You can see the roughness of structure and the spots like wounds from battles on the canvas. The tops of skyscrapers with windows like eyes constantly remind you that there are laws surrounding the wastelands, and so you hide in the deep grass when you make love to a girl in dirty clothes, and experience how your nerves of seeing become stronger and stronger and every little sound more and more intense. That's what Pasolini's poetry is partly about; he was a street guy and therefore I avoided beautiful new wood or metal for his sculpture... The wasteland was Pasolini's other side; the boys, the knives, the nights, the tensions.
Each thing has its word, but the word has become a thing by itself. Why shouldn't I find it? Why can't a tree be called Pluplusch, and Pluplubasch when it has been raining? The word, the word, the word outside your domain, your stuffiness, this laughable impotence, your stupendous smugness, outside all the parrotry of your self-evident limitedness. The word, gentlemen, is a public concern of the first importance.
Further developing his first synthesis of a speeding automobile, Balla has arrived at the first plastic complex. This has revealed to us an abstract landscape of cones, pyramids, polyhedrons, spirals of mountains, rivers, lights, shadows. In short, there is a deep analogy between the essential force-lines of speed and the essential force-lines of a landscape.
Our bones ache only while the flesh is on them. Stretch it as thin as the temple flesh of an ailing woman and still it serves to ache the bone and to move the bone about; and in like manner the night is a skin pulled over the head of day that the day may be in a torment. We will find no comfort until the night melts away; until the fury of the night rots out its fire.
I try to deal with things that maybe other people haven't thought about, emptiness, making a painting that isn't a painting. For years people have been concerned with what goes on inside the frame. Well maybe there is something going on outside the frame that could be considered an artistic idea.
We are getting mixed up with the French tradition. In talking about the necessity to 'finish' a thing, we then said American painters 'finish' a thing that looks 'unfinished', and the French, they 'finish' it. I have seen Henri Matisse's that were more 'unfinished' and yet more 'finished' than any American painters. Matisse was obviously in a terrific emotion at the time and he was more 'unfinished' than 'finished'.
You can go to any major history and see the effect of unregulation. The very point of developing regulation around industrial society was that they were not only exploiting the workers to death they were befouling the planet, so regulation came because of that. What the right wing wants is for the public to have this role in the societal debate over balance of these issues and no power. The public power to confront these errors of industry is government regulation.
Money has to undergo a metamorphosis again, it has to relinquish its role in the market economy and engage in an economy of capacities. Then we would be concerned with human creative productivity. And we would come full circle, since each human being can then act within his company as co-creator of the future, can - in full dignity - contribute to shaping this future.