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Read through the most famous quotes by topic #presentation
It seems to me a worthy goal: try to create a representation of consciousness that's durable and truthful, i.e., that accounts, somewhat, for all the strange, tiny, hard-to-articulate, instantaneous, unwilled things that actually go on in our minds in the course of a given day, or even a given moment. ↗
#actually #consciousness #course #create #day
More and more these days what I find myself doing in my stories is making a representation of goodness and a representation of evil and then having those two run at each other full-speed, like a couple of PeeWee football players, to see what happens. Who stays standing? Whose helmet goes flying off? ↗
Meanwhile she's coldly interrogating me with her eyes. She's definitely in charge of this house and this moment. This must be Chloe. She escorts me to a table full of people and presents me. She introduces them briefly. This one's from Morocco, that one from Italy, he's Persian--I'm not exactly sure what that means--this one's from "the UK." They're all in their twenties, poised and dismissive. They don't know or care who I'm supposed to be at home or where I went to school. They're measuring something else I can't see and don't understand. They nod and turn back to each other. They seem to be waiting for a cue from Chloe to release them from having to feign interest. She introduces herself at substantially more length. Her father is Chinese and her mother is Swiss; she grew up in Hong Kong and "in Europe." I grew up in Michigan and in Michigan. But she didn't ask. ↗
It is not surprising that young white males – most between thirty and forty – play major roles in the production of hip-pop. It’s easy to forget this because when most people critique rap and hip-pop harshly, they assume that young black men are the sole creators and producers of misogynist rap. In fact, nothing is unilaterally produced anymore. As we’ve discussed, once you have a corporate takeover of the street culture, it is no longer the property of the young, Black and Latino men and women who have created it. It is reinvented with the mass consumer audience in mind. The hard-core misogyny and the hard-core sexism isn’t a translation from street to big-time studio, it is a product of the big-time studio. ↗
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. ↗
