"propaganda"タグの名言

The most effective way to destroy people is to deny and obliterate their own understanding of their history.

Popular culture is a place where pity is called compassion, flattery is called love, propaganda is called knowledge, tension is called peace, gossip is called news, and auto-tune is called singing.

La filosofía nos enseña a sentir incertidumbre ante las cosas que nos parecen evidentes. La propaganda, en cambio, nos enseña a aceptar como evidentes cosas sobre las que sería razonable suspender nuestro juicio o sentir dudas.

A rumor is a social cancer: it is difficult to contain and it rots the brains of the masses. However, the real danger is that so many people find rumors enjoyable. That part causes the infection. And in such cases when a rumor is only partially made of truth, it is difficult to pinpoint exactly where the information may have gone wrong. It is passed on and on until some brave soul questions its validity; that brave soul refuses to bite the apple and let the apple eat him. Forced to start from scratch for the sake of purity and truth, that brave soul, figuratively speaking, fully amputates the information in order to protect his personal judgment. In other words, his ignorance is to be valued more than the lie believed to be true.

We become slaves the moment we hand the keys to the definition of reality entirely over to someone else, whether it is a business, an economic theory, a political party, the White House, Newsworld or CNN.

The point of modern propaganda isn't only to misinform or push an agenda. It is to exhaust your critical thinking, to annihilate truth.

Take lightly what you hear about individuals. We need not distort trust for our paltry little political agendas. We tend to trust soulless, carried information more than we trust soulful human beings; but really most people aren't so bad once you sit down and have an honest, one-on-one conversation with them, once, with an open heart, you listen to their explanations as to why they act the way they act, or say what they say, or do what they do.

The media—stenographers to power.

Was man wünscht, das glaubt auch jeder.

FRUITS AND NUTS Keep jumping around them like monkeys. The clones, Commercialized zombies, And the TV junkies. Keep throwing berries, Twigs, And nuts at them. Until they wake up To see what's up And figure out why We're laughing at 'em.

Nobody knows how many North Koreans have died or are dying in the famine—some estimates by foreign-aid groups run as high as three million in the period from 1995 to 1998 alone—but the rotund, jowly face of Kim Il Sung still beams down contentedly from every wall, and the 58-year-old son looks as chubby as ever, even as his slenderized subjects are mustered to applaud him.

I'm sorry if Fox news hasn't told you this.... that doesn't mean it's not true.

How do you know... how do you know anything... US officials are making Maduro sounds like a corrupt, evil dictator... almost like a Stalin! Then the alternative voices (Thank God) are saying well they seem to like Maduro just fine over there... and since there must be nothing else to do in the world, US is just playing the old game of 'stop hitting yourself' let's do sanctions, and freeze your assets, and then... THEN LOOK MADURO'S STARVING HIS PEOPLE! Umm. Ya... no. I guess it really doesn't take a lotta brain to be a diplomat.

I have very strong opinions and don’t want to give them up.. That’s your problem! You’ll be screwed up by those who have the same opinions as you and by those who have the opposite opinions.

Doubt is crucial to science in the version we call curiosity or healthy scepticism, it drives science forward – but it also makes science vulnerable to misrepresentation, because it is easy to take uncertainties out of context and create the impression that everything is unresolved. This was the tobacco industry's key insight: that you could use normal scientific uncertainty to undermine the status of actual scientific knowledge.

I was hungry when I left Pyongyang. I wasn't hungry just for a bookshop that sold books that weren't about Fat Man and Little Boy. I wasn't ravenous just for a newspaper that had no pictures of F.M. and L.B. I wasn't starving just for a TV program or a piece of music or theater or cinema that wasn't cultist and hero-worshiping. I was hungry. I got off the North Korean plane in Shenyang, one of the provincial capitals of Manchuria, and the airport buffet looked like a cornucopia. I fell on the food, only to find that I couldn't do it justice, because my stomach had shrunk. And as a foreign tourist in North Korea, under the care of vigilant minders who wanted me to see only the best, I had enjoyed the finest fare available.

It is always a much easier task to educate uneducated people than to re-educate the mis-educated.

Jede Propaganda ist so gefährlich wie die Dummheit, auf die sie trifft.

Education is not the learning of corporate government propaganda, but of training the mind to filter facts from fiction.

The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.