Top 1200 Audio Visual Quotes & Sayings - Page 16

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.

In my day the library was a wonderful place.... We didn't have visual aids and didn't have various programs...it was a sanctuary.... So I tend to think the library should remain a center of knowledge.

Animals use a broad range of strategies to advertise themselves in the mating market. In some instances, visual cues highlight a morphological feature - for example, the peacock's tail.

I'm not trying to be in your face and take a picture that is like a journalistic kind of image. I got interested in a kind of complicated, compiled, visual field.

I've always been involved in the visual aspect of my work, and moreover, it's very important in days where technology allows us to push the boundaries even more than when I started out.

You or I never buy an Intel product explicitly, and yet their sonic logo is far better known and more powerful than its visual equivalent. It's probably worth hundreds of millions of dollars.

I love storytelling, I love being a visual person, and it just made perfect sense to be an underwater photographer and explore the ocean and work with scientists.

I really want to do a book on the history of the no-wave music scene in New York, how it extended out and formed lots of other things. It was such a great visual culture.

It was van Gogh's madness that prevented him from working; the paintings themselves are ineffably sane, if sanity is to be defined in terms of exact judgment of ends and means and the power of visual analysis.

I've always loved painting, although I never show anyone what I've done. Mainly because I don't do it well. But it's like a form of visual diary for me. A way of fixing things in my mind.

In music, they're not endlessly rewriting Beethoven's 'Third Symphony;' in visual art, they aren't painting portraits of 16th-century royalty. Art moves forward.

I felt I really wanted to back off from music completely and just work within the visual arts in some way. I started painting quite passionately at that time.

I believe education in music, theater, dance, and the visual arts... is part of a well-rounded education and can provide so much joy, now and in the future.

Our public description, a visual bookmarking tool, tends to resonate with people. That's why we use it. When we talk to the tech press we tend to describe it as a company solving a discovery problem.

Why do we use flash at all? Because photography is not the same as eyesight. We can see in low-light situations where cameras, dependent upon a physical process to record visual information, are half blind.

After about the first Millennium, Italy was the cradle of Romanesque architecture, which spread throughout Europe, much of it extending the structural daring with minimal visual elaboration.

So what's happening with the audio/visuality, for the first time we are doing the music - the people who would come to the concert love the music - they loved him and loved his music - for the first time in concert it's not only the music. Now it's time to know the man. We know the music, but what was the man like?

A decade or so ago, all over the world, cinemas underwent one of those prince-into-frog mutations, and became, instead popcorn-restaurants, which offered the option of visual diversions for diners.

Theatre is a more difficult visual medium than films. You need to hold the attention span of the audience without goofing up and be able to express yourself as vividly as possible.

The late 20th century had just enough communication abilities to allow superstar-ness and communality to happen. It was a musical renaissance that rivals the visual one that happened in the 1400s.

I see my work as visual meditations on the human experience and my attempts to capture the thin, otherwordly realm I believe exists between what we see and what we cannot.

The visual possibility of seeing the historical person (as opposed to the eternal Qur'anic man) on screen is arguably the single most important event allowing Iranians access to modernity.

I've always been a very visual creator. I make mood boards or sit with coloured pencils and scribble and try and figure out what I'm trying to work through musically.

When I started, I knew I didn't fit any visual that anyone was going to lie down and take their clothes off about. Work doesn't come to me; I go out and look for it.

The art of watching has become mere skill at rapid apperception and understanding of continuously changing visual images. The younger generation has acquired this cinematic perception to an amazing degree.

I'm really inspired by the interplay of visual art and music, a total artistic environment where there's sound and visuals. When I think about that I get stimulated and excited. It's a feeling that you can't label with words.

When we started EA in 1982, our goal was to make games as big a media as visual entertainment or movies. That was how big we dreamed at the time.

What is to be sought in designs for the display of information is the clear portrayal of complexity. Not the complication of the simple; rather the task of the designer is to give visual access to the subtle and the difficult - that is, revelation of the complex.

Life rarely presents fully finished photographs. An image evolves, often from a single strand of visual interest - a distant horizon, a moment of light, a held expression.

Film is probably the medium best suited to reach the most people - the visual, the aural, the limbic, the intellectual: it captures all these parts of our mind and soul. No other art form comes close.

... the attempt to render visual intricacy makes words feel unwieldy, like sacks of meaning that must be lugged into place, dragged here and there, then still don't fell accurate.

It's kind of the filmmaker's job to use visual, cinematic language in a way possible to tell a story that reaches and touches as many people as possible.

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.

Once introduced discontinuity, once challenge any of the properties of visual space, and as they flow from each other, the whole conceptual framework collapses.

Music is more than words. It's a visual experience, too, and people really feel my music because of the way I move and put on a show.

We've tried to use some visual motifs [in Beauty and the Beast]. As far as the cinematography and the lensing and all that, we are presenting a different view into that world. It's a little sleeker, but we're keeping the gothic feel underneath it.

The visual for 'Holding The Gun' is a love story. It's about a ride or die and unapologetic type of love and a kind of loyalty that only comes once in a lifetime.

The world is complex, dynamic, multidimensiona l; the paper is static, flat. How are we to represent the rich visual world of experience and measurement on mere flatland?

As a visual discourse, architecture requires trained individuals to work on the refined philosophical debates. School gave me the necessary training, and I've built on this based on my own aesthetics, as most do.

I'm a very visual person when it comes to writing music. I like to see something besides just a script, even if it's just a storyboard or pictures from the set.

'Twelve' was a total indie drama character piece. It wasn't that it was more about the performance, but it was just a very different thing where, with horror, there's this whole added element of the visual and the technical and the choreography.

During a color consultation, I like to reference food as a visual. Hot fudge and orange marmalade paint a clearer picture and helps prevent end results that leave you feeling unsatisfied.

I'm very visual when I write and get a lot of inspiration from scrolling through Tumblr or Pinterest. I have picture folders to most of the songs I've written. It would be cool to release it as a book one day!

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.

But being quiet and meditating on sound is something completely different and will be discovered very soon by a lot of people who feel that the visual world doesn't reach their soul anymore.

...never have I subscribed to the doctrine of willful rejection of the world or its visual image. To the non-objectivist this act of impiety may be shockingly impure, but God, I have no desire to be either hollow or sterile.

Despite the fact that I'm not highly skilled in any visual art, aesthetics have always played a strong role in my art, including my first albums.

A lot of the work in, say, construction or restaurants involves visual and motor flexibility. It also requires adaptability, in terms of answering questions, giving people directions, or taking orders.

It's a lot more than clicking the shutter...it's the ideas, it's the visual voice, it's the telling the story, it's kind of going beyond that initial thing that just means you happened to be there at the right time.

So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.

Watching a documentary with people hacking their way through some polar wasteland is merely a visual. Actually trying to deal with cold that can literally kill you is quite a different thing.

I'm a situationist when it comes to anything creative, and that stands with the visual part of anything I do as well. I deal with the concrete things I have in front of me, and I think that's a wise way to be.

I don't think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.

To me, as a visual artist, I don't want to get into the theory of Buddhism. There are many Buddhism theories and they fight each other, like Christians as well.

Our knowledge of shape and form remains, in general, a mixture of visual and of tactile experiences... A child learns about roundness from handling a ball far more than from looking at it.

In comics, my experience has been mostly artists whose visual storytelling chops are either weak or they're more invested in rushing to a paycheck than in doing work they can be proud of.

I think I managed to trick people a little bit into thinking I'm more arty by making creative, artistic, visual work and applying it to commercial music. Maybe. I don't know.

As far as putting stuff on social media, I think Instagram is really cool because I like the visual aspect. You're taking pictures, and you can put a filter on them, and it's super creative.

There is a visual narrative that is implicitly understandable even when you don't understand the words and in a good comic, and they are hard to find, but good comics have parallel intertwined narratives.

It's like a visual connection between the girl I'm shooting and me, a bunch of triggers. A lot of girls I'll just shoot once or twice, but with certain special ones I'll go a bit further.