Top 1200 Beautiful Images Quotes & Sayings - Page 2

We know only what we do, what we make, what we construct; and all that we make, all that we construct, are realities. I call them images, not in Plato's sense (namely that they are only reflections of reality), but I hold that these images are the reality itself and that there is no reality beyond this reality except when in our creative process we change the images: then we have created new realities.

Beautiful rocks - beautiful grass Beautiful soil where they both combine Beautiful river - covering sky Never thought of possession, but all this was mine.

For those with the purity to see it, a nursing mother is one of the most precious, most beautiful, and most holy of all possible images of woman.

The instant the atmosphere is illuminated it will be filled with an infinite number of images which are produced by the various bodies and colours assembled in it. And the eye is the target, a lodestone, of these images.

Images are probably the most important part of the poem. First of all you want to tell a story, but images are what are going to shore it up and get to the heart of the matter.

There are no more simple images... The world is too much for an image. You need several of them, a chain of images.

Elizabeth A. Johnson explains that including divine female symbols and images not only challenges the dominance of male images but also calls into question the structure of patriarchy itself.

You can't be a passive recipient of images, you have to engage with images and read their subtexts. These are critical things that will be taught to the students by a film club.

My experience as a pastor is lots of people have really toxic, dangerous, psychologically devastating images of God in their head, images of a God who's not good.

I 'follow' some of my fans' social network accounts and take a look at photos and video clips uploaded by them every day. Sometime I ask them to post more adorable and beautiful images of me.

It is my mind, with its store of images, that gives the world color and sound; and that supremely real and rational certainty which I can "experience" is, in its most simple form, an exceedingly complicated structure of mental images. Thus there is, in a certain sense, nothing that is directly experienced except the mind itself. Everything is mediated through the mind, translated, filtered, allegorized, twisted, even falsified by it. We are . . . enveloped in a cloud of changing and endlessly shifting images.

Human beings are creators, flinging powerful images into the minds of their fellow men. And all of these images are built of tiny particles of thought.

My eye, my brain, are images, parts of my body. How could my brain contain images since it is one image among others?

We must find out what words are and how they function. They become images when written down, but images of words repeated in the mind and not of the image of the thing itself.

Poets use metaphors and symbolism to construct images. I construct my images in the same way, except that I am using a different form.

Let yourself daydream sometimes... Allow spontaneous images to come and go. Capture one in a sketch. These images express connections with your inner self.

Images are really powerful. People fall in love with images, and as a way of falling in love with someone because they're like an image.

This is a culture filled with perfect images of women and perfect images of movie actresses, and most people can't live up to them.

We are entering into an age in which visual language is defined by a dialogue between photographers and audiences. This means not just the democratic posting of images but the democratic interpretation of images.

I had always wanted to include images in a novel, and with my first book, 'Telex From Cuba,' I made an elaborate website that is basically all images.

Inspired by words you have to create images to tell the story, while it's much more difficult to find your own images with a film for inspiration, because someone has already done it for you.

For me the future of the image is going to be in electronic form... You will see perfectly beautiful images on an electronic screen. And Id say that would be very handsome. They would be almost as close as the best reproductions.

Some images stick with you forever, images that you can't unsee.

I have always said that archival images are images without imagination. They petrify thought and kill any power of evocation.

I worry about images. Images are what things mean.

We do not see the danger clearly enough that we develop images adequate to our state of civilization. When you watch TV, you know instantly that there's something wrong with the images. When you open a magazine and see the ads, you know there's something wrong with the images. And it's unhealthy and not good and outright dangerous, in my opinion.

The objective tendency of the Enlightenment, to wipe out the power of images over man, is not matched by any subjective progress on the part of enlightened thinking towards freedom from images.

I think film is about images. Cinema needs good images. I think that if you don’t have good images, it’s not going to be a good film. I think all films should be really visual.

Vivid images are like a beautiful melody that speaks to you on an emotional level. It bypasses your logic centers and even your intellect and goes to a different part of the brain.

I find it strangely beautiful that the camera with its inherent clarity of object and detail can produce images that in spite of themselves offer possibilities to be more than they are a photograph of nothing very important at all, nothing but an intuition, a response, a twitch from the photographer’s experience.

The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.

It's a beautiful aspect of narrative construction, hunting for the right images and metaphors to render our character's hearts/minds/souls as though they're ecosystems, full-fledged settings for a reader to inhabit like a place.

My work is basically images set to my particular voice. It's the way the images rhyme and the rhythm. It's a way of economical storytelling for me.

My dad, bless his heart, always told me I was beautiful, so I was never self-conscious in that way. But when you look at the images on TV, you think you need to look like that in order to be sexy.

What we're focusing on is the images that were in people's minds being replaced by fresh images, to make way for the rebirth of New Orleans. We're showing the other side.

I've said it before, but I'll say it again because you can't say it enough: Your skin is beautiful - dark, light, in the middle, whatever. Brown is beautiful. Your hair is beautiful. If you wear a weave, it's beautiful. If you choose to be natural, that's beautiful. Also, you are enough.

I've been a little disappointed in directors in America. I'm really after a theater that doesn't just deal with the actual texts that I brought in. But with a director that really deals with images too, that takes the play to another level. We have to remember that theater takes place in the third dimension, and we have to take into consideration the visual aspect of the play. I think images are important for the theater. Because I do write images.

I am a photographer who likes to make images, but I also want to get a sense and understanding of images that have already been made. I don't fabricate worlds; I pay attention to the things that already surround us.

I think that each women, whatever age, needs to recognise something good in her body. Someone has beautiful legs, someone has beautiful hair, someone else has beautiful décolletage or a beautiful waist or beautiful hands. Everyone has something great.

She was beautiful, but not like those girls in the magazines. She was beautiful, for the way she thought. She was beautiful, for the sparkle in her eyes when she talked about something she loved. She was beautiful, for her ability to make other people smile, even if she was sad. No, she wasn't beautiful for something as temporary as her looks. She was beautiful, deep down to her soul. She is beautiful.

Above all, it's hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made.

The great thing about visual horror films is there's real potential for strong, beautiful imagery. It's the one genre that really lends itself to creating strong images. And I've always loved that idea of windmills - your mind aimlessly spinning.

CGI means, just to be clear, creating any type of image with a computer. Basically, starting off with nothing, or with images and manipulating them. The way we did it, everything was actual photographed images. A lot of that stuff was shot through a microscope of chemical reactions, yeast growing, lots of weird things, by Peter Parks. We put it into a computer and collaged it, manipulated it. Meaning we digitally shaped it to fit with other images. But there was no computer-generated imagery at all.

Images can make realities out of people and struggles - the reality we give them. Images really matter.

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.

I remember how my world expanded in amazing fashion by that magical operation of translating words into images, and images into stories.

The best models in the industry are the ones who feel comfortable on the set. If she doesn't feel comfortable, the images won't be beautiful.

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.

Traditionally, images have functioned as representations of something in the world, but we are quickly approaching the point where vast majority of images are produced for other machines, and no human being will ever see 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.

A lot of my ideas come from McNally Jackson bookstore. One of my favorite things to do is just go there and look through architecture books and interior design books. Something about the aesthetics of space and beautiful images works with my brain.

If there can be a better way for the real world to include the one of images, it will require an ecology not only of real things but of images as well.

I realize after spending so long working with images, semiotic deconstruction and redeployment becomes second nature. We all speak with images. I guess I look at everything sideways nowadays.

Photography is a tool to negotiate our idea of reality. Thus it is the responsibility of photographers to not contribute with anaesthetic images but rather to provide images that shake consciousness.

The images I had were of people being driven mad by living in the city. Images of parents who were so hungry and unfulfilled that they ate their own children.

I shall not find a painting more beautiful because the artist has painted a hawthorn in the foreground, though I know of nothing more beautiful than the hawthorn, for I wish to remain sincere and because I know that the beauty of a painting does not depend on the things represented in it. I shall not collect images of hawthorn. I do not venerate hawthorn, I go to see and smell it.

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 daily world exists because we know how to hold its images; consequently, if one drops the attention needed to maintain those images, the world collapses

Evolutionary learning calls upon our creative potentials as it empowers us to envision images of the future and bring those images to life by design.

I think that each woman, whatever age, needs to recognize something good in her body. Someone has beautiful legs, someone has beautiful hair, someone else has beautiful decolletage or a beautiful waist or beautiful hands. Everyone has something great.