Quotes About Cultural

It's very hard to try to be a cultural . . . people who organize cultural things . . . it's very complicated. And more so in a country like Guatemala.

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

[Museums] all belongs to the cultural department, which is the biggest cultural department in the world.

I know of no civilization that tolerates or justifies violence, terrorism, or injustice. There is no civilization that justifies the killing of innocent people. Those who are invoking cultural relativism are really using that as an excuse for violating human rights and to put a cultural mask on the face of what they're doing.

You can't write for the cultural environment - if you do that, by the time it comes out, that cultural environment has passed. You have to be aiming for something that's original - that's the only way you can have any kind of impact.

We accept it as normal that people who have never been on the land, who have no history or connection to the country, may legally secure the right to come in and, by the very nature of their enterprises, leave in their wake a cultural and physical landscape utterly transformed and desecrated. What's more, in granting such mining concessions, often initially for trivial sums to speculators from distant cities, companies cobbled together with less history than my dog, the government places no cultural or market value on the land itself.

I think a lot of Indians want Indian artists to be cultural cheerleaders rather than cultural investigators.

Even the favorite reviews, the audience response is the movie is too slow, deliberately slow. But for the Chinese audience, the biggest complaint is it happens too quick. I think the historical background that build into our genes is different. American people has never been occupied. The deep sadness and sentimentality, the cultural background that relates to melodrama that we relate to and grow up with, the propaganda, I didn't imagine the difference is so big. It's a very interesting cultural phenomenon.

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'.

...discussing cultural relativism with cultural relativists is like playing tennis with some guy who says, "Your ace is just a social construct.

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.

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.

Malcolm X is a person who has inspired - he has been the muse of several generations of black cultural workers, artists, poets, playwrights.

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.

Our task is to build cultural fortresses to protect our emerging nativeness. They must be strong enough to hold at bay the powers of consumerism, the powers of greed and envy and pride. One of the most effective ways for this to come about would be for our universities to assume the awesome responsibility to both validate and educate those who want to be homecomers -- not necessarily to go home but to go someplace and dig in and begin the long search and experiment to become native.

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.

Moreover, as America becomes an increasingly multi-cultural society, it may find it more difficult to fashion a consensus on foreign policy issues, except in the circumstance of a truly massive and widely perceived direct external threat.

Excessive economic, social and cultural inequalities among peoples arouse tensions and conflicts, and are a danger to peace.

Regarding social order, [Francis] Fukuyama writes, "The systematic study of how order, and thus social capital, can emerge in spontaneous and decentralized fashion is one of the most important intellectual developments of the late twentieth century." He correctly attributes the modern origins of this argument to F. A. Hayek, whose pioneering contributions to cognitive science, the study of cultural evolution, and the dynamics of social change put him in the forefront of the most creative scholars of the 20th century.

Like a shadow that does not permit us to jump over it, but moves with us to maintain its proper distance, pollution is nature's answer to culture. When we have learned to recycle pollution into potent information, we will have passed over completely into the new cultural ecology.

I make films as a business, not as a cultural endeavor.

Many critics see international trade as a form of cultural imperialism that must be strictly controlled.

Reggae, oh man. It's the ultimate music. The positivity. The musicality. The whole cultural expressionism of it. The danceability. Just the cool factor. The melody factor. Some of it comes from a religious place. If there were a competition of who makes the best religious music, it would definitely be the Rastafarian reggae.

When I began writing science fiction in the middle 60s, it seemed very easy to find ideas that took decades to percolate into the cultural consciousness; now the lead time seems more like eighteen months.

It seems far simpler to go ahead and say that the epic is a fantastic myth, that happens to be true of the material Universe, that other myths are true in terms of their cultural meaning, and that there's absolutely no problem with holding more than one story, just as there's no problem with viewing the sunset in terms of planetary rotation and spectra and nuclear fusions one moment and as visual splendor the next.

My activism has to do with my conscience; I cannot let certain things slide without doing something. My public speaking is part of an art form that is cultural.

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.

Culture is more often a source of conflict than of synergy. Cultural differences are a nuisance at best and often a disaster.

Scientists and artists are both living in the cultural milieu that they come up in. They're always responding to what is happening culturally.

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.

[Cultural departments] don't care about culture. Maybe they're the furthest from the people who understand culture.

The Belgians tend to downplay the cultural divide issue, and the far-right issue, but there's a staggering degree of casual racism in Belgium, much worse than in the UK.

I believe that we are again engaged in a great civil war, a cultural way that's about to hijack your birthright to think and say what resides in your heart. I fear you no longer trust the pulsing lifeblood of liberty inside you... the stuff that made this country rise from wilderness into the miracle that it is.

Even if it is true that all cultures share a common morality, why does this prove a supreme intelligence? After all, don't we humanists sometimes claim that there is a common thread of humanistic values running through history across cultural and religious lines?

I'm completely uninterested in the origins of Stonehenge. I don't care about the real story behind it or whether it should be saved or not. What I'm interested in is this: in the Victorian era, you could go there as an early cultural tourist and you were given a chisel to chip off a bit of the stones and take it with you. That's what you did in Victorian times.

Materialism is not fundamentally an economic problem, but a cultural one... a spiritual issue. It runs to the depths of our souls, and, for this reason, needs to be understood less in terms of budgets or fiscal cycles and more in terms of where we locate the sacred, of where we search for meaning and transcendence, and of how we think about justice, equality, and the future of our world.

You have to define how much of a cultural politician you are as a performer. There are times where I just want to remain a civilian.

Women have always been healers. Cultural myths from around the world describe a time when only women knew the secrets of life and death, and therefore they alone could practice the magical art of healing... The emergence of women whose consciousness blends with the ancient themes of healing is the single most promising event in health care.

Those cultural wars, Sexual Revolution issues are fading from the scene, and the coming generation has basically settled them.

We are increasingly recognising and accepting, respecting and celebrating, our cultural diversity.

A lot of native culture has been destroyed. So you already feel lost inside your culture. And then you add up feeling lost and insignificant inside the larger culture. So you end up feeling lost squared. And to never be recognized, to never have any power, you know, other minority communities actually have a lot of economic, cultural power.

The "encounter" with the people on the peripheries is intended to draw them into the circle of common care and concern - that call to encounter is, to use a favorite world of John Paul II's, a call to solidarity. And that means, it seems to me, aggressive Catholic efforts to empower the poor - and a profound Catholic challenge to all those cultural forces that are eroding stable families, which are the elementary schools where we learn to take responsibility for our lives, which is the highest exercise of freedom.

I suspect that many of the great cultural shifts that prepare the way for political change are largely aesthetic. A Buick radiator grille is as much a political statement as a Rolls Royce radiator grille, one enshrining a machine aesthetic driven by a populist optimism, the other enshrining a hierarchical and exclusive social order.

It is this capacity for relentless self-criticism that should be - everywhere - the true measure of intellectual freedom and cosmopolitanism, not the entrenched cultural power and self-congratulatory moral rhetoric of some people in countries long accustomed to telling other societies what to do and how to behave.

We need to invest in clean energy technologies. We need to rush them to market while rebuilding our energy networks intelligently. And it's imperative that we push toward a cultural shift away from energy waste to respectful conservation with fierce commitment that will carry us to the other side.

I was searching for something a little more than a dashing metaphor, a good deal less than a cultural map: and for those purposes the two cultures is about right.

The basic premise of taste, as Stephen Bayley, the cultural critic, said, is that taste is that which does not alienate your peers. Most people want to fit in with their tribe in some way or another, so they give off signals, whether it's with their clothes, their behavior, their car, their whatever, and gain status. Every tribe has a hierarchy, and that's what taste is: it's an unconscious display of who you are, and where you want to be.