Words signify a consciousness, of which a newborn or pet can only hear. The baby goes on to break a word up into its individual sounds, eventually coalescing into a communicative language of memes while your dog relies on its own form of internal narrative.
There is some form of mental awareness in all creatures. A body without a brain contains zero working neurons and a dead narrative.
Words are tokens, pictures drawn with letters
Words are a different animal than pictures, perhaps the most effective at harvesting attention; humans use words to propagandize, market, deceive and spread evil. Said Nikola Tesla on the potency of language: “If hate could be turned into electricity, it would light up the whole world.”
Words are sensory stimulants, made of information to which you supply order. They carve out emotions for which both the bad and good stuff sticks. The more you use a word, the more you’ll be charged for it. “Talk, talk, talk: the utter and heartbreaking stupidity of words,” wrote William Faulkner in his 1927 novel, Mosquitos.
We invent words, best exemplified in lists, because we don’t want to die. Words cue action, form, and follow-through. Yet they also slip the leash — it is their existence that also poses the most threat to our everyday consciousness.
To make meaning and deeper complexity, we need better mental processors.
Sometimes it’s the written word. Other times, it’s a still photo. If the camera is too revealing, we can communicate via video or sound. Said filmmaker Robert Bresson’s in his 1975 book Notes on the Cinematograph: “A locomotive’s whistle imprints in us a whole railroad station.”
Communication is a game of elements. Film is the art of combining images and sounds; it excludes what overexplains or impresses.
“One should not use the camera as if it were a broom.”
A good filmmaker lets the mind dance with imagination. A movie is both a creative and viewing experience. It can be dull and instantly lively, like the pendulum of our everyday lives.
“My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.”
“The Americans” challenged the presiding midcentury formula for photojournalism, defined by sharp, well-lighted, classically composed pictures, whether of the battlefront, the homespun American heartland or movie stars at leisure. Mr. Frank’s photographs — of lone individuals, teenage couples, groups at funerals and odd spoors of cultural life — were cinematic, immediate, off-kilter and grainy, like early television transmissions of the period. They would secure his place in photography’s pantheon. The cultural critic Janet Malcolm called him the “Manet of the new photography.”
Anna Wintour, the indomitable editor of Vogue and Condé Nast’s most senior editorial figure, is the latest teacher to join the ranks of Masterclass to teach creativity and leadership.
In 12 lessons, Anna Wintour gives unprecedented access to her world, teaching you how to lead with vision and creativity—and without apology. A fashion and media icon, Anna Wintour has been driving our cultural conversation for more than 30 years.
The Vogue Editor-in-Chief and Artistic Director of Condé Nast takes off her signature sunglasses and gives you unprecedented access to her world. See how Anna nurtures talent, makes bold decisions, and evolves a brand. Learn how to lead with impact from a visionary creative leader.
Anna Wintour on how to be a boss
“I know many people are curious about who I am and how I approach my work,” Wintour says. “This is a class for those who want to understand my leadership style and then understand the experiences that have helped me become an effective leader.”
“Own your decisions and own who you are, but without apology.” – Anna Wintour