Visual Quotations

Right before 'American Dreams,' I started to pursue these avenues, like short films and getting into a couple night courses to really study photography and cinematography, and the language of visual storytelling.

The standard way to record a meeting is to list people's names, the topics, and action items. The visual way is to doodle a rectangle (the table) populated by figures (the participants) sitting around the table with their comments as cartoon word balloons.

For me, the perfect film has no dialogue at all. It's purely a visual, emotional, visceral kind of experience. And I think one can create wonderful depth and meaning and communication without using words. I started out as an illustrator and a cartoonist and caricature artist, so for me the visual is primary.

The issue in Web accessibility is the fact that blind and visually-impaired people need the single biggest boost to achieve equivalence, since the real-world Web is a visual medium.

Art requires philosophy, just as philosophy requires art. Otherwise, what would become of beauty?

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.

I don't say I create. I copy, of course. I've never been interested in the point of view of the tailor or creator. Fashion is a visual impression. This is why I often refuse the name of fashion designer. It's a superficial, stupid job. The social-psychological aspect is more interesting.

There's a certain visual grammar you've got to stick in. For example, if a character has just woken up, draw him in his pajamas with the bed a bit rumpled. Or if he's ill, draw little bottles with red crosses on that immediately communicate medicine, and a box of tissues.

Why take notes? The obvious reason is to remember. Visual note-taking translates what we hear into pictures that give context, color, and meaning. By adding symbols, visual metaphors, likenesses of people, and room layouts, we add several dimensions.

In visual perception a color is almost never seen as it really is - as it physically is. This fact makes color the most relative medium in art.

When I work, I'm thinking in terms of purely visual effects and relations, and any verbal equivalent is something that comes afterwards. But it's inconceivable to me that I could experience things and not have them enter into my painting.

It's much easier to consume the visual image than to read something.

It's more fun if you can control things like lighting and make special effects in the darkroom.

There must be a little memory bank, a library or storage unit in my brain, that just tucks away memories of other people. I suck in as much of life as I can. I don't do it deliberately - I'm just curious. Dangerously so. I collect visual and aural patterns, physical human patterns, from experience.

Drawing is not only a way to come up with pictures: drawing is a way to educate your eye to understand visual information, organizing it into a more hierarchical way, a more economical way. When you see something, if you draw often and frequently, you examine a room very differently.

BASE jumping is skydiving from fixed objects, like buildings, antennae, bridges and earth - meaning mountains, cliffs. It's for sure - for me - it's the ultimate feeling of being in free fall, with all the visual references.

Because storytelling, and visual storytelling, was put in the hands of everybody, and we have all now become storytellers.

In the early Sixties, having begun to describe the physiology of cells in the adult cat visual cortex, David Hubel and I decided to investigate how the highly specific response properties of cortical cells emerged during postnatal development.

I grew up watching movies and being amazed at the animatronics you'd see in stuff like 'The Dark Crystal,' and all those kinds of movies. So, I'm always enthralled with how they can make it all work, behind the scenes, with the visual effects.

Film and theater are about misdirection and making the audience see something. I find it interesting. One of the things we do in 'True Blood' is shoot all of our stunts in camera. Instead of doing some kind of visual effect, we try to make it happen.

I've always had a kind of visual eye, and it was a pleasant exercise for that.

Photography obviously lends itself so well towards fashion. It's capturing that moment and that inspiration, and as a designer you are constantly walking through the world assimilating those visual references you have and so being able to solidify that into a photograph and keep it on your mood board is essential to creating a collection.

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.

The religious imagery and fairytales that formed our shared cultural references have been replaced by the cult of celebrity. Marilyn is the sex goddess, Camilla Parker Bowles is cast as the wicked witch, Che Guevara is the revolutionary. Celebrities have become visual shorthand for narratives that shape our lives.

Innate mechanisms endow the visual system with highly specific connections, but visual experience early in life is necessary for their maintenance and full development. Deprivation experiments demonstrate that neural connections can be modulated by environmental influences during a critical period of postnatal development.

I had joined Marvel in 1967, after a year in Vietnam and three years as a student at the School of Visual Arts in Manhattan. Stan Lee, then the editor-in-chief, hired me as a production assistant.

I'm a visual thinker, thrill seeker, and I'm easily distracted. I see everything I'm writing, and I think it naturally affects the pace of things.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

I love storytelling, I love being a visual person, and it just made perfect sense to be an underwater photographer and explore the ocean and work with scientists.

I have suffered from migraines since childhood and have long been curious about my own aching head, my dizziness, my divine lifting feelings, my sparklers and black holes, and my single visual hallucination of a little pink man and a pink ox on the floor of my bedroom.

One often thinks that using 2 different things like visual and sound lead to 2 different conclusions - to a different content - but in in my case it is all one.

I learned in the computer game business early on that all senses are not equal. The best example is, you're listening to a radio play and you're driving down the road, and suddenly you realize you haven't seen the road in five minutes. It's because your visual cortex has been partying with your imagination, basically.

I studied neuroscience at the cellular level, so I was looking at learning and memory in the visual cortex of rats. Neuroscience mainly exposed me to a way of thinking - about experimentation, about what you believe to be true and how you could prove it - and how to approach things in a methodical manner.

Also the pictures themselves give a visual to the audience tuning in, that makes them a very important part of law enforcement, or pulling families together.

I was always a visual person. I could see things visually. I had a harder time with numbers and logic, and I always had more of an artistic sensibility. So that I could do. And it was something that I really loved.

As a young actor, I would be invited to the CBC radio drama department to do voices for different characters, and I found that I could do quite a few of them. I wasn't a visual presence, and I found it easier to construct a voice from the written page.

I think the main influence has been living in New York City. Aside from all the crap around 9/11, I find it very demanding to think amid all the noise and visual pollution.

If smart technology can transform 3-D from a crude novelty to a genuine visual enhancement, why shouldn't a sophisticated odor synthesizer follow a similar path?

When you're on camera, even though you try to lose yourself in the character, you are aware that there is a camera there capturing every moment of it visually. With doing a voiceover job, you are worried about the sound of it, and you have to make all those visual colors come out with your sound.

When I started, I knew I didn't fit any visual that anyone was going to lie down and take their clothes off about. Work doesn't come to me; I go out and look for it.

If I give a book as a gift, it is invariably a children's book with beautiful artwork and a simple text. I adore the feel of them, the care taken in the artwork, and the high visual stimulation that sets off the simple but often powerful message the text conveys.

Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.

When I began to choreograph and find my way pulling other artists' dreams out and changing music in a visual way, there was still a part of me that had something more to say. There was still a desire to rock a stage and ultimately perform the eight count of my dream, but there was a lot of insecurity there.

I can't separate the process of writing from the visual process. I'm speaking only for myself here, but I'm a highly visual writer. In my imagination, when I'm thinking of a scene, I think of every last detail of it: The space, the color palette, the blocking of the actors, the placement of the camera.

The way we tell our stories on stage is that we use spoken word to convey action, and in movies, we use visual images to convey action.

I guess if I was made responsible for every single line of dialogue in a game and every single piece of textual visual detail, every sign or piece of graffiti, then yes, I think that would be comparable to the time and effort required to write a very long novel, indeed.

When we started EA in 1982, our goal was to make games as big a media as visual entertainment or movies. That was how big we dreamed at the time.

Despite their lack of visual impact, headline sex-appeal, and their 'out of sight, out of mind' nature, we should all care about aquatic dead zones because we are all connected to their causes and we all feel their impacts.

Because Bin Laden's culture doesn't permit the worship of images, they understand how powerful images are. We wouldn't have thought of creating a visual bomb. In a way, he's chopped down two iconic buildings, and used our very truth imagery, to express himself. It's fascinating... I mean, dreadful.

Blinking is some way of tabulating - a kind of carriage return, click, or save to disk - that helps the process of 'Okay, now change the subject.' Every time you move your eyes, there's an interruption in the visual field - you go momentarily blind when your eyeballs are moving.

But being quiet and meditating on sound is something completely different and will be discovered very soon by a lot of people who feel that the visual world doesn't reach their soul anymore.

It's almost as if creativity is dead. The visual power of advertising was everywhere - now it's basically gone.

I'd probably play games obsessively if I didn't write, although I admit I don't read novels partly because I don't enjoy it, not just because it's the wrong side of the creator-consumer barrier for me. I'm a visual writer. I think in moving 3D images and write down what I observe.

I have an unusual type of thinking. I have no visual memory whatsoever. Everything is conceptual to me.

'The X-Files' from the beginning was a very visual show, and with Bob Mandel directing the pilot and Dan Sackheim being involved in the production of the pilot and directing the first episode, they brought a visual style to it that was elaborated on by so many good directors.

'Stimela' is the very first video I directed. I wanted it to be an emotional visual art piece, displaying humans as free, powerful animals. We are all running from something or searching for something; our instincts have been ignored.

I think that music and visual arts can complement themselves nicely. They do different things - the music forces you into a different mood and perspective whilst the visual stuff can engage you in a more direct cognitive manner.

The thrill of doing visual effects doesn't exist.

Sometimes magnificent visual art takes root in the humblest of soils. Advertisements painted on old barns, tattoos, fruit crate labels, hot rod embellishments - all these media and many other non-galleried forms have hosted and fostered esthetic delights that satisfy any rigorous definition of art.

Well, the medium of film is so different than a book that just by bringing it into visual storytelling is to change it up. I think in a book, in any book, you can have a reactive character. Some of the great novels of all time have had that, but in a film you can't do that.

I am so organized that it's dysfunctional. Everything has a place. I am a very visual person, so my environment is important to me. If my environment is messy, I can't think clearly. I don't like clutter. A clean desk is a clean mind for me.

As a visual person, I love a creative resume. Putting in a little effort on the design side will show that you care about making things look good.

With 'Anna Karenina,' I just think it's a stunning visual tour de force for a director who is at the top of his game.

I think that cognitive scientists would support the view that our visual system does not directly represent what is out there in the world and that our brain constructs a lot of the imagery that we believe we are seeing.

The most important thing for building a robot that you can interact with socially is its visual attention system. Because what it pays attention to is what it's seeing and interacting with, and what you're understanding what it's doing.

If you imagine yourself as a craftsman at ILM, you spend your days tumbling buses and animating shards of glass. You're doing a lot of visual effects work.

I don't really have a drive toward being a director at all. Not that I wouldn't rule it out, but I just don't think my instincts lie necessarily in a very visual way. But I am very interested in storytelling, narrative and character development, so writing is something that I absolutely want to do.

There is a satire that exists in 'My Arm,' but there is also an honoring of some of the stronger ideas that I've raided from visual art.

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 like visual images and there are certainly other bands that have strong visual images going all the way back to Elvis Presley, but it's kind of like that's never really been my bag. Probably because I'm too shy.

I have a visual sense for the music. It has to stay true to a certain sense of period. I rely on a sense of colors and mood in my approach to the arrangement.

Words aren't very good at describing complicated, strange visual things. You can try, and the reader will have some sort of image in their mind, but words aren't good at that.

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 always say that I'm an artist who works with pictures and words, so I think that the different aspects of my activity, whether it's writing criticism, or doing visual work that incorporates writing, or teaching, or curating, is all of a single cloth, and I don't make any separation in terms of those practices.

I believe that who we are, and consequently the work that we make, whether we're visual artists or writers or journalists or filmmakers, is a projection of where we were born, what's been withheld or lavished upon us, our color, our sex, our class. And everything we do in life to some degree is a reflection of that context.

I don't think music is the first thing I turn to. For me, I think visual art is more the thing. Sometimes when I've been doing music for a while, I can't really take any more in.

I decided at 40 I was wasting entire chunks of my brain and didn't want to blow my one chance on Earth. I'm glad I made that decision. Writing is largely about time, while visual art is largely about space. Sometimes, as with film, you can hybridize, but I think it's basically the space part of my brain wanting equal footing with the time part.

I've always been into visual effects. It was something I took keen interest in before films happened. Ironically, I am a part of 'Raaz 3,' a film that is shot entirely on 3D. It has encouraged me to pursue my dream. Hopefully, if time permits, I will travel to the United States and attend a crash course in visual graphics and animation.

I have been drawing and creating visual works my entire life, as long as I can remember.

I used to try and make up visually for what I couldn't play as a musician. I used to get into very incredible visual things where, in order just to make one chord more lethal, I'd make it a really lethal looking thing, whereas really it's just going to be picked normally.

In the visual arts, particularly painting, I distrust all those abstractions, those artificial constructions. I have a very simple way of judging them: if I can do them, they are not art.

Everything you see is filtered through your visual system (imperfect) and your brain (also imperfect, despite what your mom told you). Witness testimony is the worst kind of evidence in science.

The devices that our kids use are shipped from the factory with every possible audio, visual or vibration alert switched on. Each new app, website, tweet and message adds another layer of intrusion - each intrusion is cynically designed to get a response, and each response creates an appetite for another intrusion.

I've always been a follower of silent movies. I see film as a visual medium with a musical accompaniment, and dialogue is a raft that goes on with it.

Videos come definitely after the music has been created, but I have always felt, and especially today, that videos are vital in the album process. I think that we live in a very visual era, and if you make a mistake with a video, those images will accompany the song forever.

Movies like that aren't about the visual effects and explosions. They're human stories about family, about life, about death.

I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.

Writing is largely about time, while visual art is largely about space.

I've never really seen too much difference between writing or making visual art or designing furniture or clothing. It's still my brain - I'm just using different parts of it for different things.

More questionably, the book does not touch upon the computer language Visual Basic for Applications (VBA), despite it's centrality for doing advanced work in Access.

I was a visual artist primarily and a writer, even from a very young age.

My greatest strength as an actor is that I follow my director's brief completely. The film is always the director's visual baby.

people who are loitering in an area, evaluating the consistency or presence of security measures ... using note taking devices at visual events or a tape recorder at a visual event ... walking in a manner consistent with measuring or pacing.

Revisiting 'Leave It to Beaver,' and seeing it in the pristine visual clarity of digital restoration, are mood-altering if not quite mind-altering experiences, very much for the better.

Networks are branding their programming through mobile content and providing an audible and visual experience for the consumer. We're launching our mobile store with the most in-demand Bravo brands.

My fiction has been influenced by the visual arts, though not in obvious ways, it seems to me. I don't offer tremendous amounts of visual information in my work.

If the seams are showing, there is something wrong with the performance or the construction of the piece. This idea is completely at odds with our modern visual experience, because everything today is based on montage.

I'd like to go on the road again with a band. When I did it I loved the social aspects of it, you know traveling with the band and all, but I didn't like the music as well. And there was nothing of visual interest. Maybe I would have to get someone else to play so I could finally dance the way I was born to do.

I don't know what visual sign I gave Bob necessarily or anybody in regard to that, ... That was one of many things that you deal with. That was no more, no less, but it was pressing at that time.

Less is more when it comes to color and annuals. Choosing a single color pattern carries a more dramatic visual impact than mixing and matching. And you can get more bang for the buck in terms of color and coverage by breaking the normal rules for potting and planting annuals that call for spacing them widely apart.