For decades the governing cry of our cities has been 'Never speak to strangers.' I propose that in a democratic city it is imperative that we speak to strangers, live next to them, and learn how to relate to them on many levels, from to the political to the sexual. City venues must be designed to allow these multiple interactions to occur easily, with a minimum of danger, comfortably, and conveniently. This is what politics - the way of living in the polis, in the city - is about.
Samuel Delany,Times Square Red, Times Square Blue
Wine is sunlight, held together by water.
To capture the multiplicity of relations that link (and divide) past from present, the critic needs all the formal resources possible. Multiple perspectives, intertextuality, self-reflexivity, palimpsest structure, and recursive narratives can help one respond to the complexity of cultural history. One needs writing strategies that are equal to the uncanniness of history, the anachronistic, the untimely, the thick knots of connection. One needs the resourcefulness of a bricoleur and the irreverence of a hacker.
Jay Clayton, Charles Dickens in Cyberspace
The critic is not the one who debunks, but the one who assembles. The critic is not the one who lifts the rug from under the feet of the naïve believers, but the one who offers the participants arenas in which to gather. The critic is not the one who alternates haphazardly between antifetishism and positivism like the drunk iconoclast drawn by Goya, but the one for whom, if something is constructed, then it means it is fragile and thus in great need of care and caution.
Bruno Latour, "Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern"