Credibility Is A Basic Survival Tool.

More And More I Think Of Privatisation As Being Not Just About The Takeover Of Resources And Power By Corporate Interests, But As The Retreat Of Citizens To Private Life And Private Space, Screened From Solidarity With Strangers And Increasingly Afraid Or Even Unable To Imagine Acting In Public.

The Poor Have Often Been Subversive Just Because They Don't Always Believe Their Own Depiction As Brutes And Loafers And Leeches, And New Economy Is Making Lots More Poor Or Recognize Their Fellowship With The Insecurity Of The Poor, The Portion Of The Population For Whom The System Does Not Work.

Perhaps The Central Question About [eliot] Porter's Work Is About The Relationship Between Science, Aesthetics, And Environmental Politics. His Brother, The Painter And Critic Fairfield Porter, Wrote In A 1960 Review Of [porter's] Colour Photographs: 'there Is No Subject And Background, Every Corner Is Alive,' And This Suggests What An Ecological Aesthetic Might Look Like.

The Bigness Of The World Is Redemption. Despair Compresses You Into A Small Space, And A Depression Is Literally A Hollow In The Ground. To Dig Deeper Into The Self, To Go Underground, Is Sometimes Necessary, But So Is The Other Route Of Getting Out Of Yourself, Into The Larger World, Into The Openness In Which You Need Not Clutch Your Story And Your Troubles So Tightly To Your Chest.

An Aptitude Test Established Architecture As An Alternative [career]. But What Decided The Matter For [teddy Cruz] Was The Sight Of A Fourth-year Architecture Student Sitting At His Desk At A Window, Drawing And Nursing A Cup Of Coffee As Rain Fell Outside. 'i Don't Know, I Just Liked The Idea Of Having This Relationship To The Paper And The Adventure Of Imagining The Spaces. That Was The First Image That Captured Me.