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

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Marilyn Monroe Paulo Coelho Abraham Lincoln C. S. Lewis Khalil Gibran Charlie Chaplin Gautama Buddha Isaac Newton

The human imagination… has great difficulty in living strictly within the confines of a materialist practice or philosophy.
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We follow songs in order to be enclosed. We find ourselves inside a message.
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Every city has a sex and an age which have nothing to do with demography. Rome is feminine. So is Odessa. London is a teenager, an urchin, and, in this, hasn’t changed since the time of Dickens. Paris, I believe, is a man in his twenties in love with an older woman.
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A drawing is essentially a private work, related only to the artist’s own needs; a ‘finished’ statue or canvas is essentially a public, presented work – related far more directly to the demands of communication.
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Deep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown.
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It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.
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For the artist, drawing is discovery. And that is not just a slick phrase; it is quite literally true.
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These contradictions both hide and increase the natural ambiguity of the photographic image.
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Today the discredit of words is very great.
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The poverty of our century is unlike that of any other. It is not, as poverty was before, the result of natural scarcity, but of a set of priorities imposed upon the rest of the world by the rich.
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The contradiction in perspective was that it structured all images of reality to address a single spectator who, unlike God, could only be in one place at a time.
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If everything that existed were continually being photographed, every photograph would become meaningless.
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All weddings are similar, but every marriage is different.
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Men look at women. Women watch themselves being looked at.
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Propaganda requires a permanent network of communication so that it can systematically stifle reflection with emotive or utopian slogans. Its pace is usually fast.
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A photograph is a result of the photographer’s decision that it is worth recording that this particular event or this particular object has been seen. If everything that existed were continually being photographed, every photograph would become meaningless.
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