Quotes of All Topics . Occasions . Authors
When judging a product, we rarely have exhaustive scientific data to go by. As a result, if we are to form a complete picture, we must fill in the blanks, just as we must in our visual perception.
When I'm creating characters, I definitely think of theme songs. Writing for me is very visual, so I sometimes think of it in terms of a movie with a soundtrack, and try to transfer that to words.
The late 20th century had just enough communication abilities to allow superstar-ness and communality to happen. It was a musical renaissance that rivals the visual one that happened in the 1400s.
Drawing and visual pursuits were first. Music came and found me in a way. Really, what it's about is creative problem solving, and music is a lot more an expression of that than painting is for me.
I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.
Each time you present a tour, you're faced with these questions of, 'How do you want to present visual information? How do you want to take the music that we're making on stage and visualize that?'
I understand the visual media very well, as I used to write comic books for Walt Disney, and I've written a graphic novel. How you carry a story in pictures is different than how you do it in text.
In chess, there are some extremely beautiful things in the domain of movement, but not in the visual domain. It's the imagining of the movement or of the gesture that makes the beauty in this case.
I kind of write about visual art the way Roger Angell writes about baseball, which is to say, you're writing about life: it's a somewhat focused, limited terrain in which you write about everything.
Art works because it appeals to certain faculties of the mind. Music depends on details of the auditory system, painting and sculpture on the visual system. Poetry and literature depend on language.
It's amazing to be able to work with people right at the top of whatever they do... inspiring photographers and stylists with very interesting visual language. The more I do it, the more I enjoy it.
Habitual texters may not only cheat their existing relationships, they can also limit their ability to form future ones since they don't get to practice the art of interpreting nonverbal visual cues.
I wanted to write something visual that I could read to the children. This was when I created the idea of Redwall Abbey in my imagination. As I wrote, the idea grew, and the manuscript along with it.
I see my music as a visual thing. When I'm on stage I am very expressive with my face and through my performance - kind of like an actress but not really, it just rises up from inside with the music.
It's thought that about 96% of us have visual imagery, and there's a very tiny minority in the population, some of whom are normal, some of whom have brain lesions, who cannot produce visual imagery.
Film is probably the medium best suited to reach the most people - the visual, the aural, the limbic, the intellectual: it captures all these parts of our mind and soul. No other art form comes close.
The power of elegy, even in the face of an unbounded grief, to provide a containing form is vividly embodied by Anne Carson's 'Nox,' a nocturne with carefully controlled visual and tactile properties.
I like looking at the characters. Seeing them always brings up some voice or attitude. I am much more visual, and that works so much better than having someone tell me what the character is all about.
You get to bring your own sound system when you play an arena, all the lights and visual stuff, which I think is really cool. There's something about those old arenas, where it feels larger than life.
That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.
I think, certainly, directing is a visual medium, but it's also about communication, and a lot of times, great directors are lacking in communication skills, which is rather shocking to discover that.
While you're testing out armatures of puppets, you're also trying to find the proper visual vocabulary for the character and to come up with a guidebook of sorts for how a character will move and act.
A lot of the work in, say, construction or restaurants involves visual and motor flexibility. It also requires adaptability, in terms of answering questions, giving people directions, or taking orders.
If I were somebody who spent the majority of my time saying things that were harsh and difficult to hear, I would want my visual aesthetic to be something soft and feminine, warm and easy to be around.
I am a film director, and I work with a visual language, with a visual medium. And I try to make virtue of the use of this visual medium. And I try to make sure what I do speaks the language of cinema.
I draw on a lot of cinematic influences like Ingmar Bergman and Wim Wenders, artists who let a story take its time. Comics are a visual medium, and visuals should be allowed to tell some of that story.
Film is much more visual, a scene is typically a lot shorter, you're dealing with a lot more characters, a lot more locations, and you're able to rely on things that you just can never do on the stage.
But in the old days, visual artists used to fall into two distinct categories: those of us who created images with cameras and those of us who applied stuff onto other stuff, with brushes or other tools.
As we know from the work of certain fundamental physicists, people like Einstein were very dependent upon conjuring up visual images in order to imagine things which otherwise were not easily formulated.
In a film we have limited time and space to say what we have to, hence the visual language and brevity needs to be paramount. In a novel, however, we can dissect each thought and emotion and build on it.
As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together.
With regards to music, I don't want to pigeonhole myself and say I am a musician or a visual artist, because I feel like it's all-encompassing, and I feel like every bit of my art is related to the other.
I think that if someone told me I could have been a visual artist, I might have been a visual artist instead. And if I'd known I could have done art history, I would have done that. But I just didn't know.
'Instagram' is a media company. I think we're about visual media. I explain ourselves as a disruptive entertainment platform that enables communication through visual media. I don't think it's just photos.
The clarification of visual forms and their organization in integrated patterns as well as the attribution of such forms to suitable objects is one of the most effective training grounds of the young mind.
You don't go see Primus to see what kind of new clothing I'm wearing or what my new hairdo is. You come to see Primus for the musical experience and the visual experience. I think, anyways. Maybe I'm wrong!
Why do we use flash at all? Because photography is not the same as eyesight. We can see in low-light situations where cameras, dependent upon a physical process to record visual information, are half blind.
I love to perform not only music, but to make performances extremely visual, and create almost a magical fantasy. It's really an uplifting style of art that combines visuals and music in very dreamlike ways.
The way I sort of approach my work is that the historical and socioeconomic and cultural worlds that the music is exploring dictate the visual experience and the way that we approach it specifically on film.
I had done student films for the School Of Visual Arts and for NYU and all these schools in New York, so those were my first film experiences, but they were student films, so I guess they don't really count.
Opera tells stories through the pure emotion of music. An exhibition has to tell a story purely visually. I've tried to incorporate both of those things - pure emotion and being more visual - into my writing.
I try to ask visual questions. I'll ask what someone was wearing, if that seems relevant. If possible, I'll walk over the same ground that they're depicting. Of course, I can never get it precisely as it was.
I'm very visual when I write and get a lot of inspiration from scrolling through Tumblr or Pinterest. I have picture folders to most of the songs I've written. It would be cool to release it as a book one day!
You have kids studying master class visual arts who are pushed to make films that will be successful economically; that's what they focus on. So they work for corporate interest instead of artistic expression.
I'm a visual person, so it always starts with a picture, and then I get obsessed with the idea, sometimes too much. I have these blank books in which I take notes, and I add postcards and other physical items.
I'm a situationist when it comes to anything creative, and that stands with the visual part of anything I do as well. I deal with the concrete things I have in front of me, and I think that's a wise way to be.
Concrete poets continue to turn out beautiful things, but to me they're more visual than oral, and they almost really belong on the wall rather than in a book. I haven't the least idea of where poetry is going.
In animation, what's wonderful is that when you start to work with multiple nationalities, the common language becomes a visual language rather than a spoken language, which blends beautifully with the art form.
I do not have a history in set design. I have a history in art. I draw. But I learned set design when I couldn't afford to have a team and I didn't want to look like I was indie. I wanted to give fans the visual.
I often find myself privately stewing about much British art, thinking that except for their tremendous gardens, that the English are not primarily visual artists, and are, in nearly unsurpassable ways, literary.