Quotes About Meaning

What we are able to say about our intimate relation with a book will have more force if we have not thought about it excessively. Instead, we need only let our unconscious express itself within us and give voice, in this privileged moment of openness in language, to the secret ties that bind us to the book, and therefore to ourselves.

It's not a matter of painting life. It's a matter of giving life to painting.

The field as a whole is defined as a system of deviations on different levels and nothing, either in the institutions or in the agents, the acts or discourses they produce, has meaning except relationally, by virtue of the interplay of oppositions and distinctions.

peut-être n'est-il pas excessif de voir dans le poème significativement intitulé « Héautontimoroumenos » [« celui qui se punit lui-même »]

A comunicação é instantânea porque, em certo sentido, ela não existe.

On n'écrit pas ce qu'on veut, dit Flaubert. Et c'est vrai. Maxime [Du Camp] écrit ce qu'il veut, lui, ou à peu près. Mais ce n'est pas écrire110.

L'homme ne naît que pour mourir et il n'est jamais si vivant que lorsqu'il meurt. Mais sa vie n'a de sens que s'il donne sa vie au lieu d'attendre qu'elle lui soit reprise.

Selon la méthode humaine bien connue : je me guérissais de la terre en me fabriquant un ciel ; je l'appelais néant.

Their spirits and their visions are embodied in their craft. And so is mine. It's not Jane Saw Puff. But the clarity of Jane Saw Puff is precious to me.

I like to feel that all my best photographs had strong personal visions and that a photograph that doesn't have a personal vision or doesn't communicate emotion fails.

I was sitting around, moping and feeling badly for myself. I went to the hospital to visit a child, and it hit me: helping people is what I'm meant to do.

The system is the work of art; the visual work of art is the proof of the System. The visual aspect can't be understood without understanding the system. It isn't what it looks like but what it is that is of basic importance.

I like looking at the characters. Seeing them always brings up some voice or attitude. I am much more visual, and that works so much better than having someone tell me what the character is all about.

For me, the perfect film has no dialogue at all. It's purely a visual, emotional, visceral kind of experience. And I think one can create wonderful depth and meaning and communication without using words. I started out as an illustrator and a cartoonist and caricature artist, so for me the visual is primary.

For me, a lot of my work has dealt with what it means to be at the center of the universe and how alienating and kind of seductive it is. A lot of my work is very aggressive and very visual, but at the same time, it has a lot of tension in it and makes you kind of uncomfortable sometimes.

I don't think that my work is very moralistic - at least, I try to avoid that. I grew up with that sermonising tendency, and I don't think visual work operates like that.

Art about art and backstory has taken over visual pleasure.

I don't really care what the visual is looking like. I've gotten away from - not shenanigans, but spectacle.

If the reader doesn't care or relate to the characters, all that visual spectacle is pretty but feels empty.

For 8,000 years, we've had lyric poetry; for 400 years we've had the novel: theatre hands its meaning down in text. Let's find a medium whose total, sole responsibility is the world as seen as a form of visual intelligence. Surely, surely, surely the cinema should be that phenomenon.

Visual storytelling utilizes both language and art to pass on the essence of who we are.

The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.

Thanks to postmodernism, we tend to see all facts as meaningless trivia, no one more vital than any other. Yet this disregard for facts qua facts is intellectually crippling. Facts are the raw material of thought, and the knowledge of significant facts makes sophisticated thought possible.

The knowledge we gain about the secrets of the spiritual world is at every hour, at every moment, of vital and profound significance for our souls; what seems to be remote from us personally is often what the soul inwardly needs.