representation

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

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.

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

Not to own the means of production can lead to premature death, but not to own the means of representation is also a kind of death. For if we are represented by others, might they not, one day, hose our deaths off memory's laminated floor?

With Pollution, emotion is irrelevant, it is not their nature,_ Mearth sighed, making a face as if she were talking to an ignorant small child. __ didn__ create them, humans created the Pollution. Cheryl Nobel, Alecto Steele, Albert Sanders, Olivia Campbell, all my pretty little Representations, there aren__ many of them left these days but they__e still very dangerous! They__e here to tell society all about its mistakes! You don__ understand the world of Representations.

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.

Changing the way we talk is not political correctness run amok. It reflects an admirable willingness to acknowledge others who once were barely visible to the dominant culture, and to recognize that something that may seem innocent to you may be painful to others.

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

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.

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.

In that smooth fortress of glass, I caught a glimpse of my corruption gripping steel, which before I had thought of as my salvation, but now represented my obliteration.

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.

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.

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.

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.

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.

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

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.