Top 1200 Images Quotes & Sayings - Page 5

All you see on television are debased images.

When I showed ‘Black and the Red III’ in Malmö, Sweden, it was a continuum - a band - all around the galleryseeing this huge space in the gallery in Malmö, I just took a deep breath and I put the paper around in a single band. Then I continued along, printing on the wall like a trompe l’oeil to reiterate the images in the work printed on paper that I had push-pinned to the wall. I literally took the rhythm and the images from ‘Black and the Red III’ and continued that on the wall.

I don't like that we repeat a certain expression over and over again because I think it narrows the way that we look on the world. I also think that there is a certain responsibility if you work with moving images because it's so strong in creating behaviour; it's so strong in creating the way that we look on the world, so for me it's very important that I create images that I have an experience of or is something that I think exists in the world and not just in cinema.

The body believes in images.

Narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verité is film in its purest form. You're taking random images and creating meaning out of random images, telling a story, getting meaning, capturing something that's real, that's really happening, and render this celluloid sculpture of this real thing. That's what really separates the power of doc filmmaking from fiction.

[David Lean's] images stay with me forever. But what makes them memorable isn't necessarily their beauty. That's just good photography. It's the emotion behind those images that's meant the most to me over the years. It's the way David Lean can put feeling on film. The way he shows a whole landscape of the spirit. For me, that's the real geography of David Lean country. And that's why, in a David Lean movie, there's no such thing as an empty landscape.

On September 11 one of the messages on our answering machine was from The New Yorker saying get down here right away for a special issue we'll be doing. That seemed so irrelevant to me, considering the cataclysm. I went to my studio for a while and I was processing the news. Because when we were in the thick of it, it just felt like Mars Attacks!, Is Paris Burning?, and I had no perspective. For a while, I thought I should go down and look for bodies. At the same time, since The New Yorker was looking for images, I thought, "Well, I'm more trained to look for images than for bodies."

At birth we begin to discover that shapes, sounds, lights, and textures have meaning. Long before we learn to talk, sounds and images form the world we live in. All our lives, that world is more immediate than words and difficult to articulate. Photography, reflecting those images with uncanny accuracy, evokes their associations and our instant conviction. The art of the photographer lies in using those connotations, as a poet uses the connotations of words and a musician the tonal connotations of sounds.

It began in images and it ended in symbolism.

I know there are thousands of images of me.

I love retouching images on Photoshop.

Typically there are little fragments of specific words and images swimming around in my mind, and then at some point, I'll sit down with the guitar and everything will fall into place. It's like your brain is a drain with a bunch of words and images dropping into it, swirling around. The drain is stopped up, but you can feel these things dropping into it. Then at some point, someone comes along and pulls the plug out of the drain and everything comes together in the song.

Surely the stars are images of love.

In the U.S., oddly, we have images of men as arrogant and aggressive.

Images are ... a kind of emotional shorthand.

I think a bigger difference with social media is going to be things like the impact Instagram will have for historians. For the longest time, we had no images of the past. And then when we had the advent of the camera, we had a record of the things people chose to photograph, which, for a while, were portraits of your family, a new building we built, or a really big horse. Well now we have images of everything. That will be the biggest difference I think - that we will have a visual record of this reality in a way that will be completely covered.

Images split the truth in fractions.

A film is a machine made of images

We want to be like a YouTube for viral images.

In the fall of 1988, I worshipped God in a Buddhist temple. As the smell of incense filled the air, I knelt before three images of the Buddha, feeling that the smoke could carry my prayers heavenward. It was for me a holy moment for I was certain that I was kneeling on holy ground....I will not make any further attempt to convert the Buddhist, the Jew, the Hindu or the Moslem. I am content to learn from them and to walk with them side by side toward the God who lives, I believe, beyond the images that bind and blind us.

The poet presents the imagination with images from life and human characters and situations, sets them all in motion and leaves itto the beholder to let these images take his thoughts as far as his mental powers will permit. This is why he is able to engage men of the most differing capabilities, indeed fools and sages together. The philosopher, on the other hand, presents not life itself but the finished thoughts which he has abstracted from it and then demands that the reader should think precisely as, and precisely as far as, he himself thinks. That is why his public is so small.

For you know only a heap of broken images

We are finally living in Plato's cave, if we consider how those who were imprisoned within the cave - who could do nothing but watch those shadows passing on the back wall - were convinced that those shadows were their one and only reality. I see a profound similarity to all this in the epoch we're now living in. We no longer live simply through images: we live through images that don't even exist, which are the result not of physical projection but of pure virtuality.

The past is never dead. It's not even past. All of us labor in webs spun long before we were born, webs of heredity and environment, of desire and consequence, of history and eternity. Haunted by wrong turns and roads not taken, we pursue images perceived as new but whose providence dates to the dim dramas of childhood, which are themselves but ripples of consequence echoing down the generations. The quotidian demands of life distract from this resonance of images and events, but some of us feel it always.

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.

I glean a few times a week, and it's all about the subject line. I look for the lyrical, "Billowy Red Scarf Girl" or the funny, "Hipster Chick Who Passed Gas," the unintentionally funny, "Looking for the Hot Girl in Pink Dress," ones that immediately suggest images, "Furry Arms Under a Yellow Umbrella," or the plain odd, "Seeking Girl Who Bit Me Twice..." I don't think I've ever abandoned one... the images usually arrive fully formed in my head as soon as I read the message, and I decide whether to draw it or not.

I wish I hadn't made so many images.

His contagious conviction that our love was unique and desperate infected me with an anxious sickness; soon we would learn to treat one another with the circumspect tenderness of comrades who are amputees, for we were surrounded by the most moving images of evanesecence, fireworks, morning glories, the old, children. But the most moving of these images were the intagible relfections of ourselves we saw in one another's eyes, reflections of nothing but appearances, in a city dedicated to seeming, and, try as we might to possess the essence of each other's otherness, we would inevitably fail.

There is an interesting and new way to be excited about the fashion world today maybe. The traditional path of fashion as simple magazine images has dissolved - we are seeing new and innovative ways to share, create, and enjoy ideas. I am challenged to learn and explore paths of finding new photographers, stylists, and vision-makers online or through direct contact, connecting with ideas and creativity in new ways, and making images with different outlets. Sometimes more unbridled avenues and unconventional ways lead to things I wouldn't have thought of yet.

There is no material universe. There is no reality. All that exists are images.

Modern man, seeking a middle position in the evaluation of sense impression and thought, can, following Plato , interpret the process of understanding nature as a correspondence, that is, a coming into congruence of pre-existing images of the human psyche with external objects and their behaviour. Modern man, of course, unlike Plato , looks on the pre-existent original images also as not invariable, but as relative to the development of a conscious point of view, so that the word "dialectic" which Plato is fond of using may be applied to the process of development of human knowledge.

In creating a work of art, the psyche or soul of the artist ascends from the earthly realm into the heavenly. There, free of all images, the soul is fed in contemplation by the essences of the highest realm, knowing the permanent noumena of things. Then, satiated with this knowing, it descends again to the earthly realm. And precisely at the boundary between the two worlds, the soul’s spiritual knowledge assumes the shapes of symbolic imagery: and it is these images that make permanent the work of art. Art is thus materialized dream, separated from the ordinary consciousness of waking life.

Images and music are very connected.

I'm not big into images. I'm into reality.

We are the same, you and I. We are images of light.

There are certain images that always haunt me.

[To be an artist,] this desire to conquer all with images.

I have a voracious appetite for images I can translate.

Poetry is good for unleashing images.

Not all lines, not all images, survive their season.

I have absolutely no interest in creating depressing images.

I will not be just a tourist in a world of images.

Words that do not create images should be discarded.

I feel like we're looked at as either completely nonsexual characters or overly sexual characters, and I feel like that affects how we're treated in the public space by men. I believe that women of color experience street harassment in a very hyper way. So I wanted to draw these women in their very normal, regular states and put those images out there in the public for people to see, instead of these other, very sexualized, images of women.

Catholicism is the big house of Christianity. It's got many, many rooms in it. And I've always been attracted to the rooms which are to do with prayer. The mystical strain is the strain whereby the whole day can be given over to prayer through what we call lectio divina, prayerful reading of Scripture, through practice of meditation of when one uses the imagination and the intellect with respect to images, and then finally, and most difficult of all, contemplation, where one empties the mind of all images and all ideas, all concepts, in order to be completely attentive to God.

Science and technology were often used by [the magician of old], even before they came into the marketplace on a mass basis. For example, prior to the moving picture going into theatre, magicians were using the technique of images in motion as illusions in their shows. At that time the process was so new, an audience perceived it as magic. Also in the early stages of holograms magicians would use these images to baffle and mystify their fans. Hence, you always need to stay one step ahead of the technology game to "WOW" the audience.

What I do is create images, period.

We are all hungry and thirsty for concrete images.

When the mind is exhausted of images, it invents its own.

When one analyzes the pre-conscious step to concepts, one always finds ideas which consist of 'symbolic images.' The first step to thinking is a painted vision of these inner pictures whose origin cannot be reduced only and firstly to the sensual perception but which are produced by an 'instinct to imagining' and which are re-produced by different individuals independently, i.e. collectively... But the archaic image is also the necessary predisposition and the source of a scientific attitude. To a total recognition belong also those images out of which have grown the rational concepts.

Censorship of ideas or images or words is wrong.

A word is worth a thousand images.

I like creating images.

Concepts are mental images.

Since I'm inarticulate, I express myself with images.

It would be wrong of me to suppose that just because I can form private mental images, that everyone can. As Francis Galton and William James long ago showed, a small proportion of adults-and some of these extremely intelligent-are unable to form such visual images. Berkeley's point is that it would be equally arrogant for these non-thinkers or non-image formers to claim that everyone is like them in the relevant respect. The temptation to pontificate in that way reveals a narrowness and unwillingness to see the world from another perspective.

In Lucretius, sexual desire is considered real and genuine, whereas love is illusory. Venus, the goddess who represents the power of sexual desire, is the font of love. She merely mocks lovers with mental images. Try as they might, lovers cannot satisfy themselves by gazing nor by rubbing against one another because the madness of love will always return; hence Lucretius' prescription to flee the mental images, that is, to ward off what feeds love, turning the mind elsewhere.

The craft of photography is the key to good images.

There are more than 100 million African women who go topless at some point in the day, each and every day, to honor both God and our ancestors. So being in a country like America where nothing is hated more than the image of the black woman, even by black people'because her womb produces the black man and makes us black'I find it of grave importance to implement African images, and especially to produce media images that acknowledge the sexual power and fertility of black women.

Paintings. Or the collapse of time in images.