I've been working with music videos and commercials, they are naturally very music driven and visual driven. So that feels like my natural element to be working with that.
What I love about the filmmakers that I mentioned [Danny Boyle,Leo Carax], is that it's visual but it's also, you see that the characters are the most important thing. The actors are the most important thing.
I have been fully involved in designing my stage shows; it's important to me to do something really unique and almost off-the-wall to bring the music and the visuals together. I love design and actually went to school for a bit for graphic design, so it isn't so much 'pressure' for me; it's a way to be creative, and I really enjoy it.
Intuition was not just visual but also auditory and kinesthetic. Those who watched Feynman in moments of intense concentration came away with a strong, even disturbing sense of the physicality of the process, as though his brain did not stop with the grey matter but extended through every muscle in his body.
Painting for process is the visual equivalent of journal writing, done not for the sake of being seen or published, but purely for the telling itself.
[DMT] raises all the questions in a hurry. It's so intense and so oriented toward the other and the visual and the hallucinogenic that it isn't really like a drug. It's more like an event that you ran into. You just came around a corner and there was the unspeakable.
The more strikingly visual your presentation is, the more people will remember it. And more importantly, they will remember you.
The psychedelic species of visual beauty is something we don't see in our furniture styles and our architecture. It seems to be coming in, literally, from another dimension, and yet it is undeniably moving. It's beautiful.
Ayahuasca is driven by sound, by song, by whistling. And its ability to transform sound, including vocal sound, into the visual spectrum indicates that some kind of information processing membrane or boundary is being overcome by the pharmacology of this stuff. And things normally experienced as acoustically experienced becomes visibly beheld, and it's quite spectacular.
September 11 had such a strong visual component, the most visually documented event in human history. Nothing's ever been seen by as many people as that was. Our experiences of the day, our memories of the day are just so tied up in images of buildings falling and bodies falling.
For me the visual is just as important as the music.
I was quite keen on silviculture, the growing of trees, and that was something I gave a lot of thought to. Maybe I could've gone in that direction. But it just so happened that while I was trying to make up my mind, I enrolled in art school, and there I began to develop my interest in music, parallel with my interest in the visual arts.
I really like books that you can kind of hear as much as think about, that are so graphic and visual.
I am a great lover of art, in many forms: paintings, objets, textiles. I don't have the talent for painting, but I have a very good sense of colour, a love of visual beauty.
I'm personally more struck by visual things more than musical.
Experiments in the visual arts (the invention of new ways of seeing things), are made because, due to the way the apparatus that makes up the mind is made, old processes and patterns have continually to be broken up in order to make it possible to perceive the new aspects and arrangements of evolving consciousness. The great enemy of intelligence is complacency.
Our visual cortexes are wired to quickly recognize faces and then quickly subtract massive amounts of detail from them, zeroing in on their essential message: Is this person happy? Angry? Fearful? Individual faces may vary greatly, but a smirk on one is a lot like a smirk on another. Smirks are conceptual, not pictorial. Our brains are like cartoonists - and cartoonists are like our brains, simplifying and exaggerating, subordinating facial detail to abstract comic concepts.
I'd always want to decorate my bedroom. I needed visuals and to be stimulated by things. I'm still like that. It's the way I see the world.
I think almost always that what gets me going with a story is the atmosphere, the visual imagery, and then I people it with characters, not the other way around.
I'm not trying to denounce the visual past. It just seems impossible to me to be able to keep making the same image that I made six years ago.
On a long flight, after periods of crisis and many hours of fatigue, mind and body may become disunited until at times they seem completely different elements, as though the body were only a home with which the mind has been associated but by no means bound. Consciousness grows independent of the ordinary senses. You see without assistance from the eyes, over distances beyond the visual horizon. There are moments when existence appears independent even of the mind. The importance of physical desire and immediate surroundings is submerged in the apprehension of universal values.
Literacy, the visual technology, dissolved the tribal magic by means of its stress on fragmentation and specialization and created the individual.
All human action is expressive; a gesture is an intentionally expressive action. All art is expressive - of its author and of the situation in which he works - but some art is intended to move us through visual gestures that transmit, and perhaps give release to, emotions and emotionally charged messages. Such art is expressionist.
In visual futurism, the line between total fantasy and futuristic is a thread of reality.
One’s visual language is not something that manifests overnight. It develops organically over a life-time. The shifts can be so subtle as to be virtually imperceptible and, at times, will come to fruition so rapidly, and with such force, that the profundity is all-consuming. That is life’s work.
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