He tells of one night when his niece slept over at his house and set out a little photo of her dog, Pepper. Why, he asks, when your phone has dozens of such pictures? The point of the phone, she says, isn’t to be a picture of Pepper, “while the point of the picture of Pepper is to be a picture of Pepper.” Physical objects possess richly specific, intrinsic characters, and can be repositories of meaning in ways that a powerful portal to the entire world cannot manage.
"So called "speculative design" or "critical design" are in reality institutional projects that have little use or interest outside of the institutions that generate them. Whilst this crit room fodder can have a lot of pedagogical value in school, it is a mistake to presume as the fine artist does, that your particular brand of self-indulgent navel-gazing is something the rest of the world needs or wants. Ironically the lack of any criteria for "speculative" or "critical" design makes critical evaluation impossible. It doesn't have to do anything (outside of the classroom). Your fantasy praxis is the residue of privilege. Obviously if the work is brilliant, beautiful or interesting, that is reason enough for it to exist – but mostly it's just dumb and boring."
"The first question I ask myself when something doesn't seem to be beautiful is why do I think it's not beautiful. And very shortly you discover that there is no reason." --John Cage.
“Scorsese once told me, ‘The things you do poorly are as much a part of your style as the things you do well…’ Which was totally true, and oddly reassuring.”
— David Fincher