A Quote by Virginia Postrel
In a media culture, we not only judge strangers by how they look but by the images of how they look. So we want attractive pictures of our heroes and repulsive images of our enemies.
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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.
A lot of the pieces I've done over the years have involved alterations of scale and the idea of the viewer's relationship to the object and how we see things by either enlarging or reducing objects, it causes the viewer to look at them again. It's hard to do because our culture is so bombarded by images and media. How do you make something fresh for a viewer? That's a real challenge.
We are carrying these images out into the world, and we can't control how people contextualize those images no matter how virtuous our aspirations and our intentions are.
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.
New insights fail to get put into practice because they conflict with deeply held internal images of how the world works...images that limit us to familiar ways of thinking and acting. That is why the discipline of managing mental models - surfacing, testing, and improving our internal pictures of how the world works - promises to be a major breakthrough for learning organizations.
Because Bin Laden's culture doesn't permit the worship of images, they understand how powerful images are. We wouldn't have thought of creating a visual bomb. In a way, he's chopped down two iconic buildings, and used our very truth imagery, to express himself. It's fascinating... I mean, dreadful.
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.
All of our media is made of language: our films, our music, our images, and of course our words. How different this is from analog production, where, if you were somehow able to peel back the emulsion from, say, a photograph, you wouldn't find a speck of language lurking below the surface.
She wondered: How could people respond to these images if images didn't secretly enjoy the same status as real things? Not that images were so powerful, but that the world was so weak. It could be read, certainly, in its weakness, as on days when the sun baked fallen apples in orchards and the valley smelled like cider, and cold nights when Jordan had driven Chadds Ford for dinner and the tires of her Chevrolet had crunched on the gravel driveway; but the world was fungible only as images. Nothing got inside the head without becoming pictures.
The reasons why images are so primal and people immediately relate to it is that we are exquisitely engineered to interpret information that is arrayed in two dimensions. That's our eyesight. That's how our eye-brain system works. So it immediately feels to us when we look at an image like we have extended our senses.
Most human behavior is controlled by images. Image is a factor in how people look at themselves and what they use to reflect themselves. The control of images is a major factor in world power.
Images are no longer what they used to be. They can't be trusted any more. We all know that. You know that. When we grew up, images were telling stories and showing them. Now they're all into selling. They've changed under our very eyes. They don't even know how to do it anymore. They've plain forgotten. Images are selling out the world. And at a big discount.
The images we see, as a culture, help define and expand our dreams, our perceptions of what is possible. Pictures of who we are help us visualize who we can be.
We cannot fling ourselves into the blank future; we can only call up images from the past. This being so, the important principle follows, that how many images we have largely depends on how much past we have.
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.
My works look to how images are produced, but specially based upon how the material reacts.
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