To accept Naturalism is to reject such entities as Cartesian minds, private visual and tactual spaces, angelic beings and God.
I write my novels longhand. I love the feeling of writing; I love to see pen on paper. It feels more creative than typing, and it's a more visual process for me - I can picture the entire scene in my head and am merely writing what I see.
When you drive a car, either you manage it and feel it with the grip of the car, or, like me, you fix it on visual speed. If you do it through the grip, you lose it very quickly - because when the track changes, you can have scares. I do it visually, so if I am going too fast I fight to get the car back, but I do not do it by feeling the grip.
The images are visual, auditory, olfactory, kinesthetic. They aren't laid down on the same tracks as thought. And sometimes, when they return to you, it is as if you feel them for the very first time. Memory lives on in the details, like the color of a room, a tone of a voice, the touch of a child, the smell of a man.
I loved all those Doris Day visuals of her being a tomboy and then changing into this gorgeous girl in a ballgown.
I hope my visual language inspires others to tell their stories and challenges people's thinking.
There's some connection between visual images and music. But there's plenty of old records where I have no idea what the band looked like, or even what sort of context the music was played in.
My biggest influence growing up was Mad magazine, which is a very text-heavy form of visual satire. I didn’t grow up wanting to draw donkeys and elephants with the names of politicians written across them.
Puppets are pure form then ideas for performance come out of that. It's always the form and the visuals and that's why I like to make puppets in a gallery or museum. They're not often in those contexts.
The danger of these collaborations across disciplines is in having too strict of a division of labor - in my case, of getting stuck doing the music. When I make an album, I write music, I write lyrics, I come up with the visual design, etc. I get to do all of that stuff.
What I'm doing in writing has been thoroughly and exhaustively explored in other fields like visual art, music, and cinema, yet somehow it's never really been tested on the page.
I've always written songs with a visual counterpart in my mind that no one else can see.
I'm a very visual person and I love the ability to tell stories through images.
When you walk around, your vision system is processing a whole bunch of signals in milliseconds and judging that a visual object is a wall, or an imminent cliff, or a car heading towards you. This might be disturbing to a lot of people, but some of those guesses are errors.
In 1989 I came to New York to go to the School of Visual Arts. Then, after two years, I switched over to the New School for Social Research and did cultural anthropology in the graduate school there.
Designing a tour is a daily thing. I work on it every day for several months. I’m involved with every department, from lighting, sound, music direction, the visual direction. The set list is something I create myself and that’s the root of everything
I regard texture similar to the function of taste buds in our mouths. But in a visual form. Texture does create a specific flavour which affects our senses.
I wanted all the responsibility to rest on the content of the story. I tried to make the visual style almost invisible.
The goal is to align with your core group of collaborators, who understand your vision and aesthetics. I usually show them visual material of what I have in mind, as well as a color spectrum of mood boards.
When you boil it down, it's all a visual expression. In a sense we are all storytellers through what we wear, who we want to be, how we want people to perceive us. Life, people and the stories they consciously or unconsciously tell inspire me everyday.
The visual and literary arts are of perennial interest to me, and these art forms have become more and more a part of my life; they have become companions of sorts. I cannot imagine my day to day experiences without the presence of these art forms. They're absolutely essential.
Abstraction means getting away from a visual interpretation but nearer to an emotional one.
I like to hide my camera and use a remote control, because then no one knows when I'm actually imprisoning their souls in the visual plane of thought or just sitting there, waiting, and then making time stop. The printed film is like a bell used to symbolize its hour. Except it stands for both that hour's and everything's sudden stopping.
Visual supervision is a joke for development workers. Visual supervision is for prisoners.
The human brain has left and right brain symmetry with its own nature and can process information which initially appears to have no pattern or order. However, the brain has the ability to process visual information much more efficiently.
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