A Quote by Marshall McLuhan

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.
For Berkeley (normal) vision is a language whereby God tells us about the tangible world. But prior to having experience of the tangible world, the visual language would be as meaningless as an utterly alien language. It would convey no meaning to the sighted mind.
In animation, what's wonderful is that when you start to work with multiple nationalities, the common language becomes a visual language rather than a spoken language, which blends beautifully with the art form.
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.
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.
I haven't had the opportunity to study visual art, but it was always my first love when it came to artistic expression. I started drawing and experimenting with visual art when I was 5.
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.
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.
One thing that you and I know is language. Another thing that you and I know is how objects behave in perceptual space. We have a whole mass of complex ways of understanding what is the nature of visual space. A proper part of psychology ought to be, and in recent years has been, an effort to try to discover the principles of how we organize visual space. I would say that the same is true of every domain of psychology, of human studies.
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.
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.
The Japanese don't write in alphabetic writing; they write in pictographs. So they never became visual, they stayed in the oral world, which is, everything is part of reality. Which means that they can accept any new technology? - ?it's not threatening to them, and they can still continue to maintain their traditional culture, even in the face of high technology.
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.
I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie.
A picture book is a small door to the enormous world of the visual arts, and they're often the first art a young person sees.
Well, I think my stand-up is often kind of visual. Not like Carrot Top visual, but visual.
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