A Quote by Bela H. Banathy
Evolutionary learning calls upon our creative potentials as it empowers us to envision images of the future and bring those images to life by design.
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A crowd thinks in images, and the image itself calls up a series of other images, having no logical connection with the first...A crowd scarcely distinguishes between the subjective and the objective. It accepts as real the images invoked in its mind, though they most often have only a very distant relation with the observed facts....Crowds being only capable of thinking in images are only to be impressed by images.
Positive images of the future are a powerful and magnetic force... They draw us on and energize us, give us courage and will to take on important initiatives. Negative images of the future also have a magnetism. They pull the spirit downward in the path of despair.
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.
Cameras are simple tools designed to capture images. Images that tell us more about ourselves than we realize. They remind us of the long journey we’ve taken. The loved ones who traveled alongside of us. Those we lost along the way. And those waiting for us on the road ahead.
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.
First, those images help us understand the general and specific magnitude of disaster caused by the tsunami. The huge outpouring of aid would not have happened without those images.
Philiosophers like Hume and Descartes and Hobbes saw things similarly. They thought that mental images and ideas were actually the same thing. There are those today that dispute that, and lots of debates about how the mind works, but for me it's simple: Mental images, for most of us, are central in inventive and creative thinking.
The power of Hollywood, as we know, is that it can create these images in people's minds, and they live with those images for their whole life.
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.
When I do only images, people don't connect with the images because the images are too weird to understand. But when I explain the weird images with straight words, then all of a sudden there is a tension between the two that the audience wants to see.
Elizabeth A. Johnson explains that including divine female symbols and images not only challenges the dominance of male images but also calls into question the structure of patriarchy itself.
We know only what we do, what we make, what we construct; and all that we make, all that we construct, are realities. I call them images, not in Plato's sense (namely that they are only reflections of reality), but I hold that these images are the reality itself and that there is no reality beyond this reality except when in our creative process we change the images: then we have created new realities.
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.
We are carrying these images out into the world, and we can't control how people contextualize those images no matter how virtuous our aspirations and our intentions are.
Creativity is not a solitary movement. That is its power. Whatever is touched by it, whoever hears it, sees it, senses it, knows it, it's fed. That is why beholding someone else's creative word, images, idea, fills us up, and inspires us to our own creative work. A single creative act has the potential to feed a continent. One creative act can cause a torrent to break through stone.
Making photographs that dealt with the understanding of who I am as a gay man and dealt with the process of accepting that, and also accepting what I'm into sexually, what sexually arouses me. So I was making these images not necessarily knowing what they were about, but just putting it out there - that mode of thinking or consideration of my own desires, and also the much larger conversation around images that deal with ideas of sexuality and how those images are distributed and then accepted or understood by whoever is viewing those images.
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