Quotes About Images

I always collect images, maybe because I was working with historic material - but even if I were working with contemporary material, I would do the same thing. I keep a kind of index of them while I'm working. I find them incredibly useful, not so much to illustrate a time, but to give some sense of the feeling of a time.

We try hard to provide the best user experience possible, and that means the best ads possible, so we work with the brands to come up with the best images.

The problem with images is obvious, they are two dimensional. Our vision at Pinterest is to use what's great about images, use the users taste to make good decisions but also to make sure to give them that information to make sure they get a more holistic understanding of what they are looking for.

I like simplicity. I like using natural sources. I like images to look natural - as though somebody sitting in a room by a lamp is being lit by that lamp.

Even tiny children looking at a picture book are using their imaginations, gleaning clues from the images to understand what is happening, and perhaps using the throwaway details which the illustrator includes to add their own elements to the story.

I love the idea of using film language similarly to how musicians use music - combining images and sounds in a way that they create an emotional effect.

Living in Barcelona, I have my own little ghetto utopia. There are 3,000 ghost towns in Spain, and I've used the images of them a lot in my backdrops for my solo spoken-word stuff. The ghost towns could be from two buildings to 40 - things died out, or there were plagues, the roads don't lead there, whatever.

Although images of perfection in people's personal lives can cause unhappiness, images of perfect societies - utopian images - can cause monstrous evil. In fact, forcefully changing society to conform to societal images was the greatest cause of evil in the twentieth century.

But what becomes of the divinity when it reveals itself in icons, when it is multiplied in simulacra? Does it remain the supreme power that is simply incarnated in images as a visible theology? Or does it volatilize itself in the simulacra that, alone, deploy their power and pomp of fascination - the visible machinery of icons substituted for the pure and intelligible Idea of God?

I had lines inside me, a string of guiding lights. I had language. Fiction and poetry are doses, medicines. What they heal is the rupture reality makes on the imagination. I had been damaged, and a very important part of me had been destroyed - that was my reality, the facts of my life. But on the other side of the facts was who I could be, how I could feel. And as long as I had words for that, images for that, stories for that, then I wasn't lost.

certain details, somewhat curtailed, live in my memory. But I don't see anything anymore: I can search the past in vain, I can only find these scraps of images and I am not sure what they represent, whether they are memories or just fiction.

The rain has stopped, the air is mild, the sky slowly rolls up fine black images : it is more than enough to frame the perfect moment ; to reflect these images, she would cause dark little tides to be born in our hearts. I don't know how to take advantage of the occasion : I walk at random, calm and empty, under this wasted sky.

There's the story of a person who does this, does that, but it isn't I, I have nothing in common with him. He travels through countries I know no more about than if I had never been there. Sometimes, in my story, it happens that I pronounce these fine names you read in atlases, Aranjuez or Canterbury. New images are born in me, images such as people create from books who have never travelled. My words are dreams, that is all.

But I can't see anything any more: however much I search the past I can only retrieve scraps of images and I am not sure what they represent, nor whether they are remembered or invented.

Man lives in the midst of images. Literature offers him a critical image of himself.

After finishing the work I start rearranging the parts again and eventually start to work with themes - images and thoughts and things.

Think clearly, act sensibly, commit yourself to caring and work hard in order to discover joy. Then give the images back to the world from which they were taken.

My work doesn't have the same rules as, say, Andy [Warhol]'s work. But it's gathered together for the simple reason that we all worked with the images and objects around us.

My work is basically images set to my particular voice. It's the way the images rhyme and the rhythm. It's a way of economical storytelling for me.

The work in Iraq is difficult and it is dangerous. Like most Americans, I see the images of violence and bloodshed. Every picture is horrifying, and the suffering is real.

Indeed, it is measure of how little we know about Cleopatra that the only images of her are either the coins she struck, bearing very unflattering official portraits of her, or some doubtful busts, which may be of other women imitating her coiffure.

Expensive advertising courts us with hints and images. The ordinary kind merely says, Buy.

There are a few images in 'Exorcist 3' that scared me - people crawling on ceilings, etc. - but nothing beats the original. Even the book scared me to death.

History does influence our lives - every moment. We never sort of live our lives in a linear fashion. We always have these memories and these images from our past that sometimes we're not even aware of, and they sort of shape who we are.