Lao Tsu found Taoism easy to reconcile withthe world of human beings, which is interesting because with all the nature imagery, one might think it was in some way antithetical to contempory life.
...There are issues worth advancing in images worth admiring; and the truth is never "plain," nor appearances ever "sincere." To try to make them so is to neutralize the primary, gorgeous eccentricity of imagery in Western culture since the Reformation: the fact that it cannot be trusted, that imagery is always presumed to be proposing something contestable and controversial. This is the sheer, ebullient, slithering, dangerous fun of it. No image is presumed inviolable in our dance hall of visual politics, and all images are potentially powerful.
Truth, like beauty, varies its fashions, and is best recommended by different dresses to different minds; and he that recalls the attention of mankind to any part of learning which time has left behind it, may be truly said to advance the literatures of his own age. As the manners of nations vary, new topicks of persuasion become necessary, and new combinations of imagery are produced; and he that can accommodate himself to the reigning taste, may always have readers who perhaps would not have looked upon better performances.
It is the melody and the rhythm that are by far the most important and then words and imagery and stuff, story bits will start to stick to a melody and that is the way I write.
In The Lost Message of Jesus I claim that penal substitution is tantamount to 'child abuse - a vengeful Father punishing his Son for an offence he has not even committed.' Though the sheer bluntness of this imagery (not original to me of course) might shock some, in truth, it is only a stark 'unmasking' of the violent, pre-Christian thinking behind such a theology.
Generally, the imagery and the text go hand in hand. It's much easier when the text comes first, but sometimes I need visual stimulation in order to find the words. I get an idea of what I want when I begin to shoot, and the text is usually the last thing to be resolved. I tend to leave the text open, and I refine the words up to the last minute. As for the image, I can resolve that and get that done fairly quickly.
As far as the performance goes, I want to create an atmosphere, and use 5.1 sound and imagery and shape and form to transform the stage from one thing to another, as if you're watching a movie.
We're so conditioned to the syntax of the camera that we don't realize that we are running on only half the visual alphabet... It's what we see every day in the magazines, on billboards and even on television. All those images are being produced basically the same way, through a lens and a camera. I'm saying there are many, many other ways to produce photographic imagery, and I would imagine that a lot of them have yet to be explored.
...I use primal imagery, so maybe it's fitting that I use the most primitive of cameras [pinhole cameras]. Since there's no viewfinder, the image is much more of a surprise - as if some outsider came and looked at earth for the first time.
You grow up trying to interpret, worshipping, visual symbols. It's a body-soaked imagery that you're looking at.
The exploitation and superficiality of mainstream America is the object not of [Bob] Dylan's hipster scorn, but of an apocalyptic parable of holy fools and righteous thieves - the kind of imagery that Dylan's later work would explore more fully.
I am not the avant-garde. I am the artist who comes after the advancing guard. I am more concerned with continuity of ideas and tradition than in inventing a unique imagery.
Who can now deny the loss of natural light, of skin tones, of real place, and common but precious things in our movies, to be replaced by the gorgeous imagery of things that have never been and never will be? The most special effect in movies is always the human face when its mind is being changed.
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