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Read through the most famous quotes by topic #entity
We keep coming back to the question of representation because identity is always about representation. People forget that when they wanted white women to get into the workforce because of the world war, what did they start doing? They started having a lot of commercials, a lot of movies, a lot of things that were redoing the female image, saying, “Hey, you can work for the war, but you can still be feminine.” So what we see is that the mass media, film, TV, all of these things, are powerful vehicles for maintaining the kinds of systems of domination we live under, imperialism, racism, sexism etc. Often there’s a denial of this and art is presented as politically neutral, as though it is not shaped by a reality of domination. ↗
#art
In order to live a meaningful life, humans need answers, i.e., a certain understanding of basic existential questions. These ‘answers’ do not have to be made completely explicit, as a lack of words does not necessarily indicate a lack of understanding, but one has to able to place oneself in the world and build a relatively stable identity. The founding of such an identity is only possible if one can tell a relatively coherent story about who one has been and who one intends to be. ↗
#life
Our categories are important. We cannot organize a social life, a political movement, or our individual identities and desires without them. The fact that categories invariably leak and can never contain all the relevant "existing things" does not render them useless, only limited. Categories like “woman,” “butch,” “lesbian,” or “transsexual” are all imperfect, historical, temporary, and arbitrary. We use them, and they use us. We use them to construct meaningful lives, and they mold us into historically specific forms of personhood. Instead of fighting for immaculate classifications and impenetrable boundaries, let us strive to maintain a community that understands diversity as a gift, sees anomalies as precious, and treats all basic principles with a hefty dose of skepticism. ↗
I haven’t been disingenuous in what I’ve said describing my perception of “truth” and “reality.” Certainly, I understand what is generally meant to be the “truth,” I understand this notion, but it’s not something I trust in, OK? The only answer that feels true (I said feels, not is) is that yes, the character Minnie is me, but she is not me. She is a projection of some tumult which originates within me, but she is not me. I use elements of myself, including my likeness, for the character, perhaps as Cindy Sherman uses herself in her work, but like Sherman’s photographs, the work itself is not any more about the creator than it is about everyone. I won’t deny that Minnie does things I have done, and that things happen to her that have happened to me, but she, unlike me, having been created, is who she is and will remain so, unchanged now. I make no attempt to create “documentary.” There is a process of dissociation that takes place when I make a story, I make creative decisions in a fugue state that I could hardly describe to you, but the end result is, I hope, a story with some meaning or resonance, something created, with a beginning, a middle and an end, an encapsulation of feeling and impression, but in no way a documentary of anything other than an “emotional truth.” If I told most interviewers that my work is “true” and that it is based on real events that occurred in my life, they would more readily accept this than they do the explanation I try to give. Sadly, what they would believe feels to me like a lie and a simplification of a process that is for me as complex and vague as life itself… ↗
For so long, it was just my secret. It burned inside me, and I felt like I was carrying something important, something that made me who I was and made me different from everybody else. I took it with me everywhere, and there was never a moment when I wasn't aware of it. It was like I was totally awake, like I could feel every nerve ending in my body. Sometimes my skin would almost hurt from the force of it, that's how strong it was. Like my whole body was buzzing or something. I felt almost, I don't know, noble, like a medieval knight or something, carrying this secret love around with me. ↗
So we're getting close to suggesting that camp is both the opposite of cool and a refinement of it. Camp and cool both have an element of not-caring, of disdain for the ordinary. The difference is that cool implies a lack of conscious effort, whereas camp is about putting everything you've got into it. Either you love something too much (much more than it's "worth", so the stereotypical anorak-wearing Doctor Who fan and the Barry Manilow cultist are both manifestations of this, at least to the outside world), or you're given to going over the top. Or you do both at once, in many cases. Both phenomena are examples of people fashioning an identity for themselves, and if you're reading this book then you must know people like that. Cool is not caring, camp is actively defiant. ↗
#cool #doctor-who #identity #love
I would rather be what God chose to make me than the most glorious creature that I could think of; for to have been thought about, born in God's thought, and then made by God, is the dearest, grandest and most precious thing in all thinking. ↗
What's burning down is a re-creation of a period revival house patterned after a copy of a copy of a copy of a mock Tudor big manor house. It's a hundred generations removed from anything original, but the truth is aren't we all? ↗
