Top 1200 Visual Images Quotes & Sayings - Page 2

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.

My films start with images, a few images and a few feelings, and I try to edit them together to see the correspondence between these images and these feelings.

When Bill Gates started Corbis we were told that he needed images to fill those digital picture frames in his home, and many found this plausible. But now it's pretty clear that he's set out to control the visual history of the twentieth century.

I'd probably play games obsessively if I didn't write, although I admit I don't read novels partly because I don't enjoy it, not just because it's the wrong side of the creator-consumer barrier for me. I'm a visual writer. I think in moving 3D images and write down what I observe.

Videos come definitely after the music has been created, but I have always felt, and especially today, that videos are vital in the album process. I think that we live in a very visual era, and if you make a mistake with a video, those images will accompany the song forever.

Images have become our true sex objects. It is this promiscuity and the ubiquity of images, this viral contamination of images which are the fatal characteristics of our culture.

I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie.

You have to have an eye and a feeling for where things go. Writing visually, writing textually, writing sonically. Text is visual for me and images are textual. There is power in the way ideas are arranged, not just developed rhetorically. Form is everything.

Others of them employ outward marks ... They style themselves Gnostics. They also possess images, some of them painted and others formed from different kinds of material. They maintain that a likeness of Christ was made by Pilate at that time when Jesus lived among them. They crown these images, and set them up along with the images of the philosophers of the world, such as Pythagoras, Plato, and Aristotle, and the rest. They have also other modes of honoring these images just like the Gentiles.

People are competing to win at a game that is a loser's game. The game is to have better routine images than someone else's routine images. If you want a prescription for routine images, you just have to go through any student's portfolio.

Just as water, gas, and electricity are brought into our houses from far off to satisfy our needs in response to a minimal effort, so we shall be supplied with visual or auditory images, which will appear and disappear at a simple movement of the hand, hardly more than a sign.

Even as Instagram defines our visual moment, we use the app's filters to travel backwards in time, to make our images resemble the Polaroids of yore by casting them literally in a different, more nostalgic light.

Simplicity is all. Simple logic, simple arguments, simple visual images. If you can't reduce your argument to a few crisp words and phrases, there's something wrong with your argument. There's nothing long-winded about 'Liberté, égalité, fraternité'.

Images are no longer what they used to be. They can't be trusted any more. We all know that. You know that. When we grew up, images were telling stories and showing them. Now they're all into selling. They've changed under our very eyes. They don't even know how to do it anymore. They've plain forgotten. Images are selling out the world. And at a big discount.

I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.

We’re face to face with images all the time in a way that we never have been before... Young people need to understand that not all images are there to be consumed like fast food and then forgotten – we need to educate them to understand the difference between moving images that engage their humanity and their intelligence, and moving images that are just selling them something.

What I so like about Poussin and Cezanne is their sense of organization. Ilike the way in which they develop space and shape in architecturalcontinuity - the rhythm across their paintings. When I paint a landscape, Iget the greatest pleasure out of composing it. As I paint, I try to work outa visual sonata form or a fugue, with realistic images.

In the law, rights are islands of empowerment. . . . Rights contain images of power, and manipulating those images, either visually or linguistically, is central in the making and maintenance of rights. In principle, therefore, the more dizzyingly diverse the images that are propagated, the more empowered we will be as a society.

The images from the book you make in your head are always going to be the best images.

Computer images, like camera images today, will be seen as representations of a simulated, second-degree reality with little or no connection to the unmediated world. This is one lesson we can learn from photographs, and especially from those of the last 25 years: images exist not to be believed, but to be interrogated.

I'm a visual person, and I love visual extremes and aesthetic discipline.

The advice I would give to any photographer - young, old or in-between - is to explore anything visual because this is, after all, how you express your artistry. Look at paintings, movies, drawings, sculptures - look at anything visual and try to integrate that into your visual sense. After that, go out and take pictures and keep on taking pictures!

Only an unhinged movie survives as a disconnected series of images, of peaks, of visual icebergs. It should display not one central idea but many. It should not reveal a coherent philosophy of composition. It must live on, and because of, its glorious ricketiness.

As we know from the work of certain fundamental physicists, people like Einstein were very dependent upon conjuring up visual images in order to imagine things which otherwise were not easily formulated.

My true function within a society which embraces all of us is to continue an age-old tradition. This tradition is to create images from the depths of the imagination and to give them form, whether visual, intellectual or musical.

I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.

If you want a lot of visual humor, the way to do it is have visual people do it.

The images are visual, auditory, olfactory, kinesthetic. They aren't laid down on the same tracks as thought. And sometimes, when they return to you, it is as if you feel them for the very first time. Memory lives on in the details, like the color of a room, a tone of a voice, the touch of a child, the smell of a man.

The way we tell our stories on stage is that we use spoken word to convey action, and in movies, we use visual images to convey action.

In television, images are projected at you. You are the screen. The images wrap around you. You are the vanishing point.

When I write a screenplay - and I think it's one of the reasons why it was frustrating for me just to be a screenwriter - I'm not thinking of it in terms of words on a page; I'm thinking in terms of visual images - basically, a comic book. I'm thinking of it in a series of shots.

In some areas, [Getty Images has] more images than the rest of the market put together. But libraries are being built up at a terrific pace. A photographer in a lifetime will produce maybe a million images, and there are about 15,000 professionals at work out there.

I'm very interested in the visual world because I'm also very interested in feminism. I find that the world of watching takes us into the most psychotic state of, like, "You are this one person, but you have to become another person to see these images."

I'm a visual person - when I write, my input is always visual. I worked in television for several years.

Visual art and writing don't exist on an aesthetic hierarchy that positions one above the other, because each is capable of things the other can't do at all. Sometimes one picture is equal to 30 pages of discourse, just as there are things images are completely incapable of communicating.

We go to the cinema we see images projected on the screen - but they're not real, they're only images.

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.

It is no longer enough to simply read and write. Students must also become literate in the understanding of visual images. Our children must learn how to spot a stereotype, isolate a social cliche, and distinguish facts from propaganda, analysis from banter and important news from coverage.

Time is of the essence, particularly if we're sending images out on social media. The reality is that the majority of images are only viewed for a few seconds, often on a phone or computer. There are so many images freely available that it takes a lot of will power to concentrate and prolong the gaze on one picture at the expense of the thousands of others waiting to be viewed!

Around the time I began starving, in the early eighties, the visual image had begun to supplant text as culture's primary mode of communication, a radical change because images work so differently than words: They're immediate, they hit you at levels way beneath intellect, they come fast and furious.

Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics.

The spectacle is not a collection of images, but a social relation among people, mediated by images.

Making photographs that dealt with the understanding of who I am as a gay man and dealt with the process of accepting that, and also accepting what I'm into sexually, what sexually arouses me. So I was making these images not necessarily knowing what they were about, but just putting it out there - that mode of thinking or consideration of my own desires, and also the much larger conversation around images that deal with ideas of sexuality and how those images are distributed and then accepted or understood by whoever is viewing those images.

I think a bigger difference with social media is going to be things like the impact Instagram will have for historians. For the longest time, we had no images of the past. And then when we had the advent of the camera, we had a record of the things people chose to photograph, which, for a while, were portraits of your family, a new building we built, or a really big horse. Well now we have images of everything. That will be the biggest difference I think - that we will have a visual record of this reality in a way that will be completely covered.

Our music is always, as you know, very spacey- computer graphics, music, images, lyrics, and visual art we make ourselves, or that we make with artists. And it's all synchronized.

An aspect of the work has to do with altering the literal/cultural meaning of existing public images by making minimal changes and additions. Using superimposition, juxtaposition and other contextual changes, I am functioning as a visual guerrilla.

You must have a visual sense if you want to be a photographer. It is a very subtle thing, this visual business.

But in the old days, visual artists used to fall into two distinct categories: those of us who created images with cameras and those of us who applied stuff onto other stuff, with brushes or other tools.

I'm a really visual artist, and I love writing treatments for music videos, photo shoots, fashion, and all the visual parts that go along with making an album.

AI's ability to recognize visual categories and images is now pretty close to what human beings can manage, and probably better than a lot of people's, actually. AI can have more knowledge of detailed categories, like animals and so on.

September 11 had such a strong visual component, the most visually documented event in human history. Nothing's ever been seen by as many people as that was. Our experiences of the day, our memories of the day are just so tied up in images of buildings falling and bodies falling.

The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism. Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.

Television is a visual medium. You have to create some kind of visual interest. And it's entertainment for your eyes.

We are visual creatures. Visual things stay put, whereas sounds fade.

At times I can't help going for visual comfort. Sometimes a picture fills up your head, and you try to move the actors around to make that visual statement.

My memory is basically visual: that's what I remember, rooms and landscapes. What I do not remember are what the people in these room were telling me. I never see letters or sentences when I write or read, but only the images they produce.

The great thing about visual horror films is there's real potential for strong, beautiful imagery. It's the one genre that really lends itself to creating strong images. And I've always loved that idea of windmills - your mind aimlessly spinning.

Even with an improperly ground mirror, the Hubble delivered extraordinary images. When the flaw was corrected, the Hubble delivered images of transcendent beauty and value for many years. So too 'Terra Nova.' Even in its flawed first season, each episode was full of marvelous moments and beautiful images.

There are many aspects about what and why we photograph: visual pleasure, personal empathy, intellectual stimulation, technical excellence, etc. Serious photographers and artists will try to create works that are original. Over a career period they may develop a singular identity in their images.

My fiction has been influenced by the visual arts, though not in obvious ways, it seems to me. I don't offer tremendous amounts of visual information in my work.