A Quote by Varg Vikernes
My name is well known, but my image is not, because the image presented to the public is very twisted and far from reality. So, not many recognize me on the street. And I don't usually walk around in the streets, either.
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Everything about the Kardashian family's public image centers around shock and dysfunction - the very image the trans people are trying to shed.
We know that behind every image revealed there is another image more faithful to reality, and in the back of that image there is another, and yet another behind the last one, and so on, up to the true image of that absolute, mysterious reality that no one will ever see.
It is bad enough to be condemned to drag around this image in which nature has imprisoned me. Why should I consent to the perpetuation of the image of this image?
Obviously, my name is known now, but I don't think people generally tend to recognize authors very much. People like J. K. Rowling maybe, Gillian Flynn might be recognized, but I reckon she could walk by me on the street, and I wouldn't know who she was.
I always mistrust everything I see, which an image shows me, because I imagine what is beyond it. And what is beyond an image cannot be known.
I don't think I have an image of being an underground musician. I have an image of being an uncompromising musician, and I am well known in Norway partly because of that.
The test of faith is whether I can make space for difference. Can I recognize God's image in someone who is not in my image, who language, faith, ideal, are different from mine? If I cannot, then I have made God in my image instead of allowing him to remake me in his.
Sometimes I just think of an image. Basically, I see an image in front of me. My eyes are open, but I visualize an image, very truthfully. It happened with all my movies the same way.
To say that a thing is imaginary is not to dispose of it in the realm of mind, for the imagination, or the image making faculty, is a very important part of our mental functioning. An image formed by the imagination is a reality from the point of view of psychology; it is quite true that it has no physical existence, but are we going to limit reality to that which is material? We shall be far out of our reckoning if we do, for mental images are potent things, and although they do not actually exist on the physical plane, they influence it far more than most people suspect.
In England or America, actors do not have to cater to an image. In India, it is almost demanded of us. Very seldom do you get a film where you can walk away from your image.
Give the public the 'image' of what it thinks it ought to be, or what television commercials or glossy magazine ads have convinced us we ought to be, and we will buy more of the product, become closer to the image, and further from reality.
When you put an image on the newsstand, you have literally two seconds to get somebody's attention. Often, with many of the subscriber covers, they're far away and the thing that catches your attention more than anything on the newsstand is eye contact.Because you've got a smaller image, and sometimes a darker image, often it doesn't stand out, as much as a traditional newsstand cover, which is why we continue to do right for newsstand.
If you see an image and it's just an image, and there's a bad link or no description, and you don't know what that image is, or who took it, or what it's a picture of, it's not a very satisfying or actionable experience.
The image my work invokes is the image of good - not evil; the image of order - not chaos; the image of life - not death. And that is all the content of my constructions amounts to.
I took a very small image and blew it up to enormous scale. What happens when you do that is that the information in the image starts to become indistinct. The image darkens.
I make one image—though 'make' is not the right word; I let, perhaps, an image be 'made' emotionally in me and then apply to it what intellectual & critical forces I possess—let it breed another, let that image contradict the first, make, of the third image bred out of the other two together, a fourth contradictory image, and let them all, within my imposed formal limits, conflict.
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