Quotes About Perspective

All photographs are there to remind us of what we forget. In this — as in other ways — they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.

When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.

A peasant becomes fond of his pig and is glad to salt away its pork. What is significant, and is so difficult for the urban stranger to understand, is that the two statements are connected by an and not by a but.

A drawing of a tree shows not a tree but a tree being looked at

Seeing come before words. The child looks and recognizes before it can speak. But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.

We never look at just one thing; we are always looking at the relation between things and ourselves.

Today we see the art of the past as nobody saw it before. We actually perceive it in a different way.

If we can see the present clearly enough, we shall ask the right questions of the past.

the more imaginative the work, the more profoundly it allows us to share the artist's experience of the visible.

Falling in love at five or six, although rare, is the same as falling in love at fifty. One may interpret one's feelings differently, the outcome may be different, but the state of feeling and of being is the same.

Accept the unknown. There are no secondary characters. Each one is silhouetted against the sky. All have the same stature. Within a given story some simply occupy more space.

Their space has absolutely nothing in common with that of a stage. When experts pretend that they can see here 'the beginnings of perspective', they are falling into a deep, anachronistic trap. Pictorial systems of perspective are architectural and urban – depending upon the window and the door. Nomadic 'perspective' is about coexistence, not about distance.

Every image embodies a way of seeing. Even a photograph. For photographs are not, as is often assumed, a mechanical record. Every time we look at a photograph, we are aware, however slightly, of the photographer selecting that sight from an infinity of other possible sights. This is true even in the most casual family snapshot. The photographer's way of seeing is reflected in his choice of subject.

Yet, although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing.

Those who read or listen to our stories see everything as through a lens. This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless. If we storytellers are Death's Secretaries, we are so because, in our brief mortal lives, we are grinders of these lenses.

The Photographer's way of seeing is reflected in his choice of subject. The painter's way of seeing is reconstituted by the marks he makes on canvas or paper. Yet, although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing.

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kar??daki tepeyi gördüÄŸümüzü kabul edersek o tepeden goruldugumuzu de kabul etmemiz gerekir. görüÅŸün iki yanl?l??? konuÅŸmalar?n iki yanliligindan daha bask?nd?r.

The past is never there waiting to be discovered, to be recognized for exactly what it is. History always constitutes the relation between a present and its past. The past is not for living in; it is a well of conclusions from which we draw in order to act.

To try to understand the experience of another it is necessary to dismantle the world as seen from one's own place within it, and to reassemble it as seen from his.

Never again will a single story be told as though it"s the only one.

When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.

The relation between what we see and what we know is never settled. Each evening we see the sun set. We know that the earth is turning away from it. Yet the knowledge, the explanation, never quite fits the sight.

The past is the one thing we are not prisoners of. We can do with the past exactly what we wish. What we can't do is to change its consequences.