A Quote by Ross Lovegrove

The world we live in is not purely visual. For me it's totally poly-sensorial so the tactile, sensual aspect of living in the work that I do is brought to the fore.
It's one of those magical acts that is so poly-sensorial and culturally enriching that as a designer one is naturally drawn to the cult of the object
I wouldn't say Malkovich is totally insane, but he's not living in the real world. He's living in his world, which is a fine world to live in apparently.
When I was really young, I gravitated towards the visual arts first. I feel that's what comes most naturally to me. I've always had an immediate proclivity towards making visual art and I was a really tactile kid.
I wouldnt say Malkovich is totally insane, but hes not living in the real world. Hes living in his world, which is a fine world to live in apparently.
There's definitely a visual aspect and an emotional aspect to a song. And that harks back, for me, to theater.
Just besides how smart Aaron Sorkin stuff is, really, is how visceral it is, how sensual it is. Not sexual, sensual. Always tactile. When you read his scripts, the scripts read fast and the words almost jump off the page.
For me, the perfect film has no dialogue at all. It's purely a visual, emotional, visceral kind of experience. And I think one can create wonderful depth and meaning and communication without using words. I started out as an illustrator and a cartoonist and caricature artist, so for me the visual is primary.
The system is the work of art; the visual work of art is the proof of the System. The visual aspect can't be understood without understanding the system. It isn't what it looks like but what it is that is of basic importance.
I'm totally aware of how lucky I am. I have health, family, children. I do work that gives me total joy and allows me to make a living, and maybe, if I'm lucky enough, I'll feel I've fulfilled a little bit of service to society because I brought other people some laughter.
We are not passive exhibitors of visual or auditory or tactile images. We have selves. We have a Me that is automatically present in our minds right now.
If poly A is added to poly U, to form a double or triple helix, the combination is inactive.
When I work, I'm thinking in terms of purely visual effects and relations, and any verbal equivalent is something that comes afterwards. But it's inconceivable to me that I could experience things and not have them enter into my painting.
For me photography is not an intellectual process. It is a visual one.... Whether we like it or not, we are involved in a sensual business.
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 don't really think about a visual aspect to the work at all; I just think about making the piece. And everything that occurs visually comes out of the subject matter you are dealing with so that I find it difficult to treat the visual element as a separate entity.
I'm tactile, very tactile. A woman who has really nice, looked-after skin is such a turn-on for me. It's always sexy.
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