I had to train myself to focus my attention. I became very visual and learned how to create mental images in order to comprehend what I read.
With all of the visual distraction constantly inundating us in the form of our devices and screens, I really derive a great deal of pleasure from watching the sun rise and set, admiring clouds as they change shape across the sky, watching tree leaves and blossoms undulate in the breeze....these treats foment an ocular-cleansing refreshment to my way of thinking.
Communication is the key, and it's one thing I had to learn-to talk to the actors. I was so involved with the visual and technical aspects that I would forget about the actors.
I see my work as visual meditations on the human experience and my attempts to capture the thin, otherwordly realm I believe exists between what we see and what we cannot.
I should say that I am a visual person. I experience with my eyes and never, or rarely, with my ears... to my constant regret.
Films are 50 percent visual and 50 percent sound. Sometimes sound even overplays the visual.
I really want to do a book on the history of the no-wave music scene in New York, how it extended out and formed lots of other things. It was such a great visual culture.
Most of us are visual learners. Some of us are auditor learners – we learn by hearing. Many of us are kinesthetic learners. We learn by doing, touching, feeling. I have found … that we need an educational model that is current, that meets the need of our students. America must understand that she needs Muslims.
The lies are in the dialogue, the truth is in the visuals.
In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest.
I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.
As a gender variant visual artist I access 'technologies of gender' in order to amplify rather than erase the hermaphroditic traces of my body. I name myself. A gender abolitionist. A part time gender terrorist. An intentional mutation and intersex by design, (as opposed to diagnosis), in order to distinguish my journey from the thousands of intersex individuals who have had their 'ambiguous' bodies mutilated and disfigured in a misguided attempt at 'normalization'. I believe in crossing the line as many times as it takes to build a bridge we can all walk across.
What I like best about underwater photography is giving a visual voice to the invisible. What I like least is the prospect of drowning.
For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. It is by economy of means that one arrives at simplicity of expression.
The Window is not without a certain visual spell that makes it a first-rate artistic achievement.
We must first realize that dancing is an absolutely independent art, not merely a secondary accompanying one. I believe that it is one of the great arts. . . . The important thing in ballet is the movement itself. A ballet may contain a story, but the visual spectacle . . . is the essential element. The choreographer and the dancer must remember that they reach the audience through the eye. It's the illusion created which convinces the audience, much as it is with the work of a magician.
For me nature is not landscape, but the dynamism of visual forces.
The eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift. One moment, there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.
We live in a society where we basically live and strive on what people think about us. We’re more visual people so what we see is basically what we believe which is not necessarily true.
So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point
I think people should be able to have at their behest, like, four hours of music, entertainment, visual knowledge, different pathways[.] That's what I'm trying to do with modern technology, not just another song and another song.
The very best [infographics] engender and facilitate an insight by visual means - allow us to grasp some relationship quickly and easily that otherwise would take many pages and illustrations and tables to convey. Insight seems to happen most often when data sets are crossed in the design of the piece - when we can quickly see the effects on something over time, for example, or view how factors like income, race, geography, or diet might affect other data. When that happens, there's an instant "Aha!".
I wish I could be a better writer, but writing is so difficult. I get seduced by visual aesthetics. Because I just like making beautiful pictures, sometimes I wander away from making a clear statement.
Since the point of erotica is to offer the consumer sexual experiences without having to compromise with the demands of the other sex, it is a window into each sex's unalloyed desires. Pornography for men is visual, anatomical, impulsive, floridly promiscuous and devoid of context and character. Erotica for women is far more likely to be verbal, psychological, reflective, serially monogamous and rich in context and character. Men fantasise about copulating with bodies; women fantasise about making love to people.
It is striking how our language reveals the visual nature of our thoughts about the future state of affairs. When we invent the future, we try to get a mental picture of what things will be like long before we have begun the journey. Visions are our windows on the world of tomorrow.
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