Quotes of All Topics . Occasions . Authors
I don't do my best work while I'm in therapy. I'm too onto myself immediately seeing meanings in things and more likely to censor myself. I'd rather find images I don't understand. That's what generates the work.
In healthcare, we are beginning to see that AI can read the radiology images better than most radiologists. In education, we have a lot of data, and companies like Coursera are putting up a lot of content online.
In 3-D filmmaking, I can take images and manipulate them infinitely, as opposed to taking still photographs and laying them one after the other. I move things in all directions. It's such a liberating experience.
Even as Instagram defines our visual moment, we use the app's filters to travel backwards in time, to make our images resemble the Polaroids of yore by casting them literally in a different, more nostalgic light.
The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
When I say, 'I can't stay long, I'm in-between meals,' that plays differently on the radio than it does in person. So I have to pick material that works because the words are funny, not just because of the images.
My synesthesia is mostly gone - it was a much bigger factor when I was a kid. But having no depth perception is a bonus when you're trying to lay out flat images and describe them to an artist - flat is all I see.
I like visual images and there are certainly other bands that have strong visual images going all the way back to Elvis Presley, but it's kind of like that's never really been my bag. Probably because I'm too shy.
Hence, in desiring, the more the enjoyment is delayed, the more fancy begins to weave about the object images of future fruition, and to clothe the desired object with properties calculated to inflame the impulse.
My job is to take the pictures, communicate a message, to bring those images to the greater public through whatever publication I'm working for. My job is really to be a messenger, and that's what I've been doing.
I think technology has advanced so far now that there are some cameras on the market that give film a run for its money. It's all about flexibility in capturing images, and digital or film, it doesn't matter to me.
As an actor, you create a character from your understanding of what you have heard and your observations. Eventually, every film is an extension of the images that I have seen or what I have heard or read somewhere.
Contrary to what many Westerners believe, Islam has a rich tradition of secular painting in spite of its ban on images. It is only in religious rituals that the use of pictorial representation is totally prohibited.
My feet never touched the ground. Lots of good groups with crazy and unique images. It was wild. I spent all of my time doing gigs, TV appearances, interviews, or recording. I could write a book - and probably will.
The advent of digitally enhancing images - and the fact that actresses weren't protesting against that - created an environment where big corporations felt like they had total ownership over the bodies of actresses.
I was dating girls who were actresses, and that was fun, so I took a playwriting class. But that was short-lived. That was one year. Around that time, I was seeing movies that were making me think in terms of images.
My childhood gave me a very powerful sense of being spooked. I didn't know whether what I was seeing were sensory images of other people's unhappiness. Perhaps that was just the way the world manifested itself to me.
I realized all of the possibilities that could exist for me with my camera: all of the images that I could capture, all of the lives I could enter, all of the people I could meet and how much I could learn from them.
After defining an idea of what I want to achieve, through a series of storyboard images, I'll go to the ends of the earth to create it, whether that involves obscure camera lenses or the latest electronic techniques.
The history of cinema appears to be easy to do, since it is, after all, made up of images; cinema appears to be the only medium where all one has to do is re-project these images so that one can see what has happened.
I'm really interested in how we view the public figure, what makes a public figure, what makes a celebrity, and how images make politicians, so I take an interest in politics, but it's really an interest in the image.
My favourite genre lies inside myself, and as I follow my favourite stories, characters and images, it sums up to a certain genre. So at times even I have to try to guess which genre a film will be after I've made it.
We have thought carefully about how our use of typography, colour, and images can support and enhance 'Guardian' journalism. We have introduced a font called Guardian Headline that is simple, confident, and impactful.
If there is a viral video on the Internet, you know it's on YouTube. You can search for it, find it, see the view count, and then take that link and share it with whomever you want. That's what we are doing for images.
When women get great roles in life, they start to get great roles in films and TV. Look at Janet Reno, Madeleine Albright, and Mrs. Thatcher. Because those images are coming at us in life, they are reflected in acting.
I don't really know if I am thought of as a style icon. I don't feel like that at all. Music comes first, but I also just enjoy being creative in whatever I'm doing, be it wearing clothes, making images, or performing.
While 'The Endless Summer' poster was designed at the Art Center College of Design in the contemporary style of its time, the image grew out of my relationship with Rick Griffin and our deep relationship to surf images.
When I fish, there are a lot of images that come to my mind of when I was a child. I did not have things I have now, so to go fishing now is completely different. I am very grateful for all that I have acquired in life.
By creating so many illusory images of physical perfection, whether on store aisles or storefront ads, magazine covers or TV shows, we speak more to the profit margins of companies than the self-esteem of today's girls.
Our memories are convenient lies we create, cribbing images from others' experiences. We discard the personal specifics which don't conform to the ideal conventional beauty created by art directors and cinematographers.
It's still a political statement to stand on stage as a person of color and be excellent. We still need those images to combat the narrative we're often fed - as someone innately inferior or inexorably linked with lack.
News and images move so easily across borders that attitudes and aspirations are no longer especially national. Cyber-weapons, no longer the exclusive province of national governments, can originate in a hacker's garage.
We have to create images that remain in people's memory because a film is judged by what they have already seen. You are trying to create an image that is unique and you have to employ all the resources available to you.
I wasn't sold on 3-D until it was in my own home. The images jump out at you, even more so than in the theater, because you're in tighter quarters and you're closer to the TV, so it feels like the depth is very dramatic.
The public, the whites - not just in Oklahoma, but across the United States - were transfixed by the Osage wealth which belied images of Native Americans that could be traced back to the first brutal contact with whites.
It is possibly not very helpful to our inner life to ponder a great deal on how the external world is reflected in our soul. By doing so, we do not get beyond a shadowy picture of the world of mental images in ourselves.
We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the 'ideas' with which we have learned to freeze the shifting phantasmagoria which is our actual experience.
How fantastic that the American ingenuity of NASA scientists got us to Mars. It makes me proud to be an American. I can't get enough of these images from when the probe touched down. These scientists are American heroes.
Television broadcasts have, in the main, been more suggestive, less specific, more distant in their images than the print press: often you knew that lump was a dead body only because a chattering reporter told you it was.
Accepting your body and body image is very important, because there are images that are put out in the media and in your face every day that you need to look this certain kind of way, that it's gonna take you far in life.
On the stage, the characters express themselves more through words than images. So the arguments of the characters and the tension between characters - words have to be used to express that, and I love that about theater.
There are certain images attached to an Indian woman - a mother, daughter, homemaker... there are certain parts of it that I really like, and I love having that identity also, but I feel women shouldn't be limited to that.
To have the opportunity to bring 'Tallica Parking Lot' to life through images was really special. And also to have a lot of my heroes and my friends in the film was really, really special. People like Lemmy from Motorhead.
When I started university, I didn't know much about architecture, so I flipped through a lot of magazines, looking at different and exciting images from all over the world. I thought that architecture could be interesting.
The acceptance of the facts of African-American history and the African-American historian as a legitimate part of the academic community did not come easily. Slavery ended and left its false images of black people intact.
You do remember things that people say in movies. You remember particular lines and things that are funny. But, you also remember really strong images. Images have a way of bypassing your brain and hitting you emotionally.
Some hypocrites and seeming mortified men, that held down their heads, were like the little images that they place in the very bowing of the vaults of churches, that look as if they held up the church, but are but puppets.
I'm interested in everything. I don't see why Borges can't work along with Neil Gaiman, or Stephen King can't be mixed with Balzac. It's just storytelling; it's different ways of using codes and images and words and sounds.
People have asked me a lot, 'What comes first? The pictures or the story? The story or the picture?' It's hard to describe because often they seem to come at the same time. I'm seeing images while I'm thinking of the story.
We were already, in 1981, bemoaning the fact that people were using certain accessorised ideas and images that they connected with us - sort of strange buildings and neo-fascist regimes and the 'dark side' of human culture.