Representation Quotes

Quotes tagged as "representation" Showing 1-30 of 92
Karl Marx
“The oppressed are allowed once every few years to decide which particular representatives of the oppressing class are to represent and repress them.”
Karl Marx

John Green
“But it is a pipe."
"No, it's not," I said. It's a drawing of a pipe. Get it? All representations of a thing are inherently abstract. It's very clever.”
John Green, The Fault in Our Stars

David Eagleman
“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.”
David M. Eagleman, Sum: Forty Tales from the Afterlives

Jane Espenson
“If we can't write diversity into sci-fi, then what's the point? You don't create new worlds to give them all the same limits of the old ones.”
Jane Espenson

Kakuzō Okakura
“Our mind is the canvas on which the artists lay their colour; their pigments are our emotions; their chiaroscuro the light of joy, the shadow of sadness. The masterpiece is of ourselves, as we are of the masterpiece.”
Kakuzō Okakura, The Book of Tea

Paolo Bacigalupi
“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.”
Paolo Bacigalupi

Friedrich Nietzsche
“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.”
Freidrich Neitzsche

Criss Jami
“If it's true what is said, that only the wise discover the wise, then it must also be true that the lone wolf symbolizes either the biggest fool on the planet or the biggest Einstein on the planet.”
Criss Jami, Diotima, Battery, Electric Personality

Georges Perec
“This is how space begins, with words only, signs traced on the blank page. To describe space: to name it, to trace it, like those portolano-makers who saturated the coastlines with the names of harbours, the names of capes, the names of inlets, until in the end the land was only separated from the sea by a continuous ribbon of text. Is the aleph, that place in Borges from which the entire world is visible simultaneously, anything other than an alphabet?”
Georges Perec, Species of Spaces and Other Pieces

bell hooks
“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.”
bell hooks, Homegrown: Engaged Cultural Criticism

“Now we really like to put people in boxes. As men, we do it because we don't understand characters that aren't ourselves and we aren't willing to put ourselves in the skin of those characters and women, I think, terrify us. We tend not to write women as human beings. It's cartoons we're making now. And that's a shame.”
Paul Haggis

David Markson
“Once, Turner had himself lashed to the mast of a ship for several hours, during a furious storm, so that he could later paint the storm. Obviously, it was not the storm itself that Turner intended to paint. What he intended to paint was a representation of the storm. One's language is frequently imprecise in that manner, I have discovered.”
David Markson, Wittgenstein's Mistress

Carmen Maria Machado
“We deserve to have our wrongdoing represented as much as our heroism, because when we refuse wrongdoing as a possibility for a group of people, we refuse their humanity.”
Carmen Maria Machado, In the Dream House

T.F. Hodge
“It is more substantial to represent a purpose, rather than just a title.”
T.F. Hodge, From Within I Rise: Spiritual Triumph Over Death and Conscious Encounters with "The Divine Presence"

“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.”
Michael Richardson, Dedalus Book of Surrealism 2: The Myth of the World

Michael Copperman
“...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.”
Michael Copperman

Criss Jami
“One of the Christian's biggest fears is appearing 'too Christian'. God forbid, because that's often characterized as god-awful! We want to be one, but without being 'one of them'.”
Criss Jami, Killosophy

Yōko Ogawa
“—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.”
Yoko Ogawa, Les Tendres Plaintes

Katherine Arden
“Other than her homework, Ollie was carrying Captain Blood by Rafael Sabatini, a broken-spined paperback that she'd dug out of he dad's bookshelves. She mostly liked it. Peter Blood outsmarted everyone, which was a feature she liked in heroes, although she wished Peter were a girl, or the villain were a girl, or someone in the book besides his boat and his girlfriend (both named Arabella) were a girl.”
Katherine Arden, Small Spaces

“Expressions you call art are desires to share the Self in a new way. These expressions you call art are expressions of a Self who observes and interacts in relationship. They are not expressions that remain contained to who you are or who you think yourself to be. They are not expressions of the self alone. They are not expressions of the self alone in terms you might consider autobiographical, and they are not expressions of the self alone that you would consider the self in separation. They are rather expressions of the Self in union--expressions of what the Self sees, feels, envisions, imagines in relationship...Art becomes something in truth by expanding awareness, or in other words, by making something known. That is what true relationship does and is its purpose as well as what it is.”
Mari Perron, A Course of Love

“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.”
Craig Taylor

JOAN TIERNEY, September: A Map

“The detective searches out clues as a way to unobjectify the past much like the historical materialist does. But a financial logic is different: it is future oriented, and one does not discover what was hidden, rather one waits to see what will be transacted, what financial future will become of the present.”
Leigh Claire La Berge, Scandals and Abstraction: Financial Fiction of the Long 1980s

“The two fathers present structurally the choice between two corporations, two modes of accumulation, two styles of financial masculinity. The Old Conservatism and the New Conservatism, the old patriarchy and the new patriarchy, the industrial monopoly capital of airlines and the monopoly financial capital of a corporate raider. Perhaps the film's most radical critique and uncertainty is that both paternal men are respectively ill. Gekko has the high blood pressure thats befits financial accumulation: It is able to be continually monitored, the sphygmomanomater is an instrument for the continuous conveying of exact information, diastolic and systolic ratios rise and fall in different social contexts. Bud's father is made sick by an old-fashioned, industrial heart attack - his illness is a consequence of the steady accumulation of arterial plaque.”
Leigh Claire La Berge, Scandals and Abstraction: Financial Fiction of the Long 1980s

Mark Fisher
“What we have is not a direct comparison of workers’ performance or output, but a comparison between the audited representation of that performance and output. Inevitably, a short- circuiting occurs, and work becomes geared towards the generation and massaging of representations rather than to the official goals of the work itself. (...) What late capitalism repeats from Stalinism is just this valuing of symbols of achievement over actual achievement.”
Mark Fisher, Capitalist Realism: Is There No Alternative?

Sigrid Nunez
“The problem of self-loathing isn't new. What's new is the idea that it's the people with the history of greatest injustice who have the greatest right to be heard, and that the time has come for the arts not just to make room for them but to be dominated by them.”
Sigrid Nunez, The Friend

“The capacity to tell stories, and relate to another person’s story, is the most human thing we can do.”
Suchitra Vijayan

“For me, it comes down to the fundamental question of who owns knowledge, who produces knowledge, who enables other people to produce knowledge. And that’s why it’s important that knowledge should not belong to one person or group, neither should the profits of that knowledge belong to one corporation, whether it’s The Washington Post or The New York Times, and the Amazons and Jeff Bezoses of the world. It’s absolutely important that all of us, whether we are brown or black, have the capacity to produce knowledge and own that knowledge.”
Suchitra Vijayan

Leslie Jamison
“Representing people always involves reducing them, and calling a project "done" involves making an uneasy truce with that reduction. But some part of me rails against that compression. Some part of me wants to keep saying: there's more, there's more, there's more.”
Leslie Jamison, Make It Scream, Make It Burn

“Napoléon remporte une victoire en Espagne ; une députation du corps législatif se présente chez l'impératrice pour la féliciter. Celle-ci remercie les REPRÉSENTANS de la nation. A la lecture de ce mot représentons de la nation, Napoléon fait aussitôt insérer dans le Moniteur une note d'après laquelle lui seul représente la nation, tandis que les membres du corps législatif ne sont que les députés des départeméns.”
Jacques-Charles Bailleul , Dictionnaire Critique Du Langage Politique, Gouvernemental, Civil, Administratif Et Judiciaire: de Notre A(c)Poque, Ra(c)Diga(c) Selon La Lettre Et L'Esprit de La Charte Constitutionnelle...

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