Images Quotes
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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.
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Many people believe that memory works like a recording device. You just record the information, then you call it up and play it back when you want to answer questions or identify images. But decades of work in psychology has shown that this just isn't true. Our memories are constructive. They're reconstructive. Memory works a little bit more like a Wikipedia page: You can go in there and change it, but so can other people.
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We Corbis make it so easy to call up images, whether art or people or beaches or sunsets or Nobel Prize winners.
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I feel that I am much freer if I'm on my own, but I'm sure that there are a lot of painters who would perhaps be even more inventive if they had people round them... I find that if I am on my own I can allow the paint to dictate to me. So the images that I'm putting down on the canvas dictate the thing to me and it gradually builds up and comes along.
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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.
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Only powerfully conceived images have the ability to penetrate the memory, to stay there, in short to become unforgettable.
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We are not passive exhibitors of visual or auditory or tactile images. We have selves. We have a Me that is automatically present in our minds right now.
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Sympathetic people often don't communicate well, they back reflected images which hide their own depths.
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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.
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Images embrace us: they open up to us and close themselves to us in so far as they conjure up in us something that we could call an interior experience.
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There are some truths about life that can be expressed only as stories, or songs, or images. Art delights, instructs, consoles. It educates our emotions.
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I see that all of us who live are nothing but images or insubstantial shadow.
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My images are unashamedly idyllic and romantic, a kind of enchanted Africa. They're my elegy to a world that is steadily, tragically vanishing.
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In every form of art, you really want the experience of the images to transcend the medium, for the medium to disappear into the greater experience of viewing the work. So that you forget you are looking at a painting, or a photograph.
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There were different heroes with different images. There was Mike Tyson, the animal, there was Evander Holyfield, the devout, the priest. And there was me, the thinker, the intellectual boxer. So there was something for every fan, if you like. The public could always identify with one of us.
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The noblest works and foundations have proceeded from childless men, which have sought to express the images of their minds where those of their bodies have failed.
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The idea of recontextualizing images from different eras to express larger ideas about modern times was very exciting to me. That archival aesthetic is the foundation of my filmmaking style.
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I was inspired by all the images coming out of New Orleans.
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His landscape is animate: it moves, transposes, builds, proceeds, shifts, always going on, never coming back, and one can only retain it in vignettes, impressions caught in a flash, flipped through in succession, leaving a richness of images imprinted on a sunburned retina.
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Images, the visual power of present-day capitalism, like the ritual constructions of ancient Egypt, are refined ways of inhibiting and crushing man.
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The first two-dimensional images were thus not two-dimensional representations of three-dimensional things in the material world, as researchers have always assumed. Rather, they were ‘fixed’ mental images.
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The eye, like a shattered mirror, multiplies the images of sorrow...
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A folkish state must therefore begin by raising marriage from the level of a continuous defilement of the race, and give it the consecration of an institution which is called upon to produce images of the Lord and not monstrosities halfway between man and ape.
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I am the first to be surprised and often terrified by the images that I see appear on my canvas.
