A Quote by Ian Hacking

Some people say they use images to help them remember intricacies. Others say they just remember. If they are able to form an image of the face, it is because they remember how it was: it is not that an image guides memory, but that memory produces an image, or the sense of imaging. We have no agreed way to talk clearly about such things.
You do remember things that people say in movies. You remember particular lines and things that are funny. But, you also remember really strong images. Images have a way of bypassing your brain and hitting you emotionally.
All images generated by imaging technology are viewed in a walled-off location not visible to the public. The officer assisting the passenger never sees the image, and the officer viewing the image never interacts with the passenger. The imaging technology that we use cannot store, export, print or transmit images.
I remember everything, even the dates. But I don't want others to remember the details, just the image.
You do remember things that people say in movies. You remember particular lines and things that are funny. But, you also remember really strong images. Images have a way of bypassing your brain and hitting you emotionally. There are so many things from movies that are remembered, that are just looks on people's faces or incredible vistas or beautiful pictures. That is a very important part of cinema.
When you bounce your eyes away from a sexual image, immediately pull from your memory a pure image. Maybe a wedding picture, or a vacation experience with your family, or your buddies. There are thousands of positive images you can pull from your memory within seconds to replace the sexual images you're tempted with.
A story is ultimately a memory. It's important when you're telling a story to think about why this memory is a memory. You don't remember everything in life; you just remember certain things - so, why this one?
People have a good image of me. It's not these tramps who are going to tarnish my image. They should stop lying to the French people. It annoys me that people talk about 'your image'. My image is great in France. When I'm abroad, I don't even talk about it. But in France it's just these people, these parasites.
What ends up happening is people form images and the image they form is, in some ways, what they want it to be. The idea of trying to correct the image is something I'm not interested in doing.
The image can only be studied through the image, by dreaming images as they gather in reverie. It is a non-sense to claim to study imagination objectively since one really receives the image only if he admires it. Already in comparing one image to another, one runs the risk of losing participation in its individuality.
The reason why we want to remember an image varies: because we simply 'love it,' or dislike it so intensely that it becomes compulsive, or because it has made us realize something about ourselves, or has brought about some slight change in us. Perhaps the reader can recall some image, after the seeing of which he has never been quite the same.
I actually think some of the rappers can help our image, because the thing I'm concerned about is the NBA's image. I always want our image to be on the rise, and if the rappers can help young players get business-minded, then I'm all for it.
After you've read a novel, you only retain a vague memory of its contents. You remember the atmosphere, the odd image or phrase or vivid cameo.
If there is any realm where distinction is especially difficult, it is the realm of childhood memories, the realm of beloved images harbored in memory since childhood. These memories which live by the image and in virtue of the image become, at certain times of our lives and particularly during the quiet age, the origin and matter of a complex reverie: the memory dreams, and reverie remembers.
One often feels as though something had happened before, I remember. It comes quite close to you and stands there and you know it was just this way once before, exactly so; for an instant you almost know how it must go on, but then it disappears as you try to lay hold of it like smoke or a dead memory. "We could never remember, Isabelle," I say. "It's like the rain. That has also become one, out of two gasses, oxygen and hydrogen, which no longer remember they were once gasses. Now they are only rain and have no memory of an earlier time.
Even grief recedes with time and grace. But our resolve must not pass. Each of us will remember what happened that day, and to whom it happened. We'll remember the moment the news came -- where we were and what we were doing. Some will remember an image of a fire, or a story of rescue. Some will carry memories of a face and a voice gone forever.
People don't remember me for how high my legs went, even though they went up very high, and how many pirouettes I did. They don't remember me for that. They remember me and any other dancer because something touched them inside. It's an indelible memory on the heart and in the mind.
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