Miss Representation Quotes

A map is a two-dimensional representation with arbitrary symbols and incised lines that decide who is to be our enemy and who is to be our friend, who deserves our love and who deserves our hatred and who, our sheer indifference. Cartography is another name for stories told by winners. For stories told by those who have lost, there isn’t one.

Optimism is not only a false but also a pernicious doctrine, for it presents life as a desirable state and man's happiness as its aim and object. Starting from this, everyone then believes he has the most legitimate claim to happiness and enjoyment. If, as usually happens, these do not fall to his lot, he believes that he suffers an injustice, in fact that he misses the whole point of his existence.

To have lost what cannot be missed is clearly no evil.

A map is a two-dimensional representation with arbitrary symbols and incised lines that decide who is to be our enemy and who is to be our friend, who deserves our love and who deserves our hatred and who, our sheer indifference.

Without a positive representation in the mythos to consolidate its sociocultural existence, homosexuality remains completely vulnerable to a resurgence of homophobia and scapegoating.

By making the term "man" subsume "woman" and arrogate to itself the representation of all humanity, men have built a conceptual error of vast proportion into all of their thought. By taking the half for the whole, they have not only missed the essence of whatever they are describing, but they have disroted it in such a fashion that they cannot see it correctly. As long as men believed the earth to be flat, they could not understand its reality, its function, and its actual relationship to other bodies in the universe. As long as men believe their experiences, their viewpoint, and their ideas represent all of human experience and all of human thought, they are not only unable to define correctly in the abstract, but they are unable to describe reality accurately.

Discrimination can be subtle but it undoubtedly exists in the workplace. Corporate culture can be sexist, classist, racist and ableist, and simply having representation without challenging the roots of the ‘isms’ will not get us very far

Frustration that is unrecognized, unrepresented, cannot be met or even acknowledged; addiction is always an addiction to frustration (addiction is unformulated frustration, frustration too simply met). What, then, is the relationship, the link, the bond, the affinity between frustration and satisfaction? How do we find ourselves fitting them together or joining them up? There may, for example, be something about frustration that makes it resistant to representation, as though our frustrations are the last thing on earth we want to know about.

Without taking into account the ways in which money has motivated oppression, we are missing an essential layer as to why so many powerful and influential entities, business owners, entrepreneurs, and moguls refuse to take on social justice: it’s just not cost effective to do so. And this legacy has continued and even adapted as some businesses have feigned a more populist message regarding representation of women. Regardless of how many times they can say “feminist!” in a product or ad, it’s the allegiance to money that has hindered progress.

We have to find a way to unfreeze time-to represent time without turning it into space. I have no idea how to do this. I can't conceive of a mathematics that doesn't represent a world as if it were frozen in eternity. It's terribly hard to represent time, and that's why there's a good chance that this representation is the missing piece.

A map is a two-dimensional representation with arbitrary symbols and incised lines that decide who is to be our enemy and who is to be our friend, who deserves our love and who deserves our hatred and who, our sheer indifference. Cartography is another name for stories told by winners. For stories told by those who have lost, there isn’t one.

Part of reparative reading is trying to think about how a story cannot do everything. Nothing can do everything. If you’re reading every text, fiction, or criticism looking for it to tick a bunch of boxes — like if it represents X, Y, and Z appropriately to my definitions of appropriate, and if it’s missing any of those things, it’s not good — you’re not really seeing the close focus that it has on something else.

I hope I have now made it clear why I thought it best, in speaking of the dissonances between fiction and reality in our own time, to concentrate on Sartre. His hesitations, retractations, inconsistencies, all proceed from his consciousness of the problems: how do novelistic differ from existential fictions? How far is it inevitable that a novel give a novel-shaped account of the world? How can one control, and how make profitable, the dissonances between that account and the account given by the mind working independently of the novel? For Sartre it was ultimately, like most or all problems, one of freedom. For Miss Murdoch it is a problem of love, the power by which we apprehend the opacity of persons to the degree that we will not limit them by forcing them into selfish patterns. Both of them are talking, when they speak of freedom and love, about the imagination. The imagination, we recall, is a form-giving power, an esemplastic power; it may require, to use Simone Weil's words, to be preceded by a 'decreative' act, but it is certainly a maker of orders and concords. We apply it to all forces which satisfy the variety of human needs that are met by apparently gratuitous forms. These forms console; if they mitigate our existential anguish it is because we weakly collaborate with them, as we collaborate with language in order to communicate. Whether or no we are predisposed towards acceptance of them, we learn them as we learn a language. On one view they are 'the heroic children whom time breeds / Against the first idea,' but on another they destroy by falsehood the heroic anguish of our present loneliness. If they appear in shapes preposterously false we will reject them; but they change with us, and every act of reading or writing a novel is a tacit acceptance of them. If they ruin our innocence, we have to remember that the innocent eye sees nothing. If they make us guilty, they enable us, in a manner nothing else can duplicate, to submit, as we must, the show of things to the desires of the mind. I shall end by saying a little more about La Nausée, the book I chose because, although it is a novel, it reflects a philosophy it must, in so far as it possesses novel form, belie. Under one aspect it is what Philip Thody calls 'an extensive illustration' of the world's contingency and the absurdity of the human situation. Mr. Thody adds that it is the novelist's task to 'overcome contingency'; so that if the illustration were too extensive the novel would be a bad one. Sartre himself provides a more inclusive formula when he says that 'the final aim of art is to reclaim the world by revealing it as it is, but as if it had its source in human liberty.' This statement does two things. First, it links the fictions of art with those of living and choosing. Secondly, it means that the humanizing of the world's contingency cannot be achieved without a representation of that contingency. This representation must be such that it induces the proper sense of horror at the utter difference, the utter shapelessness, and the utter inhumanity of what must be humanized. And it has to occur simultaneously with the as if, the act of form, of humanization, which assuages the horror. This recognition, that form must not regress into myth, and that contingency must be formalized, makes La Nausée something of a model of the conflicts in the modern theory of the novel. How to do justice to a chaotic, viscously contingent reality, and yet redeem it? How to justify the fictive beginnings, crises, ends; the atavism of character, which we cannot prevent from growing, in Yeats's figure, like ash on a burning stick? The novel will end; a full close may be avoided, but there will be a close: a fake fullstop, an 'exhaustion of aspects,' as Ford calls it, an ironic return to the origin, as in Finnegans Wake and Comment c'est. Perhaps the book will end by saying that it has provided the clues for another, in which contingency will be defeated, ...

Also renowned is the beautiful painting ceiling of the cave at Altamira, in Northern Spain. This was the first cave art to be discovered in 1879. The art at Altamira, which has been dated to around 19,000-11,000 years ago, comprises stunning representations of bison, horses, and other large animals, with extraordinary use of colors and shading to indicate depth. The quaint story of its discovery details that the paintings, which are on a low ceiling, were initially missed by the team of archaeologists, but were spotted by one of the team's 8-year-old daughter; she was the only individual small enough to stand erect and still look up at the ceiling.

It takes some getting used to,' Mr. Forkle said. 'But what you're seeing is a visual representation of each other's moods.' 'So that means if I do this...' Keefe tickled Sophie's neck. 'GAH--everything just went supersonic!' Fitz said. Sophie snatched Keefe's wrist as he reached to tickle her again. 'Don't. You. Dare.' 'Whoa, now everything's red and ripply,' Fitz said. 'Is that because she's angry?' 'Precisely, Mr. Vacker. Every time her emotions shift, the patterns and colors will change. And with practice, you'll learn to interpret what you see.' 'Okay, but...can't they just say, "Hey, I'm feeling this?"' Keefe asked. 'People aren't always honest about their feelings--even with themselves,' Mr. Forkle told him. 'Plus, many telepathic missions involve stealth and secrecy. So for this exercise I'm going to need both of you to forget everything around you. Let the world drop away, leaving only you two.' Keefe sighed. 'Just tell them to stare into each other's eyes and they'll be good.' 'None of that, Mr. Sencen. From this moment on, you have one job and one job only: to judge their translations of the various emotions I'll be triggering.' 'Triggering how?' Sophie asked. 'You'll see soon enough. And you'll go first, Miss Foster. For this to work, Mr. Vacker, it's crucial that you not react externally. No yelling or thrashing or screaming or--' 'Uhhh, what are you going to do to me?' Fitz asked. 'Nothing you won't survive. Consider it an exercise in self-control. And try not to listen to his thoughts, Miss Foster. Study only the changes in his emotional center and make your deduction. We begin now.' Sophie closed her eyes and focus on the colors weaving around Fitz's mind. She was about to ask if she was missing something when the pattern exploded into a swirl of pale blue tendrils. The color felt to bright to be sad, but also too wild to be peaceful. 'Tension?' she guessed. 'Kinda close,' Keefe told her. The laughter in his voice made her wonder what had happened to poor Fitz. She tried to think of other emotions as his mind turned electric blue. 'Shock?' she guessed. 'That counts,' Keefe said. 'Though the best answer would've been "surprise."' 'Is that an emotion?' she asked. 'Indeed it is,' Mr. Forkle said. 'One of the most common emotions you'll experience as you navigate someone's mind--hence why I chose it as our starting point.' 'Can I talk now?' Fitz asked. 'Because that was seriously disgusting!' Sophie opened her eyes and tried not to laugh when she saw red fruit smashed all over Fitz's face. He wiped his cheeks on his sleeves, but that only smeared the pulp. 'I think I'm going to like this assignment,' Keefe said. 'What else can we fling at Fitz?' 'Nothing for the moment,' Mr. Forkle told him. 'It's his turn to interpret. Everyone close your eyes. And remember, no cues of any kind, Miss Foster.' Sophie counted the seconds, bracing for the worst--and when nothing chaned, she opened her eyes and found Mr. Forkle with his finger over his lips in a 'shhh' sign. 'Um...confusion,' Fitz guessed. 'That works,' Keefe said. 'It started as anticipation, but then it shifted.' 'Very good,' Mr. Forkle said. 'And well done, Mr. Sencen. I wasn't sure you'd recognize confusion. It's one of the more challenging emotions for Empaths.' 'Maybe on other people,' Keefe said. 'But on Foster it's easy. Why are her emotions so much stronger?' 'Honestly, I'm not sure,' Mr. Forkle admitted. 'I suspect it stems from the combination of her inflicting ability and her human upbringing. But it was one of the surprises of her development. Much like her teleporting. Okay, Miss Foster, it's your turn to guess again.' She closed her eyes and watched as the lines of color in Fitz's mind blossomed to a snowflake of purple. 'Pride?' she guessed. Keefe laughed. 'Wow, add more fail points to Sophitz.' 'Quiet,' Mr. Forkle told him.

In the first century BC, the funeral processions of members of the political elite, including females, even halted at the Forum, where an oration was delivered.99 The family also arranged for “living statues” to accompany the procession; these were actors wearing the masks of important ancestors who had themselves been honored with public statues. By these means, which endured into the Imperial Age, descendants created a publicly visible representation of their families and their position in society.100 How did surviving associates and relatives mark the exceptional nature of a funeral? On the one hand, they did it by ostentatiously neglecting their own outward appearance, leaving their hair unkempt (or at least without ornament), and wearing ragged, “dirty” (or at least dark) clothing. In sum, by renouncing signs of social distinction.101 At the same time, however, the opportunity for public exposure that the mourning ritual provided was not to be missed, for it was yet another opportunity to showcase the personal status or the prestige of the family or group.

In cognitive science, the tendency to give different responses to problems that have surface dissimilarities but that are really formally identical is termed a framing effect. Framing effects are very basic violations of the strictures of rational choice. In the technical literature of decision theory, the stricture that is being violated is called descriptive invariance-the stricture that choices should not change as the result of trivial rewordings of a problem.2 Subjects in framing experiments, when shown differing versions of the same choice situation, overwhelmingly agree that the differences in the problem representations should not affect their choice. If choices flip-flop based on problem characteristics that the subjects themselves view as irrelevant-then the subjects can be said to have no stable, well-ordered preferences at all. If a person's preference reverses based on inconsequential aspects of how the problem is phrased, the person cannot be described as maximizing expected utility. Thus, such failures of descriptive invariance have quite serious implications for our view of whether or not people are rational.

Stairway of desires Loving you feels like loving my own desires, All of them; and this feeling of loving my own desires, Feels like a stairway of unending passions and wishes, Where you and your love is the only wish of all my wishes, As my heart climbs these steps, one at a time, I wish the stairs never ended, for loving you is the loveliest time, And when every step gets me closer to you, I suddenly miss you, and I sink in the feeling of loving you without you, For these might be the steps of desires and passions, But as long as they do not arise from you they are only lesser passions, That feel red, like the most beautiful red rose, But what is a red rose worth if it doesn't smell like a rose, So, I have stopped climbing the staircase of passions and desires, Because they lead to a conduit feeling which is alien to my love’s true desires, And if it continues like this, it will become my pernicious act, Where I will forever be climbing the steps of desires, because it is a never ending act, A staircase of passions and desires can last forever, So let me stop on the step where I am now, and love you as if there were no forever, There were just this step and just this moment, we call now, Let me know you today, just like I had know you yesterday, to love in better ways now, For who knows where the staircase might lead, But I am sure, my wishes and all my desires, just unto you lead, To you, to your heart, to your desires too, And let me wait to hear that you feel the same too, My penitent heart beats tirelessly, as if it has been cursed to throb endlessly, Just to seek that one wish, one desire, that it loves so endlessly, It created subsequent ripples of desires to keep finding a reason to throb, The reason to love you Irma, is what you shall find if you probe the melody of my heart’s every throb, So here I am standing on the stairway that is made of my desires and endless wishes, Where every step is nothing but a representation of my desires arising from my wishes, The wishes that seek you in everything, Even in the fire that kills the moth, because the fire of passions burns brighter than everything, Brighter than all stars, brighter than the moon too, You would indeed feel the same when you fall in love, someday you shall too!

Stairway of desires Loving you feels like loving my own desires, All of them; and this feeling of loving my own desires, Feels like a stairway of unending passions and wishes, Where you and your love is the only wish of all my wishes, As my heart climbs these steps, one at a time, I wish the stairs never ended, for loving you is the loveliest time, And when every step gets me closer to you, I suddenly miss you, and I sink in the feeling of loving you without you, For these might be the steps of desires and passions, But as long as they do not arise from you they are only lesser passions, Which feel red, like the most beautiful red rose, But what is a red rose worth if it doesn't smell like a rose, So, I have stopped climbing the staircase of passions and desires, Because they lead to a conduit feeling which is alien to my love’s true desires, And if it continues like this, it will become my pernicious act, Where I will forever be climbing the steps of desires, because it can be a never ending act, A staircase of passions and desires can last forever, So let me stop on the step where I am now, and love you as if there were no forever, There were just this step and just this moment, we call now, Let me know you today, just like I had know you yesterday, to love you in better ways now, For who knows where the staircase might lead, But I am sure, my wishes and all my desires, just unto you lead, To you, to your heart, to your desires too, And let me wait to hear that you feel the same too, My penitent heart beats tirelessly, as if it has been cursed to throb endlessly, Just to seek that one wish, one desire, that it loves so endlessly, It created subsequent ripples of desires to keep finding a reason to throb, The reason to love you Irma, is what you shall find if you probe the melody of my heart’s every throb, So here I am standing on the stairway that is made of my desires and endless wishes, Where every step is nothing but a representation of my desires arising from my wishes, The wishes that seek you in everything, Even in the fire that kills the moth, because the fire of passions burns brighter than everything, Brighter than all stars, brighter than the moon too, You would indeed feel the same when you fall in love, and someday you shall too!

Stairway of desires Loving you feels like loving my own desires, All of them; and this feeling of loving my own desires, Feels like a stairway of unending passions and wishes, Where you and your love is the only wish of all my wishes, As my heart climbs these steps, one at a time, I wish the stairs never ended, for loving you is the loveliest time, And when every step gets me closer to you, I suddenly miss you, and I sink in the feeling of loving you without you, For these might be the steps of desires and passions, But as long as they do not arise from you they are only lesser passions, Which feel red, like the most beautiful red rose, But what is a red rose worth if it doesn't smell like a rose, So, I have stopped climbing the staircase of passions and desires, Because they lead to a conduit feeling which is alien to my love’s true desires, And if it continues like this, it will become my pernicious act, Where I will forever be climbing the steps of desires, because it can be a never ending act, A staircase of passions and desires can last forever, So let me stop on the step where I am now, and love you as if there were no forever, There were just this step and just this moment, we call now, Let me know you today, just like I had known you yesterday, only to love you in better ways now, For who knows where the staircase might lead, But I am sure, my wishes and all my desires, just unto you lead, To you, to your heart, to your desires too, And let me wait to hear that you feel the same too, My penitent heart beats tirelessly, as if it has been cursed to throb endlessly, Just to seek that one wish, one desire, that it loves so endlessly, It created subsequent ripples of desires to keep finding a reason to throb, The reason to love you Irma, is what you shall find if you probe the melody of my heart’s every throb, So here I am standing on the stairway that is made of my desires and endless wishes, Where every step is nothing but a representation of my desires arising from my wishes, The wishes that seek you in everything, Even in the fire that kills the moth, because the fire of passions burns brighter than everything, Brighter than all stars, brighter than the moon too, You would indeed feel the same when you fall in love, and someday you shall too!

Part of reparative reading is trying to think about how a story cannot do everything. Nothing can do everything. If you’re reading every text, fiction, or criticism looking for it to tick a bunch of boxes — like if it represents X, Y, and Z appropriately to my definitions of appropriate, and if it’s missing any of those things, it’s not good — you’re not really seeing the close focus that it has on something else.

For I am not ashamed of the Gospel, because it is the power of God for salvation for everyone who believes, Jewish first and then Greek. (Romans 1:16 - ONM) To the Jew first. What an incredible yet controversial proposition. To some, Israel is a political argument centred on the issue of land acquisition and misdemeanours against other nations. On the other hand, some perceive Israel as a religious representation of all things that are opposed to things biblical (under the law and not under grace...and all that), both camps missing the point completely.

a) A letter was received from a former employee of the organization seeking arrears of salary for the part of the month in which he was relieved on acceptance of his resignation. While trying to take some reference number from the old pay bill, it turned out that somebody was collecting pay in the name of the resigned employee continuously for several months after the said employee resigned from service.(b) A representation was received from an employee stating that his name was missing in the seniority list of group ‘D’ employees of the organization. While attempting to check the reasons for this omission, it emerged that the employee in question and several others were appointed through forged appointment orders issued by a racket.2. What is the first action on receipt of a complaint? On receipt of a complaint, it is checked whether it has a vigilance angle. If it has vigilance angle, it is entered in the appropriate part of the register prescribed by the Vigilance Manual.3. What is Vigilance Angle?

Our guest”—she gave Nicolas a hard look, willing him to behave himself—“is not bound because Monsieur le Comte de Brillac has expressed a desire to become our ally.” Miss Gwen snorted. “Oh, is that what he’s calling himself now?” Miles looked at Miss Gwen with interest. “Do you mean the count thingy, or ally?” Nicolas stepped into the middle of the room with the grace of a born performer. “Both, I assure you, are true. The title of Comte de Brillac comes to me from my mother’s husband. Ally, I hope, is a title I may earn.” He bowed towards the door, where four marines were staggering beneath the burden of an unconscious Braganza. “May Her Majesty Queen Maria be the first token of my good intentions.” “Rather a large token,” muttered Miles. “The size of the token,” said Nicolas, with a courtly bow, “is a representation of the sincerity of my commitment.” Or of Queen Maria’s fondness for biscoitos, but Jane decided not to press that point.

In order to override Type i processing, Type 2 processing must display at least two related capabilities. One is the capability of interrupting Type 1 processing and suppressing its response tendencies. Type 2 processing thus involves inhibitory mechanisms of the type that have been the focus of recent work on executive functioning= But the ability to suppress Type 1 processing gets the job only half done. Suppressing one response is not helpful unless there is a better response available to substitute for it. Where do these better responses come from? One answer is that they come from processes of hypothetical reasoning and cognitive simulation that are a unique aspect of Type 2processing.6 When we reason hypothetically, we create temporary models of the world and test out actions (or alternative causes) in that simulated world. In order to reason hypothetically we must, however, have one critical cognitive capability-we must be able to prevent our representations of the real world from becoming confused with representations of imaginary situations. For example, when considering an alternative goal state different from the one we currently have, we must be able to represent our current goal and the alternative goal and to keep straight which is which. Likewise, we need to be able to differentiate the representation of an action about to be taken from representations of potential alternative actions we are trying out in cognitive simulations. But the latter must not infect the former while the mental simulation is being carried out. Otherwise, we would confuse the action about to be taken with alternatives that we were just simulating.

As far as we know in the history of this cycle, the first human being to set foot on Antarctica was an American sealer named Capt. John Davis, in 1821." "Is it possible," asked Sinclair, "that parts of the historical record are missing?" "Anything's possible, but when scholars came across this map in Turkey in 1929, they speculated that it had been drawn from even earlier documents that are now unknown. My thought is that perhaps those earlier documents dated from the 10th Cycle somehow. What I'd like to find in the library is confirmation that the 10th Cyclers knew of Antarctica, and perhaps that they left representations of the geography of the globe that were known earlier in our own cycle.

Part of this struggle involves an unrelenting critique of liberal multicultural “tolerance” (in the West as much as the rest), which despite all pretenses, prioritizes dominant white European culture (or in such countries as India, dominant Hindu culture), while patronizingly “tolerating” others (see Iqtidar and Sarkar 2018). Here, Muslim culture is fixed and stereotyped, most often reduced to a religious category, thereby ignoring the dynamic, diverse, and indeed secular mix that makes up the “Muslim world” (both outside and inside the “West”). What is most often missing is a properly politicized view of Muslim culture (or indeed culture writ large), in which political-economic antagonisms play a key role: thus, violence against women is not the result of some pathological religious practice, but most often imbricated with unequal state property/inheritance laws (and their lack of enforcement) and/or male domination in the advancing cash economy (Visweswaran 1994, 510; Salhi 2013). A universal politics worthy of its name cannot, as a result, engage in a purely “cultural politics” that avoids the key question of the politicization of the economy; this would merely play into the hands of postpolitical global capitalism, which, as underlined already, seeks to keep culture and economy apart. Linking the two spheres is precisely what enables universality: seeing the antagonisms of culture/identity (struggles of representation, violence against women, queer rights, racialization) as intimately linked to the antagonisms of global capitalism (socioeconomic and spatial inequality, environmental catastrophe) is what opens the door to shared struggle. It helps establish bonds of solidarity between those who struggle for justice in the West and those who participate in the same struggle in the “Muslim world” (and elsewhere). Perhaps those of us Westerners engaging in universalizing struggles can learn from the political vitality and truculence of the “Muslim world”: at a time when engagement, energy, and commitment to change the system are often so fickle in the West, the Islamic resurgence, despite often being misdirected, can teach us something about a refusal to be so easily co-opted and seduced by Western hegemony. The challenge, though, is to channel such “rage” to the right target, that is, to make it anti-systemic rather than anti-symptomatic.

Beneath the explicit acts by which I posit and object out in front of myself, in a definite relation with other objects and with definite characteristics that can be observed, beneath, then, perceptions properly so-called, there is, sustaining them, a deeper function without which perceived objects would lack the mark of reality, as it is missing for the schizophrenic, and by which the objects begin to count or to have value for us. This is the movement that carries us beyond subjectivity, that places us in the world prior to every science and every verification through a sort of 'faith,' or 'primordial opinion'--or that, on the contrary, becomes bogged down in our private appearances. In this domain of originary opinion, hallucinatory illusion is possible even though hallucination is never perception...because here we are still within pre-predicative being, and because the connection between appearance and total experiences is merely implicit and presumptive, even in the case of true perception...The world remains the vague place of all experiences. It accommodates, pell-mell, true objects as well as individual and fleeting fantasies--because it is an individual that encompasses everything and not a collection of objects linked together through causal relations. To have hallucinations and, in general, to imagine is to exploit this tolerance of the pre-predicative world as well as our vertiginous proximity to all of being in syncretic experience. Thus, we only succeed in giving an account of the hallucinatory deception by stripping perception of its apodictic certainty and perceptual consciousness of its full self-possession...The perceived is and remains, despite all critical training, beneath the level of doubt and demonstration. The sun 'rises' for the scientist just as much as it does for the uneducated person, and our scientific representations of the solar system remain merely so many rumors, like the lunar landscapes--we never believe in them in the sense in which we believe in the rising of the sun. The rising of the sun, and the perceived in general, is 'real'--we immediately assign it to the world. Each perception, although always potentially 'crossed out' and pushed over to the realm of illusions, only disappears in order to leave a place for another perception that corrects it. Of course, each thing can, apres coup, appear uncertain, but at least it is certain for us that there are things, that is, that there is a world. To wonder if the world is real is to fail to understand what one is saying, since the world is not a sum of things that one could always cast into doubt, but precisely the inexhaustible reservoir from which things are drawn...Correlatively, we must surely deny perceptual consciousness full self-possession and the immanence that would exclude every illusion. If hallucinations are to be possible, consciousness must at some moment cease to know what it does, otherwise it would be conscious of constituting an illusion, it would no longer adhere to it, and there would thus be no more illusion...It is simply necessary that the self-coincidence with myself, such as it is established in the cogito, must never be a real coincidence, and must merely be an intentional and presumptive coincidence. In fact a thickness of duration already intervenes between myself who has just had this thought and myself who thinks that I have just had this thought, and I can always doubt whether that thought, which has already gone by, was really as I currently see it...But my confidence in reflection ultimately comes down to taking up the fact of temporality and the fact of the world as the invariable frame of every illusion and of every disillusion: I only know myself in my inherence in the world and in time; I only know myself in ambiguity.

According to the usual representation of this theory man is on probation right along. He failed in the first test and thus missed the reward of eternal life, but God was compassionate and in mercy gave him a new trial. Repeated failures led to repeated manifestations of the mercy of God in the introduction of new trials, which, however, kept man on probation all the time. This is not equivalent to saying that God in justice holds the natural man to the condition of the covenant of works—which is perfectly true—but that God in mercy and compassion—and therefore seemingly to save—gives man one chance after another to meet the ever varying conditions, and thus to obtain eternal life by rendering obedience to God. This representation is contrary to Scripture, which does not represent fallen man as still on probation, but as an utter failure, totally unable to render obedience to God, and absolutely dependent on the grace of God for salvation.

So, when people say that after the end of the representation of God there is no God, they remain within metaphysics, which presupposes that there could be something that gives itself as representation. They miss the point.

Fricker's concept of hermeneutical injustice, however, is not the fact that you missed a useful social announcement. That's individual bad luck. Hermeneutical justice is a structural phenomenon. It is about marginalized groups lacking access to information essential to their understanding of themselves and their role in society---and these groups lack this information precisely because they are marginalized and their experiences rarely representated.

No one can fail to be impressed by Monreale, ablaze as it is with over an acre and a half of superb mosaics, all completed within five or six years, between 1183 and the end of the decade. It lacks the gemlike perfection of the Palatine Chapel, the Byzantine mystery of the Martorana, or the sheer magic that streams down from the great Pantocrator at Cefalù. Its impact is chiefly due to its size and its splendor. But this impact, like the cathedral itself, is colossal. Wandering slowly through the vast length of the building, one might be forgiven for thinking that virtually every Bible story is here illustrated. Nor would one be very far wrong; but there is one particular mosaic—and not a narrative one either—that should on no account be missed. Look now to the second figure to the right of the central east window. There is no problem of identification: in conformity with the usual canons of the time, the name runs down the side of the halo for all to read: SCS. THOMAS CANTUR. Whether or not it bears any resemblance to the martyred Archbishop we have no idea;*3 it remains, however, the earliest certain representation

Lanzmann has entered into a debate with Jean-Luc Godard, initially about the citation of archive material in film, which has expanded to address film-making more generally. Where Lanzmann claimed that in the unlikely event of film footage of the gas chambers coming to light he would destroy it, Godard insisted that a good researcher could locate this ‘missing reel’, and accused Lanzmann of following Adorno’s role in forbidding certain kinds of Holocaust representation. Godard has observed of Shoah that its failure is that the spectator sees ‘nothing’, and that Lanzmann is interested in dialogue at the expense of mise en scène.

Those who had followed his writing before Orientalism were unlikely to miss that the book was a meditation on the degree to which representation is part of reality, not just its rendering in words. Rather than try to gauge the accuracy or inaccuracy of the Orientalists’ accounts of Arab and Islamic life, he meant to dwell on the echoing inner chambers of representation itself.

Although political representation by racial quota is the effect of government policy, it is not yet respectable to call for it explicitly. When President Bill Clinton tried to appoint Lani Guinier as Assistant Attorney General for Civil Rights her appointment failed, in part because of Miss Guinier’s advocacy of representation by race. In her view, if blacks were 13 percent of the US population, 13 percent of seats in Congress should be set aside for them. It does not cause much comment, however, when the Democratic Party applies this thinking to its selection of delegates to presidential conventions. Each state party files an affirmative action plan with the national party, and many states set quotas. For the 2008 Democratic Convention, California mandated an over-representation of non-white delegates. Blacks, Asians, and Hispanics were only 4.6, 5.2, and 21.1 percent, respectively, of the Democratic electorate, but had to be 16, 9, and 26 percent of the delegates. Other states had similar quotas. Procedures of this kind do lead to diversity of delegates but suggest that race is more important than policy. Perhaps it is. In Cincinnati, where blacks are 40 to 45 percent of the population, Mayor Charlie Luken complained that the interests of blacks and whites seemed so permanently in conflict that “race gets injected into every discussion as a result.” In other words, any issue can become racial. In 2004, the Georgia legislature passed a bill to stop fraud by requiring voters to show a state-issued ID at the polls. People without drivers’ licenses could apply for an ID for a nominal fee. Black legislators felt so strongly that this was an attempt to limit the black vote that they did not merely vote against the law; practically the entire black delegation stormed out of the Capitol when the measure passed over their objections. In 2009, when Congress voted a stimulus bill to get the economy out of recession, some governors considered refusing some federal funds because there were too many strings attached. Jim Clyburn, a black South Carolina congressman and House Majority Whip, complained that rejecting any funding would be a “slap in the face of African-Americans.” Race divides Cook County, Illinois, which contains Chicago. In 2007, when the black president of the county board, Todd Stroger, could not get his budget passed, his floor leader William Beavers-also black—complained that it was “because he’s black.” He said there was only one real question: 'Who’s gonna control the county—white or black—that’s all this is.

What had to be seen was that the Chris I missed so badly was not an object but a pattern, and that although the pattern included the flesh and blood of Chris, that was not all there was to it. The pattern was larger than Chris and myself, and related us in ways that neither of us understood completely and neither of us was in complete control of. Now Chris's body, which was a part of that larger pattern, was gone. But the larger pattern remained. A huge hole had been torn out of the center of it, and that was what caused all the heartache. The pattern was looking for something to attach to and couldn't find anything. That's probably why grieving people feel such attachment to cemetery headstones and any material property or representation of the deceased. The pattern is trying to hang on to its own existence by finding some material thing to center itself upon.

Odds are that many readers would have landed on DaVinci’s Mona Lisa, arguably the most iconic piece of art in the world. But did you know that what we now consider his masterwork was not too long ago considered a rather mediocre representation of his work? The story of how the Mona Lisa became the avatar of artistic excellence is one of criminal activity and intrigue that relies heavily on human psychology. In 1911, a handyman at the Louvre removed the painting from its place in the museum and took it home. The utter lack of security measures surrounding the Mona Lisa is a testament to its unextraordinary reputation at the time. It was over 24 hours until anyone even noticed that the painting was missing! But as newspapers started to report on the robbery, awareness of the painting increased as the mystery surrounding the heist became a full-blown media sensation. After it was recovered two years later, the Mona Lisa became the most popular painting in the museum, as interested patrons clamored to see what all of the fuss had been about. Only after the heist and in light of its newfound popularity did the Mona Lisa earn the reverence and esteem of the art world. We imagine that the Mona Lisa is popular because it is so special, but in reality, it is seen as special precisely because it first became popular.

A map is a two-dimensional representation with arbitrary symbols and incised lines that decide who is to be our enemy and who is to be our friend, who deserves our love and who deserves our hatred and who, our sheer indifference. Cartography is another name for stories told by winners. For stories told by those who have lost, there isn't one.

A map is a two-dimensional representation with arbitrary symbols and incised lines that decide who is to be our enemy and who is to be our friend, who deserves our love and who deserves our hatred and who, our sheer indifference. Cartography is another name for stories told by winners.

I embraced the desert, a place without representations of the natural world and where art, when it is found, tends toward the nonfigurative, the decorative. There I stayed, until legal obligations forced me to return here, however briefly.” “And that’s why you asked for the paintings in this room to be removed,” I said. “Now I perceive some mistrust creeping in,” said Hayden. “I can hardly blame you.” “I admit only that it is straining my credulity,” I said, “not shattering it. But a creature, a homunculus, that finds its way into our world through—what, pictures of landscapes or standing stones?” “I have spent a long time considering this,” said Hayden, “and have learned that I am not alone in what I have experienced. Others, too, have seen the flaw. In fact, once the eye is trained to look for it, it becomes hard to miss. It is in everything—this blemish, this imperfection—but most profoundly in art because art is so deeply human, and humans are so deeply flawed. What if there are worlds beyond this one? What if, in creating representations of what we see around us, an artist may, in moments of great vision or inspiration, capture a quintessence, and in so doing, forge a connection between the real and the unreal: a window between realms, or the expansion of a fissure, a gap wide enough for something to enter, something that seeks to be what it is not?

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