Quotes About Image

The image cannot be dispossessed of a primordial freshness, which idea can never claim. An idea is derivative and tamed. The imageis in the natural or wild state, and it has to be discovered there, not put there, obeying its own law and none of ours. We think we can lay hold of image and take it captive, but the docile captive is not the real image but only the idea, which is the image with its character beaten out of it.

If you've noticed that I don't use long takes, it's not because I don't like them, but because no one gives me the necessary means to treat myself to them. It's more economical to make one image, then this image and then that image, and try to control them later, in the editing studio.

My being subsists only from a supreme point of view which is precisely incompatible with my point of view. The perspective in which I fade away for my eyes restores me as a complete image for the unreal eye to which I deny all images. A complete image with reference to a world devoid of image which imagines me in the absence of any imaginable figure. The being of a nonbeing of which I am the infinitely small negation which it instigates as its profound harmony. In the night shall I become the universe?

Any unique image that you desire probably already exists on the internet or in some database... the problem today is no longer how to create the right image, but how to find an already existing one.

Nature has some perfections to show that she is the image of God, and some defects to show that she is only His image.

One book that has meant much to my writing is W.G. Sebald's The Emigrants. He uses a photograph of Vladimir Nabokov hunting butterflies in a similar way. The image or a reference to the image is traced throughout the four separate narratives. It sometimes seems to be the only link between the pieces, while the symbol Nabokov cuts remains wide open, a pencil sketch, a mystery to interpret outside his role as emigrant/observer.

A photograph is not only an image (as a painting is an image), an interpretation of the real; it is also a trace, something directly stenciled off the real, like a footprint or a death mask.

I consider myself a modern-day dad, where I still got rock'n'roll in me, but yet I take being a parent and relationships very seriously in life. I'm tired of the image of the father as a fat, beer-chugging, stupid guy. That image has to change. I'm changing it, baby, one city at a time.

Woman is the future of man. That means that the world which was once formed in man's image will now be transformed to the image of woman. The more technical and mechanical, cold and metallic it becomes, the more it will need the kind of warmth that only the woman can give it. If we want to save the world, we must adapt to the woman, let ourselves be led by the woman, let ourselves be penetrated by the Ewigweiblich, the eternally feminine!

I argue that science would be much richer if it were multisensory. The problem with instrumentation is that instruments, unlike our senses, can be monosensory. Since the discovery of the electromagnetic spectrum - which is really the discovery that all energy coming from something has a wave form - in theory we could image anything along that spectrum. In fact, we don't, because only certain parts of the spectrum have been instrumentalized. But the new thing is computerization. You can take all the data, the measurement of the frequencies, and transform it into an image.

You must squeeze out of yourself every sensation, every thought, every image, - mercilessly, without reserve and without remorse: you must search the darkest corners of your heart, the most remote recesses of your brain, - you must search them for the image, for the glamour, for the right expression. And you must do it sincerely, at any cost: you must do it so that at the end of your day's work you should feel exhausted, emptied of every sensation and every thought, with a blank mind and an aching heart, with the notion that there is nothing, - nothing left in you.

The minute you point a camera at something, you are manipulating the image, because you are cropping out whatever is to the left and right of it. The minute you put a light on someone, you are manipulating the image.

The narrative image has more dimensions than the painted image - literature is more complex than painting. Initially, this complexity represents a disadvantage, because the reader has to concentrate much more than when they're looking at a canvas. It gives the author, on the other hand, the opportunity to feel like a creator: they can offer their readers a world in which there's room for everyone, as every reader has their own reading and vision.

To live greatly, we must develop the capacity to face trouble with courage, disappointment with cheerfulness, and triumph with humility. You ask, 'How might we achieve these goals?' I answer, 'By getting a true perspective of who we really are!' We are sons and daughters of a living God in whose image we have been created. Think of that truth: 'Created in the image of God!' We cannot sincerely hold this conviction without experiencing a profound new sense of strength and power, even the strength to live the commandments of God, the power to resist the temptations of Satan.

If you pick up some paint with your brush and make somebody's nose with it, this is rather ridiculous when you think of it, theoretically or philosophically. It's really absurd to make an image, like a human image, with paint, today.

Today I weep for my country. No more is the image of America one of strong, yet benevolent peacekeeper. ... Around the globe, our friends mistrust us, our word is disputed, our intentions are questioned. We flaunt our superpower status with arrogance....After war has ended the United States will have to rebuild much more than the country of Iraq. We will have to rebuild America's image around the globe.

It's really the artist in me that loves the idea of an image and an image that provokes an emotion.

The fact that we have not had a terrorist attack in this country in the last six years is not a cause for complacency or a time to celebrate the end of the struggle. The threat is not going away. The enemy has not lost interest. ...Fundamentally, we're in a struggle about ideology. Terrorists want to remake the world in their own image and it is the image that is intolerant of the kinds of institutions that we cherish.

In the 1920s, everyone wanted to be a celebrity. Everyone wanted to be like Babe Ruth or Charles Lindbergh. ... Businessmen, in particular, in the '20s really believed that to be a success, an entrepreneur needed to have a personality, a sense that you were a success. That's why I think Capone dressed the way he did. And that's why he entertained the press — because he wanted to be perceived as a successful American. Dale Carnegie ... would later cite Capone as a model for creating the public image. Obviously, it went bad in many ways for Capone, but that's the image he was going for.

Melancholia for Freud is the relationship that the subject takes up with respect to itself from the position of what he calls conscience or what he later calls the super-ego. And that can be lacerated - if you think of the anorexic who sees themselves from the perspective of the image they have, of the image they have of themselves in the mirror which is false - that would be the super-ego. Super-ego is what generates depression and it is what has to be dealt with in psychoanalysis.

If you listen to a song and get an image in your head, and then you go home and watch mtv and the image they're showing is the same as the one in your head, kill yourself. You're better off coming back as a lobster.

Of course, I think this is something that Netflix does much better. If you analyze the enormous amounts of effort and attention that has been given to my father's image due to Narcos, I am sure of one thing: if I did the same exact thing that Netflix does with my father's image, I would be killed, do not doubt it for a second.

The desire to express in an art form and to compose a tableau and vignette whether it's humorous, burlesque, or poetic comes simply from a desire to compose an image for cinema. It is not my fault that when I go to Ramallah there is a checkpoint and therefore it enters my film. Tell me a way to avoid that politicized image. The fact is that the police are everywhere, the army everywhere and occupation is total. Whether it's a love story or a thriller, you place the camera and these realities will cross the frame.

God thought and things came to be, in-formed: the divine thought is the complicated womb of all that is. For it's not likely that, like some painter, He conjured up an image from a similar image, having seen beforehand things which His own one mind did not write.

Rather let us imagine the anima mundi as that particular soul-spark, that seminal image, which offers itself through each thing in its visible form. Then anima mundi indicates the animated possibilities presented by each new event as it is, its sensuous presentation as a face bespeaking its interior image - in short, its availability to imagination, its presence as psychic reality. Not only animals and plants ensouled as in the Romantic vision, but soul is given with each thing, God-given things of nature and man-made things of the street.

The first four months of writing the book, my mental image is scratching with my hands through granite. My other image is pushing a train up the mountain, and it's icy, and I'm in bare feet.

Perhaps it is even a good idea to stir up a rivalry between conceptual and imaginative activity. In any case, one will encounter nothing but disappointments if he intends to make them cooperate. The image can not provide matter for a concept. By giving stability to the image, the concept would stifle its life.

Our starting-point must be the fact that God cannot be named... no mind has yet contained or language embraced God's substance in its fullness. No, we use facts connected with Him to outline qualities that correspond with Him, collecting a faint and feeble mental image from various quarters. Our noblest theologian is not one who has discovered the whole - our earthly shackles do not permit us the whole - but one whose mental image is by comparison fuller, who has gathered in his mind a richer picture, outline, or whatever we call it, of the truth.

I often think about image, and image is something that - but in truth, the real artistic process, as I've understood it, is 95 percent intuitive, like seat-of-the-pants, at-the-moment decisions that you can't even explain, you know?

Who kills a man kills a reasonable creature, God's image; but he who destroys a good book, kills reason itself, kills the image of God, as it were, in the eye.

What does open us is sharing our vulnerabilities. Sometimes we see a couple who has done this difficult work over a lifetime. In the process, they have grown old together. We can sense the enormous comfort, the shared quality of ease between these people. It is beautiful, and very rare. Without this quality of openness and vulnerability, partners don't really know each other; they are one image living with another image.

Feel the power of your legs, hear the orchestra playing, see the audience - anything to make the image more real. The image has to be specific. You can't just say to yourself, 'I'll do my best.' You have to have a mental blueprint of that role in your mind.

Film is the best way to capture an image and project that image. It just is, hands down.

An image is not a picture, but a picture can correspond to it.

Love begins with an image; lust with a sensation.

As to his gospel, Jesus Christ came into the world as the image of the invisible God to communicate to us that not only did we not need to be afraid of God, but that God is more for us than we are ourselves or one another. God's love is infinite, and unstoppable, and will win!

...There are issues worth advancing in images worth admiring; and the truth is never "plain," nor appearances ever "sincere." To try to make them so is to neutralize the primary, gorgeous eccentricity of imagery in Western culture since the Reformation: the fact that it cannot be trusted, that imagery is always presumed to be proposing something contestable and controversial. This is the sheer, ebullient, slithering, dangerous fun of it. No image is presumed inviolable in our dance hall of visual politics, and all images are potentially powerful.

That's what comics journalism does better than anything else: you can get a feeling of what it was like. Like Scott McCloud says, especially with a simple drawing style, you can project yourself into the image, and imagine yourself having those experiences.

In other ways, you constantly have to change people's opinion of you as one thing, especially if you want to play different roles. You have to shatter that image sometimes. I've had to do it before with stage roles, to get roles. I'm drawn to kind of darker, misfit things. I would like to, especially in film, play against type and do some heavier stuff. I'm intrigued by projects that deal with problematic people and things.

Too many companies want their brands to reflect some idealised, perfected image of themselves. As a consequence, their brands acquire no texture, no character and no public trust.

The Almighty in His infinite wisdom did not see fit to create Frenchmen in the image of Englishmen.

Many times, working is kind of like channeling, and I really don't know what's going to fall on the page. I just did this image of a fat girl and put her on a tiny mountain peak of grass that she's walking over. It just amused me.

When I was younger, I was worried about how others viewed me and if I was good enough. I realize now that you can't mold an image or try to be something that you are not. As far as being an actor is concerned, your work really speaks for itself.

It's so dense, every single image has so many things going on.

I am definitely questioning the atonement and trying to discover how we can see it in a different way. We've got this image of God who needs some sort of flesh, some sort of blood, that needs some sort of vengeance to pay for sin. My experience of a loving God who's asked me to love my enemies - this isn't a God that demands something before you are accepted. I think Jesus died because Jesus was inclusive. God is inclusive. I think that the idea of God somehow being separated from us was more man's idea.

All our language about the future ... is like a set of signposts pointing into a bright mist ... the New Testament image of the future hope of the whole cosmos, grounded in the resurrection of Jesus, gives as coherent a picture as we need or could have of the future that is promised to the whole world, a future in which, under the sovereign and wise rule of the creator God, decay and death will be done away with and a new creation born, to which the present one will stand as mother to child.

When you grow up on camera and in the public eye, you feel you have to put forth this image. I just took that to the extreme and there was a lot of pressure on me

There is perhaps no better a demonstration of the folly of human conceits than this distant image of our tiny world.