A Quote by Craig Owens
The postmodernist critique of representation undermines the referential status of visual imagery, its claim to represent reality as it really is - either the appearance of things or some ideal order behind or beyond appearance.
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I always look at that stuff as something that's not a separate entity from the music but a visual representation of the music. I feel like your external appearance should be in harmony with your internal appearance. That's mainly our approach to the visuals.
You can reach timelessness if you look for the essence of things and not the appearance. The appearance is transitory — the appearance is fashion, the appearance is trendiness — but the essence is timeless.
If you seek the kernel, then you must break the shell. An likewise, if you would know the reality of Nature, you must destroy the appearance, and the farther you go beyond the appearance, the nearer you will be to the essence.
Most loverspicture to themselves, in their mistresses, a secret reality, beyond and different from what they see every day. They are in love with somebody else--their own invention. And sometimes there is a secret reality; and sometimes reality and appearance are the same. The discovery, in either case, is likely to cause a shock.
Appearance versus reality? Appearance is reality, God damn it!
What lies behind appearance is usually another appearance.
My self-confidence didn't come from my appearance, it came from other things that I did. But certainly not my appearance.
It's thought that about 96% of us have visual imagery, and there's a very tiny minority in the population, some of whom are normal, some of whom have brain lesions, who cannot produce visual imagery.
Reality changes; in order to represent it, modes of representation must change.
There are shadows for the shadows of things, as a reflection seen in a mirror of a mirror. We know there are circles within circles and dimensions beyond dimension. Reality is itself a shadow, only an appearance accepted by those whose eyes shun what might lie beyond.
I think that I'm always trying to get beyond the surface appearance of things, to go beyond what I can just see.
The aim of art is to represent not the outward appearance of things, but their inward significance.
The plastic artist may or may not be concerned with presenting a superficial appearance of reality, but he is always concerned with the presentation - if not the representation - of the plastic values of reality.
There is something evocative about the idea of destruction. This act of destruction is the expression of an idea... that what we call reality is not real at all. When I draw a head, for example, I immediately feel an urge to destroy it, to erase it, because the drawing only captures an outward appearance, and for me the vital issue is what lies behind the visual form of the head.
I know that in some ways I operate from a kind of antiquated interest in imagery, while many contemporary poets are not so interested in imagery. I think part of it is my training, and just my visual sense of things.
Perceiving how things are is a mode of exploring how things appear. How they appear is, however, an aspect of how they are. To explore appearance is thus to explore the environment, the world. To discover how things are, from how they appear, is to discover an order or pattern in their appearance. The process of perceiving, of finding out how things are, is a process of meeting the world; it is an activity of skillful exploration.
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