Quotes About Image

The image can only be studied through the image, by dreaming images as they gather in reverie. It is a non-sense to claim to study imagination objectively since one really receives the image only if he admires it. Already in comparing one image to another, one runs the risk of losing participation in its individuality.

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 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 can understand how people would despise my image and my father's persona. My father's image amongst the poorest of people, those forgotten by the state, still remains a respected image. Whether we like it or not, my father was an important figure who filled a vacuum left by the state amongst the lower social classes.

The image itself is kind of the least important factor to me, though I'm still interested in putting forth an interesting image. I see the image as the screen laid over top of what really interests me, which is that depth of surface and that filmic quality that it has when you pass the piece. The idea that my pieces look like paintings, but are most definitely not, is really interesting to me.

We have to reformulate moral standards. Human beings have to impose limits on themselves when it comes to their actions and desires. There is a beautiful and very radical notion in the bible: Man is made in the image of God, no matter how sick, poor or damaged he is. We should try to transpose this maxim to our secular and constitutional self-image.

The power of a painting has to come from the inside out, not the outside in. It's not just an image. It's an image with a body and that body has to contain its spirit...What's behind it decides everything. How it starts will define how it ends.

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.

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.

People had this image of the Jacksons as the perfect American family and I destroyed that image. But what people have to understand is writing that book was very healing for me.

An image that is unseen can't sell anything. It is pure, therefore true, beautiful, in one word: innocent. As long as no eye contaminates it, it is in perfect unison with the world. If it is not seen, the image and the object it represents belong together.

I hate cameras. They interfere, they’re always in the way. I wish: if I could just work with my eyes alone. To get a satisfactory print, one that contains all that you intended, is very often more difficult and dangerous than the sitting itself. When I’m photographing, I immediately know when I’ve got the image I really want. But to get the image out of the camera and into the open, is another matter.

I'm very old fashioned. I still believe in the image and the pictorial quality of the image. It seems that I'm still busy with a truth in photography.

A century and a half after its birth, the modern business corporation, an artificial person made in the image of a human psychopath, now is seeking to remake real people in its image.

God's image is the married couple, a man and women, together. Not just the man. Not just the woman. No, both of them. That's God's image.

Woman was merely man's helpmate, a function which pertains to her alone. She is not the image of God but as far as man is concerned, he is by himself the image of God.

Man was made in the image of God, and nothing will satisfy man but God, in whose image he was made.

The image is one thing and the human being is another...it's very hard to live up to an image.

In art school, they teach you to struggle through the process: If you have your image down, you've painted it, and it's not looking the way you wanted it to, you can do wet on wet - you just keep moving the image around.

Kind words do not cost much. They never blister the tongue or lips. They make other people good-natured. They also produce their own image on men's souls, and a beautiful image it is.

I'm not a great believer in the power of the moving image. A still image has greater lasting power.

The person who has a highly evolved will they think, they build an image and they focus on that 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.

I don't think Julia Roberts is as innocent as her image suggests. You have to be a really smart cookie to create an image as clean and pure and on-the-money as hers.

The exterior image of a human being and the diverse circumstances that surround him are the exact result of his interior image and of his psychological processes.

The image of Earth from space transformed our view of ourselves. It is maybe the most important image that exists - because we can see ourselves in context in a way that otherwise would be really hard to explain. It should inspire us to wonder about it, to want to know everything we can about it and do everything we can to take care of it.

In Los Angeles there's, like, this awful image because the girls are so skinny. I don't think it's attractive whatsoever, and I also think that it gives a bad image to kids that are in their early teens. It's not healthy.

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.

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.

...Let's get to the image as quickly as possible, let's get to the message even faster, and let's find the scale to knock you over the head with the image and the message.

The 'idea' for the poem, which may come as an image thrown against memory, as a sound of words that sets off a traveling of sound and meaning, as a curve of emotion (a form) plotted by certain crises of events or image or sound, or as a title which evokes a sense of inner relations; this is the first 'surfacing' of the poem. Then a period of stillness may follow.

Love is an image of God, and not a lifeless image, but the living essence of the divine nature which beams full of all goodness.

That's the nature of representation; every time we represent something we alter it and slightly change it. And so with that as my foundation, understanding that it's always fictional to some degree, I give myself a certain freedom to really explore and ask myself questions. What might not have been understood at that time? What might have been hidden at that time? What narrative in this particular image wasn't the primary image, but is really important? That is really interesting to me, and then I try to tease that out as much as I can.

I would have you imagine, then, that there exists in the mind of man a block of wax... and that we remember and know what is imprinted as long as the image lasts; but when the image is effaced, or cannot be taken, then we forget or do not know.

Before me floats an image, man or shade, / Shade more than man, more image than a shade.

Though the computer can correct anything, a bad image is a bad image.

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.

The heart of assimilation process of absorbing minorities lies in the self-image of a nation. There are, as you will know, big differences for instance between the self-image of the French and the English. And the Germans, in accordance with their rather chequered history, had at least in the past very little capacity for absorbing minorities.

The only times we are consciously aware of the authorship of a photograph, I would argue, are when we contemplate the photographs we ourselves have taken (or those of friends and family) or when we go deliberately to the photographers monograph or exhibition. The signed image - the appropriated, the owned image - is by far the rarest in this pullulating world of pictures.

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.

What you see and what you hear on YouTube and the News and all that, it's not what it looks like, it's not what it seems, it's not what it is. Most of the time when you look at somebody off of an image they've built, it's the exact reversal of whatever that image is.

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

I think the press gets lazy once a certain kind of image is out there. It just adheres, rather than the press trying to break that down.

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

I actually go to the gym much more now than I did when I was on Buffy. I like to stay fit, because that's when I feel really healthy. But I never worked out for any kind of image. People have said to me, 'Do you starve yourself before photo shoots?' And I always say, 'No way.! That's what airbrushing is for. I had french fries last night.'

You know, you grow up with the image of John Travolta being super cool - 'Saturday Night Fever,' Brian De Palma, handsome young god... he, in reality, is a very silly man. And I mean that in a good way. He'll walk around the set talking in little weird voices, making people laugh.

The artistic image is not intended to represent the thing itself, but, rather, the reality of the force the thing contains.

In the Latino community, the Trump campaign, even when it seemed it was a long shot he would be elected president, his campaign itself just caused lots of consternation and nervousness and anger. Famously, piñata makers started making piñatas of Donald Trump, even before he won the Republican nomination. There was this sense that, here's a person who's rising in the polls because he's insulting us, because he's created this scapegoated image of us as the people responsible for the decline of the United States.