“Every schoolchild learns of L’Enfant’s design to make an invasion of Washington difficult. But more interesting is the placement of the White House relative to the Capitol. The distance between them is one mile, and at the time it was a mile through difficult terrain (the mall was a swamp). The distance was a barrier meant to tilt the intercourse between Congress and the president by making it marginally more difficult for them to connect—and thereby more difficult for the executive to control the legislature.”
― Lawrence Lessig, quote from Code: Version 2.0
“The question is: Which means best advances the regulator’s goal, subject to the constraints (whether normative or material) that the regulator must recognize? My”
― Lawrence Lessig, quote from Code: Version 2.0
“If my writing produces angry reactions, then it might also effect a more balanced reflection. These are hard times to get it right, but the easy answers to yesterday’s debate won’t get it right.”
― Lawrence Lessig, quote from Code: Version 2.0
“Liberty in cyberspace will not come from the absence of the state. Liberty there, as anywhere, will come from a state of a certain kind. We build a world where freedom can flourish not by removing from society any self-conscious control, but by setting it in a place where a particular kind of self-conscious control survives. We build liberty as our founders did, by setting society upon a certain constitution.”
― Lawrence Lessig, quote from Code: Version 2.0
“In speaking of a constitution in cyberspace we are simply asking: What values should be protected there? What values should be built into the space to encourage what forms of life?”
― Lawrence Lessig, quote from Code: Version 2.0
Lawrence Lessig
Born place: in Rapid City, South Dakota, The United States
Born date June 3, 1961
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“She did not feel she could be a writer because she lacked the courage to let anyone read her words. When”
― Christopher Rice, quote from A Density of Souls
“Talking to yourself?" Her father turned the corner of the house to join her amid the rows of roses. Sneaking was evil, she decided. "No. I was… just conversing with the new rosebush," she stammered, feeling her cheeks warm. "Ah. And did it answer?" "I believe it to be shy." "If it everdoesanswer, you will inform me, won't you ?" "Very amusing.”
― Suzanne Enoch, quote from England's Perfect Hero
“The desire to make art begins early. Among the very young this is encouraged (or at least indulged as harmless) but the push toward a 'serious' education soon exacts a heavy toll on dreams and fantasies....Yet for some the desire persists, and sooner or later must be addressed. And with good reason: your desire to make art -- beautiful or meaningful or emotive art -- is integral to your sense of who you are. Life and Art, once entwined, can quickly become inseparable; at age ninety Frank Lloyd Wright was still designing, Imogen Cunningham still photographing, Stravinsky still composing, Picasso still painting.
But if making art gives substance to your sense of self, the corresponding fear is that you're not up to the task -- that you can't do it, or can't do it well, or can't do it again; or that you're not a real artist, or not a good artist, or have no talent, or have nothing to say. The line between the artist and his/her work is a fine one at best, and for the artist it feels (quite naturally) like there is no such line. Making art can feel dangerous and revealing. Making art is dangerous and revealing. Making art precipitates self-doubt, stirring deep waters that lay between what you know you should be, and what you fear you might be. For many people, that alone is enough to prevent their ever getting started at all -- and for those who do, trouble isn't long in coming. Doubts, in fact, soon rise in swarms:
"I am not an artist -- I am a phony. I have nothing worth saying. I'm not sure what I'm doing. Other people are better than I am. I'm only a [student/physicist/mother/whatever]. I've never had a real exhibit. No one understands my work. No one likes my work. I'm no good.
Yet viewed objectively, these fears obviously have less to do with art than they do with the artist. And even less to do with the individual artworks. After all, in making art you bring your highest skills to bear upon the materials and ideas you most care about. Art is a high calling -- fears are coincidental. Coincidental, sneaky and disruptive, we might add, disguising themselves variously as laziness, resistance to deadlines, irritation with materials or surroundings, distraction over the achievements of others -- indeed anything that keeps you from giving your work your best shot. What separates artists from ex-artists is that those who challenge their fears, continue; those who don't, quit. Each step in the artmaking process puts that issue to the test.”
― quote from Art and Fear: Observations on the Perils (and Rewards) of Artmaking
“Get Well Soon. People sent me get well soon cards while I was in a mental hospital. There were fluffy little bunnies, floaty rainbows, and even a religious card. I could understand that Hallmark probably doesn’t make “Get Sane Soon” cards, but still. Was I not well before? Am I well now? Who decides?”
― Julie Halpern, quote from Get Well Soon
“When jumbled up, the letters contained in the name Taarak Vakil now spelt out a name that every theologian in India would be familiar with. Kalki avatar—the tenth incarnation of Vishnu.”
― Ashwin Sanghi, quote from The Krishna Key
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