The camera is for us a tool, not a pretty mechanical toy ... people think far too much about techniques and not enough about seeing.
Henri Cartier-BressonRead
Poetry is the essence of everything, and it’s through deep contact with reality and living fully that you reach poetry. Very often I see photographers cultivating the strangeness or awkwardness of a scene, thinking it is poetry. No. Poetry is two elements which are suddenly conflict — a spark between two elements. But it’s given very seldom, and you can’t look for it. It’s like if you look for inspiration. No, it just comes by enriching yourself and living.
Interpretation
Poetry arises from the deep connections between contrasting elements of reality, not from forced creativity.
In this quote, Henri Cartier-Bresson emphasizes that true poetry stems from a deep engagement with life and the spontaneous interplay of conflicting elements. He criticizes those who seek to manufacture poetic moments in art, suggesting instead that genuine inspiration emerges from enriching one's experiences and interactions with the world around us.
In practice
This quote is perfect for conversations about the nature of inspiration at an art class.
The camera is for us a tool, not a pretty mechanical toy ... people think far too much about techniques and not enough about seeing.
The most difficult thing for me is a portrait. You have to try and put your camera between the skin of a person and his shirt.
Photography has not changed since its origin except in its technical aspects, which for me are not important.
Photographier: c'est mettre sur la meme ligne de mire la tete, l'oeil et le coeur.
Above all, I craved to seize the whole essence, in the confines of one single photograph, of some situation that was in the process of unrolling itself before my eyes.
Pictures, regardless of how they are created and recreated, are intended to be looked at. This brings to the forefront not the technology of imaging, which of course is important, but rather what we might call the eyenology (seeing).
I hope to refine music, study it, try to find some area that I can unlock. I don't quite know how to explain it but it's there. These can't be the only notes in the world, there's got to be other notes some place, in some dimension, between the cracks on the piano keys.
Millions of men have lived to fight, build palaces and boundaries, shape destinies and societies; but the compelling force of all times has been the force of originality and creation profoundly affecting the roots of human spirit.
Individual writers have different postures, different stances, even different physical attitudes as they stand or sit over their blank paper, and in a sense, without doing it, they are crossing themselves; I mean, it's like the habit of Catholics going into water: you cross yourself before you go in.
One wanted, she thought, dipping her brush deliberately, to be on a level with ordinary experience, to feel simply that's a chair, that's a table, and yet at the same time, It's a miracle, it's an ecstasy.
Songs for me are like a message in a bottle. You send them out to the world, and maybe the person who you feel that way about will hear about it someday.
In my experience, when you're writing, you want the truth, and you don't want to be apologetic in any way. But there is something in writing, the complexity of it, that works against that aim.
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