This is not only an emotional process, it’s also a process that involves matter. By matter I mean ink, paper, space, and spatial divisions. It’s matter. You see, I’m in love with painting and drawing, and the great thing about painting and drawing, as opposed to thinking about it, is the resistance of matter. And what I’ve found over the years in going around and talking with painters or people who are more philosophically inclined, on aesthetics and so on, is that thinking is too free. I mean, boy, it’s like a spaceship. You’re like a space cadet. You can move everywhere freely. Boom! You can zoom all around. As soon as a guy proposes a thought, you propose the opposite and you get very involved in all kinds of sophistries and interesting philosophical and speculative thought, and it’s interesting. But I think the difference between a philosopher or an aesthetician and a paint, and I guess it’s also true with a poet and with a man who works with sound, is that the moment you use the stuff there’s a commitment, a resistance, where you’re not so free. And paradoxically, when you can only do this and not that, in order to move it over an inch and not two miles, you’re more free in some mysterious metaphysical way. You don’t have so many choices. So I’m a great believer in material, in the material.
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