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You can talk about a caption underneath a photograph being true or false, because there is a linguistic element. you can claim that a photograph is a picture of a horse or a cow, but it is the sentence that expresses the claim, which is true or false, not the photograph.
-Errol Morris
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You Can Talk About A Caption Underneath

Errol Morris
You can talk about a caption underneath a photograph being true or false, because there is a linguistic element. you can claim that a photograph is a picture of a horse or a cow, but it is the sentence that expresses the claim, which is true or false, not the photograph.
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Horse True Or False Elements

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There is a story in zen circles about a man and a horse. the horse is galloping quickly, and it appears that the man on the horse is going somewhere important. another man standing alongside the road, shouts, «where are you going?» and the first man replies, «i don't know! ask the horse!» this is also our story. we are riding a horse, and we don't know where we are going and we can't stop. the horse is our habit energy pulling us along, and we are powerless.
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The first sentence of the truth is always the hardest. each of us had a first sentence, and most of us found the strength to say it out loud to someone who deserved to hear it. what we hoped, and what we found, was that the second sentence of the truth is always easier than the first, and the third sentence is even easier than that. suddenly you are speaking the truth in paragraphs, in pages. the fear, the nervousness, is still there, but it is joined by a new confidence. all along, you've used the first sentence as a lock. but now you find that it's the key.
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It's kind of like sentencing. a lot of people say that we have a heavy sentence for this crime and a light sentence for another crime, and what we ought to do is reduce the heavy sentence so it's more in line with the other. wrong. in most cases we ought to increase the light sentence and make it compatible with the heavy sentence, and be serious about punishment because we are becoming too tolerant as a society, folks, especially of crime, in too many parts of the country.
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There is a documentary element in my films, a very strong documentary element, but by documentary element, i mean an element that's out of control, that's not controlled by me. and that element is the words, the language that people use, what they say in an interview. they're not written, not rehearsed. it's spontaneous, extemporaneous material. people
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He’s sort of a homeless horse,” i said. “i’m leaving for the airport in two seconds, and i won’t be back for a couple days. you can put the horse in the garage, but i don’t want that horse in my apartment.” “who would put a horse in an apartment? that’s dumb.” “where’s the horse staying now?” “my apartment.” “i can always count on you to brighten my day,” ranger said. and he disconnected.
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How the horse dominated the mind of the early races especially of the mediterranean! you were a lord if you had a horse. far back, far back in our dark soul the horse prances...the horse, the horse! the symbol of surging potency and power of movement, of action in man!
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I paint the way i do because i can keep on putting more and more things in - like drama, pain, anger, love, a figure, a horse, my ideas of space. it doesn't matter if it differs from mine, as long as it comes from the painting, which has its own integrity and intensity.
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My view is that our minds are incredibly powerful animals that are, during life, kept somewhat in check by the load of our bodies. once that load is gone (or so some ancient texts teach us) the mind is like a horse off the tether. so the habits we get into here might have something to do with what happens to us afterwards. an exciting but harrowing idea, given the everyday state of my mind. but also hopeful, since that's something a person can work with.
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There the bush administration has offered only a merry-go-round policy. they got up on their high horse, whooped and hollered, rode around in circles and ended right back where they'd started.
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