Top 1200 Broken Images Quotes & Sayings - Page 4

Perhaps the old literacy of words is dying and a new literacy of images is being born. Perhaps the printed page will disappear and even our records be kept in images and sounds.

Say a piece of pottery is broken, and it's fixed, and they use gold in the adhesive and in the sealant. It becomes more precious than it was before it was broken in the first place.

I don't know whether we think in moving images or whether we think in still images. I have a suspicion that on our hard drive, our series within our brains, [exist] still photographs of very important moments in our lives. ... That we think in terms of still images and that what the photography is doing is making direct contact with the human hard drive and recording for all time a sense of what happened.

The thing itself is one; the images are many. What leads to a perceptive understanding of the thing is not the focus on one image, but the viewing of many images together.

Isn't it better to have your heart broken than to have it wither up? Before it could be broken it must have felt something splendid. That would be worth the pain.

In societies where modern conditions of productions prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into representation. The images detached from every aspect of life fuse in a common stream in which the unity of this life can no longer be re-established. Reality considered partially unfolds, in its own general unity as a pseudo-world apart, an object of mere contemplation . . . The spectacle is not a collection of images, but a social relation among people, mediated by images.

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.

Every child, every person needs to know that they are a source of joy; every child, every person, needs to be celebrated. Only when all of our weaknesses are accepted as part of our humanity can our negative, broken self-images be transformed.

I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.

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.

I always write with images. I cannot write a book if I don't have images.

You loved me-then what right had you to leave me? What right-answer me-for the poor fancy you felt for Linton? Because misery and degradation, and death, and nothing that God or Satan could inflict would have parted us, you, of your own will, did it. I have not broken your heart- you have broken it; and in breaking it, you have broken mine." ~Heathcliff

Depression cannot be overcome by listing a series of good things in one's life, any more than a broken foot can be healed by thinking about all the other bones you have that aren't broken.

To some extent we are all the prisoners of stereotypes; we see each other in terms of distorted and oversimplified images. Better communication in the realm of ideas, of the arts, and of science can help refashion these false images. And by seeing more clearly we may act more wisely.

Ive just taught thousands of people over the radio in the USA how to mend broken watches and broken house appliances. I am a catalyst or trigger to access these powers.

The history of cinema appears to be easy to do, since it is, after all, made up of images; cinema appears to be the only medium where all one has to do is re-project these images so that one can see what has happened.

When you stand between two mirrors you're spread out among the images, your whole soul is pulled out thin, and somewhere in the distant images a dark part of you might get out and come looking for you, if you aren't careful.

Where do these images comes from and where do they return? What is it that projects these images? How is it that we are the screen? How is it that we have forgotten that we are the Self and that nothing but the Self exists?

Better that one heart be broken a thousand times in the retelling, he has decided, if it means that a thousand other hearts need not be broken at all.

A daydream is a meal at which images are eaten. Some of us are gourmets, some gourmands, and a good many take their images precooked out of a can and swallow them down whole, absent-mindedly and with little relish.

The reverse process is extremely important to me - that artistic images can inspire to words and different myths, and that in certain cultures this process has been the normal relation between images and words.

The images for my works are somewhat insignificant to me. It became an exercise of variation. I only see the surface images as doodles in a sketchbook, but it's hard to not see an image and bring some kind of personal association, though there's not a prescribed idea of what you're supposed to see.

To be broken is no reason to see all things as broken.

'Broken' is a story of two broken people coming together. I think every one of us can associate with it, as we all have faced a heartbreak sometime in our life.

Sometimes broken people stay broken.

Like a broken vase does not fear of breaking once more, my broken heart is not affected by your hurting words anymore!

Don't tell me that [broken heartstrings] hurt less than a broken bone, that an ingrown life is something surgeons can cut away, that there's no way for it to metastasize - it does.

When I was coming up, we didn't have the movement of Black Girl Magic or Black Girls Rock, but my parents made it their business to make sure I saw positive images of myself and celebrated images of black women.

Pornography is about images that are repeated, saturated. Images of the human body, not nature. What I find in pornography is precisely the repetition of the same: the clichés of pornography. There can be no real transgression, just an image that repeats itself.

Pain is Pain. Broken is Broken. FEAR is the Biggest Disability of all. And will PARALYZE you More Than Being in a Wheelchair.

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 came to painting through sculpture, to images through objects. I think that images sit in the middle, somewhere between objects and words.

It is important to understand, not intellectually but actually in your daily life, how you have built images about your wife, your husband, your neighbor, your child, your country, your leaders, your politicians, your gods-you have nothing but images. The images create the space between you and what you observe and in that space there is conflict, so what we are going to find out now together is whether it is possible to be free of the space we create, not only outside ourselves but in ourselves, the space which divides people in all their relationships.

Soft things are terrifying. They're the real signals of death. Images of strength can never be that terrifying. It's the images of weakness that are a real apocalypse.

Careless of waste, wallowing in refuse, exterminating the enemies . . . despising age, denying human natural history, fabricating pseudotraditions, swamped in the repeated personal crises of the aging preadolescent; all are familiar images of American society. They are signs of private nightmares of incoherence and disorder in broken climaxes where technologies in pursuit of mastery create ever-worsening problems - private nightmares expanded to a social level.

The remedy for life's broken pieces is not classes, workshops or books. Don't try to heal the broken pieces. Just forgive.

Cutting out images you like from art books and framing them is a great way of getting beautiful works on your wall. You can also frame magazine images or pick up inexpensive art at museum gift shops.

Facts are the images of history, just as images are the facts of fiction.

Back then people closed their eyes and listened to music. Today there's a lot of images that go with the music. A lot of music is crap and it's all commercial and the images are all trying to sell the record.

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.

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.

As individuals and as a nation, we now suffer from social narcissism. The beloved Echo of our ancestors, the virgin America, has been abandoned. We have fallen in love with our own image, with images of our making, which turn out to be images of ourselves.

I went to art school, wanting to be a painter and then I got into photography. Then it was movies, and I liked the images. One of the things that interested me in film was that I was communicating in images. That was something I did intuitively and could not even talk about until I started having to do interviews.

We live in a society that has no adequate images anymore, and if we do not find adequate images and an adequate language for our civilization with which to express them, we will die out like the dinosaurs.

Images also help me find and realise ideas. I look at hundreds of very different, contrasting images and I pinch details from them, rather like people who eat from other people`s plates.

When someone in power declares that something is broken that means it's actually fine. What they're really saying is, "Let's change this so I like it and ruin it." Nothing is ever broken.

Where the real world changes into simple images, the simple images become real beings and effective motivations of hypnotic behavior.

I like visual images and there are certainly other bands that have strong visual images going all the way back to Elvis Presley, but it's kind of like that's never really been my bag. Probably because I'm too shy.

Full-color images lack the poignancy of monochrome... Black-and-white film inherently peels off interesting images from the world; it sees things we do not see, and thus insists on the existence of a phantom presence within reality, a world we cannot perceive.

I've seen so many photographers rush to do books the minute they start shooting, but one great thing about photography is that the images don't go away, so the more I sit with these images, the more I learn which ones have had the most impact.

Algorithms learn by being fed certain images, often chosen by engineers, and the system builds a model of the world based on those images. If a system is trained on photos of people who are overwhelmingly white, it will have a harder time recognizing nonwhite faces.

I've just taught thousands of people over the radio in the USA how to mend broken watches and broken house appliances. I am a catalyst or trigger to access these powers.

When I left Haiti, I was eight. I went to the Congo where my father was working. The only images that I had were the images of Tarzan. That's what I thought Africa was. Of course, the first day I arrived there, I thought I would see a lot of savages dancing on the tarmac.

In images,... beauty was the agency that caused visual pleasure in the beholder; and any theory of images that was not grounded in the pleasure of the beholder begged the question of their efficacy and doomed itself to inconsequence.

We have a telescope that takes images, and we use a very nice computer program to isolate the moving images. And then, every potentially new asteroid is vetted by eye, so we take a look at each one, and then we send our observations to the Minor Planet Center.

My desire to live is as intense as ever, and though my heart is broken, hearts are made to be broken: that is why God sends sorrow into the world.

This is the power of images, the ambiguity. You are never completely sure of anything. With written language, it's more concrete. You have to establish some facts, but in movies, you see things happening, and the exact meaning behind the images is more ambiguous.

Obviously, the intention was not to go back to images traditionally valued as worthy or holy images and shapes, but exactly the opposite; its main purpose had to be, to realise as sacred art anything which so far had been regarded as of little value and pitiful.

Inertia is so easy—don't fix what's not broken. Leave well enough alone. So we end up accepting what is broken, mistaking complaining for action, procrastinating for deliberation.

External images act on me, transmit movement to me, and I return movement: how could images be in my consciousness since I am myself image, that is, movement?