Although the '60s counterculture has been much maligned and discredited, it attempted to provide what we still desperately need: a spirited culture of refusal, a counter-life to the reigning corporate culture of death. We don't need to return to that counterculture, but we do need to take up its challenge again. If the work we do produces mostly bad, ugly, and destructive things, those things in turn will tend to re-create us in their image. We need to turn to good, useful, and beautiful work. We need to ask, as Thoreau and Ruskin did, What are the life-giving things? Such important questions are answered for us in the present by the corporate state, while we are left with the most trivial decisions: what programs to watch on TV and what model car to buy.
Curtis WhiteRelated topics
ask bad beautiful buy corporate death good left model need present return state take turn ugly watch while work Ruskin things 60s counterculture questionsRelated quotes
I had before me the product of two mutually exclusive philosophies. Economism would insist that having made the perfect pencil, Thoreau should make more pencils and sell them for money with which to buy more material to make still more pencils to sell for money to buy still more material, and so on, because the making and selling of pencils is the whole content of life. Thoreau did not believe it is the whole content of life. It was clear that economism's philosophy was the only one which my companion was capable of accepting. Detach him from his particular specialised practice of it, and existence would have no further meaning for him; and in this he was representative of the great bulk of society in this present age.
Albert Jay Nock
Sometimes when I'm having a boring interview on the telephone, and I'm trying to think about something else because the questions are too boring, and I start looking around the room where I work, you know, full of books piled up to the sky, all different kinds of topics. I start calculating how many centuries would I have to live reading twenty-four hours a day every day of the week to make a dent in what I'd like to learn about things, it's pretty depressing. [...] You know, we have little bits of understanding, glimpses, a little bit of light here and there, but there's a tremendous amount of darkness, which is a challenge. I think life would be pretty boring if we understood everything. It's better if we don't understand anything... and know that we don't, that's the important part.
Noam Chomsky
Nobody should start to undertake a large project. You start with a small trivial project, and you should never expect it to get large. If you do, you'll just overdesign and generally think it is more important than it likely is at that stage. Or worse, you might be scared away by the sheer size of the work you envision. So start small, and think about the details. Don't think about some big picture and fancy design. If it doesn't solve some fairly immediate need, it's almost certainly over-designed. And don't expect people to jump in and help you. That's not how these things work. You need to get something half-way useful first, and then others will say "hey, that almost works for me", and they'll get involved in the project.
Linus Torvalds
Let us not despair; it is a blessed cause, and success, ere long, will crown our exertions. Already we have gained one victory; we have obtained, for these poor creatures, the recognition of their human nature, which, for a while was most shamefully denied. This is the first fruits of our efforts; let us persevere and our triumph will be complete. Never, never will we desist till we have wiped away this scandal from the Christian name, released ourselves from the load of guilt, under which we at present labour, and extinguished every trace of this bloody traffic, of which our posterity, looking back to the history of these enlightened times, will scarce believe that it has been suffered to exist so long a disgrace and dishonour to this country.
William Wilberforce
The purpose here is to demonstrate the diversity of classical formulae which appeared in architectural design, and if we look at classical architecture as a repertoire of forms rather than statements of specific design credos we can challenge teleological constructions of stylistic histories. The method of grouping the architecture from given periods of time under general stylistic labels has, without doubt, been the backbone of the discipline of architectural history. And when used skilfully and carefully it can provide useful punctuation marks in the lengthy and complex narrative that is the subject-matter of the history of western building. Yet it is only one of many tools with which to explore social and cultural contexts.
Dana Arnold