A Quote by E. L. Doctorow
I worry about images. Images are what things mean.
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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.
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.
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.
What Warcollier demonstrated is compatible with what modern cognitive neuroscience has learned about how visual images are constructed by the brain. It implies that telepathic perceptions bubble up into awareness from the unconscious and are probably processed in the brain in the same way that we generate images in dreams. And thus telepathic “images” are far less certain than sensory-driven images and subject to distortion.
If we can be cheered up by positive images we can be depressed by negative ones. As long as we accept images as realities we are in that trap, because you can't control the images.
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.
You need to learn to see and compose. The more time you waste worrying about your equipment the less time you'll have to put into creating great images. Worry about your images, not your equipment.
Although images of perfection in people's personal lives can cause unhappiness, images of perfect societies - utopian images - can cause monstrous evil. In fact, forcefully changing society to conform to societal images was the greatest cause of evil in the twentieth century.
In some areas, [Getty Images has] more images than the rest of the market put together. But libraries are being built up at a terrific pace. A photographer in a lifetime will produce maybe a million images, and there are about 15,000 professionals at work out there.
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.
Our world is so glutted with useless information, images, useless images, sounds, all this sort of thing. It's a cacophony, it's like a madness I think that's been happening in the past twenty-five years. And I think anything that can help a person sit in a room alone and not worry about it is good.
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.
You can't be a passive recipient of images, you have to engage with images and read their subtexts. These are critical things that will be taught to the students by a film club.
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’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.
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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