How can one be free of the images that one has? First of all, I must find out how these images come into being, what is the mechanism that creates them. You can see that at the moment of actual relationship, that is, when you are talking, when there are arguments, when there are insults and brutality, if you are not completely attentive at that moment, then the mechanism of building an image starts. That is, when the mind is not completely attentive at the moment of action, then the mechanism of building images is set in motion. When you say something to me which I do not like — or which I like — if at that moment I am not completely attentive, then the mechanism starts. If I am attentive, aware, then there is no building of images.
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p. 337Jiddu Krishnamurti
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Attention is not concentration. When you concentrate, as most people try to do — what takes place when you are concentrating? You are cutting yourself off, resisting, pushing away every thought except that one particular thought, that one particular action. So your concentration breeds resistance, and therefore concentration does not bring freedom. Please, this is very simple if you observe it yourself. But whereas if you are attentive, attentive to everything that is going on about you, attentive to the dirt, the filth of the street, attentive to the bus which is so dirty, attentive of your words, your gestures, the way you talk to your boss, the way you talk to your servant, to the superior, to the inferior, the respect, the callousness to those below you, the words, the ideas — if you are attentive to all that, not correcting, then out of that attention you can know a different kind of concentration. You are then aware of the setting, the noise of the people, people talking over there on the roof, your hushing them up, asking them not to talk, turning your head; you are aware of the various colours, the costumes, and yet concentration is going on. Such concentration is not exclusive, in that there is no effort. Whereas mere concentration demands effort.
Jiddu Krishnamurti
And the brain has been trained to record because then in that recording there is safety, there is security, there is strength, a vitality, and therefore in that recording the mind creates the image about oneself. Right? And that image will constantly get hurt. So is it possible to live without a single image? Go into it, sir. Don't please go to sleep. Single image about yourself, about your husband, wife, children, friend and so on, about the politicians, about the priests, about the ideals, not a single shadow of an image? We are saying it is possible, must be, otherwise you will always be getting hurt, always living in a pattern. In that there is no freedom. And when you call me an idiot, to be so attentive at that moment. Right? When you give complete attention there is no recording. It is only when there is not attention, inattention, you record. I wonder if you capture this. Is it getting too difficult? Too abstract? That is, you flatter me. I like it. The liking at that moment is inattention. In that moment there is no attention. Therefore recording takes place. But when you flatter me, instead of calling me an idiot, now you have gone to the other extreme, flatter me, to listen to it so completely, without any reaction, then there is no centre which records.
Jiddu Krishnamurti
The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization. In the cinema, as in the other arts, this is the most delicate moment — the moment when the poet or writer makes his first mark on the page, the painter on his canvas, when the director arranges his characters in their setting, makes them speak and move, establishes, through the compositions of his various images, a reciprocal relationship between persons and things, between rhythm of the dialogue and that of the whole sequence, makes the movement of the camera fit in with the psychological situation. But the most crucial moment of all comes when the director gathers from all the people and from everything around him every possible suggestion, in order that his work may acquire a more spontaneous cast, may become more personal and, we might even say — in the broadest sense — more autobiographical.
Michelangelo Antonioni
In my use of the camera, I work to make images that go beyond, and even undermine, the conventions of "point of view." Such images transcend the limitation that would seem to be inherent in the photographic mechanism (or "point-of-view machine"). They allow the viewer to see and feel the "room"—or the world, or reality—as it is, beyond the ego’s self-reference. And such images thereby become a non-verbal means of "picturing" the essential human process of ego-transcendence—going beyond the fixed "point of view" of the ego, or the core presumption of separateness
Adi Da
The poetic image is not a static thing. It lives in time, as does the poem. Unless it is the first image of the poem, it has already been prepared for by other images; and it prepares us for further images and rhythms to come. Even if it is the first image of the poem, the establishment of the rhythm prepares us — musically — for the music of the image. And if its first word begins the poem, it has the role of putting into motion all the course of images and music of the entire work, with nothing to refer to, except perhaps a title.
Muriel Rukeyser
Krishnamurti, Jiddu
Krishnamurti, U. G.
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