A Quote by Anais Nin
I will not be just a tourist in the world of images, just watching images passing by which I cannot live in, make love to, possess as permanent sources of joy and ecstasy.
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I will not be just a tourist in a world of images.
We live in the world of images, but we also live in the world of the Internet, of zapping and where people move. You can make little videos on your phone. I love very composed images, but the idea of moving pictures with a story, with a plot is quite interesting, too.
Others of them employ outward marks ... They style themselves Gnostics. They also possess images, some of them painted and others formed from different kinds of material. They maintain that a likeness of Christ was made by Pilate at that time when Jesus lived among them. They crown these images, and set them up along with the images of the philosophers of the world, such as Pythagoras, Plato, and Aristotle, and the rest. They have also other modes of honoring these images just like the Gentiles.
I am myself a professional creator of images, a film-maker. And then there are the images made by the artists I collect, and I have noticed that the images I create are not so very different from theirs. Such images seem to suggest how I feel about being here, on this planet. And maybe that is why it is so exciting to live with images created by other people, images that either conflict with one's own or demonstrate similarities to them.
Computer images, like camera images today, will be seen as representations of a simulated, second-degree reality with little or no connection to the unmediated world. This is one lesson we can learn from photographs, and especially from those of the last 25 years: images exist not to be believed, but to be interrogated.
Only a few kinds of images force you to shut your eyes: death, suffering, the opening of the body, some aspects of pornography for some people, and for others, giving birth. In this case, the eyes become black holes in which the image is absorbed willingly or unwillingly, these images are swallowed up and hit just where it hurts, without passing though the usual filters.
We live in a society that has no adequate images anymore, and if we do not find adequate images and an adequate language for our civilization with which to express them, we will die out like the dinosaurs.
It's the same with visual arts, you have some really cool, wonderful striking images that make you think and then again you have wonderful striking images that just take you away from the existing world for a second. And I like the latter a bit more.
It's the same with visual arts, you have some really cool, wonderful striking images that make you think and then again you have wonderful striking images that just take you away from the existing world for a second. And I like the latter a bit more
To suffer is one thing; another thing is living with the photographed images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate. It can also corrupt them. Once one has seen such images, one has started down the road of seeing more - and more. Images transfix. Images anesthetize.
To make images is a way of ordering one's world, of exploring and understanding one's relationship to existence. ... The images we make are often ahead of our understanding, but to say "yes" to a subject is also to have recognized, however dimly, a part of oneself; to live with that image, to accept its significance is perhaps to grow in understanding.
... art is images you carry. You cannot carry nature with you, but you carry images of nature. When you go out to make a picture you find you are moved by something which is in agreement with an image you already held within yourself.
Images exist; things themselves are images... Images constantly act on and react to one another, produce and consume. There is no difference between images, things and movement.
We’re face to face with images all the time in a way that we never have been before... Young people need to understand that not all images are there to be consumed like fast food and then forgotten – we need to educate them to understand the difference between moving images that engage their humanity and their intelligence, and moving images that are just selling them something.
We are entering into an age in which visual language is defined by a dialogue between photographers and audiences. This means not just the democratic posting of images but the democratic interpretation of images.
Images have become our true sex objects. It is this promiscuity and the ubiquity of images, this viral contamination of images which are the fatal characteristics of our culture.
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