Quotes About Representation

Our job as a writer is to represent the world and to bear witness to it.

For some of us, politics means fighting for our right to exist

We were the first to carve forms: we began The depiction of gods in the image of Man.

All things transitory But as symbols are sent.

You are afraid of the one–I, of the few. We agree perfectly that the many should have a full fair and perfect Representation.–You are Apprehensive of Monarchy; I, of Aristocracy. I would therefore have given more Power to the President and less to the Senate.

All photographs are there to remind us of what we forget. In this - as in other ways - they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.

Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.

In the average European oil painting of the nude the principal protagonist is never painted. He is the spectator in front of the picture and he is presumed to be a man.

A photograph is a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photograph are often contradictory.

A photograph is not necessarily a lie, but it isn't the truth either. It's more like a fleeting, subjective impression.

A drawing of a tree shows not a tree but a tree being looked at

Having seen this reproduction, one can go to the National Gallery to look at the original and discover what the reproduction lacks. Alternatively one can forget about the quality of the reproduction and simply be reminded, when one sees the original, that it is a famous painting of which somewhere one has already seen a reproduction. But in either case the uniqueness of the original now lies in it being the original of a reproduction.

Photographs do not translate from appearances. They quote from them.

Resmin ilk konusu hayvanlard?. Ve en baÅŸtan baÅŸlay?p Sümer, Asur, M?s?r ve ilk dönem Yunan resminde devam eden bir çizgide, bu hayvanlar?n tasvirleri olaÄŸanüstü derecede hakikidir. Ä°nsan gövdesinin tasvirinde eÅŸdeÄŸer bir 'gerçek-gibi'liÄŸe ula??lmas? için biny?llar?n geçmesi gerekmiÅŸtir. BaÅŸlang?çta insan?n yüzleÅŸtiÄŸi, varoland?." sayfa 30

Every image embodies a way of seeing. Even a photograph. For photographs are not, as is often assumed, a mechanical record. Every time we look at a photograph, we are aware, however slightly, of the photographer selecting that sight from an infinity of other possible sights. This is true even in the most casual family snapshot. The photographer's way of seeing is reflected in his choice of subject.

The Photographer's way of seeing is reflected in his choice of subject. The painter's way of seeing is reconstituted by the marks he makes on canvas or paper. Yet, although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing.

Images were first made to conjure up the appearances of something that was absent. Gradually it became evident that an image could outlast what it represented ; it then showed how something or somebody had once looked - and thus by implication how the subject had once been seen by other people. Later still this specific vision of the image-maker was also recognized as part of the record. An image became a record of how X had seen Y.

But in either case the uniqueness of the original now lies in it being the original of a reproduction. It is no longer what the image shows that strikes one as unique; its first meaning is no longer to be found in what it says, but what it is.

El modo esencial de ver a las mujeres, el uso esencial al que se destinaban sus imágenes no ha cambiado. Las mujeres son representadas de un modo completamente distinto a los hombres, y no porque lo femenino sea distinto a lo masculino, sino porque siempre se supone que el espectador ideal es varón y la imagen de la mujer está destina a adularle.

Rich and great people can take care of themselves; but the poor and defenseless--the men with small cottages and large families--the men who must work six days every week if they are to live in anything like comfort for a week--these men want defenders; they want men to maintain their position in Parliament; they want men who will protest against any infringement of their rights.

WEIRD (Western, Educated, Industrialized, Rich, Democratic) samples make up most nonclinical neuroimaging studies as well.

As I say at the beginning of my workshops, 'Everything I say here is a lie -- bullshit, in other words -- because anything that you put in words is not experience, is not the experiment. It's a representation -- a misrepresentation.

He gave   the tree of life its name, not because it could confer on man that life   with which he had been previously endued, but in order that it might be   a symbol and memorial of the

Mais en réalité, c'est seulement aujourd'hui qu'il le comprend, au moment où il en parle, à savoir que, dans un pays où tout n'est que symbole, on n'a besoin que d'un exemplaire de chaque : un château, un roi, un amoureux, un rival, un enfant, un animal, un poisson, un oiseau, une dent, un Å"il, une coupe, un lit. Tous ne sont que ce qu'ils représentent, et c'est ce qu'ils représentent qui change.