Quotes About Image

What interested me in film was the image-making aspect of it. So, I went to school in cinematography. I was really convinced that image was what I wanted to do, and I think it came from the fact that I lived in a small town my whole life, but my mother was very interested in painting, so she would bring us to Paris for two weeks. So, we're going to the Louvre and to the museums and to see shows. In the evening we were seeing theater. Painting is basically what led me. I think the image was key.

We go to sea repeatedly from Melville's time on - and the image of men at sea, like the image of men in the wilderness, seems to me to be almost an archetypal image of human beings on their own, human beings making their own way, guiding themselves by the stars they can see - rather than by faith or prayer or invisible forces.

I bristle a little when the argument for film gets put into the nostalgia ghetto. Film is still the highest quality and best-looking image capture medium available. I don't think it always will be. The digital image will get better, and it will eventually surpass the quality of the film image, but it isn't there yet.

To love! To surrender absolutely, to prostrate oneself before the divine image, to die a thousand imaginary deaths, to annihilate every trace of self, to find the whole universe embodied and enshrined in the living image of another! Adolescent, we say. Rot! This is the germ of the future life, the seed which we hide away, which we bury deep within us, which we smother and stifle and do our utmost to destroy as we advance from one experience to another and flutter and flounder and lose our way.

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.

But I think the image that's thrown out on television is a bad image. Because you see players who want to imitate hip-hop stars. And the NBA is taking advantage of the situation.

When you have terrorism, you have a war. When you have a war, you always have innocent lives that could be the victim of any war, so, we don't have to discuss what the image in the west before discussing the image in Syria. That's the question.

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.

In a way, it's like the photographer always has his vision of me. The pictures that I'm known for are not really my image, they're always the photographer's vision of me. I can look a hundred different ways, but what people see of me in pictures is not really my image.

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.

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.

The poetic image […] is not an echo of the past. On the contrary: through the brilliance of any image, the distant past resounds with echoes.

I start with an image, then I go from the image toward exploring the situation. Then I write a scene, and from the scene I find the character, from the character I find the larger plot. It's like deductive reasoning - I start with the smaller stuff and work backward.

The image of the presence, whatever it was, waiting there for him to go -this image had not yet been so concrete for his nerves as when he stopped short of the point at which certainty would have come to him. For, with all his resolution, or more exactly with all his dread, he did stop short - he hung back from really seeing. The risk was too great and his fear too definite: it took at this moment an awful specific form.

When I speak of the aspiration towards the beautiful, of the ideal as the ultimate aim of art, which grows from a yearning for that ideal, I am not for a moment suggesting that art should shun the 'dirt' of the world. On the contrary! the artistic image is always a metonym, where one thing is substituted for another, the smaller for the greater. To tell of what is living, the artist uses something dead; to speak of the infinite, he shows the finite. Substitution... the infinite cannot be made into matter, but it is possible to create an illusion of the infinite: the image.

If you take text and image and you put them together, the multiple readings that are possible in either poetry or in something visual are reduced to one specific reading. By putting the two together, you limit the possibilities. Text and image don't always work together in the way music and song lyrics become part of each other.

Pictures artists staged their own images or copied or cut out others already in existence. The viewer took them in separately, in sometimes paradoxical waves: an original image, then the manipulations of it, then the places where image and idea intersected. This created a crucial perceptual glitch that irony and understanding filled.

I like creating these moments where there's this dichotomy between something that repels you but is still so attractive that you can't stop looking. You still want to acquire it; there's still that level of aspiration for the image of the figure or the person you're looking at. when you look at the work there's this, "Oh it's really beautifully rendered!" or, "I love those beautiful tones." There's some aspect that's really attractive but the image itself could be slightly distributing.

In a world full of war, famine, oppression, deceit, monotony, what—apart from the eternal innocence of animals—offers an image of hope? A mother with a newborn child in her arms? The child may end up as a murderer or a murder victim, so that the hopeful image is a prefiguration of a pietà: a mother with her newly dead child on her lap.

When we can see the image of God where we don't want to see the image of God, then we see with eyes not our own.

Our image of happiness is indissolubly bound up with the image of the past.

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?

I often think of the image only I can see now, and of which I’ve never spoken. It’s always there, in the same silence, amazing. It’s the only image of myself I like, the only one in which I recognize myself, in which I delight

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

The image is a pure creation of the mind. It cannot be born from a comparison but from a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be - the greater its emotional power and poetic reality..

Why is it surprising that scientists might have long hair and wear cowboy boots? In fields like neuroscience, where the events you are recording are so minute, I suspect scientists cultivate a boring, reliable image. A scientist with a reputation for flamboyance might be suspect.

I had learnt to seek intensity rather than happiness, not joys and prosperity but more of life, a concentrated sense of life, a strengthened feeling of existence, fullness and concentration of pulse, energy, growth, flowering, beyond the image of happiness or unhappiness.

Fashion is a reflection of our times. Fashion can tell you everything that's going on in the world with a strong fashion image.

God is indeed dead. He died of self-horror when He saw the creature He had made in His own image.

Art does not organize parties, nor is it the servant or colleague of power. Rather, the work of art becomes a political force simply through the faithful representation of the spirit. It is a political act to create an image of the self or of the collective.

Here is another miserable mental image I will have to catalog and make room for.

Certainly, the international image of the United States today is a lot less positive than 10 years ago. And that really shouldn't be, because you have been the victims of this awful terrorist attack, and I think America deserves the sympathy of the world.

What I aim at is an image with a minimum of information and markers, that has no reference to a given time or place.

At an early age through the arts, I was fortunate to find an outlet to learn & apply, express myself, create, develop a positive image of myself, and a feel of importance, and significance to the world.

Self-conscious artiness is fatal, but it certainly would not hurt to study composition in general. Having a basic understanding of composition would help construct a better organized image.

I testify that no one of us is less treasured or cherished of God than another. I testify that He loves each of us—insecurities, anxieties, self-image, and all. He doesn’t measure our talents or our looks; He doesn’t measure our professions or our possessions. He cheers on every runner, calling out that the race is against sin, not against each other.

The geologist, in those tables of stone which form his records, finds no examples of dynasties once passed away again returning. There has no repetition of the dynasty of the fish, of the reptile, of the mammal. The dynasty of the future is to have glorified man for its inhabitant; but it is to be the dynasty-"the kingdom"-not of glorified man made in the image of God, but of God himself in the form man.

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

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

Our society's strong emphasis on dieting and self-image can sometimes lead to eating disorders. We know that more than 5 million Americans suffer from eating disorders, most of them young women.

There is a deep sense in which we are all ghost towns. We are all haunted by the memory of those we love, those with whom we feel we have unfinished business. While they may no longer be with us, a faint aroma of their presence remains, a presence that haunts us until we make our peace with them and let them go. The problem, however, is that we tend to spend a great deal of energy in attempting to avoid the truth. We construct an image of ourselves that seeks to shield us from a confrontation with our ghosts. Hence we often encounter them only late at night, in the corridors of our dreams.

Not only is the statistical madness an assault on individuality, it's also one on temporality too. Statistics - even when accurate - are only an image of the past that can then be Photoshopped before being pasted on to the future.

True religion is a union of God with the soul, a real participation of the divine nature, the very image of God drawn upon the soul, or in the apostle's phrase, it is Christ formed in us.

Whoever controls the image and information of the past determines what and how future generations will think; whoever controls the information and images of the present determines how those same people will view the past." "He who controls the past commands the future. He who commands the future conquers the past.

Behavior is the mirror in which everyone shows their image.

End with an image and don't explain.

For a woman, body image is always a palpable thing. Weirdly, for me, the only time I don't care is when I'm in character.

The image you project, in many circumstances, is far more valuable than your skills or your record of past accomplishments.