We've been criticizing these superficial aspects, like whether we are all more distracted. We really need to articulate a defense, a critique, that merges awareness of the technology with a more traditional, progressive, left-wing critique of the market.
We must experiment, fail, and try again, but beginning with a critique of legal reform and a commitment to center the most vulnerable moves us away from some of the most common, obvious pitfalls of neoliberal social movement strategies.
There is a way to support the art and to allow and encourage the art to flourish while being critical. In fact, I find in teaching that self-critique is one of the best ways to have your art grow, but if you start tearing yourself down then, it's not going to go anywhere. I feel the same about critics. I feel that's happening all too often.
Intellectual traditions emerging from populations that have always been the constitutive other in the development of the properly free citizen - indigenous people, populations labeled physically or mentally unfit, black people, migrants, women, prisoners - have always produced robust critiques of the what Dylan Rodriguez calls "white bourgeois freedom."
When I have to critique someone else's web design, rather than write up a giant email or take a screengrab and move stuff around in Photoshop, I put together a really quick CSS doc making my changes.
Online media is the future, and younger feminists are already instrumental in using social media and multi-media platforms on the web to document street harassment, archive and critique the media, and create art.
I find it's too much for me to read endless critiques, even if we're being well-defended, of exactly what we're doing. When someone tells us something we're doing wrong on the boards, we try to respond, we try to be responsive to the fan boards, but yeah, I can't read them.
It's not my job to critique the writing. I'm there to serve it. I had to figure out a way to make it work.
I don't say things straight into the other person's face. I kind of like to make a joke or a remark and make it digestible or just give a little comment that voices my concern, but is not meant to be a critique, but just a comment so that he understands that I am thinking.
The importance of the Beats is twofold: first, they act out a critique of the organized system that everybody in some sense agrees with. But second-and more important in the long run-they are a kind of major pilot study of the use of leisure in an economy of abundance.
Critical Race Theory offers a critique of how law and certain law reform strategies misunderstand the actual operation of life-shortening state violence, and how that has produced a set of reforms that fail to actually transform material conditions of white supremacy. These critiques redirect our attention to the conditions we aim to transform.
My work is heavily influenced by critiques that many critical intellectual traditions, especially Critical Race Theory, have made of reform projects focused on legal equality.
I am itching to criticize some well-regarded writers' works, but I am not doing it because I am perfectly aware that my critique could easily be reduced to envy or just plain meanness.
In its artless cruelty, Dallas is superior to any "intelligent" critique that can be made of it. That is why intellectual snobberymeets its match here.
All philosophy is a 'critique of language' (though not in Mauthner's sense). It was Russell who performed the service of showing that the apparent logical form of a proposition need not be its real one.
... feminist solidarity rooted in a commitment to progressive politics must include a space for rigorous critique, for dissent, orwe are doomed to reproduce in progressive communities the very forms of domination we seek to oppose.
... the outcome of the Clarence Thomas hearings and his subsequent appointment to the Supreme Court shows how misguided, narrow notions of racial solidarity that suppress dissent and critique can lead black folks to support individuals who will not protect their rights.
You can't expect to be on MTV and critique George Bush. You can't expect to be on BET or the cover of 'The Source' advocating Jesus Christ or Buddha or Hindu Krishna or Moses. As a conscious rap artist, you have to play in the arena that you're supposed to be in. What is that arena? That arena is the college market. The conscious rap artist woos the college market, even though the college market is the wildest, most sexed-out, drug-driven market in the country, possibly the world.
If I were to critique myself - step out of KRS objectively and look at him - I would say that KRS has introduced the concept of being hip-hop, not just doing it. The concept of rap as something we do, while hip-hop is something we live. The concept of living a culture. Don't just look at hip-hop as rap music, see it as a culture.
Poetry can be criticized only through poetry. A critique which itself is not a work of art, either in content as representation of the necessary impression in the process of creation, or through its beautiful form and in its liberal tone in the spirit of the old Roman satire, has no right of citizenship in the realm of art.
If the mystical lovers of the arts, who consider all criticism dissection and all dissection destruction of enjoyment, thought logically, an exclamation like "Goodness alive!" would be the best criticism of the most deserving work of art. There are critiques which say nothing but that, only they do so more extensively.
In order for me to engage in a revolutionary struggle for collective Black self-determination, I have to engage feminism because that becomes the vehicle by which I project myself as a female into the heart of the struggle, but the heart of the struggle does not begin with feminism. It begins with an understanding of domination and with a critique of domination in all its forms.
I would very honestly just tell you that what I tried to do was simply respond to inquiries from people as they came in. Where I've thought I could say something useful, I've tried to add a voice that was, frankly, a dissident voice earlier on, but one that I think has become a more mainstream voice-and not because I've shifted. I think that the critique I had of what was going on in our financial system from six, eight years ago-after seeing some of what we've suffered through and even since the cataclysm itself-in terms of the structural changes.
For Keeping the Faith, I looked at [George ] Cukor's old films like The Philadelphia Story, stuff that's hilariously funny and really smart with a cutting critique in the humor, too. With this, when I read it, I was laughing a lot.
One of the great things about the Internet is that you can read what everybody has to say about everything. It is fascinating to me, the critiques about humor by people who have no sense of humor.
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