A Quote by John Blakemore
To make images is a way of ordering one's world, of exploring and understanding one's relationship to existence. ... The images we make are often ahead of our understanding, but to say "yes" to a subject is also to have recognized, however dimly, a part of oneself; to live with that image, to accept its significance is perhaps to grow in understanding.
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In my own version of the idea of 'what art wants,' the end and fulfillment of the history of art is the philosophical understanding of what art is, an understanding that is achieved in the way that understanding in each of our lives is achieved, namely, from the mistakes we make, the false paths we follow, the false images we have come to abandon until we learn wherein our limits consist, and then how to live within those limits.
The problem with images is obvious, they are two dimensional. Our vision at Pinterest is to use what's great about images, use the users taste to make good decisions but also to make sure to give them that information to make sure they get a more holistic understanding of what they are looking for.
I am a photographer who likes to make images, but I also want to get a sense and understanding of images that have already been made. I don't fabricate worlds; I pay attention to the things that already surround us.
Exploring and colonizing Mars can bring us new scientific understanding of climate change, of how planet-wide processes can make a warm and wet world into a barren landscape. By exploring and understanding Mars, we may gain key insights into the past and future of our own world.
Vampire have their own understanding what freedom is because they just live much longer and they feel they are a superior race and they have their own understanding and their understanding represents the understanding of some people, that - who has the power of course has to rule the world.
The thing itself is one; the images are many. What leads to a perceptive understanding of the thing is not the focus on one image, but the viewing of many images together.
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.
The relationship between science and the humanities is two-way. Science changes our view of the world and our place in it. In the other direction, the humanities provide the store of ideas and images and language available to us in understanding the world. The exploding star of A.D. 1054, the Crab Nebula, was sighted and documented by the Chinese, but nowhere mentioned in the West, where the Aristotelian notion of the immortality of stars still held sway. We often do not see what we do not expect to see.
Pictures artists staged their own images or copied or cut out others already in existence. The viewer took them in separately, in sometimes paradoxical waves: an original image, then the manipulations of it, then the places where image and idea intersected. This created a crucial perceptual glitch that irony and understanding filled.
Now with the allocation and the understanding of the lack of understanding, we enter into a new era of science in which we feel nothing more than so much so as to say that those within themselves, comporary or non-comporary, will figuratively figure into the folding of our non-understanding and our partial understanding to the networks of which we all draw our source and conclusions from.
Thoughts can increase our understanding of a subject, or they can just as easily constrict or block our understanding of a subject. It very much depends upon the language we are thinking in.
We live in the world of images, but we also live in the world of the Internet, of zapping and where people move. You can make little videos on your phone. I love very composed images, but the idea of moving pictures with a story, with a plot is quite interesting, too.
It's hard to come up with a 'quote' about myself. Perhaps I could say that most of my writing has been concerned with understanding between people. Whether of different races, or religions, or even in the same family I tried in my books... to deal with the subject of understanding the other fellow.
One of the marks of our world is perhaps this reversal: we live according to a generalized image-repertoire. Consider the United Sates, where everything is transformed into images: only images exist and are produced and are consumes ... Such a reversal necessarily raises the ethical question: not that the image is immoral, irreligious, or diabolic (as some have declared it, upon the advent of the Photograph), but because, when generalized, it completely de-realizes the human world of conflicts and desires, under cover of illustrating it.
Realism is a philosophy as opposed to a style. For me, painting is about observing and recording my existence as accurately as I can, it's my way of understanding the world around me and staying constantly engaged with it, the more carefully and patiently I look at what interests me in the world the more faithfully and honestly I can document it. It is only through intense, subtly nuanced observation that we develop an understanding of the psychology of the subject.
Faith in the gospel restructures our motivations, our self-understanding, our identity, and our view of the world. Behavioral compliance to rules without heart-change will be superficial and fleeting… We can only change permanently as we take the gospel more deeply into our understanding and into our hearts. We must feed on the gospel, as it were, digesting it and making it part of ourselves. That is how we grow.
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