Top 1200 Images Of Love Quotes & Sayings - Page 2

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.

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.

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.

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.

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

Surely the stars are images of love.

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 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.

I do love old horror, everytime I watch Rosemary's Baby the performances just get richer and richer and more multi-layered, and I see images that are just so politically outrageous. I love it all.

Temples have their images; and we see what influence they have always had over a great part of mankind. But, in truth, the ideas and images in men's minds are the invisible powers that constantly govern them; and to these they all pay universally a ready submission.

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.

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'm a very visual person and I love the ability to tell stories through images.

I write in order to understand the images. Being what my agent . . . somewhat ruefully calls a language playwright, is problematic because in production, you have to make the language lift off the page. But a good actor can turn it into human speech. I err sometimes toward having such a compound of images that if an actor lands heavily on each one, you never pull through to a larger idea. That's a problem for the audience. But I come to playwriting from the visual world - I used to be a painter. I also really love novels and that use of language. But it's tricky to ask that of the theatre.

Mirrors and images. Or sex and love. These are two separate systems that we miserably try to link.

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.

First, those images help us understand the general and specific magnitude of disaster caused by the tsunami. The huge outpouring of aid would not have happened without those images.

Popular culture isn't a freeze-frame; it is images zapping by in rapid-fire succession, which is why collage is such an effective way of representing contemporary life. The blur between images creates a kind of motion in the mind.

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.

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.

... 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

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.

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.

I love Tumblr, I love it, it's like collaging and collecting images, it's such a fun thing to do, it's something that's really therapeutic and I don't really know why.

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 too love everything that flows: rivers, sewers, lava, semen, blood, bile, words, sentences. I love the amniotic fluid when it spills out of the bag. I love the kidney with it's painful gall-stones, it's gravel and what-not; I love the urine that pours out scalding and the clap that runs endlessly; I love the words of hysterics and the sentences that flow on like dysentery and mirror all the sick images of the soul.

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.

I love creating images, of course, because I'm an artist.

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.

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.

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.

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.

One of the reasons I work serially, but also one of the reasons that I try to claim space in painting, is I'm desperately interested in asking: How can a group of images, or even two images, have meaning together?

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

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.

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.

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.

I have wanted to be a fine artist painter, and I reached the point in art schools were I'd like to understand more about images and how images communicate information to people. And I was not getting very far in that from my professors.

Being young and female in America, you watch a lot of T.V., and you grow up on false images of what love truly is. We think the man with the best rap will protect and save us, about it's not usually that way. Then you learn love is something deeper and purer in form.

I don't digitally manipulate my images, because I am interested in the spontaneous act of creating images without forethought. I know many artists start with an idea in mind, and then they put it on paper. I don't work that way.

I'm not comfortable with words. I love images ,and I love sounds, and I love feelings. I like the idea of intuition. I think a lot of things in life are understood that way. But you internalize these things; they don't really pop out. Certain things are built inside - little areas of understanding. I feel that I live in darkness and confusion, and I'm trying, like we all are, to make some sort of sense of it.

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.

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.

I love retouching images on Photoshop.

Photographing friends means that there's a spontaneity to the images. I have a lot of love for my friends and family, and I love taking cool pictures of them.

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.

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.

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 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.

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.

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.

I knew he wouldn't come, but I howled anyway, and when I did, the other wolves would pass images of him to me of what he looked like: lithe, gray, yellow-eyed. I would pass back images of my own, of a wolf on the edge of the woods, silent and cautious, watching me. The images, clear as the slender-leaved trees in front of me, made finding him seem urgent, but I didn't know how to begin to look.

Humans have changed the landscape so much, but images of the sea could be shared with primordial people. I just project my imagination on to the viewer, even the first human being. I think first and then imagine some scenes. Then I go out and look for them. Or I re-create these images with my camera. I love photography because photography is the most believable medium. Painting can lie, but photography never lies: that is what people used to believe.

There were no black images of dignity, no images of beautiful black people. There was this big hole. I tried to fill it.

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.

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.

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.

I love telling stories with images. But I think there's more to just saying a movie is great visually.

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.

You see someone like maybe William Eggleston. William doesn't even really talk about what he does; he just wants to make these images. He kind of hovers around a location and extracts these images.