Visual renditions of war not only establish what can be seen, and the audio-track established what can be heard, but the photographs also "train" us in ways of focusing on targets, ways of regarding suffering and loss.
A different kind of pleasure surfaced in the aftermath, the pleasure of seeing the towers fall time and again, the experience of being entranced by the visual spectacle, and then also the very graphic forms of public mourning for exemplary citizens (taking place at the same time as the refusal to mourn the undocumented, the foreign, gay and lesbian lives lost there, for example). I am not sure that the guilt over the pleasure re-installed the good citizen.
Troops must be fed with ammunition and so on but also with information, with images, with visual intelligence. Without these elements troops cannot perform their duties properly. This is what is meant by the logistics of perception.
Everything today is such a massive visual show. It's very rare to get a film where the characters are raw and real - and you can take people back to where they are watching live cinema. With character-driven action. Not visual-driven action.
I hear some guy teaches a course in diagrammatic thinking now; he's written books on it and stuff like that, and so it was kind of natural for me. Because it was a way in which words naturally fitted into something that's visual. I was always interested in doing that.
Autism is a big continuum, going from someone who remains nonverbal, all the way up to geniuses on Silicon Valley. And some kids are visual thinkers like me. Other kids are pattern thinkers - your mathematicians, your programmers. And there are others, they are word thinkers. Uneven skills. You need to take the thing that they're good at and you need to work on developing it.
I had this idea for a long time to make a film about a poet in Paterson named Patterson. I wanted him to be working class. Eventually I thought a bus was a perfect visual way to move him, to drift him through the city, to have a measured kind of routine lifestyle. And all these things kind of congealed into the film "Paterson" eventually.
I have sketched since a young age, so there's always been an artistic side, a visual side to my personality.
A performance can have amazing visuals and special effects, but it has to tell a good story, even if that story isn't original.
We're really having a problem right now in our culture. I haven't seen one movie lately in which the story and visuals have been equally good.
Essentially, I look for what is interesting to me, out there in the three-dimensional world, and translate or interpret so that it becomes visually pleasing in a two-dimensional photographic print. I search for subject matter with visual patterns, interesting abstractions and graphic compositions.
For me, the subtlety of black and white inspires the imagination of the individual viewer to complete the picture in the mind's eye. It doesn't attempt to compete with the outside world. I believe it is calmer and gentler than colour, and persists longer in our visual memory.
There are many aspects about what and why we photograph: visual pleasure, personal empathy, intellectual stimulation, technical excellence, etc. Serious photographers and artists will try to create works that are original. Over a career period they may develop a singular identity in their images.
With the search for the Higgs, we're involved with 5% of the visual universe, and now we have 95% of the invisible universe that's coming into view. That's amazing.
I'm a big non-believer in manual driver and kernel configuration, be it visual or not.
There is a neuron in your brain that will respond only to pictures of Jennifer Aniston - provided you have had prior visual exposure to the actress. That neuron does not respond to pictures of Bill Clinton or Halle Berry. Only Jennifer. I used the story to explain the almost ridiculous plasticity of the organ. There is no such thing as Jennifer Aniston in our evolutionary history - she was born in 1969, for heaven's sake - but we are flexible enough to devote an entire cell to her if we have previously encountered her in some fashion.
A third or more of the brain is devoted to visual processing, not true of any other sense. We have color vision and it is truly binocular. This sophistication is not true of other senses, such as smell, where many genes are actually mutated and no longer work.
I think most albums deserve a documentary because [an album] is a visual book. You don't have to read up on it because you can listen and watch the whole story. I would love to see lots of albums [become films.]
You always exaggerate things in a movie. If it makes a good visual and it excites the kids that's good.
People vary enormously in how they learn. Some learn through their eyes - by reading but also by responding to all kinds of visual information. Others learn mostly through their ears or touch or other senses.
The ways in which acquired savants show up are usually the same ways that congenital, or non-acquired, savant syndrome shows up. They tend to show up in the same areas: music, art, math, visual, spatial skills, and calendar calculating, although calendar calculating probably isn't quite as prominent in that group. They tend to show up quite quickly, or sort of explode on the scene and they then tend to have an obsessive sort of forceful quality about them in the same way as savant skills. So they tend to show up in the same ways.
I mean, we should only be talking about the merits of film ["Moonlight"] because one of the great things about the visual language is that it is the great equalizer.
I like telling the story in a visual way. I don't like explaining a lot in dialogue.
I was pretty shocked [having concert in the Madison Square Garden]. It could have gone either way. But I think it's the right time. Nobody does what we do with taking the visuals and making it a complete rock 'n' roll show with the really good songs. Nobody's done that in a long time.
I felt like I was a writer, and I just thought filmmaking was the best way for me to express that, because it allows me to embrace the visual world that I love. It's allows me to interact with people, to be more social than fiction or poetry, and it felt like the right way for me to tell the stories that felt pressing to me.
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