Top 1200 Photographic Memory Quotes & Sayings

Memory fades, memory adjusts, memory conforms to what we think we remember.

If it were possible for any one person or group of persons to go through a photographic finishing plant's work at the end of a day, you could probably pull out the most extraordinary photographic exhibition we've ever seen. On almost any subject. The trouble is to find the things.

I would love to have a photographic memory. It would come in handy with the rants I'm given on Scrubs... often on short notice!

... what is faked [by the computerization of image-making], of course, is not reality, but photographic reality, reality as seen by the camera lens. In other words, what computer graphics have (almost) achieved is not realism, but rather only photorealism - the ability to fake not our perceptual and bodily experience of reality but only its photographic image.

I've had my nose in a book my whole life. I never thought it would be useful, but it is now. What's really nice is that I don't have a photographic memory, so words get blurred, thoughts get mixed up, and they come out as something new.

I have a photographic memory for numbers.

If genetic memory or racial memory persists, is it possible that individual memory also exists from previous lives?

I use zero photography. I have a photographic memory and a complete knowledge of anatomy and physiology, and an interest in grasping the moment of what is happening, not just the outside, but the inside out.

Hope is a memory that desires, the memory is a memory that has enjoyed.

You have to begin to lose your memory, if only in bits and pieces, to realize that memory is what makes our lives. Life without memory is no life at all... Our memory is our coherence, our reason, our feeling, even our action. Without it we are nothing.

Memory is a dead thing. Memory is not truth and cannot ever be, because truth is always alive, truth is life; memory is persistence of that which is no more. It is living in ghost world, but it contains us, it is our prison. In fact it is us. Memory creates the knot, the complex called the I and the ego

I have a photographic memory that enables me to visualize what everyone in the huddle is supposed to do on each of the hundreds of plays in our playbook.

I've always been fascinated by memory and I remember Jonah, when we first started dating, was working on something involving memory. It was early on in our relationship and I was like, damn it, I wanted to do a movie on memory. That was 'Memento.'

I always try to write from memory, and I always try to use memory as an editor. So when I'm thinking of something like a relationship or whatever, then I'm letting my memory tell me what the important things were.

A strange thing is memory, and hope; one looks backward, and the other forward; one is of today, the other of tomorrow. Memory is history recorded in our brain, memory is a painter, it paints pictures of the past and of the day.

I don't think I think when I play. I have a photographic memory for chords, and when I'm playing, the right chords appear in my mind like photographs long before I get to them.

You have to be reminded of a basic fact: intelligence belongs to the watching consciousness; memory belongs to the mind. Memory is one thing - memory is not intelligence. But the whole of humanity has been deceived for centuries and told indirectly that the memory is intelligence. Your schools, your colleges, your universities are not trying to find your intelligence; they are trying to find out who is capable of memorizing more. And now we know perfectly well that memory is a mechanical thing. A computer can have memory, but a computer cannot have intelligence.

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.

One can say that the city itself is the collective memory of its people, and like memory it is associated with objects and places. The city is the locus of the collective memory.

The problem is almost everybody is just recording the world with home photographic toys, not doing metaphor or ideas. We have a photographic culture that's not conditioned to think in terms of symbol.

No memoirists writes for long without experiencing an unsettling disbelief about the reliability of memory, a hunch that memory is not, after all, just memory.

Memory is strange. Scientifically, it is not a mechanical means of repeating something. I can think a thousand times about when I broke my leg at the age of ten, but it is never the same thing which comes to mind when I think about it. My memory of this event has never been, in reality, anything except the memory of my last memory of that event. This is why I use the image of a palimpsest - something written over something partially erased - that is what memory is for me. It's not a film you play back in exactly the same way. It's like theater, with characters who appear from time to time.

Photographic memory is often confused with another bizarre - but real - perceptual phenomenon called eidetic memory, which occurs in between 2 and 15 percent of children and very rarely in adults. An eidetic image is essentially a vivid afterimage that lingers in the mind's eye for up to a few minutes before fading away.

Everyone has a photographic Memory, some just don't have film.

I have a very conveniently photographic memory of emotions - it's overwhelming, because things don't fade for me.

I have a photographic memory.

Objects obey quantum laws- they spread in possibility following the equation discovered by Erwin Schodinger- but the equation is not codified within the objects. Likewise, appropriate non-linear equations govern the dynamical response of bodies that have gone through the conditioning of quantum memory, although this memory is not recorded in them. Whereas classical memory is recorded in objects like a tape, quantum memory is truly the analog of what the ancients call Akashic memory, memory written in Akasha, Emptiness- nowhere.

In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling.

I have about 1,000 hours of myself on tape in a vault in Los Angeles. But I also have a photographic memory about my jokes, because they're really about me; they're my stories.

Bill Clinton's favorite memory is Hillary leaning down and putting contact paper in the drawers, in the chest of drawers in Chelsea's dorm room at Stanford. Favorite memory. Favorite memory! Out everything, favorite memory. Now, I would love to hear somebody in the media ask Hillary what contact paper is.

I was actually privately in the White House like invited by Clinton to screen 'Independence Day,' so I know how the private residence looks. I didn't snap a picture, but I have a photographic memory and then I could take a guided tour in the West Wing.

All previous crimes of the Russian empire had been committed under the cover of a discreet shadow. The deportation of a million Lithuanians, the murder of hundreds of thousands of Poles, the liquidation of the Crimean Tatars remain in our memory, but no photographic documentation exists; sooner or later they will therefore be proclaimed as fabrications.

The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart.

A writer's main tool is his memory - his own memory, the collective memory of his people. And the strongest memory is the one that is created by a wound to the heart.

Photographic data... is still and ESSENTIALLY THE SAFEST POETIC MEDIUM and the most agile process for catching the most delicate osmoses which exist between reality and surreality. The mere fact of photographic transposition means a total invention: the capture of a secret reality.

We have a memory cut in pieces. And I write trying to recover our real memory, the memory of humankind, what I call the human rainbow, which is much more colorful and beautiful than the other one, the other rainbow.

Memory is corrupted and ruined by a crowd of memories. If I am going to have a true memory, there are a thousand things that must first be forgotten. Memory is not fully itself when it reaches only into the past. A memory that is not alive to the present does not remember the here and now, does not remember its true identity, is not memory at all. He who remembers nothing but facts and past events, and is never brought back into the present, is a victim of amnesia.

But pain may be a gift to us. Remember, after all, that pain is one of the ways we register in memory the things that vanish, that are taken away. We fix them in our minds forever by yearning, by pain, by crying out. Pain, the pain that seems unbearable at the time, is memory's first imprinting step, the cornerstone of the temple we erect inside us in memory of the dead. Pain is part of memory, and memory is a God-given gift.

No woman should have a memory. Memory in a woman is the beginning of dowdiness. One can always tell from a woman's bonnet whether she has got a memory or not.

Advent's intention is to awaken the most profound and basic emotional memory within us, namely, the memory of the God who became a child. This is a healing memory; it brings hope. The purpose of the Church's year is continually to rehearse her great history of memories, to awaken the heart's memory so that it can discern the star of hope.

Memory is the friend of wit, but the treacherous ally of invention; there are many books that owe their success to two things; good memory of those who write them, and the bad memory of those who read them

Abraham Lincoln did have intellectual instincts, a tremendous curiosity on a broad range of subjects, and a near-photographic memory for what he read. He was, at the end of the day, a politician: politics were his heaven, said William Herndon. But Lincoln did take comfort in ideas and books, more so than almost any other president, and he went to books and ideas in moments of perplexity to sort things out. Philosopher, no, but thoughtful and "surprisingly well-read" for his day.

My biggest fear is losing memory because memory is what we are. Your very soul and your very reason to be alive is tied up in memory.

I have a photographic memory; I just haven't developed it yet.

My dad thinks I have a photographic memory.

A photographic memory, to me, is kind of like brainiac, genius type. I don't think I have that.

I'm still willing to continue living with the burden of this memory. Even though this is a painful memory, even though this memory makes my heart ache. Sometimes I almost want to ask God to let me forget this memory. But as long as I try to be strong and not run away, doing my best, there will finally be someday...there will be finally be someday I can overcome this painful memory. I believe I can. I believe I can do it. There is no memory that can be forgotten, there is not that kind of memory. Always in my heart.

Our study showed that the false memory and the genuine memory are based on very similar, almost identical, brain mechanisms. It is difficult for the false memory bearer to distinguish between them.

Memory is quite central for me. Part of it is that I like the actual texture of writing through memory. I like the atmospheres that result if episodes are narrated through the haze of memory.

With every (informative) photograph, the photographic program becomes poorer by one possibility while the photographic universe becomes richer by one realization.

There's something known as "memory conformity," also known as "social contagion of memory," which refers to a situation where one person's telling of a memory influences another person's account of that same experience.

The very first thing an executive must have is a fine memory. Of course it does not follow that a man with a fine memory is necessarily a fine executive. But if he has the memory he has the first qualification, and if he has not the memory nothing else matters.

For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.

To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility - that is what I am interested in.

I want the pictures to be working in both directions. I accept that they speak about me, and yet at the same time, I want and expect them to function in terms of the viewer and their experience. With these abstract pictures, although the eye recognizes them as photographic rather than painted, the eye also tries to connect them to reality. There's always this association machine working in the brain, and that is why it is important to me that they are actually photographic and not painted.

My father was famous for his photographic memory. He was in the OSS. They trained him to be captured on purpose and to read upside down and backwards and commit to memory every document in Germany he saw as he was being interrogated - every schedule on every wall. So, that photographic memory somehow made its way to me when I was young.

Photographers encode their concepts as photographic images so as to give others information, so as to produce models for them and thereby to become immortal in the memory of others.

When comparing human memory and computer memory it is clear that the human version has two distinct disadvantages. Firstly, as indeed I have experienced myself, due to ageing, human memory can exhibit very poor short term recall.

I have a good memory. But I would be interested in memory even if I had a bad memory, because I believe that memory is our soul. If we lose our memory completely, we are without a soul.

Strangers with puzzled looks were amazingly cooperative in letting me into their rooms with my photographic gear. They let me take down the curtains, wash the windows, and rearrange the furniture. Often, too, they expressed their desire to share their view with others, as if it were a non-depletable treasure. I liked the idea that my photographic vantage points were not solely determined by myself. They were predetermined by others, sometimes years earlier, and patiently waited for me to discover them.