Quotes About Image

In recent years my understanding of God had evolved into increasingly remote abstractions. I'd come to think of God in terms like Divine Reality, the Absolute, or the One who holds us in being. I do believe that God is beyond any form and image, but it has grown clear to me that I need an image in order to relate. I need an image in order to carry on an intimate conversation with what is so vast, amorphous, mysterious, and holy that it becomes ungraspable. I mean, really, how to you become intimate with Divine Reality? Or the Absolute?

I actually think some of the rappers can help our image, because the thing Im concerned about is the NBAs image. I always want our image to be on the rise, and if the rappers can help young players get business-minded, then Im all for it.

I think we all do craft a certain self-image. I guess the degree that our internal self-image matches the image we project, we perhaps feel really uncomfortable in the world when there is a difference. That can cause a lot of stress or bad feelings about ourselves.

I played with the image, because I think image is temporary. It's a projection. It's illusory.

We don't build a record. We're taking a picture of it. We're not building an image; we're capturing an image.

A lot of actors get concerned about their own image, even going so far as to rewrite a movie to best serve that image. All I want to do is be in good movies.

In order to move our self image higher on the spectrum of performance, we must specifically attack our self-talking and our self-thinking? By using constructive imagination - the eye of faith - we can change our self image.

If the authors and custodians of history turn out to have an attractive image, it is only reasonable to look beyond and ask whether the image they construct is accurate.

If there is any realm where distinction is especially difficult, it is the realm of childhood memories, the realm of beloved images harbored in memory since childhood. These memories which live by the image and in virtue of the image become, at certain times of our lives and particularly during the quiet age, the origin and matter of a complex reverie: the memory dreams, and reverie remembers.

We chose the most interesting image available to us to illustrate the theme of the cover, which is what we always try to do. We apply the same test to photographs of any public figure, male or female: does the image convey what we are saying? That is a gender-neutral standard.

All of my early images were really visual experiments to me. They were attempts to answer unasked questions like, what happens if you put images of six men and six women together, or if we combined a monkey's image with a human, would the result approximate an image of early man?

He who stands aloof runs the risk of believing himself better than others and misusing his critique of society as an ideology for his private interest. While he gropingly forms his own life in the frail image of a true existence, he should never forget its frailty, nor how little the image is a substitute for true life. Against such awareness, however, pulls the momentum of the bourgeois within him.

I wanted to emphasize the fact that I'd matured. I wanted to break away from the image of being the youngest member of Big Bang, as well as the image I gave off on variety shows.

We know from the book of Genesis that God created men and women 'in His image and likeness.' We know from the first letter of John that 'God is Love.' Therefore, men and women are made in the image and likeness of Love. This isn't hard to see. Look at the design of the male and female bodies. They are made for each other. In fact, neither one makes complete sense apart from the other.

The image of where you are going has to be more dominant than the image of where you are.

You come to the photograph as an aesthetic object with no context... Then you step in and read the text and then out again to revisit the image in a completely different way. I'm interested in that space between text and image. The piece becomes the negative space between the two.

Words have great cumulative power, but in the 21st century, a single image is much stronger. An image suggests the unvarnished truth. That is its power and its fiction.

I want every image to be the beginning of an unseen image.

Most American heroes of the Revolutionary period are by now two men, the actual man and the romantic image. Some are even three men - the actual man, the image, and the debunked remains.

Give the public the 'image' of what it thinks it ought to be, or what television commercials or glossy magazine ads have convinced us we ought to be, and we will buy more of the product, become closer to the image, and further from reality.

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.

People have the idea that an image must stand for something else, that the real meaning needs to be described with language. Instead it is the image itself that is the meaning.

I think that you have to present an image that is... true to you, and... the way you would like to be perceived, so I think that through the years I've worked really hard at trying to create an image that is true to me.

The lover of photography is fascinated both by the instant and by the past. The moment captured in the image is of near-zero duration and is located in a ever-receding then. At the same time, the spectator's now, the moment of looking at the image, has no fixed duration. It can be extended as long as fascination lasts and endlessly reiterated as long as curiosity returns.

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.

We all become well-disguised mirror image of anything that we fight too long or too directly. That which we oppose determines the energy and frames the questions after a while. Most frontal attacks on evil just produce another kind of evil in yourself, along with a very inflated self-image to boot.

For me, the key image is the boat coming through the fog at the beginning. It's something I imagined and liked and I guess there are other references in other films I make - the similar type of image. But I think it's interesting, it's breaking through the mystery, or maybe it stays in the fog... we don't really know. Where is he at the beginning of the film, who is he?

I tend to think having that extreme of color, that kind of black, is amazingly beautiful...and powerful. What I was thinking to do with my image was to reclaim the image of blackness as an emblem of power.

Amazingly, my first project at Granta was the Sex issue. Given my own proclivity for the nuances of hedonistic and sexual exploration, partly through art, it was a perfect way to start. I love to interrogate through image - or pose questions through a subversion of said image - and we came up with a visual that caused quite a stir and went on to pick up a Design and Art Direction award.

How convinced are you that man was created in the image of God when you can't see the image of God?

God's wrath is not an implacable, blind rage. However emotional it may be, it is an entirely reasonable and willed response to offenses against his holiness. But his love . . . wells up amidst his perfections and is not generated by the loveliness of the loved. Thus there is nothing intrinsically impossible about wrath and love being directed toward the same individual or people at the same time. God in his perfections must be wrathful against his rebel image-bearers, for they have offended him; God in his perfections must be loving toward his rebel image-bearers, for he is that kind of God

In poetry I can let the language go, allow an image that seems out of place to enter and see what happens, always listening to the music that's being created, just like the world around us, never predictable, always shifting and intertwining, reflecting and echoing itself.

I writhe when I see myself on the screen. I'm such a dreadfully clumsy hulking image. I say to myself, "Why doesn't he get off? Why doesn't he get off?" I mean, I look like such an idiot. Some fat awkward thing dredged up from some third-rate drama company. I must stop thinking about it, otherwise I shan't be able to go on working.

Make no mistake, Madonna is always in control of the image she wants you to see.

...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.

I bought a piano once because I had the dream of playing As Time Goes By as some girl's leaning on it drinking a martini. Great image. But none of it worked out. I can't even play Chopsticks. But I've got a nice piano at my house!

I'm only wanted by directors for the image I give off, and it makes me angry. I always wanted to be an actor and not a beauty pageant winner.

I re-invented my image so many times that I'm in denial that I was originally an overweight Korean woman.

Yeah, I have a tough-girl image.

I don't particularly like to go see 3D movies, but when I'm doing it I kind of do enjoy it. I enjoy seeing the image in 3D, there's a childhood fun about being able to see those dimensions.

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.

One of those out-of-the-ordinary days that made sense of the slew of ordinary days. New York had a way of doing that. Every now and then the city shook its soul out. It assailed you with an image, or a day, or a crime, or a terror, or a beauty so difficult to wrap your mind around that you had to shake your head in disbelief.

This is the gist of all worship: to be pure and to do good to others. He who sees Shiva in the poor, in the weak, and in the diseased, really worships Shiva. And if he sees Shiva only in the image, his worship is but preliminary. He who has served and helped one poor man seeing Shiva in him, without thinking of his caste or creed or race or anything, with him Shiva is more pleased than with the man who sees Him only in temples

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 something in a sequence is edited, if you repeat an image, but in a different place, the effect is different. Because the brain is remembering, and the different juxtaposition triggers other memories, thoughts, ideas, and so on.

Identity is marketed in national capitalism as a property. It is something you can purchase, or purchase a relation to. Or it is something you already own that you can express: my masculinity, my queerness . But identity need not be simply a caption for an image of an unchangeable concrete self. It is also a theory of the future, of history.

In my art and life, I really strive to reverse the old adage that what you see is what you get. If I can be Coyote and practice my sneak-up, I can engage the viewers from a distance with one image and lure them in for exposure to another layer, which changes the initial view into quite a different reality. After all, that is what ethnic culture is all about - or even an ongoing relationship. What you see on the surface is never the same again one you begin to plumb the depths.

I think that the boy-woman is a very strong image and a lot of fascinating women are like that: Gala [Dalí].