Sometimes when I write lyrics there are images in them, usually on a quite simplistic level, like colors. But most often music comes first and then later I sit down with visual people and we chat about what we want to do. I don’t look at myself as a visual artist. I make music.
It’s important to have strong images of women out there, women who aren’t afraid of expressing themselves, women who aren’t afraid of taking chances, women who aren’t afraid of their own power.
Moreover, photography has made it possible to fix these images and now provides us with a permanent record of each observed spectrum, which can be measured out at any time.
Local images have one kind of reality. ‘U.S. 1’ will, I hope, have that kind and another, too. Poetry can extend the document.
With correction, and given the chance, ‘Terra Nova’ can and will deliver seasons of transcendent images and story-telling. Failing to renew ‘Terra Nova’ is shortsighted, as myopic as it would have been to scrap the Hubble. ‘Terra Nova’ is the Hubble Telescope of television.
In my work, I construct texts and images. Between those two points the blur occurs. Each is altered by the other again and again, back and forth.
My poems were just kind of all over the place. They had no focus, no location, nothing. Kind of a series of images that could have been set anywhere. A lot of the poems were just exercises for myself.
The images that we see of Africa are so… that are so engrained in our minds are of this place that is terrible – like hell on earth. And that doesn’t acknowledge the positive things – the many, many, many positive things – that people are doing.
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.
Censorship of ideas or images or words is wrong.
I just think music is so intrinsically linked with images in the culture that we live in that you’ll be hard-pressed to have an experience with the music without a preconceived notion.
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.
Nonviolent, visual protests have a long history of forming images that can quickly go viral and set a powerful tone for a moment.
When we see the shadow on our images, are we seeing the time 11 minutes ago on Mars? Or are we seeing the time on Mars as observed from Earth now? It’s like time travel problems in science fiction. When is now; when was then?
I don’t put a lot of description in the books because I write books the way I like to read them, and that is I like to build images and be a creative reader, and so I write that way.
People are always like, ‘Did you purposely do something to make people uncomfortable?’ And I say the reason why it’s uncomfortable is because it’s either something that we can’t talk about or aren’t supposed to talk about, and they’re images that aren’t ever seen.
We’re all very fond of a black box in our living room that works on diminishment of images, that spoons somebody up in a very limited way. It can be a reduction at its worst.
If anything, Calvin Klein is the iconic company in terms of fashion. They do have iconic images for their campaigns.
Anorexia is a response to cultural images of the female body – waiflike, angular – that both capitulates to the ideal and also mocks it, strips away all the ancillary signs of sexuality, strips away breasts and hips and butt and leaves in their place a garish caricature, a cruel cartoon of flesh and bone.
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.
What I do is create images, period.
These days, our senses are bombarded with aggression. We are constantly confronted with global images of unending, escalating war and violence.
I think anytime you can share images that make young women feel a sense of belonging when they might not be feeling their best or their strongest is so cool.
It’s this weird binary where I’m getting media images and narratives thrown at me all the time through something I hold in my hand, and that’s never happened to other generations. But also with this little object in my hand, I have the ability to document police brutality, or post about the Syrian conflict on Twitter.
No matter what your cultural sophistication or what language you speak, everyone can understand images.
I’m influenced by many things. Simply turning on the television, I feel inundated with images and messages to be a certain way. So I try to limit my influences by being aware of what I allow into my environment. I’m always conscious of what’s trying to creep into my subconscious.
By the time a man is 35 he knows that the images of the right man, the tough man, the true man which he received in high school do not work in life.
One day I am at home, watching dramatic images of Iraqi Yazidis fleeing for their lives being aired nonstop on 24-hour news channels. Days later, I am there, staring at tens of thousands of displaced Iraqis and feeling a 35-millimeter frame cannot capture the scope of devastation and heartbreak before me.
Watching television in those days was not the same experience as it is today. After years of listening to radio, we found the black-and-white images mesmerizing.
I want people to see the fact that we’ve lost millions of manufacturing jobs to outsourcing and globalization. Sometimes images can convey that better.
If a scene called for numerous Oompas to join in a narrative song and dance, I would perform the steps for all of them with subtle distinctions of expression and movement. When the images were joined with the help of a computer, I became an entire troupe.
I have wanted to be a fine artist painter, and I reached the point in art schools were I’d like to understand more about images and how images communicate information to people. And I was not getting very far in that from my professors.
A good song should give you a lot of images; you should be able to make your own little movie in your head to a good song.
I went to art school, wanting to be a painter and then I got into photography. Then it was movies, and I liked the images. One of the things that interested me in film was that I was communicating in images. That was something I did intuitively and could not even talk about until I started having to do interviews.
The man who has perceived God looks upon all types of men as dream motion-picture images, made of the relativities of the light of Cosmic Consciousness and the shadows of delusion.
People of color have a constant frustration of not being represented, or being misrepresented, and these images go around the world.
Everything I do, it’s a bit painterly. I like being surrounded by objects, mostly on paper. I like the images. I like the painting. I like good photography. It’s something that makes me an emotional connection, and I feel comfortable around it.
Anticipation of movement, through muscular innervation and memory, by its retention of nerve impulse images, extend the present to the limit of a second or so.
I was a book lover from the beginning. I loved, love, words and images and ideas, the ways a book can make you feel things deeply or help you understand something you never even knew there were words for.
When we come to images or memories or thoughts, speculation, while always closely related to practice, is more explicit, and it is in fact not immediately obvious that such processes can be described in any sense as practical.
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.
It’s funny, because what happens to me when I read a script, when something grabs hold of me, I start getting these flashes of people or places or things or images.
I’m not fearful for myself, because I’ve seen adversity, and I can see it again. But I feel very upset and anguished when I see images of young lawyers beaten up.
It’s great to engage with the mainstream media to get messages out, but the most empowering tool is to create records of our lives, and our own images, which are not filtered through judgements, biases, or misunderstandings.
Look at lots of exhibitions and books, and don’t get hung up on cameras and technical things. Photography is about images.
An artist cannot be responsible for what people make of their art. An audience loathe giving up preconceived images of an artist.
It seems kosher and OK to treat women as objects because the business of cinema is about images and when you have fragmented images of a woman’s bosom and her swiveling hip and her twisting navel, it robs the woman of all autonomy and subjects her to the male gaze.
I love telling stories with images. But I think there’s more to just saying a movie is great visually.
Images and music are very connected.
Most people think of cinematographers as choosing subjects of an epic nature to show off what they do – big, sweeping images of war or pageantry.
