The catastrophe story, whoever may tell it, represents a constructive and positive act by the imagination rather than a negative one, an attempt to confront the terrifying void of a patently meaningless universe by challenging it at its own game. [. . .] Each one of these fantasies represents an arraignment of the finite, an attempt to dismantle the formal structure of time and space which the universe wraps around us at the moment we first achieve consciousness.

Across the communication landscape move the specters of sinister technologies and the dreams that money can buy.

Science and technology multiply around us. To an increasing extent they dictate the languages in which we speak and think. Either we use those languages, or we remain mute.

Memories have huge staying power, but like dreams, they thrive in the dark, surviving for decades in the deep waters of our minds like shipwrecks on the sea bed.

I think the enemy of creativity in the world today is that so much thinking is done for you.

The catastrophe story, whoever may tell it, represents a constructive and positive act by the imagination rather than a negative one, an attempt to confront the terrifying void of a patently meaningless universe by challenging it at its own game. [. . .] Each one of these fantasies represents an arraignment of the finite, an attempt to dismantle the formal structure of time and space which the universe wraps around us at the moment we first achieve consciousness.

Pop artists deal with the lowly trivia of possessions and equipment that the present generation is lugging along with it on its safari into the future.