A Quote by Burton Silverman
We do not see everything in the environment in the complete, totally resolved, explicit character of the photograph. We, in fact, prioritize our seeing.
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The photograph suggests that our image of reality is made up of images. It makes explicit the domination of mediation.
No one is offended at not seeing everything; but one does not like to be mistaken, and that perhaps arises from the fact that man naturally cannot see everything, and that naturally he cannot err in the side he looks at, since the perceptions of our senses are always true.
But I always liked the fact that you get these totally unacceptable images, but they're taken by a really expensive photographer, with great light, and in terms of the quality of the photograph it's a great photograph, but in terms of imagery it's unacceptable, and I like that contradiction.
There are a lot of very religious scientists around. I think the problem here is that in our school systems, and to some degree - and this is where it is relevant - with school boards around the country that are mandating curriculums and textbooks, you start seeing this weird watering down of scientific fact so that our kids are growing up in an environment - and this connects to what I was saying earlier abou the media - where everything's contested. Where nothing is true.
I'll see a photograph of a character and try to copy them on to my face. I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.
A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.
A good photograph will prove to the viewer how little our eyes permit us to see. Most people, really, don’t see-see only what they have always seen and what they expect to see-where a photographer, if he’s good, will see everything. And better if he sees things he doesn’t expect to see.
That the outer man is a picture of the inner, and the face an expression and revelation of the whole character, is a presumption likely enough in itself, and therefore a safe one to go on; borne out as it is by the fact that people are always anxious to see anyone who has made himself famous. Photography offers the most complete satisfaction of our curiosity.
We have at our disposal modern techniques for seeing everything, apprehending everything, yet we see nothing.
As far as the surface is concerned - oil on canvas, conventionally applied - my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.
What is known can't jerk us around unwittingly. Before anything can be resolved, the implicit must be made into the explicit.
When I served as prime minister last time, I failed to prioritize my agenda. I was eager to complete everything at once, and ended my administration in failure. After resigning, for six years I traveled across the nation simply to listen.
I'm good at using my face as a canvas… I'll see a photograph of a character and try to copy them on to my face. I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.
I love the idea of seeing a character - I mean, there's nothing like seeing a character and having the huge detail and roundness that a character in a book can give you. It's so much more full than a character in a script can give you, isn't it?
A great photograph needs no explanation; it functions by suggestion. There is no need to be explicit.
A photograph is a photograph, a picture, an image, an illusion complete within itself, depending neither on words, reproductive processes or anything else for its life, its reason for being.
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