I was fifteen, and when I picture myself then, I see flames shooting up, see myself falling off the edge of the world, and am amazed I survived not the outside world but the inside one.

Too many of us seem far too fond of narratives of our powerlessness, maybe because powerlessness lets us off the hook... But we don't need everyone on board; we don't need one magic person in office; we need ourselves. To act. It's the wind, not the weathervanes.

The oil corporations spend a lot of money to get, say, the tar sands pipeline through, but nobody's - you know, there are definitely environmentalists being paid - but a lot of people are acting for something other than financial compensation. So if the tar sands pipeline doesn't get made, it's because a huge amount of people are doing something that doesn't involve remuneration, money, etc., because we're not actually the self-interested financial instruments that economists like to imagine we are.

I still think the revolution is to make the world safe for poetry, meandering, for the frail and vulnerable, the rare and obscure, the impractical and local and small.

An aptitude test established architecture as an alternative [career]. But what decided the matter for [Teddy Cruz] was the sight of a fourth-year architecture student sitting at his desk at a window, drawing and nursing a cup of coffee as rain fell outside. 'I don't know, I just liked the idea of having this relationship to the paper and the adventure of imagining the spaces. That was the first image that captured me.

The magic of the street is the mingling of the errand and the epiphany.

[On the] question of why we might want to look at images even more than the real thing: I think there is some quality when you look at an image of, not only seeing this thing, whether it's the horse or the sky, but you are seeing somebody point at it and say, Look!