This is from the current issue of "The Art of Eating". It's the best kind of rarefied. I think it applies to live art as much as magazine-making or food.
"Each issue of a magazine should be a performance, complete, not changing but fixed, a quality automatically supplied by ink on paper. We had been planning to offer digital subscriptions, essentially the print magazine in PDF form, and we may do that. But at the same time that life has been growing more digital, Brooklyn hipsters wear full beards and flannel shirts; a few people in Brooklyn, as in, for instance, Paris, keep bees (illegally in the first case) and in a number of US cities they raise chickens. And there is a burgeoning back-to-the-land movement of a new sort, represented by groups such as the Greenhorns. Across the river from Brooklyn in Manhattan, ardent food craftsmen (including some well-tattooed Brooklynites) appear at the marvelous periodic New Amsterdam Market. We at AoE start to think maybe the smartest thing we can do is to forget digital, embrace print, and remain solely a well-crafted object." --Edward Behr
I LIKE THIS:
"I sense that in the long run there is a greater value for humanity in empowering folks to make and create than there is in teaching them the canon, the great works and the masterpieces. In my opinion, it’s more important that someone learn to make music, to draw, photograph, write or create in any form than it is for them to understand and appreciate Picasso, Warhol or Bill Shakespeare — to say nothing of opry. In the long term it doesn’t matter if students become writers, artists or musicians — though a few might. It's more important that they are able to understand the process of creation, experimentation and discovery — which can then be applied to anything they do, as those processes, deep down, are all similar. It’s an investment in fluorescence.
So how did things end up like this?"