“We need those warriors of the future, we need people who are going to battle in all of the things that we face in challenges every day – the entrenched poverty in this country through to the changes that we need to make in our education system, in our health system. Women have to be part of those battles and if we don’t empower them digitally then I don’t believe we’re going to have as competitive an economy as we could.”
representation
Women in games are not a technology problem
“Look, technology is not the problem here. Thinking of male characters as “default” and female characters as “extra” is the problem, as is a history of poor representation in games meaning there are fewer existing assets that can be reused. You fix that by recognising that it’s not a tech issue. You fix it with planning, with remedial work so that you have as many stock female assets as stock male ones, with processes that don’t place the ability to fiddle with a character’s weapon loadout ahead of their gender. You can’t fix that with polygons. You fix that with people.”
The Bechdel Test
“Yes, the Bechdel Test. It’s named for Alison Bechdel, who is a comic book creator. The test is, are there two named women in the film? Do they talk to each other? And is it about something other than a man? I actually think the Bechdel Test is a little advanced for us sometimes. I have one called the Sexy Lamp Test, which is, if you can remove a female character from your plot and replace her with a sexy lamp and your story still works, you’re a hack.”
— Comic book writer Kelly Sue DeConnick (Captain Marvel, Avengers Assemble)
One size does not fit all: Context matters greatly, for Conscientious Extended, July 2012.
“We all know that all photography is fiction: as a photographer you make choices, which influence the photograph enough for it to be more of a fiction than a fact. That’s photography for you. That’s just the way it is. But the photojournalist’s task, no actually the photojournalist’s duty is to minimize the amount of fiction that enters her/his photography. We are quite aware of the problem in the news context – this is, after all, the context where the problems with image manipulation come up regularly – so we expect photographs in this context to be as truthful as they can be. The problem with InstaHip in this particular context is it adds a huge amount of fiction to photography, simply by its aesthetic.”
—Joerge Colbert
— via fette
Masters of photography – Diane Arbus (documentary, 1972)
Someone must have sent me this or linked to it recently, because it was in my “watch later” list on the Youtubes.
I listened to it three times today already whilst working, I might listen to it again.
“Everybody has that thing when they need to look one way but they come out looking another way and that is what people observe.
You see someone on the street and essentially what you notice about them is the flaw.
It’s just extraordinary that we should be given these peculiarities and not content with what we were given we create a whole other set. Our whole guise is like giving a sign to the world to think of us a certain way.
But there’s a point between what you want people to know about you and what you can’t help people knowing about you, and that has to do with. what I have always called, the gap between intention and effect.”
“The idea of producing variations on a work from the past was probably inspired by Picasso who reinterpreted works by Grünewald, Delacroix, Manet, Gauguin and Velazquez himself.”
“Picasso is the reason why I paint. He is the father figure, who gave me the wish to paint……Picasso was the first person to produce figurative paintings which overturned the rules of appearance; he suggested appearance without using the usual codes, without respecting the representational truth of form, but using a breath of irrationality instead, to make representation stronger and more direct; so that form could pass directly from the eye to the stomach without going through the brain.”
Paul Greer 