A Quote by Marianne Wiggins

I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie. — © Marianne Wiggins
I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie.
I'm a visual thinker. With almost all of my writing, I start with something that's visual: either the way someone says something that is visual or an actual visual description of a scene and color.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
I'm a big fan of fiction film where you have a story and you have to transform that into a visual language, basically working with actors and also transforming that into how you pronounce that in the visual language of the shots, the construction of the shots and the lighting. All of that appealed to me from the beginning of my career at the university. When I graduated from the university, I wanted to deal mainly with that, with the visual aspect of the movie.
I am a film director, and I work with a visual language, with a visual medium. And I try to make virtue of the use of this visual medium. And I try to make sure what I do speaks the language of cinema.
The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.
Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
Well, I think my stand-up is often kind of visual. Not like Carrot Top visual, but visual.
I'm a visual person - when I write, my input is always visual. I worked in television for several years.
Because it's visual art, a lot of it comes from childhood experience but then a lot comes from the visual language - in advertising and stuff like that - which is around us.
As far as stimulus from the visual arts specifically, there is today in most of us a visual appetite that is hungry, that is acutely undernourished. One might go so far as to say that Protestants in particular suffer from a form of visual anorexia. It is not that there is a lack of visual stimuli, but rather a lack of wholesomeness of form and content amidst the all-pervasive sensory overload.
I can't separate the process of writing from the visual process. I'm speaking only for myself here, but I'm a highly visual writer. In my imagination, when I'm thinking of a scene, I think of every last detail of it: The space, the color palette, the blocking of the actors, the placement of the camera.
Images are not only visual. They're also auditory, they involve sensuous impressions, bundles of information that come to us through our senses, and mainly through seeing and hearing: the audio-visual field.
Erwin Schrodinger has explained how he and his fellow physicists had agreed that they would report their new discoveries and experiments in quantum physics in the language of Newtonian physics. That is, they agreed to discuss and report the non-visual, electronic world in the language of the visual world of Newton.
I have a longstanding fascination with visual art. I do, in fact, draw as well, as I did in 'The Summer without Men.' I also write essays about visual art.
The world of visual perspective is one of unified and homogeneous space. Such a world is alien to the resonating diversity of spoken words. So language was the last art to accept the visual logic of Gutenberg technology, and the first to rebound in the electric age.
I was a painter before I was a writer, so I was always a visual artist. And my writing, to me, was always visual.
This site uses cookies to ensure you get the best experience. More info...
Got it!