A Quote by Paul Virilio
... the blinding Hiroshima flash... literally photographed the shadow cast by beings and things, so that every surface immediately became war's recording surface, its film.
Related Quotes
You can't get at the thing itself, the real nature of the sitter, by stripping away the surface. You can only get beyond the surface by working with the surface. All that you can do is manipulate that surface - gesture, costume, expression - radically and correctly.
People don't understand that the feel of the surface is so important for a footballer. The ball travels on the surface; our feet move on the surface - all of that goes into how the game is actually played.
On the surface of the ocean, men wage war and destroy each other; but down here, just a few feet beneath the surface, there is a calm and peace, unmolested by man
I would like to start by emphasizing the importance of surfaces. It is at a surface where many of our most interesting and useful phenomena occur. We live for example on the surface of a planet. It is at a surface where the catalysis of chemical reactions occur. It is essentially at a surface of a plant that sunlight is converted to a sugar. In electronics, most if not all active circuit elements involve non-equilibrium phenomena occurring at surfaces. Much of biology is concerned with reactions at a surface.
It is only after you have come to know the surface of things ... that you can venture to seek what is underneath. But the surface of things is inexhaustible.
No matter how many stones you throw at the water's surface, no matter how much you step on a shadow, the water's surface does not disappear, the shadow does not disappear.
Memories seem to surface in no particular order, with no time attached. Yesterday can seem as distant as last year. My life now consists of fragments where some are so blinding in their intensity that they make everything else indistinguishable. It feels as if my existence was extinguished in a flash, and afterwards my universe became incomprehensible. I want to remember everything. But perhaps I need to give it more time. Allow myself some rest. Distance myself a little, to see if I can make out a pattern. And face the truth about what is really there.
Video looks like reality, it's more immediate, it has a verite surface to it. Film has this liquid kind of surface, feels like something made up.
Genres are like the surface of the ocean. There are waves and things moving, but you don't instantly see all the reefs and ecosystems that's happening beneath the surface.
You have to be aware that whenever you leave your house, you're probably going to be photographed by someone somewhere. Maybe those pictures will surface. Maybe they won't. Maybe those videos will surface. Maybe they won't. But you have to always be aware that it could be happening.
Every day I studied the nude, and movement in the streets and in the shops [in Berlin]. Out of the naturalistic surface with all its variations I wanted to derive the pictorially determined surface.
I just love real characters; they're not pretentious, and every emotion is on the surface, they're regular working people. Their likes, their dislikes, their loves, their hates, their passions; they're all right there on the surface.
The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.
There are two sorts of curiosity - the momentary and the permanent. The momentary is concerned with the odd appearance on the surface of things. The permanent is attracted by the amazing and consecutive life that flows on beneath the surface of things.
Happiness, I think, lies on the surface... when one plunges under the surface all the buoyant things disappear, and the farther down one gets the more cold and dark it seems: and the more oppressive space feels.
I think one thing with Sweden is that in some way the Swedish society is a very good society, almost perfect on the surface. That is something that makes the writers forced to see what is underneath the surface, because it's always something underneath the surface, of course.
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