Quotes About Cultural

I'm not sure I'm going to be that type of artist but I do love cultural icons. Like Solange has been really great at that. Releasing her album end of last year and being really strong in their sound, bands like Little Dragon, artists like James Blake. You know their music when you hear them. They have a really particular sound and it's really cultural and people copy that sound. You hear it in other songs and you're like 'That's a James Blake tune'.

We also have a cultural phenomenon: the emergence of a global culture, or of cultural globalization

The tragedy is that in the name of resisting the internal deterioration of faith and the corruption of the world around them, many Christians - and Christian conservatives most significantly -unwittingly embrace some of the most corrosive aspects of the cultural disintegration they decry. By nurturing its resentments, sustaining them through a discourse of negation toward outsiders, and in cases, pursuing their will to power, they become functional Nietzscheans, participating in the very cultural breakdown they so ardently strive resist.

Sadly, at a time when so much sophisticated cultural criticism by hip intellectuals from diverse locations extols a vision of cultural hybridity, border crossing, subjectivity constructed out of plurality, the vast majority of folks in this society still believe in a notion of identity that is rooted in a sense of essential traits and characteristics that are fixed and static.

The Jewish culture - people that are Jewish have a certain cultural habit that they've formed and one of those habits is an appreciation of theater and music - these are cultural things one does associate with values that are promulgated by Jewish families. I think that's a good thing.

People who want to wage cultural wars ought to keep in mind that cultural views often don't move at all for a very long time, but when they move they can move very fast.

With the rise of new technologies, media, and other cultural apparatuses as powerful forms of public pedagogy, students need to understand and address how these pedagogical cultural apparatuses work to diffuse learning from any vestige of critical thought. This is a form of public pedagogy that needs to be addressed both for how it deforms and for how it can create important new spaces for emancipatory forms of pedagogy.

Artists are looking for a new modernity that would be based on translation: What matters today is to translate the cultural values of cultural groups and to connect them to the world network. This “reloading process” of modernism according to the twenty-first-century issues could be called altermodernism, a movement connected to the creolisation of cultures and the fight for autonomy, but also the possibility of producing singularities in a more and more standardized world.

The break from the supposedly culturally-narrow religious bases of knowledge in favor of supposedly trans-cultural scientific bases of knowledge served as the self-justification of a particularly pernicious form of cultural imperialism.

Even if 80 percent of the population of a country are Christian believers, they will have almost no cultural influence if the Christians do not live in cultural centers and work in culture-forging fields such as academia, publishing, media, entertainment, and the arts. The assumption that society will improve simply be more Christian believers being present is no longer valid.

The identity of just one thing, the "clash of civilization" view that you're a Muslim or a Hindu or a Buddhist or a Christian, I think that's such a limited way of seeing humanity, and schools have the opportunity to bring out the fact that we have hundreds of identities. We have our national identity. We have our cultural identity, linguistic identity, religious identity. Yes, cultural identity, professional identity, all kinds of ways.

Soil is not usually lost in slabs or heaps of magnificent tonnage. It is lost a little at a time over millions of acres by the careless acts of millions of people. It cannot be saved by heroic feats of gigantic technology, but only by millions of small acts and restraints, conditioned by small fidelities, skills, and desires. Soil loss is ultimately a cultural problem; it will be corrected only by cultural solutions.

When new businesses open that are trying to attract people with cultural capital or cultural ambitions, they are often more expensive than traditional neighborhood stores and cafés, they offer different products, and they have a different atmosphere. Longtime residents may feel uncomfortable there. Structurally, as a group of gentrifiers gets bigger, there is less room for longtime residents. When it becomes a pattern and you can see the effects, we call that displacement.

We are in the process of creating what deserves to be called the idiot culture. Not an idiot sub-culture, which every society has bubbling beneath the surface and which can provide harmless fun; but the culture itself. For the first time, the weird and the stupid and the coarse are becoming our cultural norm, even our cultural ideal.

There was a kind of cultural life in New York that wasn't as solidified as it is now, it wasn't as money-driven. If you look at the size of the successful art galleries compared to the size of galleries now - there was no such thing as the Gagosian Gallery or Pace Gallery. But it was a time when magazines were a vital part of American life, and Esquire gave me a free pass to every world - I could get to the art world, the theater world, the movie world. It allowed you to roam through the cultural life of New York City.

I think there should be some way to find some kind of reasonable accommodation that allows the state to continue to say, you know, that women's rights supersede any kind of a cultural custom that's oppressive to women, but also potentially allows a woman to take the oath, I don't know, in a separate room. It would be up to the court to find some kind of cultural accommodation.

All cultural explorers. . . start off from specific roots which color their vision and define the allegiances of the work of art they produce.

I think that the sheer fact that music can raise certain questions or put topics on the agenda has in itself already an effect. Just like any other art of cultural expression can do that - books, films, photos, painting - it can bring people together who share certain ideals, who don't find their ideas expressed properly, or even expressed at all, in the mainstream media.

I am very interested in what has been called bad taste. I believe the fear of displaying a soi-disant bad taste stops us from venturing into special cultural zones.

My world view has always been that there's just an enormous amount of cultural and religious diversity out there, all of which is really worth taking in.

Satire must always accompany any free society. It is an absolute necessity. Even in the most repressive medieval kingdoms, they understood the need for the court jester, the one soul allowed to tell the truth through laughter. It is, in many ways, the most powerful form of free speech because it is aimed at those in power, or those whose ideas would spread hate. It is the canary in the coalmine, a cultural thermometer, and it always has to push, push, push the boundaries of society to see how much it’s grown.

Mathematics knows no races or geographic boundaries; for mathematics, the cultural world is one country.

It's fairly obvious that American education is a cultural flop. Americans are not a well-educated people culturally, and their vocational education often has to be learned all over again after they leave school and college. On the other hand, they have open quick minds and if their education has little sharp positive value, it has not the stultifying effects of a more rigid training.

Your primary presumption that The Bridge was proffered as an epic has no substantial foundation. You know quite well that I doubt that our present stage of cultural development is so ordered yet as to provide the means or method for such an organic manifestation as that.

There's such cultural rot taking place, such a disintegration throughout our culture. Values, morality, you name it. Standards have been relaxed, and people are not being held to them. People's intentions, if they're said to be good and honorable, that's all that matters.

A pitfall of making a comedy with a studio-and it's also an American cultural thing-is that I get tired of being encouraged to go always for laughs.

I've heard plenty of Christians try to answer the why question by going back to the what. "You have to believe because Jesus is the Son of God." But that's answering the why with more what. Increasingly we live in a time in which you can't avoid the why question. Just giving the what (for example, a vivid gospel presentation) worked in the days when the cultural institutions created an environment in which Christianity just felt true or at least honorable. But in a post-Christendom society, in the marketplace of ideas, you have to explain why this is true, or people will just dismiss it.

Graphic design is a visual language uniting harmony and balance, color and light, scale and tension, form and content. But it is also an idiomatic language, a language of cues and puns and symbols and allusions, of cultural references and perceptual inferences that challenge both the intellect and the eye.

What little wilderness remains displays the patterns we must return to, if our species and as many others as now remain are to persist here a while. Ideally this would call for a broad cultural rapprochment with the wild, a long overdue armistice in civilization's war upon it.

I received a phone call from my mother, and it was so complicated and involved, and it reminded me of just how it is in a family, and how it is in Mexico, and gossip, and all this stuff. And I thought, well, why can't a documentary be made about gossip? And in that way, I touch upon these other things - identity, cultural identity, and aesthetics.

In Technologized Desire, the cultural pathologies that mark the panic ecstasy and terminal doom of the posthuman condition are powerfully rehearsed in the language of science fiction. Here, images of prosthetic subjects, zombies, cut-ups and armies of the medieval dead actually slip off the pages of literature to become the terminal hauntology of these technologized times. Technologized Desire is nothing less than a brilliant data screen of future memories. Read it well: it's a survival guide for bodies flatlined by the speed of accelerating technology.

The cultural products of America from this period [ fifties and sixties] are like a vision of paradise or something. I find it utterly intoxicating.

Dante can be understood only within the context of Italian thought, and Faust would be unthinkable if divorced from its German background; but both are part of our common cultural heritage.

We are told No, you're unimportant, you're peripheral - get a degree, get a job, get a this, get that, and then you're a player. You don't even want to play that game. You want to reclaim your mind and get it out of the hands of the cultural engineers who want to turn you into a half-baked moron consuming all this trash that's being manufactured out of the bones of a dying world.

Science is the most durable and nondivisive way of thinking about the human circumstance. It transcends cultural, national, and political boundaries. You don't have American science versus Canadian science versus Japanese science.

For me fashion is an expression of art that is very closely related both to me and to my body. I see it as an expression of identity combined with desire, moods and a cultural setting.

What is happening here is we are living past the age, by the millions, living past the age where cultural values make any sense at all.

It indicates a person who has not only good manners but who possesses a sense of balance, a sure mastery of himself, a moral discipline that permits him to subordinate voluntarily his own selfish interest to the wider interests of the society in which he lives. The gentleman, therefore is a cultural person in the noblest sense of the word, if by culture we mean not simply wealth of intellectual knowledge but also the ability to fulfil one's duty and understand one's fellow man by respecting / every principle, every opinion, every faith that is sincerely professed.

I founded the King Hussein Foundation after my husband's death in 1999, to build on his humanitarian vision and legacy in the country and abroad, through programs promoting education and leadership, economic empowerment, tolerance, cross-cultural dialogue, and media that enhances mutual understanding and respect among different cultures across conflict lines.

Beginning with Santa Claus as a cognitive exercise, a child is encouraged to share the same idea of reality as his peers. Even if that reality is patently invented and ludicrous, belief is encouraged with gifts that support and promote the common cultural lies. The greatest consensus in modern society is our traffic systems. The way a flood of strangers can interact, sharing a path, almost all of them traveling without incident. It only takes one dissenting driver to create anarchy.

Perhaps the most effective way to describe the approach a brand must take is to think of themselves as social cartographers. By that I mean that brands must simultaneously inspire, engage and maintain a series of conversations taking place within certain cultural landscape specific to their business goal.

People cooked with a certain integrity before fast food, 50 or 60 years ago. When the cheap food arrived, and we didn't have the education and deep cultural roots to hold on, we got swept away by fast, cheap and easy.

Those [American Jews] who favor the [Israeli] attack on Gaza are certainly guilty of such overwhelming emotional and cultural attachment to Israel and Israelis, that they long ago ceased viewing this conflict with any remnant of objectivity.

Somehow we have been taught to believe that the experiences of girls and women are not important in the study and understanding ofhuman behavior. If we know men, then we know all of humankind. These prevalent cultural attitudes totally deny the uniqueness of the female experience, limiting the development of girls and women and depriving a needy world of the gifts, talents, and resources our daughters have to offer.

The only way to stop it [terrorism] is to work with the leaders of Islamic nations to insure that tolerance of other religions is taught again, that their people believe they have fair opportunities to participate in government and the economy, and that the social and cultural conditions that breed hatred are bred out.

Black women, whose experience is unique, are seldom recognized as a particular social-cultural entity and are seldom thought to be important enough for serious scholarly consideration.

My father is a cultural anthropologist and my mother ran an outpatient clinic and treated a lot of people who had been institutionalised. I was very fascinated with behaviour and criminology and why people do things that don't make any sense. I would probe my mother: "Why? Why would somebody do this?" And look for some causality between someone's mental state and their behaviour. I think it had a lot of influence on me.

In south west Lancashire, babies don't toddle, they side-step. Queuing women talk of 'nipping round the blindside'. Rugby league provides our cultural adrenalin. It's a physical manifestation of our rules of life, comradeship, honest endeavour, and a staunch, often ponderous allegiance to fair play.