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Quote by Dale Jamieson

“I see a lot of individual action when it comes to environmental questions really as a form of politics as a way of communicating with political leaders, much in the same way that acts of civil disobedience during the civil rights' movement were really acts of political communication, trying to get laws changed rather than based on the thought that the individual action would really change the practices of segregation.”

Quote by Dale Jamieson

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Dale Jamieson
Dale Jamieson

Limited information is available about Dale Jamieson, who was born on October 21, 1947, and is of an unknown profession. more

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“If I drive my car to the store, those carbon molecules that are emitted actually get into the atmosphere circulation systems and affect climate in a global basis. This is shocking, this is amazing! No one in the 18th Century would have believed that anything like this were at all possible and I don't think we have, as part of our common sense, morality, norms and values that are really responsive to those kinds of issues, to the kind of power that we now are able to exert over the future and over people who live very far from us.”

“I think the challenge of climate change in particular is the challenge for us to create and produce new norms for a new kind of world. And that's why I think as important as the issue of climate change is, it's even more important than it seems because if we can't evolve very quickly, new norms to deal with issues like climate change, we're not going to be able to survive in the kind of world we've created. So I think, really, the whole nature of democracy, of governance, of global community and of solving the kinds of problems of the 21st Century are really at stake.”

“Blogging has mostly been an opportunity to react more immediately to experiences to try out ideas that I may end up using in the print media or in some other place. When I write books, it's a way for me to bring readers into the experience of writing the book, all through the process of writing the books that I write. I talk about what I'm up to in the blog. I let people know what I am doing. To me, it's just part of putting my professional life up in a way that people who are interested in it can access; and learning things from them as well.”

“That's something you can't get off the wires in New York is people providing intelligent coverage of what your theater company in Podunk is up to. Many of the people who write what we call amateur criticism are professionals in anything other than name and receiving a paycheck. Very often, they know more than the professional critic who might be writing for their local newspaper. So, really, I'm all for it. It's changing the playing field, it's shaking things up, it's going to make the critical environment a healthier environment.”

“I'm especially interested in what I call practitioner criticism, which is when people who practice an art form start writing about it on blogs. I think that's an immensely important development. I want to see much, much more of that. People who make music who are verbally articulate. And not all musicians are verbally articulate. But those who are should be encouraged to write about what they do and their perception of what other people do. It makes the discourse smarter.”

“I had a checklist in my mind of the things that make a biography practical. Is the source material centralized? Is it easy to find? Are there new primary sources that no one has ever had access to? Are all the sources in English? If they're not, are they in a language that you speak? And I realized that not only is Armstrong the most important figure of Jazz in the 20th Century, but he's a perfect subject for a biography for all of these reasons. I had always loved his music and I had been fascinated in him as a personality. And that's really the key to writing a biography.”

“The Armstrong record that I personally like the most, is a recording of a song by Harold Arlen called, "I Got a Right to Sing the Blues" . Most of Armstrong's solos tended to stick pretty close to the melody. But for some reason, it's like he let go of the tether and suddenly he's playing this beautiful high, almost abstract line that's floating above the beat. I compare it to the way that a 19th century operatic tenor might have sang an Aria because he's just completely let loose of the background and he's making this magic sort of flying above the staff.”