope with the influx of information."

"The intermedia network has made all of us artists by proxy. A decade of television-watching is equal to a comprehensive course in dramatic acting, writing, and filming... the mystique is gone - we could almost do it ourselves. Unfortunately too many of us do just that: hence the glut of sub-mediocre talent in the entertainment industry."

"The era of Conceptual art - which was also the era of the Civil Rights Movement,. Vietnam, the Women's Liberation Movement, and the counter-culture- was a real."

"Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or "dematerialized.""

"I don't understand quite a good deal of what is said by Art-Language, but I admire the investigatory energies, the tireless spade-work (not calling one one), the full commitment to the reestablishment of a valid language by which to discuss art and the occasional humour in their writings. The chaos in their reasons fascinates me, but it is also irritating to be unequipped to evaluate their work. I don't know how it is or if it is evaluated by adepts in philosophy as philosophy, but I find it infuriating to have to take them on faith."

"The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years."

"The general ignorance of the visual arts, especially their theoretical bases, deplorable even in the so-called intellectual world; the artist’s well-founded despair of ever reaching the mythical “masses” with “advanced art”; the resulting ghetto mentality predominant in the narrow and incestuous art world itself, with its resentful reliance on a very small group of dealers, curators, critics, editors, and collectors who are all too frequently and often unknowingly bound by invisible apron strings to the “real world’s” power structure—all of these factors may make it unlikely that conceptual art will be any better equipped to affect the world any differently than, or even as much as, its less ephemeral counterparts."

"An Eskimo custom offers an angry person release by walking the emotion out of his or her system in a straight line across the landscape; the point at which the anger is conquered is marked with a stick, bearing witness to the strength or length of the rage."

"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."

"Conceptual Art in the broadest sense was a kind of laboratory for innovations in the rest of the century. An unconscious international energy emerged from the raw materials of friendship, art history, interdisciplinary readings and a fervor to change the world and the ways artists related to it."

"Travel is the only context in which some people ever look around. If we spent half the energy looking at our own neighborhoods, we'd probably learn twice as much."

"In his heart, Simon Yakida knew he was digging his own grave."

"Investigators identified 29 members of the 173rd Airborne as suspects in confirmed cases of torture. Fifteen of them admitted the acts. Yet only three were punished, records show. They received fines or reductions in rank. None served any prison time."

"It only makes sense in an academic culture in which transgression is by definition political and in which any kind of rage against society can be considered radical."

"Not many people have been able to get inside one of the factory hog farms that blight the Midwestern and Southern United States today. Matthew Scully did, though, and he has written one of the most scathing yet compassionate books about animals in the entire literature: Dominion. I cannot recommend it highly enough."

"How we treat our fellow creatures is only one more way in which each one of us, every day, writes our own epitaph—bearing into the world a message of light and life or just more darkness and death, adding to the world's joy or to its despair."

"The best part of the book, which is written from an expressly Christian and conservative way of looking at the world, is his contention that the morality of the humane treatment of animals rests not—as the “animal rights” theorists such as Peter Singer would have it—on animals being equal to human beings but precisely on their being unequal and therefore so very dependent and vulnerable. That’s why the subtitle speaks of “the call to mercy” rather than “the call to justice,” although Scully does, against his better instincts, end up entangling himself in some of the esoterica of the animal rights theorizing. Most pertinent to public policy is his polemic against industrial, or containment, farming. He visited some huge pig plants in North Carolina and what he reports is unpleasant in the extreme."

"It began with one pig at a British slaughterhouse. Somewhere along the production line it was observed that the animal had blisters in his mouth and was salivating. The worst suspicions were confirmed, and within days borders had been sealed and a course of action determined. Soon all of England and the world watched as hundreds, and then hundreds of thousands, of pigs, cows, and sheep and their newborn lambs were taken outdoors, shot, thrown into burning pyres, and bulldozed into muddy graves. Reports described terrified cattle being chased by sharpshooters, clambering over one another to escape. Some were still stirring and blinking a day after being shot."

"Foot-and-mouth disease is a form of flu, treatable by proper veterinary care, preventable by vaccination, lethal neither to humans nor to animals. These animals, millions of them not even infected, were all killed only because their market value had been diminished and because trade policies required it—because, in short, under the circumstances it was the quick and convenient thing to do. By the one measure we now apply to these creatures, they had all become worthless. For them, the difference between what happened and what awaited them anyway was one of timing. And for us the difference was visibility. This time, we had to watch."

"Animals are so easily overlooked, their interests so easily brushed aside. Whenever we humans enter their world, from our farms to the local animal shelter to the African savanna, we enter as lords of the earth bearing strange powers of terror and mercy alike. Dominion, as we call this power in the Western tradition, today requires our concentrated moral consideration …"

"Standing outside a factory farm, the first question that comes to mind is not a moral but a practical one: Where is everybody? Where are the owners, the farmers, the livestock managers, the extra hands, anybody? I have been driving around the North Carolina countryside on a Thursday afternoon in January 2001, pulling in at random to six hog farms, and have yet to find a single farmer or any other living soul. … There are so many factory farms around here that they are easy to miss. I doubt that the average visitor just passing through even knows what they are …"

"When Michael O’Donoghue got fired, he left this amazing note: “I was fired by Dick Ebersol. I did not leave the show, and if he should claim otherwise, he is, to steal a phrase from Louisa May Alcott, a lying cunt.” It’s very Michael."

"I’ve seen this attributed to John Lennon, but I know Michael O’Donoghue said it, because I was there when we heard Elvis died. My secretary came in and she said, “Elvis is dead,” and Michael O’Donoghue said, “Good career move.”"

"After a number of meetings, including one at the show’s, barren office space at 30 Rockefeller Plaza, [Lorne] Michaels asked O’Donoghue and Beatts to join Saturday Night. At first Beatts refused, citing her book deal and the amount of work that was needed to finish it on deadline [...] O’Donoghue, on the other hand, offered no resistance: He needed the work and he saw television as a step above the drudgery of magazines. After all, he had always been attracted to “hotter” forms and was in no way contemptuous of show business — so long as he could make it his own."

"Late April, early May, Lorne started laying out the cast. One day he’s got this really bizarre guy with smoked glasses, Michael O'Donoghue, and I’m thinking, “Oh God, what have we gotten into here?”"

"I truly think you can say that without Michael O’Donoghue, there wouldn't have been a Saturday Night Live, and I think it’s important to remember that. I think Lorne would probably be generous enough to acknowledge that."

"Making people laugh is the lowest form of comedy."

"Any time a whole bunch of kids like something, they find a reason to ban it. If kids suddenly started stuffing napkins into their pockets and really liked doing that, they'd find a reason to forbid it."