A Quote by Nick Harkaway
Digital books are still painfully ugly and weirdly irritating to interact with. They look like copies of paper, but they can't be designed or typeset in the same way as paper, and however splendid the cover images may look on a hi-res screen, they're still images rather than physical things.
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I am still a lover of paper books. One of my first jobs was in a bookstore, and I still like to be able to write in a margin and feel the paper. Once inside of a digital device, I end up losing things.
Most of my work involves slowing down rather than speeding up. I prefer to look at prints than scans, and I prefer to look at original silver prints rather than digital prints. I prefer to look at fewer images, but spend time with those individual images.
I find digital content much easier and more rewarding to interact with on screen than printed on paper.
I don't like making fake things. And digital images that look like fake paintings disturb me. But when they don't look fake, I don't really have a problem with it. You're not looking at an original piece of art anyway: when it gets scanned for printing it becomes digital.
I'm impressed by the way some illustrators develop their images on computers, but it's too late for me to start, and I'm still in love with paper and paint and pencils.
I don't digitally manipulate my images, because I am interested in the spontaneous act of creating images without forethought. I know many artists start with an idea in mind, and then they put it on paper. I don't work that way.
When you look at the sheer volume of paper usage in the U.S. alone, it's truly frightening: paper towels, toilet paper, napkins, writing paper. Our consumption of trees is endless.
I think a comic looks better in the magazine. The colors are designed to be on paper, not illuminated on screen. I don't like the aspect of people reading it for free. When people get things for free, they tend to not take them as seriously. But I don't know. I'm sure 10 times more people are reading it online than in the actual paper.
Photographs may be more memorable than moving images, because they are a neat slice of time, not a flow. Each still photograph is a privileged moment turned into a slim object that one can keep and look at again.
In a way, literature is true than life,' he said to himself. 'On paper, you say exactly and completely what you feel. How easy it is to break things off on paper! You hate, you shout, you kill, you commit suicide; you carry things to the very end. And that's why it's false. But it's damned satisfying. In life, you're constantly denying yourself, and others are always contradicting you. On paper, I make time stand still and I impose my convictions on the whole world; they become the only reality.
Digital books and music are often different from their physical counterparts in that consumers buy licences to a work, revocable under an ongoing contract, rather than their own copies.
Images also help me find and realise ideas. I look at hundreds of very different, contrasting images and I pinch details from them, rather like people who eat from other people`s plates.
Truly great images make all the other millions of images you look at unimportant. You gotta look at an image and understand it in a nanosecond.
I don't want to read a book on a device. I like a book with a hard cover and text on a piece of paper. I like magazines. I don't care if I carry around 100 lbs. of magazines; I'd rather do that than look at them on the Internet.
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.
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.
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