Top 1200 Images Quotes & Sayings

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 spectacle is not a collection of images, but a social relation among people, mediated by images.

My films start with images, a few images and a few feelings, and I try to edit them together to see the correspondence between these images and these feelings.

... the constant flow of images undercuts the sense that there's actually something wrong with the world. How can there really be a shortage of whooping cranes when you've seen a thousand images of them - seen ten times more images than there are actually whooping cranes left in the wild?

Making photographs that dealt with the understanding of who I am as a gay man and dealt with the process of accepting that, and also accepting what I'm into sexually, what sexually arouses me. So I was making these images not necessarily knowing what they were about, but just putting it out there - that mode of thinking or consideration of my own desires, and also the much larger conversation around images that deal with ideas of sexuality and how those images are distributed and then accepted or understood by whoever is viewing those images.

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.

Rag & bone images always reflect the authenticity of the brand. Their images have character and tell a story.

We’re face to face with images all the time in a way that we never have been before... Young people need to understand that not all images are there to be consumed like fast food and then forgotten – we need to educate them to understand the difference between moving images that engage their humanity and their intelligence, and moving images that are just selling them something.

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.

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.

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

Computer images, like camera images today, will be seen as representations of a simulated, second-degree reality with little or no connection to the unmediated world. This is one lesson we can learn from photographs, and especially from those of the last 25 years: images exist not to be believed, but to be interrogated.

I worry about images. Images are what things mean.

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.

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.

Even with an improperly ground mirror, the Hubble delivered extraordinary images. When the flaw was corrected, the Hubble delivered images of transcendent beauty and value for many years. So too 'Terra Nova.' Even in its flawed first season, each episode was full of marvelous moments and beautiful images.

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

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.

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.

In the law, rights are islands of empowerment. . . . Rights contain images of power, and manipulating those images, either visually or linguistically, is central in the making and maintenance of rights. In principle, therefore, the more dizzyingly diverse the images that are propagated, the more empowered we will be as a society.

People always form images of who others are, and they can be inflated images.

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.

What Warcollier demonstrated is compatible with what modern cognitive neuroscience has learned about how visual images are constructed by the brain. It implies that telepathic perceptions bubble up into awareness from the unconscious and are probably processed in the brain in the same way that we generate images in dreams. And thus telepathic “images” are far less certain than sensory-driven images and subject to distortion.

Although images of perfection in people's personal lives can cause unhappiness, images of perfect societies - utopian images - can cause monstrous evil. In fact, forcefully changing society to conform to societal images was the greatest cause of evil in the twentieth century.

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.

Images exist; things themselves are images... Images constantly act on and react to one another, produce and consume. There is no difference between images, things and movement.

Writing is not possible without images. Yet, images don't have to be descriptive; they can be concepts.

Time is of the essence, particularly if we're sending images out on social media. The reality is that the majority of images are only viewed for a few seconds, often on a phone or computer. There are so many images freely available that it takes a lot of will power to concentrate and prolong the gaze on one picture at the expense of the thousands of others waiting to be viewed!

Others of them employ outward marks ... They style themselves Gnostics. They also possess images, some of them painted and others formed from different kinds of material. They maintain that a likeness of Christ was made by Pilate at that time when Jesus lived among them. They crown these images, and set them up along with the images of the philosophers of the world, such as Pythagoras, Plato, and Aristotle, and the rest. They have also other modes of honoring these images just like the Gentiles.

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.

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 from the book you make in your head are always going to be the best images.

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.

Every film starts with two or three images. Then I try to edit these images.

We go to the cinema we see images projected on the screen - but they're not real, they're only 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.

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.

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.

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

I'm interested in loving, beautiful, sexy images... I also want the images to be a turn on, create an adrenaline high, a rush of desire so intense that the act of looking is sexual.

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.

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.

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.

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.

To suffer is one thing; another thing is living with the photographed images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate. It can also corrupt them. Once one has seen such images, one has started down the road of seeing more - and more. Images transfix. Images anesthetize.

The great problems of life — sexuality, of course, among others — are always related to the primordial images of the collective unconscious. These images are really balancing or compensating factors which correspond with the problems life presents in actuality. This is not to be marveled at, since these images are deposits representing the accumulated experience of thousands of years of struggle for adaptation and existence.

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.

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.

People are competing to win at a game that is a loser's game. The game is to have better routine images than someone else's routine images. If you want a prescription for routine images, you just have to go through any student's portfolio.

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.

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

Images have enormous power, and images freed from deep within ourselves can change us profoundly.

When you see a silent movie, you understand everything that's going on from the images because the images are so strong.

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.

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.

In some areas, [Getty Images has] more images than the rest of the market put together. But libraries are being built up at a terrific pace. A photographer in a lifetime will produce maybe a million images, and there are about 15,000 professionals at work out there.

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.

In television, images are projected at you. You are the screen. The images wrap around you. You are the vanishing point.

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