Top 1200 Audio Visual Quotes & Sayings - Page 2

Lovers of audio books learn to live with compromise.

I like visual images and there are certainly other bands that have strong visual images going all the way back to Elvis Presley, but it's kind of like that's never really been my bag. Probably because I'm too shy.

Why take notes? The obvious reason is to remember. Visual note-taking translates what we hear into pictures that give context, color, and meaning. By adding symbols, visual metaphors, likenesses of people, and room layouts, we add several dimensions.

'The X-Files' from the beginning was a very visual show, and with Bob Mandel directing the pilot and Dan Sackheim being involved in the production of the pilot and directing the first episode, they brought a visual style to it that was elaborated on by so many good directors.

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.

If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.

Sometimes when I write lyrics there are images in them, usually on a quite simplistic level, like colors. But most often music comes first and then later I sit down with visual people and we chat about what we want to do. I don't look at myself as a visual artist. I make music.

With a 660-page book, you don't read every sentence aloud. I am terrified for the poor guy doing the audio book. But I do because I think we hear them aloud even if it's not an audio book. The other goofy thing I do is I examine the shape of the words but not the words themselves. Then I ask myself, "Does it look like what it is?" If it's a sequence where I want to grab the reader and not let the reader go then it needs to look dense. But at times I want the reader to focus on a certain word or a certain image and pause there.

I moved out to Los Angeles with the idea of becoming a director, which thousands, if not tens and hundreds of thousands, of people do, every year. It's a very competitive field, of course. I immediately got swept away into the visual side of things, starting with visual effects, and then designing.

Unlike a lot of choreographers, I don't always start with the music. I often start with a visual artist, and then find music that fits the world of that visual artist.

Audio is the only medium you can consume while you're multitasking.

In the visual arts, for example, the semiological approach to graphics provides a rigorous analysis of the visual means used by the artist. It defines the basic properties and laws governing the arts and suggests objective criteria for art criticism.

Tattoo is the magic word. It hits people in a way that no other visual medium does. And it is not simply visual, but visceral. Everybody has an opinion about it and everybody has a gut reaction. And because they are permanent, tattoos raise all these issues about life and death.

You're only as good as your weakest link in the ecosystem of sound, of audio.

The most important thing is that you have to have the visual effects working for you, instead of you working for the visual effects.

That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.

I enjoy 'Life Aquatic.' I think that one, from a visual standpoint, is just such a fun, visual movie to look at, whether it's the shots of the ship cut down the middle, that set where you can see everyone in each of their rooms doing whatever and moving about - something like that, I could watch that on a loop for an hour.

Innate mechanisms endow the visual system with highly specific connections, but visual experience early in life is necessary for their maintenance and full development. Deprivation experiments demonstrate that neural connections can be modulated by environmental influences during a critical period of postnatal development.

I've always been into visual effects. It was something I took keen interest in before films happened. Ironically, I am a part of 'Raaz 3,' a film that is shot entirely on 3D. It has encouraged me to pursue my dream. Hopefully, if time permits, I will travel to the United States and attend a crash course in visual graphics and animation.

To visualize is to see what is not there, what is not real - a dream. To visualize is, in fact, to make visual lies. Visual lies, however, have a way of coming true.

But I think we're also just talking about the literacy of the audience. The visual literacy of the audience. They've seen so many images now, especially here in the States. There's so much to look at, to watch. So the visual storytelling literacy is harder to impress.

The Audio Home Recording Act directly says that noncommercial copying by consumers is lawful.

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.

As human beings we're visual creatures, and it's so easy to play the guitar by looking at it. It's a real challenge to go from that visual way of perceiving the guitar to getting back to that pure sound connecting to the instrument.

The process of drawing is... the process of putting the visual intelligence into action, the very mechanics of visual thought. Unlike painting and sculpture... the artist makes clear to himself and not to the spectator what he is doing. It is a soliloquy before it becomes communication.

John Cage is someone I got into as a visual artist, before I even knew his music. I don't think a lot of people even know that he does visual art.

'District 9', 'Elysium' and 'Chappie' were all born out of some visual concept first. 'Chappie' is the imagery, because I think I'm a visual person first, of this ridiculous robot character. It's much more comedy based and in an unusual setting.

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.

Visual forms are not perceived differently from colors or brightness. They are sense qualities, and the visual character of geometry consists in these sense qualities.

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.

Ground zero for me is audio.

The literary artist lends verbal depth to the visual. The visual artist provides visible articulation for the literary.

I'm a visual thinker, really bad at algebra. There's others that are a pattern thinker. These are the music and math minds. They think in patterns instead of pictures. Then there's another type that's not a visual thinker at all, and they're the ones that memorize all of the sports statistics, all of the weather statistics.

'Instagram' is a media company. I think we're about visual media. I explain ourselves as a disruptive entertainment platform that enables communication through visual media. I don't think it's just photos.

I'm quite an untidy person in a lot of ways. But order makes me happy. I have to have a clear desk and a tidy desktop, with as few visual distractions as possible. I don't mind sound distractions, but visual ones freak me out.

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.

One of the things that I think audio is best at is creating empathy.

I read in all forms: paper, computer, phone, audio.

Not only has photography so thoroughly saturated our visual environment as to make the invention of visual images seem archaic, but it is also clear that photography is too multiple, too useful to other discourses, ever to be wholly contained within traditional definitions of art.

Writers and musicians know well the importance of extensive reading for successful writing or extensive listening for musical composition. Likewise, visual artists... understand that successful artistic creativity depends upon extensive visual exposure.

How aware were photographers in the past of other visual arts? "No photographer of any distinction at all could approach his work without some awareness of what was going on in other visual media, and for that matter neither the painter nor the draughtsman could ignore photography."

In high school and college, I'd set a bunch of goals for myself. I wanted to be the lead effects supervisor on one of these really big, innovative visual effects productions, something on the scale of a 'Star Wars' movie. And I wanted to work on a project that wins the Academy Award for best visual effects.

New Yorkers only cross water for visual culture if the water is an ocean. The East River throws us for a huge loop. If we started going to Queens and the Bronx for visual culture, many of our rent, space, and crowding problems would be over indefinitely.

For ages I thought I'd wasted my career doing visual effects, I wanted to be a filmmaker. And then I've learnt at the end of it all that actually visual effects was probably the best training ground I could have had.

We all accept the visual shorthand used throughout comics: if something's farther away, it'll be drawn with a thinner, simpler line, eventually leaving out most visual information and becoming a gesture, a skeletal representation of a thing.

Visual supervision is a joke for development workers. Visual supervision is for prisoners.

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.

It's thought that about 96% of us have visual imagery, and there's a very tiny minority in the population, some of whom are normal, some of whom have brain lesions, who cannot produce visual imagery.

I don't necessarily think there's a difference in terms of how the film industry and the ad industry view visual effects. If visual effects (or the lack thereof) are used as a tool to strengthen an idea, they're great. If they are meant to carry more of a load in the absence of a concept, they're a waste and a distraction.

In sound design programs now, you can literally sculpt the sound on visual graphs. Sometimes the visual programs are even more interesting than the music that's making them

I've been interested in art and fashion for as long as I can remember because they are so visual. I am fascinated by the idea of visual creation from the ground up, which is a challenge in ballet when the audience has seen every show of yours, every other principal that you've shared a role with, and every different production.

I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it's visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.

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.

Everything today is such a massive visual show. It's very rare to get a film where the characters are raw and real - and you can take people back to where they are watching live cinema. With character-driven action. Not visual-driven action.

I hope many people can indulge themselves in the power of audio cinema.

It's a tremendous asset if you have a visual eye because you can make huge visual statements in a very theatrical way and play to the strength of theatre. But the high end of directing is working with actors and making the acting the best it can be.

When people play action games, they're changing the brain's pathway responsible for visual processing. These games push the human visual system to the limits, and the brain adapts to it.

The 'PBS NewsHour' podcast is the audio version of the nightly TV broadcast.

I think that music and visual arts can complement themselves nicely. They do different things - the music forces you into a different mood and perspective whilst the visual stuff can engage you in a more direct cognitive manner.

The only reason that you do visual is solely for the visual. That's the only reason. It doesn't sell your music for you.