Quotes About Cultural

When you say what is the difference between me and my stage name the idea is that as a musician you always think of yourself as inhabiting a certain cultural space in the kind of a cultural landscape, so when I say cultural space what I mean to imply there is that you exist within certain parameters of how people think of culture.

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'.

I would never call myself cultural elite, but you might be cultural elite.

The Leadership Training Institute of America is a cultural think tank providing training and opportunity in leadership development and cultural dynamics.

Where neoliberalism thrives is in having done something that we haven't seen before. There is a merging of culture, politics, and power under neoliberalism that's unprecedented. They control the cultural apparatuses. And what I mean by "cultural apparatuses" is all those institutions that are about the production of knowledge, values, dispositions, and subjectivities. They control them.

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.

Japanese management practices succeed simply because they are good management practices. This success has little to do with cultural factors. And the lack of cultural bias means that these practices can be - and are - just as successfully employed elsewhere.

The Japanese director Tadashi Suzuki once stated, 'International cultural exchange is impossible - therefore we must try.' I agree with all my heart. The impossibility of seeing beyond one's own cultural context is a political act in the world and has the potential to break down the rigid assumptions surrounding us.

I don't think it is wrong, racist, immoral or anything, for a country to say 'we will decide what the cultural identity and the cultural destiny of this country will be and nobody else'.

And make no mistake: irony tyrannizes us. The reason why our pervasive cultural irony is at once so powerful and so unsatisfying is that an ironist is impossible to pin down. All U.S. irony is based on an implicit "I don’t really mean what I’m saying." So what does irony as a cultural norm mean to say? That it’s impossible to mean what you say? That maybe it’s too bad it’s impossible, but wake up and smell the coffee already? Most likely, I think, today’s irony ends up saying: "How totally banal of you to ask what I really mean.

The beauty of when you watch good television or films is that, yes, you may have a multi-cultural cast but those roles could be anybody - they could be white, they could be black. To show the world that we have more in common than we have different with each other is to me the ultimate goal of all of that. It does help unite in people's mind the thought that people are the same. Yes, there's going to be cultural differences, but for the most part, we are all in the same gang as human beings.

Cultural differences should not separate us from each other, but rather cultural diversity brings a collective strength that can benefit all of humanity." Also: "Intercultural dialogue is the best guarantee of a more peaceful, just and sustainable world.

Different cultural and geological references inspire the collection as seen in ancient tribes and tradition.

I remember my emotions the day we watched Nelson Mandela walk out of prison Writing & literature in South Africa during the anti-apartheid years, became a 'cultural weapon.' You had to use it to fight apartheid & some of us resisted that in the end, you recognize that you are facing a government that has no scruples about using culture & art to oppress you.

What 'jazz' means to me is the worst kind of working conditions, the worst in cultural prejudice. The term 'jazz' has come to mean the abuse and exploitation of black musicians.

Modernity is the ensemble of changes - intellectual, political, economic, social, cultural, technological, aesthetic - that have altered the world drastically since roughly the 17th century, until which time the world was, in the above respects, far less different from the world of any previous epoch of recorded history than it is from the world of today. The modern predicament is the set of problems these changes have bequeathed us.

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

Southern writing is regional: it includes dialect, settings, and cultural traditions from that region. However the themes and story conflicts are universal. My challenge is to write regional fiction without falling into the trap of nostalgia. There are important issues facing the south that I believe should be raised in the stories to make them contemporary, believable, and relevant to today's readers.

Most countries want to bring their people together and tear down physical, commercial and cultural barriers. Anyone who proposes separating them is out of line.

Most Christian 'believers' tend to echo the cultural prejudices and worldviews of the dominant group in their country, with only a minority revealing any real transformation of attitudes or consciousness. It has been true of slavery and racism, classism and consumerism and issues of immigration and health care for the poor.

I've just always had a personal fascination with the myth of Abraham Lincoln. And once you start to read about him and the Civil War and everything leading up to the Civil War, you start to understand that the myth is created when we think we understand a character and we reduce him to a kind of cultural national stereotype.

I think the idea of the social construction of beauty - this idea that beauty is simply whatever culture or society says it is - is on the run. Of course, beauty does arise in a cultural context. No one ever denies that. But there's also a natural response people have to it.

We're not all the same. A common liberal refrain is that differences between individuals are statistically more significant than those between cultural, ethnic, and racial groups. I don't see why the fact of inter-individual differences would nullify inter-group variance. That's liberal logic for you.

If you're creating something that has some sort of cultural currency - if the idea is getting out there - then that will probably yield money in some form, whether it's through selling art or selling books or being asked to give a lecture.

It's not a gun control problem; it's a cultural control problem.

The notion of multiple literacies recognized that there are many ways of being-and of becoming-literate, and that how literacy develops and how it is used depend on the particular social and cultural setting.

All research in the cultural sciences in an age of specialization, once it is oriented towards a given subject matter through particular settings of problems and has established its methodological principles, will consider the analysis of the data as an end in itself.

The most active period of the witchcraft trials coincides with a period of lower than average temperature known to climatologists as the "little ice age"...In a time period when the reasons for changes in weather were largely a mystery, people would have searched for a scapegoat in the face of deadly changes in weather patterns. 'Witches' became target for blame because there was an existing cultural framework that both allowed their persecution and suggested that they could control the weather.

After two decades of reconstruction work, I want to work on projects that lay at the intersection of cultural diplomacy and national identity - ones that empower local communities to define progress, not have it sanctioned by others.

It's unfortunate that [Louis] Brandeis was not able to translate or abstract his devotion to cultural pluralism and racial equality as he put it for Jews to enslave people and their descendants and to African Americans.

Saul Bellow says, funny enough, what French think of your work is tremendously important. And it is. It's more than what the Italians, the Spanish, and the Germans think. Somehow it's still got that cultural primacy. I feel that too: to get praised in France is better than to get praised anywhere else.

The problem is we have to transcend cultural languages and fall into a phase with the communication systems that nature has placed all around us.

There's a cultural conviction that any 'artist' must have personal suffering to back up their work, otherwise there's something undeserved and therefore inauthentic about it, perhaps even some sort of cheating.

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.

I'm not saying that you need a State Department that looks like the litigation department of a major law firm. But you need people who are not afraid to make the case for the United States, who are not afraid to stand their ground, not afraid to be isolated in international organizations when that's the correct approach for our diplomacy. This is a cultural change that has to be effected through incentive systems, promotion systems, career training systems. This is not something that you can do with the stroke of a magic wand, it's going to take years to make this change.

The worst thing that can happen to anybody in this cultural environment is to fail.

I think historically modern economics, capitalist economics, tends to erode moral categories... And this is where I think the right gets capitalism wrong. They kind of assume that there is a moral equivalence or moral valence to capitalism, but I tend to think that economics erodes all the kind of cultural taboos and inhibitions and values it comes into contact with.

In 1989 I came to New York to go to the School of Visual Arts. Then, after two years, I switched over to the New School for Social Research and did cultural anthropology in the graduate school there.

With Tatars, the situation is a little bit more complex. They are geographically very isolated so they need the rest of Russia. When they pump oil, they need pipelines to deliver it so they need those connections. We in Siberia don't need those connections. The only thing which actually sticks us together is the cultural similarities and the relatives that are on both sides of the Ural mountains.

The reason ... our pervasive cultural irony is at once so powerful and so unsatisfying is that an ironist is impossible to pin down.

The language of the culture also reflects the stories of the culture. One word or simple phrasal labels often describe the story adequately enough in what we have termed culturally common stories. To some extent, the stories of a culture are observable by inspecting the vocabulary of that culture. Often entire stories are embodied in one very culture-specific word. The story words unique to a culture reveal cultural differences.

The imbalance between developed and underdeveloped countries - caused by the relationships of dependence - becomes more acute if the cultural point of view is taken into consideration.

As a surfer, I am interested in the ocean. And I am concerned and interested in all of these natural and cultural rumblings underfoot as well.

Apple has struck a cultural nerve, especially with Generation X and Gen Y, while Windows and PC are viewed in essence as 'My parents' computer'.

A cultural snob is someone who claims to be familiar with the incomprehensible.

With an age difference comes a great gap in cultural references, and so on. It's not all about race and gender. It interests me that, as you get older, your younger self becomes a stranger to you. A split occurs within yourself. But maybe we're all always strangers to ourselves.

I have very mixed feelings about Jesse Jackson. He's very good about labor, and human and civil rights issues, but not so good on cultural issues.

Yes I can list all sorts of organizational forms and cultural issues that can get in the way of our accessing our inner creativity and bringing it out in our world. And we can use all kinds of approaches that can transform the organization. But unless we have developed a sense of our Self (who we are at core, at our highest) and our Work (the purpose of our existence, the gift that we have to give to the world) and use that to deal with the inner obstacle, we can't sustain creativity in the face of the chaos of the world.