A Quote by Wright Morris
We make to ourselves pictures of facts. The picture is a model of reality
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To an ever greater extent out experience is governed by pictures, pictures in newspapers and magazines, on television and in the cinema. Next to these pictures firsthand experience begins to retreat, to seem more and more trivial. While it once seemed that pictures had the function of interpreting reality, it now seems they have usurped it. It therefore becomes imperative to understand the picture itself, not in order to uncover a lost reality, but to determine how a picture becomes a signifying structure of its own accord.
We each create a story - a narritive, a picture, an allegory, a model - for what's going on in the universe. And then we fight - sometimes to the death - to make others believe in that model, or to be able to keep believing in it ourselves. In other words, we try to erase contradictory evidence to that model.
We become very impressed when we get to look inside ourselves, into pictures. That's the relationship we have with pictures. Every picture is a piece of the inside of ourselves.
The first job of the historian and of the journalist is to find facts. Not the only job, perhaps not the most important, but the first. Facts are the cobblestones from which we build roads of analysis, mosaic tiles that we fit together to compose pictures of past and present. There will be disagreement about where the road leads and what reality or truth is revealed by the mosaic picture. The facts themselves must be checked against all the available evidence. But some are round and hard--and the most powerful leaders in the world can trip over them. So can writers, dissidents and saints.
What distinguishes a mathematical model from, say, a poem, a song, a portrait or any other kind of "model," is that the mathematical model is an image or picture of reality painted with logical symbols instead of with words, sounds or watercolors.
I never know if my picture is a good picture or a bad picture, because I'm not making pictures thinking of the public, I'm making pictures to realize myself.
Dali likes me taking his picture because he is interested in pictures that do not simply reproduce reality. Even in photos he prefers to appear outside reality .That is surrealistic!
A picture is a model of reality.
There are no surprising facts, only models that are surprised by facts; and if a model is surprised by the facts, it is no credit to that model.
I don't see myself as a movie maker only. When I can do a picture, I do. But I don't work like a business, in pictures. I am not obliged to make one picture after the other in order to live. I write books, I write for comic books, I give lectures... I live. And when the opportunity comes to do a picture, I do a picture.
The function of news is to signalize an event, the function of truth is to bring to light the hidden facts, to set them in relation with each other, and make a picture of reality on which men can act.
I wanted to make pictures that contradicted themselves. I wanted to put one picture on top of another so that there were times when both pictures disappear and other times when they were both manifest. That vibration is basically what the work was about for me - that space in the middle where there is no picture, rather an emptiness, an oblivion.
Really the truth is just a plain picture. A plain picture of, let's say, a tramp vomiting in the sewere. You know, and next door to the picture Mr. Rockefeller or Mr. C. W. Jones on the subway going to work. You know, any kind of picture. Just make a collage of pictures.
If you just rely on one model, you tend to amputate reality to make it fit your model.
I don't see myself as a moviemaker only, you know? When I can do a picture, I do. But I don't work like a business, in pictures. I am not obliged to make one picture after the other in order to live.
Many, and I think the determining, constitutive facts remain outside the reach of the operational concept. And by virtue of this limitation this methodological injunction against transitive concepts which might show the facts in their true light and call them by their true name the descriptive analysis of the facts blocks the apprehension of facts and becomes an element of the ideology that sustains the facts. Proclaiming the existing social reality as its own norm, this sociology fortifies in the individuals the "faithless faith" in the reality whose victims they are.
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