Top 1200 Visual Imagery Quotes & Sayings - Page 20

In 1983, I became the Vincent and Brook Astor Professor at The Rockefeller University, where I established a new Laboratory of Neurobiology and continued my close collaboration with Charles Gilbert on the circuitry of primary visual cortex.

I wanted to write something visual that I could read to the children. This was when I created the idea of Redwall Abbey in my imagination. As I wrote, the idea grew, and the manuscript along with it.

I find movies rely upon dialogue too much sometimes, and you lose the power of what really the most basic cinematic language is, which is the visual language.

You can't compare us, but I do think that Calvin Klein influenced his way of working. Calvin created this whole aesthetic with imagery - the whole sex thing. I can see that Calvin influence on his work. What Calvin has created is untouchable. My legacy, whatever it is I'm doing here, is miniscule compared to what he has done. It's just like an update deal.

We're good at noticing sudden movements of middle size objects in our immediate visual field, but what is out of sight is for us is largely out of mind.

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.

The mobility of the eye is such a fundamental treasure that we have, and that coexists with sensation. On the dance floor, you are totally in reality, while also experiencing this dream imagery of changing colors and wet surfaces of skin. Sometimes it's the shadow outline in the strobe light, and in another moment it's the closeup of an armpit that you're looking into. I'm not photographing all the time, but it's something that I actually see all the time, and not just on the dance floor.

Good photographs aren't just complex. They are enigmatic. Images are beguiling. And the way they play into our psychology, into our visual cortex, is something we still don't understand.

The visual does seem to me the most thoroughly grasped and recorded among my impressions; sight seems to be my principal sense organ, and "seeing" supplies the key metaphors for reporting the perception.

The function of the artist is the mythologization of the culture and the world. In the visual arts there were two men whose work handled mythological themes in a marvelous way: Paul Klee and Pablo Picasso.

We are visual creatures. When you doodle an image that captures the essence of an idea, you not only remember it, but you also help other people understand and act on it - which is generally the point of meetings in the first place.

The clarification of visual forms and their organization in integrated patterns as well as the attribution of such forms to suitable objects is one of the most effective training grounds of the young mind.

Because I found myself telling the story of his family to people without the visual aids that I was able to employ by filming them eventually. But I very much knew exactly what I was going to do.

I am a visual man. I watch, watch, watch. I understand things through my eyes.

There are some stunning visual moments in 'Arrival' that are out of this world, but it's all on the earth, and it's about an academic, a woman that is dealing with a personal tragedy, but there's a circular view of time that makes things more complicated.

I got really interested in the language used in blogs written by young girls - a young person's aggression, which is always lacking from the visual world.

I would never suggest that the geography or visual environment of the film is more important than what's going on with the people, but it's a major factor in getting the right tone. Certainly, it influences the actors tremendously.

[John] Ruskin believed that everyone had visual as well as verbal capacities that needed to be developed in order to become a complete human being, and that the apprehension of truth depended on the power of observation.

At the School of Visual Arts in New York, you can get your degree in Net art, which is really a fantastic way of thinking of theater in new ways.

Well, as a visual artist working with the phenomenon of cinema, the grammar of cinema, [making a feature] was bound to happen. Everything I do is like sculpting with image and sound.

I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.

The hope for me going back into television - after doing what will have been two years of radio - is to bring that authenticity with me. And, to not have the visual be overpowering the content.

We think of Pinterest as a visual bookmarking tool for saving and discovering creative ideas, and that discovery part is a really a core part of what we work on every day.

We live in a world ruled by fictions of every kind - mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel.

I've worked in the film business for 45 years, and I want to keep on growing as a filmmaker. I want to see my visual life grow and be increasingly effective in this world.

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.

To be blunt, I feel like lyricism in Spanish is of a different quality than English. You can get really poetic in Spanish, but I feel like if you do that in English, you risk sounding cheesy. In Spanish, it's never that. It's always this deep, passionate, beautiful imagery; it's painted different, a different color.

It's amazing to be able to work with people right at the top of whatever they do... inspiring photographers and stylists with very interesting visual language. The more I do it, the more I enjoy it.

Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.

The visual impact of a United States battleship springs from its ability to put Soviet ships on the bottom of the sea and to put devastating firepower ashore - nothing else.

extreme visual clarity, tunnel vision, diminished sound, and the sense that time is slowing down. this is how the human body reacts to extreme stress.

The most important thing for building a robot that you can interact with socially is its visual attention system. Because what it pays attention to is what it's seeing and interacting with, and what you're understanding what it's doing.

MP3 players and flash memory devices are good for data storage and playback of music and digital talking books, but they offer little or nothing in the way of visual presentation of information and communication.

Now, by and large, people are recording material to put on YouTube. I have a theory that YouTube is, in the end, the #1 media for musicians. Which is strange, because there's a visual associated with it.

I began composing works which were imitative of the music I was being told about. I was also very interested in translating the music into visual terms.

One often thinks that using 2 different things like visual and sound lead to 2 different conclusions - to a different content - but in in my case it is all one.

I have, and do sometimes, work with other media. But there is something about the physical activity and the directness of painting that I find fascinating. I am very attracted to the materiality of paintings and the visual phenomena of hue and value.

Right before 'American Dreams,' I started to pursue these avenues, like short films and getting into a couple night courses to really study photography and cinematography, and the language of visual storytelling.

Drawing and visual arts was kinda my first passion going all the way back to when I was a kid. I always felt like it was what I was supposed to do - but in reality I don't know that I ever had the skill to make it a profession.

The world is so tremendously spectacular that every visual, sense, and sparked connection swells my unrestrained passion for life. I find I feel this the most when I am immersed in nature and sliding into the bloodstream of the wilderness.

I have a visual sense for the music. It has to stay true to a certain sense of period. I rely on a sense of colors and mood in my approach to the arrangement.

We enjoy playing small shows, big shows, whatever. There's the energy of the visual production, and all that stuff starts to happen, so when you see it come to life, it's pretty exciting.

I guess through my learning disability, through dyslexia, I've always been a visual learner - I take in everything through my eyes.

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.

I like dreams. I think there's a lot of information in them. I spent a lot of time on Jungian analysis and dreams are an elemental part of that process. Carl Jung believed very much in the power archetypes in dreams, what dream imagery means, and how you can tie it into deeper self examination. It's a big part of the therapeutic process.

A composition which dazzles at first sight by gaudy epithets, or brilliant turns or expression, or glittering trains of imagery, may fade gradually from the mind, leaving no enduring impression; but words which flow fresh and warm from a full heart, and which are instinct with the life and breath of human feeling, pass into household memories, and partake of the immortality of the affections from which they spring.

I think rock 'n' roll is very visual. All of the best bands, like The Stones, The Who and Small Faces, were very valid both musically and visually.

I'm very interested in the materiality of language. I wonder if, perhaps, this comes from my background in the visual arts. I was a potter for a number of years and earned a BFA in art before going to graduate school for creative writing.

I often find myself privately stewing about much British art, thinking that except for their tremendous gardens, that the English are not primarily visual artists, and are, in nearly unsurpassable ways, literary.

In many respects, theater is still grappling with problems of reality and representation that the visual art movement realized were unimportant many years ago.

There was not a lot of dialogue. The titles were just to keep you up. It's the visual stimulation that hits the audience. That's the reason for film. Otherwise, we might as well turn the light out and call it radio.

This recognition, in real life, of a rhythm of surfaces, lines, and values is for me the essence of photography; composition should be a constant of preoccupation, being a simultaneous coalition - an organic coordination of visual elements.

All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression

I don't really do too many interviews - I like creating and being visual, shooting videos and movies. I just like showcasing my skill and challenging myself.

Art is good, bad, boring, ugly, useful to us or not. It does or doesn't disturb optical monotony, and succeeds or fails in surmounting sterility of style or visual stereotype; it creates new beauty or it doesn't.

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.

Men are more visual creatures and rate women based on looks. We like to laugh and be shown a good time. I've never rated anyone on looks.

We've created a theology in the West of a God who is fundamentally self-centered. The imagery of God as distant, unapproachable, unreachable -- that's not a God who is relational. It is a God that gets to declare or judge when he gets pissed off. But there is no basis for love and relationships if God is a fundamentally self-centered being.

I wish myself to be a prop, if anything, for my songs. I want to be the vehicle for my songs. I would like to colour the material with as much visual expression as is necessary for that song.

Drawing from art history and mythology allows me to connect with viewers in a familiar, yet loose visual framework. Blending disparate histories and themes can give the overall presentation a recognizable, yet unique flavor.