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Stan

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Stan’s Quotes

“To hell with the future. It's a man-eating idol.”
― Ivan Illich

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“The division of the world which followed defined certain parts of the world as ‘nature’, that is, as savage, uncontrolled and, therefore, open for exploitation and civilizing efforts… the process of naturalization’ did not affect only the colonies as a whole and women of the working class the women of the bourgeoisie also were defined into nature as mere breeders and rearers of the heirs of the capitalist class. But in contrast to the African women who were seen as part of ‘savage’ nature, the bourgeois women were seen as ‘domesticated’
nature.”
― Maria Mies

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“The nearest analogy to the addictive power of television and the transformation of values that is wrought in the life of the heavy user is probably heroin. Heroin flattens the
image; with heroin, things are neither hot nor cold; the junkie looks out at the world certain that what ever it is, it does not matter. The illusion of knowing and of control that heroin
engenders is analogous to the unconscious assumption of the television consumer that what is
seen is 'real' somewhere in the world. In fact, what is seen are the cosmetically enhanced surfaces of products. Television, while chemically non-invasive, nevertheless is every bit as addicting and physiologically damaging as any other drug.”
― Terrance McKenna

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“The intensity of mattering, while ideologically constructed, is nevertheless always beyond
ideological challenge because it is called into existence affectively.”
― Linda Kintz

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“As one of the most pervasive forms of cultural narrative in industrialized societies, commercial film serves as an extremely powerful vehicle of myth… To some extent the scripts that do get picked up manage to be supported because they already articulate a culture’s social imaginary – the prevailing images a society needs to project about itself in order to
maintain certain features of its organization. This social imaginary is not simply encoded in a film or decoded by the viewer from the film’s formal structures. Rather, the mythic
meanings of films are the effect of a social and dynamic process of meaning-making in which their production and reception participate. Any film text comes to make sense by means of the
historically available modes of intelligibility – a variety of assumptions about reality – through which the spectator chains together the film’s signifiers into a meaningful story.”
― Rosemary Hennessy

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