A Quote by Marshall McLuhan

In television, images are projected at you. You are the screen. The images wrap around you. You are the vanishing point. — © Marshall McLuhan
In television, images are projected at you. You are the screen. The images wrap around you. You are the vanishing point.
We go to the cinema we see images projected on the screen - but they're not real, they're only images.
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.
I knew exactly how I wanted it to play, but you are never sure until you watch the projected images reflect off the screen. That's when you know it worked.
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.
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.
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.
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.
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.
Typically there are little fragments of specific words and images swimming around in my mind, and then at some point, I'll sit down with the guitar and everything will fall into place. It's like your brain is a drain with a bunch of words and images dropping into it, swirling around. The drain is stopped up, but you can feel these things dropping into it. Then at some point, someone comes along and pulls the plug out of the drain and everything comes together in the song.
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.
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.
Where do these images comes from and where do they return? What is it that projects these images? How is it that we are the screen? How is it that we have forgotten that we are the Self and that nothing but the Self exists?
Traditionally, images have functioned as representations of something in the world, but we are quickly approaching the point where vast majority of images are produced for other machines, and no human being will ever see them.
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.
I have wanted to be a fine artist painter, and I reached the point in art schools were I'd like to understand more about images and how images communicate information to people. And I was not getting very far in that from my professors.
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