On February 10, 1999, at a PhillyTalks
episode featuring Heather Fuller and Melanie Neilson, Nielson mentions Fuller's "pretty gutsy" tendency to refer to artists in her writing, such as Claes Oldenberg. Here is Fuller's response:
The really intriguing thing to me about Oldenberg is he was such a public figure. Everything for him was so hyperbolic. His sculpture sort of was upon you before you were even close to it. In a sense he was really holding court in a very public way with whosever was in eyeshot. It's often funny to me to think of Oldenberg in relation to, say, the person who is going to be uttering the line, in "hearsay", about the splatter guards from the civil disobedience unit of the police. To what extent is the splatter guard holding court? What extent is Claes Oldenberg forcing court upon us? These are all very public and visual elements that sort of force themselves into our space. And so, often there's a disconnect between these very forceful and—the word "power" you used, power—powerful elements and people who will perhaps not be reading this text.
On February 10, 1999, at a PhillyTalks episode featuring Heather Fuller and Melanie Neilson, Nielson mentions Fuller's "pretty gutsy" tendency to refer to artists in her writing, such as Claes Oldenberg. Here is Fuller's response:
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
