Representations Quotes
More Representations Quotes
Nothing can please many, and please long, but just representations of general nature.
— 1765 Plays of William Shakespeare, preface.
Boltzmann... felt that all that we were really doing when we stated physical laws was using a series of linguistic representations of reality. To relate force and mass, as Newton had done in his laws of motion, was to relate labels in such a way that we could use the relations for predictive purposes. To read anything more into the terms force and mass was to presume more than we can know.
ludwig boltzmann— Brian L. Silver, The Ascent of Science (1998)
The mythology of the New Testament, also, is not to be questioned with respect to the content of its objectifying representations but with respect to the understanding of existence that expresses itself in them.
rudolf bultmann— p. 10 (New Testament and Mythology and Other Basic Writings (1984))
Where cultural representations do not reach out beyond themselves, there is the danger that they will function as the surrogates for activism, that they will constitute both the beginning and the end of political practice.
angela davis— "Black Nationalism: The Sixties and the Nineties." Black Popular Culture, ed. Gina Dent (Seattle, Wash: Bay Press, 1992), 324.
I have closely studied the figured documents of all ages and of all the great masters, but I have never seen in them any representations of human beings walking on the extremity of the toes or raising the leg higher than the head. These ugly and false positions in no way express that state of unconscious Dionysiac delirium which is necessary to the dancer. Moreover movèments, just like harmonies in music, are not invented; they are discovered.
isadora duncan— As quoted in Modern Dancing and Dancers (1912) by John Ernest Crawford Flitch, p. 106
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— pp. 27-28 (The Pitfalls of Drama)
It is not particularly satisfactory to see equations set forth as direct results of observation and experiment, where we used to get long mathematical deductions as apparent proofs of them. Nevertheless, I believe that we cannot, without deceiving ourselves, extract much more from known facts than is asserted in the papers referred to. If we wish to lend more color to the theory, there is nothing to prevent us from supplementing all this and aiding our powers of imagination by concrete representations of the various conceptions as to the nature of electric polarisation, the electric current, etc.
heinrich hertz— Electric Waves: Being Researches on the Propagation of Electric Action with Finite Velocity Through Space (1900), p. 28
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.
patrick swift— "Official Art and the Modern Painter", X, Vol. I, No. 1 (November 1959)
[The information available within a system constitutes what Boulding (1978) calls the noosphere . It is constituted by the collection of plans, of representations, of procedures, of ideas for the construction of objects or of instructions to realize certain interaction patterns, including] the totality of the cognitive content, including values, of all human nervous systems, plus the prostatic devices by which the system is extended and integrated in the form of libraries, computers, telephones, post offices, and so on.
kenneth boulding— p.122, cited in: Jorge Reina Schement, Brent D. Ruben (1993) Information and Behavior - Volume 4. p.517Robert A. Solo (1994) "Kenneth Ewart Boulding: 1910-1993. An Appreciation" commented: "The image appears as crucial in Boulding's treatment of societal evolution. Here the record is in human artifacts, not only in material structures such as buildings and machines, telephones and radios, but also in organizations including the extended family, the tribe, the nation, and the corporation. All such artifacts originate in and are sustained by images in the human mind. Civilization and civilized man, in the language that he knows, the skills he acquires, the whole heritage of tradition and manners he has learned, are human artifacts."
Therefore psychologically we must keep all the theories in our heads, and every theoretical physicist who is any good knows six or seven different theoretical representations for exactly the same physics.
richard feynman— chapter 7, “Seeking New Laws,” p. 168
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.
edward said— Orientalism (1978)
[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.
francisco varela— p. 142 (The Embodied Mind (1991))
By the late 1930s all nationalist movements had generated [[w:Historiography|historolographical writing. Poetry , essays , plays , and fiction , as well as aural and visual representations ( maps , cartoons , lithographs , sculpture , songs , film); all were generative of politically infused historical consciousness .
— S.P.Sen in Historians and Histiriography, quoted by Mary E. Hancock, in p.223
Architecture is that set of design artifacts, or descriptive representations, that are relevant for describing an object, such that it can be produced to requirements (quality) as well as maintained over the period of its useful life (change).
— John A. Zachman (1997) "Enterprise architecture: The issue of the century." Database Programming and Design Vol 10 (3). p. 49
It is fraud in law if a party makes representations which he knows to be false, and injury ensues, although the motives from which the representations proceeded may not have been bad.
— Tindal, C.J., Foster v. Charles (1830), 7 Bing. 105.
The representational nature of maps, however, is often ignored – what we see when looking at a map is not the word, but an abstract representation that we find convenient to use in place of the world. When we build these abstract representations we are not revealing knowledge as much as are creating it.
— Alan MacEachren (1995/2004) How maps work: representation, visualization, and design. Guilford Press. p. v
Understanding how maps work and why maps work (or do not work) as representations in their own right and as prompts to further representations, and what it means for a map to work, are critical issues as we embark on a visual information age.
— Alan MacEachren (1995/2004) How maps work: representation, visualization, and design. Guilford Press. p. v
Understanding how maps work and why maps work (or do not work) as representations in their own right and as prompts to further representations, and what it means for a map to work, are critical issues as we embark on a visual information age.
— Alan MacEachren (2004) How maps work: representation, visualization, and design. Guilford Press. p.v
The motive for criticizing myth, that is, its objectifying representations, is present in myth itself, insofar as its real intention to talk about a transcendent power to which both we and the world are subject is hampered and obscured by the objectifying character of its assertions.
rudolf bultmann— Rudolf Bultmann, New Testament and Mythology and Other Basic Writings (1984), p. 10
Understanding how maps work and why maps work (or do not work) as representations in their own right and as prompts to further representations, and what it means for a map to work, are critical issues as we embark on a visual information age.
— Alan MacEachren (2004) How maps work: representation, visualization, and design. Guilford Press. p.v
The rhetorical process functioned in many areas other than speech: Curtius wrote about 'rhetorical landscape representations' while Serpieris speaks of 'la retorica al teatro' (the rhetorical use of theatrical space), and music historians have learned that the language and approach of musical theory in the Middle Ages were borrowed directly from medieval grammar and rhetoric.
— "The work is not the performance", Companion to Medieval & Renaissance Music. (1997). Oxford University Press. ISBN 0198165404.
"The rhetorical process functioned in many areas other than speech: Curtius wrote about 'rhetorical landscape representations' while Serpieris speaks of 'la retorica al teatro' (the rhetorical use of theatrical space), and music historians have learned that the language and approach of musical theory in the Middle Ages were borrowed directly from medieval grammar and rhetoric."
— Thomas Binkley (1997). "The work is not the performance", Companion to Medieval & Renaissance Music. Oxford University Press. ISBN 0198165404.
"The rhetorical process functioned in many areas other than speech: Curtius wrote about 'rhetorical landscape representations' while Serpieris speaks of 'la retorica al teatro' (the rhetorical use of theatrical space), and music historians have learned that the language and approach of musical theory in the Middle Ages were borrowed directly from medieval grammar and rhetoric."
— Thomas Binkley (1997). "The work is not the performance", Companion to Medieval & Renaissance Music. Oxford University Press. ISBN 0198165404.
"The rhetorical process functioned in many areas other than speech: Curtius wrote about 'rhetorical landscape representations' while Serpieris speaks of 'la retorica al teatro' (the rhetorical use of theatrical space), and music historians have learned that the language and approach of musical theory in the Middle Ages were borrowed directly from medieval grammar and rhetoric."
— Thomas Binkley (1997). "The work is not the performance", Companion to Medieval & Renaissance Music. Oxford University Press. ISBN 0198165404.
(Systems science) does not aim to ?nd the one true representation for a given type of systems (e.g. physical, chemical or biological systems), but to formulate general principles about how different representations of different systems can be constructed so as to be effective in problem-solving.
— Francis Heylighen, 1990, "Classical and non-classical representations in physics I." Cybernetics and Systems 21. p. 423;
