Top 1200 Images Of Love Quotes & Sayings - Page 5

In fashion, there's a lack of strong male images. And there's a huge lack of strong African American images. I noticed over the past thirteen years, Ralph and those guys have used guys that looked similar to me. And I was happy for those guys, but eventually I said, 'Enough is enough, I'm just going to go in and take my job back.'

Strangely enough, for me, Instagram has been a creatively freeing and inspiring format lately. I have been so very resistant to nearly all forms of media, yet finally this made it into my atmosphere, and in discovering this I have been propelled into some movement and new ideas. Real life images, curated images, even the visual diarrhea are incredible fertilization for movement in some direction or another.

The art and science of memory is about developing the capacity to quickly create images that link disparate ideas. Creativity is the ability to form similar connections between disparate images and to create something new and hurl it into the future so it becomes a poem, or a building, or a dance, or a novel. Creativity is, in a sense, future memory.

I don't love balls and sleeping beauties, that kind of thing. I think the great thing about 'Snow White' is those images have scarred me since I was a child with the Queen, the mirror, the taking of the heart, the huntsman and the enchanted forest.

It is in the capacity to love, that is to SEE, that the liberation of the soul from fantasy consists. The freedom which is a proper human goal is the freedom from fantasy, that is the realism of compassion. What I have called fantasy, the proliferation of blinding self-centered aims and images, is itself a powerful system of energy, and most of what is often called 'will' or 'willing' belongs to this system. What counteracts the system is attention to reality inspired by, consisting of, love.

Let come what comes, and accommodate yourself to that, whatever it is. If good mental images arise, that is fine. If bad mental images arise, that is fine, too. Look on all of it as equal, and make yourself comfortable with whatever happens.

It has been observed before that images, however beautiful, though faithfully copied from nature, and as accurately represented in words, do not of themselves characterize the poet. They become proofs of original genius only as far as they are modified by a predominant passion; or by associated thoughts or images awakened by that passion; or when they have the effect of reducing multitude to unity, or succession to an instant; or lastly, when a human and intellectual life is transferred to them from the poet's spirit.

Only a few kinds of images force you to shut your eyes: death, suffering, the opening of the body, some aspects of pornography for some people, and for others, giving birth. In this case, the eyes become black holes in which the image is absorbed willingly or unwillingly, these images are swallowed up and hit just where it hurts, without passing though the usual filters.

In 'Crazy Rich Asians,' Singapore will be seen as it should be seen, without CGI, without the altering of the images to be more Chinese - a representation of Singapore as we know it and love it.

Light. Light I think is knowledge. Knowledge is love. Love is freedom. Freedom is energy. Energy is all. Without light, we can't have images.

I think in a post-9/11 world, with the images coming back from Iraq, everybody knows more and more people who are going over there... the images on the YouTube phenomenon where the violence is so immediate. Direct people need something stronger to respond to. I think that there's definitely a wave of directors - who are labelled the splat pack - who really, really care about making great scary movies.

It's a profoundly different thing to be able to refer to the images you are taking at the time and check them out on a laptop that is plugged into your Hasselblad and go "oh no, do it again, do it again" - all of those a requickly made decisions. The fact that you can see the images right away in a funny way makes the whole relationship more casual. I don't want a casual relationship with my subject.

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.

When I did the first edit of Les plages, it was very dry and very square in a way. I was just saying the minimum. I said, Well, if this is the minimum, I don't make it. So I tried to make it more refined. I tried to find images, allegorical images, that I could use to express things that I didn't want to say or didn't want to show or I was not able to find how to show.

When I was a child, I had a ViewMaster, those red box glasses with little discs, so that you can see 3D images. They were my first steps in cinema. I was eight years old, I would cut and change the order of the images and that's how I created films that subsequently I recorded and projected and showed my friends. So I already took my first steps in 3D when I was eight years old.

The first time, I usually skim off the outer layer and end up with photographs that are fairly obvious. The second time, I have to look a little deeper. The images get more interesting. The third time it is even more challenging and on each subsequent occasion, the images should get stronger, but it takes more effort to get them.

The statement of ideas in a poem may have to do with logic. More profoundly, it may be identified with the emotional progression of the poem, in terms of the music and images, so that the poem is alive throughout. Another, more fundamental statement in poetry, is made through the images themselves those declarations, evocative, exact, and musical, which move through time and are the actions of a poem.

As a story writer, you have work with sharp but relatively small tools, the picks of metaphor, the shovel blade of images, the trowel of point of view, and then you delicately lift and brush in the revision with love and care knowing that one slip, and you might damage an extremely delicate thing.

I love movies; I grew up loving movies. I've always loved movies. I never thought about making movies until I took art classes and then I started studying different artists. As you study paintings, you see light and shadow, of course - Rembrandt, Eugène Delacroix. You start to understand the relationship between people and art, and images. For me, between movies that I watched and art, it was like, I'd love to make moving art. Moving pictures.

Practicing discipline involves continually working to find space in our patterns, to find the gaps in the images we hold about ourselves. It also means finding the gaps in our ideas about others, releasing images that we hold about a manager, a coworker, a friend, or a partner.

I was a book lover from the beginning. I loved, love, words and images and ideas, the ways a book can make you feel things deeply or help you understand something you never even knew there were words for.

The collective unconscious appears to consist of mythological motifs or primordial images, for which reason the myths of all nations are its real exponents. In fact the whole of mythology could be taken as a sort of projection of the collective unconscious. We can see this most clearly if we look at the heavenly constellations, whose originally chaotic forms are organized through the projection of images. This explains the influence of the stars as asserted by astrologers. These influences are nothing but unconscious instrospective perceptions of the collective unconscious.

Neither this body am I, nor soul, Nor these fleeting images passing by, Nor concepts and thoughts, mental images, Nor yet sentiments and the psyche's labyrinth. Who then am I? A consciousness without origin, Not born in time, nor begotten here below. I am that which was, is and ever shall be, A jewel in the crown of the Divine Self, A star in the firmament of the luminous One.

Animals see a video of the world. If an animal were only to see still images, how would its vision develop? Neuroscientists have run experiments in cats in a dark environment with a strobe so it can only see still images - and those cats' visual systems actually underdevelop. So motion is important, but what is the algorithm?

Enoch predicted that "the demons and the spirits of the angelic apostates would turn into idolatry all the elements, all the adornment of the universe, and all things contained in the heaven, the sea, and the earth, that they might be consecrated as God in opposition to God." All things, therefore, does human error worship, except the Founder of all himself. The images of those things are idols; the consecration of the images is idolatry.

This has increased with the tremendous technological advances in communications. We have a vast new world of images brought into our sitting rooms electronically. Most of the images of reality on which we base our actions are really based on vicarious experience. This has increased with the tremendous technological advances in communications. We have a vast new world of images brought into our sitting-rooms electronically.

Ads sell more than products. They sell values, they sell images. They sell concepts of love and sexuality, of success and perhaps most important, of normalcy. To a great extent, they tell us who we are and who we should be.

Images work on so many different levels. As a writer you feel them, try not to get in their way or narrow them down to anything other or less complex. A writer is a curator of sorts - once you've brought the images together you try to stand at a respectful distance and let them speak for themselves. Try not to mess with their ambiguities and contradictions. They are what they are, irreducible. This is their integrity.

I love telling stories. And even in single images, I tend to have stories inside them. I've always loved film, but I was making drawings and paintings and photographs. And you put art and narrative together, and that really is comics.

I love that feeling you get once you leave a cinema having just watched a movie during the day. Your eyes slowly adjust to the natural light, and your mind, being a little slower, takes its time to separate the images of film from the reality you are suddenly facing.

People will get tired of overly retouched images soon and they'll want something different. If people have too much reality, they want fantasy. What matters most is what the image communicates. I remember the first roll of film I shot at high school, the contact sheet went from these really worthy images of cracks in the wall and ended up with all of my dancer friends naked in Renaissance poses.

All images generated by imaging technology are viewed in a walled-off location not visible to the public. The officer assisting the passenger never sees the image, and the officer viewing the image never interacts with the passenger. The imaging technology that we use cannot store, export, print or transmit images.

I always try to create equal power between the subject and the object, so as not to end up creating a relationship where the camera is here and the object out there. This is for me a very difficult and sensitive balance. When I produce a work, cut and frame images, I realize that spectators can identify with the images and almost forget that someone else actually made them. This would be the optimal situation. I don't know whether I succeed in doing so, but that's what I would like to have happen.

You do remember things that people say in movies. You remember particular lines and things that are funny. But, you also remember really strong images. Images have a way of bypassing your brain and hitting you emotionally. There are so many things from movies that are remembered, that are just looks on people's faces or incredible vistas or beautiful pictures. That is a very important part of cinema.

My generation, we're more accepting of narcissism. But we're looking at images that are dead, that are on your phone. My friends have apps to make you look skinny, to make your skin look perfect. And we look at these images and we're like, "That's beauty. That's perfect." But when you see a real person, you're like, "Wait, that's not perfect."

I did a different size of photograph at the FIAT gallery - this time the images are 30" by 40," so they're maybe like four times the size of images I've shown before in a gallery. I just saw them now, and once they're in the mat and the frame, they're just beautiful. It's funny because even though it's closer to life-sized, to me anyway, they become not necessarily anymore about the person, but they almost become a little more heroic.

New insights fail to get put into practice because they conflict with deeply held internal images of how the world works...images that limit us to familiar ways of thinking and acting. That is why the discipline of managing mental models - surfacing, testing, and improving our internal pictures of how the world works - promises to be a major breakthrough for learning organizations.

I’m trying to please myself; certainly that’s a big criterion... though in a sense, I don’t take images just for myself. I take images that I think other people will want to see. I don’t take pictures to put in a box and hide them. I want as many people to see them as possible.

I'm a person who watches TV all the time - all the time; I love TV. And I really think that the media heavily influences how we as a society behave towards each other. And one of the things that I find to be lacking on television are positive images of diversity.

The mind of a man that loves God does not fight against things or thoughts about them, but against the passions that are connected with these thoughts. That is, he does not struggle against a woman, or against one who has insulted him, and not against the images of them, but against the passions that are aroused by these images.

Knowing a great deal about what is in the world art, catastrophe, the beauties of nature through photographic images, people are frequently disappointed, surprised, unmoved when the see the real thing. For photographic images tend to subtract feeling from something we experience at first hand and the feelings they do arouse are, largely, not those we have in real life. Often something disturbs us more in photographed form than it does when we actually experience it.

On the stage, the characters express themselves more through words than images. So the arguments of the characters and the tension between characters - words have to be used to express that, and I love that about theater.

Those who love you are not fooled by mistakes you have made or dark images you hold about yourself. They remember your beauty when you feel ugly; your wholeness when you are broken; your innocence when you feel guilty; and your purpose when you are confused.

Of all the nations in the world, the United States was built in nobody's image. It was the land of the unexpected, of unbounded hope, of ideals, of quest for an unknown perfection. It is all the more unfitting that we should offer ourselves in images. And all the more fitting that the images which we make wittingly or unwittingly to sell America to the world should come back to haunt and curse us.

When I work on a part, one of the things I love to do is to put together a collage of things, stuff I see or stuff that inspires me, images, whatever.

The images that people see in the media of black people - whether journalistic or narrative - remain horrible. And those images, combined with the lack of respect among black people in the poorer neighborhoods for themselves, and the part the police and other people coming into those neighborhoods play, it creates no value for life.

A romantic novel is an adult fairy story, repeating the recurring symbols and images which can explain life to a woman and satisfy a powerful need within her. The need to love and be loved is vital to all human beings, but especially to women.

When you're in a daze - whether it's from running or a hangover or whatever else - I think that ideas from your subconscious can slip through more easily. The way that I write songs, for what its worth, when I'm playing music, if it's good music it will bring images forward into my mind and then I'll write down what the images are and that becomes the lyrics. I think that process is just easier if the superego has just gone away in disgust for the day.

Whoever lives for poetry must read everything. How often has the light of a new idea sprung for me from a simple brochure! When one allows himself to be animated by new images, he discovers iridescence in the images of old books. Poetic ages unite in a living memory. The new age awakens the old. The old age comes to live again in the new. Poetry is never as unified as when it diversifies.

I've been compiling a list of art project ideas for a long time. These are ideas of things I would love to see someday. They range from the practical - jackets with woodstoves in them - to the sublime - images of nuns on waterslides.

I love the '40s. I love the '50s. I love the style, I love the clothes. I love how the women looked. I love the dances. I love the music. I love the amber of the light. I'm just in love with the cars. I'm in love with all of it.

If you must have a rule to follow, I would suggest cultivating a dialogue with your inner voice... If you listen to the clues your own images offer, the resulting work will be fresh, and authentic. Fall in love with your world.

When you bounce your eyes away from a sexual image, immediately pull from your memory a pure image. Maybe a wedding picture, or a vacation experience with your family, or your buddies. There are thousands of positive images you can pull from your memory within seconds to replace the sexual images you're tempted with.

Love. How do we define this word? We love our family. We love food. We love the weather. We love our shoes. Love that music. Love someone's work. Love a movie. Love a celebrity. Love that time in life. Love love love!

Most of my work involves slowing down rather than speeding up. I prefer to look at prints than scans, and I prefer to look at original silver prints rather than digital prints. I prefer to look at fewer images, but spend time with those individual images.

Who dreamt and made incarnate gaps in Time & Space through images juxtaposed, and trapped the archangel of the soul between 2 visual images and joined the elemental verbs and set the noun and dash of consciousness together jumping with sensation of Pater Omnipotens Aeterna Deus to recreate the syntax and measure of poor human prose and stand before you speechless and intelligent and shaking with shame

I'm always writing towards a discovery. When I'm writing poems in particular, I'm often writing because a few images coalesced in my mind and I thought, "I wonder why these images are abrading against each other. I wonder what happens if put them in a poem and explore them." I'm trying to learn something every time I write a poem.

If you cannot think of anything to say that is useful or enlightening about your images, then don't say anything. There are plenty of other people who would love to put words in your mouth.

For me, the future lives only here in my mind, as thoughts and images, just as the past does, and I love those thoughts and the world that it produces. I am entirely optimistic about the future.

One of the marks of our world is perhaps this reversal: we live according to a generalized image-repertoire. Consider the United Sates, where everything is transformed into images: only images exist and are produced and are consumes ... Such a reversal necessarily raises the ethical question: not that the image is immoral, irreligious, or diabolic (as some have declared it, upon the advent of the Photograph), but because, when generalized, it completely de-realizes the human world of conflicts and desires, under cover of illustrating it.