Some deny the existence of misery by pointing to the sun; he denies the existence of the sun by pointing to misery.
Franz KafkaRead
Photography concentrates one's eye on the superficial. For that reason it obscures the hidden life which glimmers through the outlines of things like a play of light and shade. One can't catch that even with the sharpest lens.
Interpretation
Photography captures visual appearances while often missing deeper truths and emotions.
Franz Kafka's quote reflects on the limitations of photography as an art form. While it can capture the surface beauty of subjects, it often fails to reveal the underlying essence and complexities of life. The metaphor of light and shade suggests that there are layers of meaning that go beyond what the eye can see, implying that true understanding requires more than just a visual representation.
In practice
During a photography exhibit, one might quote Kafka to provoke thought on the depth of what is captured in images.
Some deny the existence of misery by pointing to the sun; he denies the existence of the sun by pointing to misery.
One can disintegrate the world by means of very strong light. For weak eyes the world becomes solid, for still weaker eyes it seems to develop fists, for eyes weaker still it becomes shamefaced and smashes anyone who dares to gaze upon it.
But Gregor understood easily that it was not only consideration for him which prevented their moving, for he could easily have been transported in a suitable crate with a few air holes; what mainly prevented the family from moving was their complete hopelessness and the thought that they had been struck by a misfortune as none of their relatives and acquaintances had ever been hit.
Association with human beings lures one into self-observation.
A non-writing writer is a monster courting insanity.
The ulterior motives with which you absorb and assimilate Evil are not your own but those of Evil. _x000D_ The animal wrests the whip from its master and whips itself in order to become master, not knowing that this is only a fantasy produced by a new knot in the master's whiplash.
The film is made in the editing room.
I put it [picture "A still life of a pear" by Edouard Manet] there [on the wall, next to the picture "Jupiter and Thetis" by Jean-Auguste-Dominique Ingres], for a pear like that would overthrow any god.
I love movies, but sometimes I think it's better for actresses not to be total cinephiles. You have to be able to do the work at some point; you can't be totally starstruck. 'I can't believe it's Woody Allen!' You have to get past that.
There is still a real need for good quality architecture, not paper architecture, but the real stuff.
Whether it's a very dramatic part or a comical role, I feel I need to create the same thing: a full-fledged, three-dimensional character that the audience can identify with.
When it is working, you completely go into another place, you're tapping into things that are totally universal, completely beyond your ego and your own self. That's what it's all about.
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