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In Their Own Words 1
A person’s name is something from which one never recovers. We shape our tools and then our tools shape us. Art is anything that you can get away with. When a circuit learns your job, what are you going to do? There is absolutely no inevitability so long as there is a willingness to understand what is happening. Only puny secrets need protection. Big discoveries are protected by public incredulity. Computers can do better than ever what needn’t be done at all. Making sense is still a human monopoly. Technology is that which separates us from our environment. I don’t necessarily agree with everything I say. We are the genitals of our technology. We exist only to improve next years model. Ads are the cave art of the 20th century. Money is the poor man’s credit card. I don’t know who discovered water but is certainly wasn’t a fish. We drive into the future using only our rearview mirror. All advertising advertises advertising. I may be wrong, but I’m never in doubt. If it works, it’s obsolete. Concepts are a provisional affair. First man made the hammer, then the hammer made the man. Moral indignation is a technique used to endow the idiot with dignity. The machine easily masters the grim and the dumb. The artist is the only person; his antennae pick up these messages before anybody. So he is always thought of as being way ahead of his time because he lives in the present. Jobs are finished; role-playing has taken over; the job is a passe entity. Jobs belong to specialists. Kids no longer live in a specialist world. One cannot say “I’ll start here and eventually I’ll get there. Every kid knows that within three years, everything will have changed.
In photographing dwarfs, you don't get majesty & beauty. You get dwarfs. The camera makes everyone a tourist in other people's reality, and eventually in one's own. So successful has been the camera's role in beautifying the world that photographs, rather than the world, have become the standard of the beautiful. The destiny of photography has taken it far beyond the role to which it was originally thought to be limited: to give more accurate reports on reality (including works of art). Photography is the reality; the real object is often experienced as a letdown. All modern wars, even when their aims are the traditional ones, such as territorial aggrandizement or the acquisition of scarce resources, are cast as clashes of civilizations — culture wars — with each side claiming the high ground, and characterizing the other as barbaric. The enemy is invariably a threat to "our way of life," an infidel, a desecrator, a polluter, a defiler of higher or better values. The current war against the very real threat posed by militant Islamic fundamentalism is a particularly clear example. "Old" and "new" are the perennial poles of all feeling and sense of orientation in the world. We cannot do without the old, because in what is old is invested all our past, our wisdom, our memories, our sadness, our sense of realism. We cannot do without faith in the new, because in what is new is invested all our energy, our capacity for optimism, our blind biological yearning, our ability to forget — the healing ability that makes reconciliation possible. Soldiers now pose, thumbs up, before the atrocities they commit, and send the pictures to their buddies and family. What is revealed by these photographs is as much the culture of shamelessness as the reigning admiration for unapologetic brutality. Ours is a society in which secrets of private life that you would have given nearly anything to conceal, you now clamor to get on a television show to reveal.