The neural basis for the self, as I see it, resides with the continuous reactivation of at least two sets of representations. One set concerns representations of key events in an individual's autobiography, on the basis of which a notion of identity can be reconstructed repeatedly, by partial activation in topologically organized sensory maps... In brief, the endless reactivation of updated images about our identity (a combination of memories of the past and of the planned future) constitutes a sizable part of the state of self as I understand it. The second set of representations underlying the neural self consists of the primordial representations of an individual's body... Of necessity, this encompasses background body states and emotional states. The collective representation of the body constitute the basis for a "concept" of self, much as a collection of representations of shape, size, color, texture, and taste can constitute the basis for the concept of orange.
Antonio R. Damasio
[M]any people would accept that we do not really have knowledge of the world; we have knowledge only of our representations of the world. Yet we seem condemned by our consitution to treat these representations as if they were the world, for our everyday experience feels as if it were of a given and immediate world.
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. 'I didn't create them, humans created the Pollution. Cheryl Nobel, Alecto Steele, Albert Sanders, Olivia Campbell, all my pretty little Representations, there aren't many of them left these days but they're still very dangerous! They're here to tell society all about its mistakes! You don't understand the world of Representations.
Some false representations contravene the law; some do not. The law does not pretend to punish everything that is dishonest. That would seriously interfere with business, and, besides, could not be done. The line between honesty and dishonesty is a narrow, shifting one and usually lets those get by that are the most subtle and already have more than they can use.
. . . I have written a couple of screenplays for studios, and each time has been less gratifying than the last. In my experience, they want no real representations of homosexuality, they want no complexity, they are terrified of ambiguity and unanswered questions - they don't know what they want, except that they want to make lots of money. The only freedom I've ever had as an artist has been in the theatre . . ..
One of the reasons I always come back to representations of loneliness in plays, films, and literature is that they give us specific examples of the powerful hold that it has on us, and yet, paradoxically, by representing what can't really be represented, so to speak, they give us ways of going forward even as we fall apart.
Thomas L. Dumm
Well, I do not mind telling you I have been at work upon this geometry of Four Dimensions for some time. Some of my results are curious. For instance, here is a portrait of a man at eight years old, another atfifteen, another at seventeen, another at twenty-three, and so on. All these are evidently sections, as it were, Three-Dimensional representations of his Four-Dimensioned being, which is a fixed and unalterable thing.
H. G. Wells
Computer images, like camera images today, will be seen as representations of a simulated, second-degree reality with little or no connection to the unmediated world. This is one lesson we can learn from photographs, and especially from those of the last 25 years: images exist not to be believed, but to be interrogated.
Some false representations contravene the law; some do not... The sensibilities of no two men are the same. Some would refuse to sell property without carefully explaining all about its merits and defects, and putting themselves in the purchasers' place and inquiring if he himself would buy under the circumstances. But such men never would be prosperous merchants.
[Do you know] how it feels to be a clownish character? It's always complicated to imagine conveying yourself outside of your body. Inside myself I feel like this rich, complicated thing, and then I see representations of myself, especially in the media - and I think this is why it's troubling for me, because I feel so caricatured and flattened.
Hierarchical formulations died because their wedding cake levels posited a multiply fractured cosmos that does not match the Space Age revelation of a unified universe in which the earth is clearly in, rather than separated from, the heavens. Hierarchical representations do not reflect what either the world or we are like.
Literature is a form of language that breaks with the whole definition of genres as forms adapted to an order of representations, and becomes merely a manifestation of a language which has no other law than that of affirming in opposition to all other forms of discourse its own precipitous existence.
It is no limitation upon property rights or freedom of contract to require that when men receive from government the privilege of doing business under corporate form... they shall do so under absolutely truthful representations... Great corporations exist only because they were created and safeguarded by our institutions; and it is therefore our right and duty to see that they work in harmony with these institutions.
For to be contemporary is not necessarily to be part of any movement, to be included in the official representations of national and international art. History shows that it may well be the opposite. It may be that it is the odd, the personal, the curious, the simply honest, that at this moment, when everyone looks to the extreme and flamboyant, constitutes the most interesting manifestation of the spirit of art.
There's this long history of colonialism and the colonial gaze when applied to matters related to China. So a lot of conceptions about China in literary representations in the West are things you can't even fight against because they've been there so long that they've become part of the Western imagination of China.
If you understand something in only one way, then you don't really understand it at all. The secret of what anything means to us depends on how we've connected it to all other things we know. Well-connected representations let you turn ideas around in your mind, to envision things from many perspectives until you find one that works for you. And that's what we mean by thinking!
The genocidal culture's image of woman as object and victim is paralleled by contemporary representations that continually show the Earth as a toy, machine, or violated object, as well as by the religious and scientific ideology that legitimates the possession, contamination, and destruction of Mother Earth.
I was frustrated with how academia tended to present feminist theory in disconnected or inaccessible ways. I wanted to try and bring a sociological feminist lens to the limited and limiting representations of women in the media and then share that with other young women of my generation. YouTube was the perfect medium.
It is as though the practices organizing a bustling city were characterized by [city practitioners', everyday citizens'] blindness. The neworks of these moving, intersecting writings compose a manifold story that has neither author nor spectator, shaped out of fragments of trajectories and alterations of spaces: in relation to representations, it remains daily and indefinitely other.
Michel de Certeau
I therefore took this opportunity and also began to consider the possibility that the Earth moved. Although it seemed an absurd opinion, nevertheless, because I knew that others before me had been granted the liberty of imagining whatever circles they wished to represent the phenomena of the stars, I thought that I likewise would readily be allowed to test whether, by assuming some motion of the Earth's, more dependable representations than theirs could be found for the revolutions of the heavenly spheres.
Enthusiasm is always connected with the senses, whatever be the object that excites it. The true strength of virtue is serenity of mind, combined with a deliberate and steadfast determination to execute her laws. That is the healthful condition of the moral life; on the other hand, enthusiasm, even when excited by representations of goodness, is a brilliant but feverish glow which leaves only exhaustion and languor behind.
Modern man receives a large part of his knowledge and general education by way of pictorial impressions, illustrations, photographs, films. Daily newspapers bring more pictures from year to year. In addition, the advertising business operates with optical signals as well as representations. Exhibitions and museums are indeed offspring of this visual hustle.
In reality, genuine epiphanies are extremely rare. In contemporary adult life maturation & acquiescence to reality are gradual processes. Modern usage usually deploys epiphany as a metaphor. It is usually only in dramatic representations, religious iconography, and the 'magical thinking' of children that insight is compressed to a sudden blinding flash.
David Foster Wallace
We live in a world that is dominated by science. And that's not a bad thing - not at all. But one of the problems with the scientific worldview is that it leads human beings to have an overwhelmingly theoretical relationship to the world. For example, I no longer accept my being in the world practically and then try to describe that or elucidate that; rather, I see the world theoretically as colors and objects and representations which are fed through my retina into the brain.
They are, in a sense, two sides of the same coin: women are, on the one hand, subjects of an extremely real and abject (as Julia Kristeva put it) body and denigrated sexuality; on the other, the proliferation of images, and their digitalisation produces more and more abstract and air-brushed representations of impossible female bodies. Both indicate, certainly, a "lack of progress." But, one hopes, discussions and resistance are emerging in response.
When a soul has advanced so far on the spiritual road as to be lost to all the natural methods of communing with God; when it seeks Him no longer by meditation, images, impressions, nor by any other created ways, or representations of sense, but only by rising above them all, in the joyful communion with Him by faith and love, then it may be said to have found God of a truth, because it has truly lost itself as to all that is not God, and also as to its own self.
John of the Cross
When we think of the word culture, obvious representations such as how to dress, eat, speak, and act like those around us come to mind. But learning culture is more than learning conformity to external patterns of behavior. Culture is also a system of shared concepts, beliefs, and values. It is the framework from which we interpret and make sense of life and the world around us.
David C. Pollock
Nature seems to take advantage of the simple mathematical representations of the symmetry laws. When one pauses to consider the elegance and the beautiful perfection of the mathematical reasoning involved and contrast it with the complex and far-reaching physical consequences, a deep sense of respect for the power of the symmetry laws never fails to develop.
Chen Ning Yang
I grew up in northern Minnesota on 40 acres of wooded land 20 miles from the nearest town, and so the wilderness was home. It was not an unsafe place. I had that advantage. But there are so many representations of the wilderness being dangerous. You know, depictions of wild animals attacking people. It's like, "No, we kill those animals in far greater numbers than they kill us."
Because having your story told, as a woman, as a person of color, as a lesbian or as a trans person, or as any member of any disenfranchised community... is sadly often still a radical idea. There is so much power in storytelling and there is enormous power in inclusive storytelling and inclusive representations .
We need to remain alert to what happens to the body when it is mediatised. Too often, the mediatised body is an anaesthetised body. I would be the last person to argue that the body signifies at some basic level that precedes or transcends its cultural inscriptions. Nevertheless, there is an ethical imperative not to conflate the body with its representations and mediations, but to remember that there is an actual body there somewhere, experiencing the consequences of what is being done to it.
None of the male characters are as powerful or as interesting as the four central female characters. The men work best as representations of the current stage of a particular female's psyche. The men function as catalysts, and are certainly important to the development of the story, but the relationships are not the goal. I do not see romance as being what's central to the success of PRETTY LITTLE LIARS.
The contemporary proliferation of bullshit also has deeper sources, in various forms of skepticism which deny that we can have any reliable access to an objective reality and which therefore reject the possibility of knowing how things truly are. These "anti-realist" doctrines undermine confidence in the value of disinterested efforts to determine what is true and what is false, and even in the intelligibility of the notion of objective inquiry. One response to this loss of confidence has been a retreat from the discipline required by dedication to the ideal of correctness to a quite different sort of discipline, which is imposed by pursuit of an alternative ideal of sincerity. Rather than seeking primarily to arrive at accurate representations of a common world, the individual turns toward trying to provide honest representations of himself. Convinced that reality has no inherent nature, which he might hope to identify as the truth about things, he devotes himself to being true to his own nature. It is as though he decides that since it makes no sense to try to be true to the facts, he must therefore try instead to be true to himself. But it is preposterous to imagine that we ourselves are determinate, and hence susceptible both to correct and to incorrect descriptions, while supposing that the ascription of determinacy to anything else has been exposed as a mistake. As conscious beings, we exist only in response to other things, and we cannot know ourselves at all without knowing them. Moreover, there is nothing in theory, and certainly nothing in experience, to support the extraordinary judgment that it is the truth about himself that is the easiest for a person to know. Facts about ourselves are not peculiarly solid and resistant to skeptical dissolution. Our natures are, indeed, elusively insubstantial - notoriously less stable and less inherent than the natures of other things. And insofar as this is the case, sincerity itself is bullshit.
Harry G. Frankfurt
The representation of gay characters on screen is important for us all to think about because there are sadly too few representations of gay characters on screen in mainstream cinema. If Marvel starts making movies about gay superheroes, then we'll be in a really great place. We're not at that place.
For a long time it has been known that the first systems of representations with which men have pictured to themselves the world and themselves were of religious origin. There is no religion that is not a cosmology at the same time that it is a speculation upon divine things. If philosophy and the sciences were born of religion, it is because religion began by taking the place of the sciences and philosophy.
But myth is something else than an explanation of the world, of history, and of destiny. Myth expresses in terms of the world - that is, of the other world or the second world - the understanding that man has of himself in relation to the foundation and the limit of his existence. Hence to demythologize is to interpret myth, that is, to relate the objective representations of the myth to the self-understanding which is both shown and concealed in it.
Why do you love the woman you're in love with? Because she is. And that, after all, is God's own definition of Himself; I am that I am. The girl is who she is. Some of her isness spills over and impregnates the entire universe. Objects and events cease to be mere representations of classes and become their own uniqueness; cease to be illustrations of verbal abstractions and become fully concrete. Then you stop being in love, and the universe collapses, with an almost audible squeak of derision, into its normal insignificance.
(from his random observations after reading David Copperfield by Charles Dickens) In the Old Curiosity Shop I discovered that in the character of Dick Swiveller, Dickens provided P.G. Wodehouse with pretty much the whole of his oeuvre. In David Copperfield, David's bosses Spenlow and Jorkins are what must be the earliest fictional representations of good cop/bad cop.
Art, not less eloquently than literature, teaches her children to venerate the single eye. Remember Matsys. His representations of miser-life are breathing. A forfeited bond twinkles in the hard smile. But follow him to an altar-piece. His Apostle has caught a stray tint from his usurer. Features of exquisite beauty are seen and loved; but the old nature of avarice frets under the glow of devotion. Pathos staggers on the edge of farce.
Robert Aris Willmott
In the case of drama (stage, movies, television ), there appear to be people in almost every audience who never quite fully realize that a play is a set of fictional, symbolic representations. An actor is one who symbolizes other people, real or imagined. [...] Also some years ago it was reported that when Edward G. Robinson, who used to play gangster roles with extraordinary vividness, visited Chicago, local hoodlums would telephone him at his hotel to pay their professional respects.
S. I. Hayakawa
Many there are who, not comprehending, not being affected with, that divine, spiritual description of the person of Christ which is given us by the Holy Ghost in the Scripture, do feign unto themselves false representations of him by images and pictures, so as to excite carnal and corrupt affections in their minds. By the help of their outward senses, they reflect on their imaginations the shape of a human body, cast into postures and circumstances dolorous or triumphant; and so, by the working of their fancy, raise a commotion of mind in themselves, which they suppose to be love unto Christ.
Faith is indeed the energy of our whole universe directed to the highest form of being. Faith gives stability to our view of the universe. By faith we are convinced that our impressions of things without are not dreams or delusions, but, for us, true representations of our environment. By faith we are convinced that the signs of permanence, order, progress, which we observe in nature are true. By faith we are convinced that fellowship is possible with our fellow man and with God.
The Orient that appears in Orientalism, then, is a system of representations framed by a whole set of forces that brought the Orient into Western learning, Western consciousness, and later, Western empire.... The Orient is the stage on which the whole East is confined. On this stage will appear the figures whose role it is to represent the larger whole from which they emenate. The Orient then seems to be, not an unlimited extension beyond the familiar European world, but rather a closed field, a theatrical stage affixed to Europe.
As thinkers, mankind has ever divided into two sects, Materialists and Idealists; the first class founding on experience, the second on consciousness; the first class beginning to think from the data of the senses, the second class perceive that the senses are not final and say, The senses give us representations of things, but what are the things themselves, they cannot tell. The materialist insists on facts, on history, on the force of circumstances and the animal wants of man; the idealists on the power of Thought and Will, on inspiration, on miracle, on individual culture.
Ralph Waldo Emerson
Internal mental experience is not the product of a photographic process. Internal reality is in fact constructed by the brain as it interacts with the environment in the present, in the context of its past experiences and expectancies of the future. At the level of perceptual categorizations, we have reached a land of mental representations quite distant from the layers of the world just inches away from their place inside the skull. This is the reason why each of us experiences a unique way of minding the world. (pp. 166-167)
Daniel J. Siegel
Les representations thee¢trales, elles aussi, sont enracinees dans la violence collective et ce sont des espe¨ces de rites, mais plus nettoyes encore de leur violence que les sacrifices animaux, et plus riches sur le rapport culturel, puisque ce sont toujours, au moins indirectement, des meditations sur l'origine du religieux et de la culture tout entie¨re, des sources potentielles de savoir.
Pinball games were constrained by physical limitations, ultimately by the physical laws that govern the motion of a small metal ball. The video world knows no such bounds. Objects fly, spin, accelerate, change shape and color, disappear and reappear. Their behavior, like the behavior of anything created by a computer program, is limited only by the programmer's imagination. The objects in a video game are representations of objects. And a representation of a ball, unlike a real one, never need obey the laws of gravity unless its programmer wants it to.
During the second half of the twentieth century, cross-fertilization among the disciplines of history, literature, sociology, and psychology led to scholarly awareness that historical accounts are not direct representations of actual events; they are, instead, interpretations of the meaning of events and are thus impacted by authorial bias, cultural assumptions, and linguistic frameworks. Historical accounts are conveyed through structures of stories, or in other words through the medium of narrative. This conceptual shift calls into question the assumption that histories recount factual descriptions of real events while stories narrate the literary artifice of imagine events.
Imagination is not, as some poets have thought, simply synonymous with good. It may be either good or evil. As long as art remained primarily mimetic, the evil which imagination could do was limited by nature. Again, as long as it was treated as an amusement, the evil which it could do was limited in scope. But in an age when the connection between imagination and figuration is beginning to be dimly realized, when the fact of the directionally creator relation is beginning to break through into consciousness, both the good and the evil latent in the working of imagination begin to appear unlimited. We have seen in the Romantic movement an instance of the way in which the making of images may react upon the collective representations. It is a fairly rudimentary instance, but even so it has already gone beyond the dreams and responses of a leisured few. The economic and social structure of Switzerland is noticeably affected by its tourist industry, and that is due only in part to increased facilities of travel. It is due not less to the condition that (whatever may be said about their 'particles') the mountains which twentieth-century man sees are not the mountains which eighteenth-century man saw. It may be objected that this is a very small matter, and that it will be a long time before the imagination of man substantially alters those appearances of nature with which his figuration supplies him. But then I am taking the long view. Even so, we need not be too confident. Even if the pace of change remained the same, one who is really sensitive to (for example) the difference between the medieval collective representations and our own will be aware that, without traveling any greater distance than we have come since the fourteenth century, we could very well move forward into a chaotically empty or fantastically hideous world. But the pace of change has not remained the same. It has accelerated and is accelerating. We should remember this, when appraising the aberrations of the formally representational arts. Of course, in so far as these are due to affectation, they are of no importance. But in so far as they are genuine, they are genuine because the artist has in some way or other experienced the world he represents. And in so far as they are appreciated, they are appreciated by those who are themselves willing to make a move towards seeing the world in that way, and, ultimately therefore, seeing that kind of world. We should remember this, when we see pictures of a dog with six legs emerging from a vegetable marrow or a woman with a motorbicycle substituted for her left breast.