Representation Quotes

Quotes tagged as "representation" Showing 1-30 of 123
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

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

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

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

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

Jeanine Cummins
“[Author's Note:] When I was sixteen, two of my cousins were brutally raped by four strangers and thrown off a bridge in St. Louis, Missouri. My brother was beaten and also forced off the bridge. I wrote about that horrible crime in my first book, my memoir, A Rip in Heaven. Because that crime and the subsequent writing of the book were both formative experience in my life, I became a person who is always, automatically, more interested in stories about victims than perpetrators. I'm interested in characters who suffer inconceivable hardship, in people who manage to triumph over extraordinary trauma. Characters like Lydia and Soledad. I'm less interested in the violent, macho stories of gangsters and law enforcement. Or in any case, I think the world has enough stories like those. Some fiction set in the world of the cartels and narcotraficantes is compelling and important - I read much of it during my early research. Those novels provide readers with an understanding of the origins of the some of the violence to our south. But the depiction of that violence can feed into some of the worst stereotypes about Mexico. So I saw an opening for a novel that would press a little more intimately into those stories, to imagine people on the flip side of that prevailing narrative. Regular people like me. How would I manage if I lived in a place that began to collapse around me? If my children were in danger, how far would I go to save them? I wanted to write about women, whose stories are often overlooked.”
Jeanine Cummins, American Dirt

“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

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"

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

“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

Jean Baudrillard
“But this is no longer a photograph and, liter-ally speaking, it is no longer even an image. These shots may be said, rather, to be part of the murder of the image. That murder is being perpetrated continually by all the images that accumulate in series, in 'thematic' sequences, which illustrate the same event ad nauseam, which think they are accumulating, but are, in fact, cancelling each other out, till they reach the zero degree of information.
There is a violence done to the world in this way, but there is also a violence done to the image, to the sovereignty of images. Now, an image has to be sovereign; it has to have its own symbolic space. If they are living images- 'aesthetic' quality is not at issue here- they ensure the existence of that symbolic space by eliminating an infinite number of other spaces from it. There is a perpetual rivalry between (true) images. But it is exactly the opposite today with the digital, where the parade of images resembles the sequencing of the genome.”
Jean Baudrillard, Why Hasn't Everything Already Disappeared?

Jean Baudrillard
“The problem of reference was already an almost insoluble one: how is it with the real? How is it with representation? But when, with the Virtual, the referent disappears, when it disappears into the technical programming of the image, when there is no longer the situation of the real world set over against a light-sensitive film (it is the same with language, which is like the sensitive film of ideas), then there is, ultimately, no possible representation any more.”
Jean Baudrillard, Why Hasn't Everything Already Disappeared?

Louis Yako
“Melancholy pervades me every time I enter a souvenir shop. I have been to many of them around the world. I try not to buy anything for multiple reasons. One of them is because I find the way souvenir shops represent a country or a culture problematic, to say the least. The items you find there are almost always either much better or much worse than the way locals do things. Each item is glorified or trivialized – depending on the taste of the manufacturer and the demand of the buyers. They are always designed to give you a presumed idyllic and warm feeling about the country from which you buy them. In reality, many locals strive to get close to owning some of the items displayed in souvenir shops. Moreover, even if locals use items like those displayed, their daily lives are never as romantic and as smooth as the feeling you get in these shops. In a sense, then, souvenir shops are places where people and their cultures are objectified and romanticized par excellence. Their human joys are amplified. Their grand sorrows are downplayed or buried altogether. Their real histories are either erased or diluted at best. Nevertheless, I confess to you, I always end up buying honey. Perhaps because bees represent life to me. Perhaps because I find that healthy bees and wildlife speak volumes about the overall health of a place and its people?”
Louis Yako

Adriana  Herrera
“The people doing all the programming and making the decisions don't look like the kids and adults they're planning for, and no matter how good their intentions, we need to have a seat at the table too.”
Adriana Herrera, Here to Stay

Dan Kovalik
“As the Washington Post reported in March of 2016, US elections ranked dead last among Western democracies. And, this is not because of Russia or Vladimir Putin. Rather, as the piece explained, it is because of the faulty, non-standardized election processes across the country...”
Dan Kovalik, The Plot to Scapegoat Russia: How the CIA and the Deep State Have Conspired to Vilify Putin

Shane Hawk
“face. He always found it funny he chewed a product named Red Man and used an Indian for the logo. He supposed it didn’t matter. Any representation of us gave us significance, gave us weight. Made us not just into some forgotten ghosts of American history.”
Shane Hawk, Anoka

“Representation is chump change, darling. I'm sorry to break it to you. People who hold power don't like to put themselves at risk. And that's why Queer people have generally been the visionaries. Because when your everyday life is a risk, you start to think about it all differently. You start to realize that organizing your days around keeping yourself protected is dumb as shit and that there's a whole universe of meaning and connection when you get beyond that.”
Agnes Borinsky, Sasha Masha

“I've had my heart broken too many times to think that visibility means everything. I don't think it changes who steps up and who stands back. [...] For some people visibility is about saving a life, and for other people it's about making things more comfortable. But again my dears, it's not about comfort. Safety, yes please. But comfort, comfort is overrated. As far as I'm concerned, life is about being alive and being connected to our fellow creatures. Full stop. And you're generation is making it worse with your serious faces and safe spaces and goddamn trigger warnings... Hello my darlings, loosen up! Live a little. Such a dick. Tell a joke. Fall in love. Show up to start trouble when it's necessary and don't whine when the world doesn't hold your hand.”
Agnes Borinsky, Sasha Masha

“Language is a person's signature, like his fingerprints. It contains his birth and growth, memories and past.”
Jung-Myung Lee, The Investigation

A.D. Aliwat
“Nobody’s authentic on the internet-internet, really; they’re just a calculated representation of themselves, even when anonymous.”
A.D. Aliwat, In Limbo

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