Best 74 quotes in «representation quotes» category

The desire of representation exists only insofar as the original is always deferred. It is only in the absence of the original that representation can take place.

Religious representations are collective representations which express collective realities.

Succession planning often results in the selection of a weaker representation of yourself.

The key to artificial intelligence has always been the representation.

Choose a leader who will build bridges - not walls. A leader who will promote peace - not wars. A leader who believes in equality - not discrimination. A leader who is transparent - not secretive. A leader who will speak for all - not just animals.

The photograph as an objective representation of reality simply does not exist. The photograph does not explain to you what is going on to the left or to the right or above or below the frame. Oftentimes, it doesn't even explain to you what is going on inside the frame.

When I make a representation of something, this, too, is an analogy to what exists; I make an effort to get a grip on the thing by depicting it.

All I ever wanted was for our story— the story of me and Mark told through the eyes of a non-sexual narrator— I wanted that story to be available so that other people who might never see themselves in print could have someone to identify with.

America Is A Gun England is a cup of tea. France, a wheel of ripened brie. Greece, a short, squat olive tree. America is a gun. Brazil is football on the sand. Argentina, Maradona's hand. Germany, an oompah band. America is a gun. Holland is a wooden shoe. Hungary, a goulash stew. Australia, a kangaroo. America is a gun. Japan is a thermal spring. Scotland is a highland fling. Oh, better to be anything than America as a gun.

...But if we are to say anything important, if fiction is to stay relevant and vibrant, then we have to ask the right questions. All art fails if it is asked to be representative—the purpose of fiction is not to replace life anymore than it is meant to support some political movement or ideology. All fiction reinscribes the problematic past in terms of the present, and, if it is significant at all, reckons with it instead of simply making it palatable or pretty. What aesthetic is adequate to the Holocaust, or to the recent tragedy in Haiti? Narrative is not exculpatory—it is in fact about culpability, about recognizing human suffering and responsibility, and so examining what is true in us and about us. If we’re to say anything important, we require an art less facile, and editors willing to seek it.

The one key difference is that Puerto Rico is a colonial territory. We don't have representation. We have a difficult time getting funding from the federal government. This is critical component that we need to change.

The popular eye is not untrained; it is only wrongly trained - trained by inferior and insincere visual representations.

You want accuracy, but not representation. If you know how to make the figuration, it doesn't work. Anything you can make, you make by accident. In painting, you have to know what you do, not how, when you do it.

ALL THE STORIES ABOUT GODHOOD HAVE BEEN WRITTEN BY MEN. HOW, THEN, ARE THE TO BE BELIEVED? LESS HAVING FAITH IN A HIGHER POWER, THAN HAVING FAITH IN MEN TO NOT MISTYPE

And I tried to remember any case in the course of my reading where two women are represented as friends. (...) almost without exception they are shown in their relation to men. (...) [women in fiction were] not only seen by the other sex, but seen only in relation to the other sex. And how small a part of a woman's life is that

A single perspective is the enemy of reality.

Even in school, children get subtle messages about whose stories matter. Literature classes routinely feature literature written by women and men of color as exceptional (one among many white male writers) or available for study in some schools as elective classes only. A recent global review found that gender bias is also "rife in textbooks." The result of pedagogical choices like these shape self-esteem, empathy, and understanding. They also shape resentment, confusion, and anger.

Entertainment in its broadest sense- popular ballads, vaudeville, films, sculptures, plays, paintings, pornography, pulp novels-- has not only been a primary mode of expression of LGBT identity, but one of the most effective means of social change. Ironically, the enormous political power of these forms was often understood by the people who wanted to ban them, not by the people who were simply enjoying them.

Even after human beings have reached adulthood and developmental maturity, there remain hindrances in human nature that make it difficult for them to act from moral principle. One of most fundamental challenges is the fact that the developmentally mature human mind is still a finite intelligence rather than an infinite intelligence. The adult human mind is equipped only with ‘a discursive, image-dependent understanding’ (CU V 408): in order to think abstractly, we need images. The finitude of the human condition thus poses a permanent challenge to the task of grasping ideas of pure reason such as a priori moral norms or the concept of a morally perfect will. Kant’s basic response to this challenge of human finitude is to articulate various strategies for representing moral concepts analogically and symbolically through images. As he remarks in Religion Within the Boundaries of Mere Reason, ‘for the human being the invisible needs to be represented through something visible (sensible)’ (Religion VI 192).

I have become very aware how under-represented are the stories of the underprivileged and undervalued. Our records are, in general, very male and if not always the material of the rich, certainly (for obvious reasons) the material of the literate.

If one holds power, one can withstand or buffer misrepresentation at a group level and often at the individual level. Marginalized and oppressed people are linked to the status of their group and are less likely to be afforded individual status and insulation...

If we really want to represent God in our day and time, we must embrace knowledge.

...If you are never to see yourself depicted... Not in story nor song nor poem nor painting nor prose... No shred of a tale by some distant kindred soul who saw and knew and felt then as you do now, and else another who loved and bore witness... Never see yourself except as crude caricature, mythical beast, or Magdalene penitent... You believe no other like you ever existed. You begin to wonder if you even exist at all. Unquiet women, defiant women--we live invisible lives, and if we are seen and seen by strangers, we are reduced to monsters. Vampires, who have no reflection in a looking glass. Mermaids, who die and become sea foam, blown away by the wind. We will take up and take back the tools to tell our stories as our own. Civilizations may rise and fall and rewrite the history of the dead, as so often they do. But we were here... and we lived, and loved, and mattered.

It is not surprising that young white males – most between thirty and forty – play major roles in the production of hip-pop. It’s easy to forget this because when most people critique rap and hip-pop harshly, they assume that young black men are the sole creators and producers of misogynist rap. In fact, nothing is unilaterally produced anymore. As we’ve discussed, once you have a corporate takeover of the street culture, it is no longer the property of the young, Black and Latino men and women who have created it. It is reinvented with the mass consumer audience in mind. The hard-core misogyny and the hard-core sexism isn’t a translation from street to big-time studio, it is a product of the big-time studio.

It is clear that now the war for legal equality has been won, the war for lover’s parity has begun.

It is not possible for girlhood to be represented wholly—girlhood is too vast and too individual an experience.

I just like to say I'm from London, I don't have any specific area I represent. I'm not representing for a small group of people. I'd like everybody to be able to relate to a nerd, because everybody's a bit nerdy. I'm more interested in that than in where they're from. I'm more interested in what people do.

Representation for representation sake is very dangerous.

It may sound like I am making too much out of all this, but the only way you can allow a kid to truly dream is if you expand their idea of what is currently possible. A kid who has nothing, sees nothing, and is taught nothing can only dream of breakfast. They can only hope to get to the next moment successfully. I want more than that for my kids...just like my mom wanted more than that for me. And I want them to want more than that too.

Plato said that we are trapped inside a cave and know the world only through the shadows it casts on the wall. The skull is our cave, and mental representations are the shadows.

—Mais, quelle que soit l'importance de l'événement, dès qu'il est écrit sur le papier, il ne fait plus qu'une ou deux lignes. "Mes yeux ne voyaient plus" ou "je n'avais plus un sou", il suffit d'une dizaine ou d'une vingtaine de lettres de l'alphabet. C'est pourquoi, quand on calligraphie des autobiographies, il arrive qu'on soit soulagé. On se dit que ce n'est pas la peine de trop réfléchir à tout ce qui se passe dans le monde.

One thinks of the failure of representation since 9/11, the proliferation of novels, the media glut, the surfeit of images that somehow slide too easily into a banal repertoire, commodified shock.

Reflective learning provokes critical thinking, enabling us to pose relevant questions, revealing the profound oceans of ignorance that surround even the most learned scholars in our fields of modern knowledge, invoking us to be active participants in the crusade for equality, representation, and social justice.

representation is vital otherwise the butterfly surrounded by a group of moths unable to see itself will keep trying to become the moth - representation

[representative government is] deciding once in three or six years which member of the ruling class was to misrepresent the people in Parliament,

Since we live in the heads of those who remember us, we lose control of our lives and become who they want us to be.

These two developments throw light on what is perhaps the most fundamental difference between the Renaissance and all previous periods of art. We have repeatedly seen that there were these circumstances which could compel the artist to make a distinction between the "technical" proportions and the "objective;" the influence of organic movement, the influence of perspective foreshortening, and the regard for the visual impression of the beholder. These three factors of variation have one thing in common: they all presuppose the artistic recognition of subjectivity. Organic movement introduces into the calculus of artistic composition the subjective will and the subjective emotions of the thing represented; foreshortening the subjective visual experience of the artist; and those "eurhythmic" adjustments which alter that which is right in favor of what seems right, the subjective visual experience of a potential beholder. And it is the Renaissance which, for the first time, not only affirms but formally legitimizes and rationalizes these three forms of subjectivity.

Surrealism also refuses the representation of reality: reality can only be; its existence proves its reality. Fiction thereby becomes impossible or is, by definition, false.

The characters so many Bollywood actresses portray are ultimately flat, uncomplicated, two-dimensional stock characters that typically range between the girl-next-door and the diva. They may be flawed in small ways, but ultimately lack nuance, conform to and reinforce cultural expectations of a wholesome but ultimately submissive Indian women. The likability of these flat and boring characters hold the actresses' off screen reputations in good stead but reinforce the very norms that imprison and render so many Indian women vulnerable to disrespect and sexism.

The ink in your pen never reshapes your thoughts, you must replace the ink before the ink can be inked properly.

The moment we see a pop artifact offering even a sliver of something different—say, a woman who isn’t a size zero or who doesn't treat a man as the center of the universe—we cling to it desperately because that representation is all we have.

There should be no single representation in the autism world. Think about this if someone got up on stage and talked about having “non-autistic syndrome” and made the assumption every one with this syndrome is the same we would be in big trouble. That applies to autism as well - it isn't one condition, there are profile differences between Autism and AS and all autism "fruits salads" are different. That is how diverse autism is.

Success in life is not just about professional success. It is personal success too. There is a trend in Asia and Asian American society for young women to not get married or not have children to get ahead professionally. That was the trend 10 years ago in the US. This is bad for society and a country's population growth. Women need to encouraged and supported for being able to have both a successful career and a successful personal and family life. That is why we need to see Asian American women who are both successful professionally and personally in the media and on screen. That is why I am out there in public as a wife and mother who is a self-made million-selling author and director who is in touch with my Asian heritage. Not because I crave the limelight, but because I want my daughter and nieces to see they can do it too. - Strong by Kailin Gow

The more I write stories for young people, and the more young readers I meet, the more I'm struck by how much kids long to see themselves in stories. To see their identities and perspectives—their avatars—on the page. Not as issues to be addressed or as icons for social commentary, but simply as people who get to do cool things in amazing worlds. Yes, all the “issue” books are great and have a place in literature, but it's a different and wildly joyous gift to find yourself on the pages of an entertainment, experiencing the thrills and chills of a world more adventurous than our own. And when you see that as a writer, you quickly realize that you don't want to be the jerk who says to a young reader, “Sorry, kid. You don't get to exist in story; you're too different.” You don't want to be part of our present dystopia that tells kids that if they just stopped being who they are they could have a story written about them, too. That's the role of the bad guy in the dystopian stories, right? Given a choice, I'd rather be the storyteller who says every kid can have a chance to star.

The Pluto boys were already The Planets so the Pluto girls were The Lady Planets. Their colors were purple and white, their mascot was a round planet with legs, arms, a perky face. The Reservation team was The Warriors but the girls weren't The Lady Warriors, they were just The Warriors also. Their colors were blue and gold. They didn't want to have themselves as a mascot so they had an old time shield with two eagle feathers.

Watching Paris is Burning, I began to think that the many yuppie-looking, straight -acting, pushy, predominantly white folks in the audience were there because the film in no way interrogates “whiteness.” These folks left the film saying it was “amazing,” “marvellous,” incredibly funny,” worthy of statements like, “Didn’t you just love it?” And no, I didn’t love it. For in many ways the film was a graphic documentary portrait of the way in which colonized black people (in this case black gay brothers, some of whom were drag queens) worship at the throne of whiteness, even when such worship demands that we live in perpetual self-hate, steal, go hungry, and even die in its pursuit. The "we" evoked here is all of us, black people/people of color, who are daily bombarded by a powerful colonizing whiteness that seduces us away from ourselves, that negates that there is beauty to be found in any form of blackness that is not imitation whiteness.

The whiteness celebrated in Paris is Burning is not just any old brand of whiteness but rather that brutal imperial ruling-class capitalist patriarchal whiteness that presents itself -its way of life- as the only meaningful life there is. What could be more reassuring to a white public fearful that marginalized disenfranchised black folks might rise any day now make revolutionary black liberation struggle a reality than a documentary affirming that colonized, victimized, exploited black folks, are all too willing to be complicit in perpetuating the fantasy that ruling-class white culture is the quintessential site of unrestricted joy, freedom, power and pleasure.

Until women are allowed to make mediocre works of art while still succeeding in the way that many white men get to do this every single day, we will not have the power to take our creative freedoms back. We will be limited by impossible expectations reserved for the few. As long as we are put and put ourselves on a patriarchal pedestal, too high to succeed and doomed to fail, then surely we will be set up to do exactly that, every time.

What, then, is truth? A mobile army of metaphors, metonyms, and anthropomorphisms – in short, a sum of human relations, which have been enhanced, transposed, and embellished poetically and rhetorically, and which after long use seem firm, canonical, and obligatory to a people: truths are illusions about which one has forgotten that this is what they are; metaphors which are worn out and without sensuous power; coins which have lost their pictures and now matter only as metal, no longer as coins.

We do not claim that the portrait we are making is the whole truth, only that it is a resemblance.