A Quote by John Hench
Of course, it gave the studio an enormous power, because I don't know any other place who had that skill with images to communicate with. And the need of these kinds of images are even greater now than they ever were because we are losing our life symbols.
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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.
Even in China. Children there, next to the Great Wall, who had never seen Mickey Mouse responded. So the studio did have that skill to communicate with images.
Images have enormous power, and images freed from deep within ourselves can change us profoundly.
The Huygens images were everything our images from orbit were not. Instead of hazy, sinuous features that we could only guess were streams and drainage channels, here was incontrovertible evidence that at some point in Titan's history - and perhaps even now - there were flowing liquid hydrocarbons on the surface.
The greater the power, the more need there is for transparency, because if the power is abused, the result can be so enormous. On the other hand, those people who do not have power, we mustn't reduce their power even more by making them yet more transparent.
When I do only images, people don't connect with the images because the images are too weird to understand. But when I explain the weird images with straight words, then all of a sudden there is a tension between the two that the audience wants to see.
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.
As I saw more and more people buying the images that were happy buyers, and people selling the images that were happy with how the market was pricing them, I started to get the sense this could be the go-to place for businesses to get the images they need.
The power of Hollywood, as we know, is that it can create these images in people's minds, and they live with those images for their whole life.
Brand-image campaigns establish contact with the subconscious of the consumer below the word level. They do this with visual symbols instead of words, Mr. Martineau says, because the visual symbols are far more significant. They communicate faster. They are more direct. There is no work, no mental effort. Their sole purpose is to create images and moods.
If we can be cheered up by positive images we can be depressed by negative ones. As long as we accept images as realities we are in that trap, because you can't control the images.
I've been collecting photographs since I don't know when, for a long time, for different reasons. You can find them on eBay and when we were browsing through the shops there were images that attracted me. These are all historical images because these days they're all digital. They don't exist anymore.
The images were gone, but Calvin was there, was with her, was part of her. She had moved beyond knowing him in sensory images to that place which is beyond images. Now she was kything Calvin, not red hair, or freckles, or eager blue eyes, or the glowing smile; nor was she hearing the deep voice with the occasional treble cracking; not any of this, but - Calvin. She was with Calvin, kything with every atom of her being, returning to him all the fortitude and endurance and hope which he had given her.
On September 11 one of the messages on our answering machine was from The New Yorker saying get down here right away for a special issue we'll be doing. That seemed so irrelevant to me, considering the cataclysm. I went to my studio for a while and I was processing the news. Because when we were in the thick of it, it just felt like Mars Attacks!, Is Paris Burning?, and I had no perspective. For a while, I thought I should go down and look for bodies. At the same time, since The New Yorker was looking for images, I thought, "Well, I'm more trained to look for images than for bodies."
People always form images of who others are, and they can be inflated images. People may not realize that the enormous energy and spiritual power that comes through a teacher, especially in a teaching situation, has nothing to do with that person.
In the sixties, the recycling of pop culture turning it into Pop art and camp had its own satirical zest. Now we're into a different kind of recycling. Moviemakers give movies of the past an authority that those movies didn't have; they inflate images that may never have compelled belief, images that were no more than shorthand gestures and they use them not as larger-than-life jokes but as altars.
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