Today the major reason for our interest in Flatland is that for the first time we can achieve some of the dreams of our ancestors a century ago and obtain direct visual experience of phenomena in a dimension higher than our own.
I think we will always have the impulse towards visual poetry with us, and I wouldn't agree with Bly that it's a bad thing. It depends on the ability of the individual poet to do it well, and to make a shape which is interesting enough to hold your attention.
Art is good, bad, boring, ugly, useful to us or not. It does or doesn't disturb optical monotony, and succeeds or fails in surmounting sterility of style or visual stereotype; it creates new beauty or it doesn't.
A modeled form is less striking than one which is not. Modeling prevents shock and limits movement to the visual depth. Without modeling or chiaroscuro depth is limitless: movement can stretch to infinity.
I started connecting things to my body during my childhood. I approached the computer as a mediating element, as a form of visual art.
The visual arts must communicate to the human spirit, forcing individuals to reflect on themselves and their existence beyond their own self-interest.
The really great visual experience today is to fly over a huge city and look down into the night. It's like a tremendous jubilant Christmas tree. You just feel life is worth living when you come down you may have some doubts.
Visual tonics such as 'timed creativity' need to be introduced to refresh and refurbish the muse.
What sets you apart from the rest of humanity is your ability to give visual form to an idea - the skill to transform it into something more than merely the insight or perception alone.
It's always a challenge bringing a great story classic to the screen. Giving visual form to the characters and places that have only existed in the imagination. But it's the kind of challenge we enjoy.
. . . you [film critics] always overstress the value of images. You judge films in the first place by their visual impact instead of looking for content. This is a great disservice to the cinema. It is like judging a novel only by the quality of its prose. I was guilty of the same sin when I first started writing for the cinema. . . . Now I feel that only the literary mind can help the movies out of that cul de sac into which they have been driven by mere technicians and artificers.
There are so many films now where you know the story is a supporting role to the visual effects.
I was thinking about sort of the similarities between "art movies" and lowbrow movies like kitschy sexploitation films. I think they share certain qualities, whether they're hyper-stylized or overly emotive or just very visual.
Some directors, like Stevens [George Stevens], shoot full circle, 360 degrees, and that's what's right for them. I generally shoot at about a seven to one ratio. But part of that is because I've worked on every screenplay, so I'm further along in the visual concept.
The art that I make and that I see others make confirms the miracle of being alive. Almost every day I live in a state of exaltation. The art of painting is to me sacred. It is central to all the other visual arts. This art is in a constant state of renewal.
Visual artists choreograph dances for the eyes, guiding visual journeys in specific ways. But when presented with little or nothing, the journeys of the eyes become erratic and finally still their restless searching. The eye and mind and heart grow quiet, come to rest, and begin to understand their own functioning more deeply.
When I was a little kid, I wanted to be, like, you know, a movie star, you know? Or, I always have interest in movie, you know? Because I like the visual aspect of the movies, et cetera.
What's required of me in the field is to feel,' Stirton says with emphasis. 'And trying to take that feeling and put it in a form that communicates a particular set of emotions or circumstances - whether that involves depicting masculine pride, or a particular kind of suffering, or love, or closeness - my primary job is to feel and to try to put that feeling into some kind of visual form. My goal is to get to the heart of each story, you know? I’m trying to evolve in my work.
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.
My Vocabularies vary, its so exclusionary You'll find my baby pictures in modern dictionaries Next to mighty mercenaries, and visual visionaries
In the last twenty-five years a change has come over the visual habits of Americans . . . From being a wordminded people we are becoming an eyeminded people.
My mom is an artist and my own fiction is deeply visual.
The best visual book I can think of is Lynda Barry's What It Is, but although I refer to it all the time it's not a creative writing book per se.
My mother is an artist, and I have a strong visual sense. I almost always choose the cover art for my books.
If you want a lot of visual humor, the way to do it is have visual people do it.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: