Top 1200 Visual Images Quotes & Sayings - Page 3

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.

I'm into old-time music; I'm not very interested in modern, popular music at all. And if I'm really into some particular old-time musician, some fiddler or banjo player, I'm always dying of curiosity to see what they look like. So there's some connection between visual images and music.

There are no more simple images... The world is too much for an image. You need several of them, a chain of images.

I was a painter before I was a writer, so I was always a visual artist. And my writing, to me, was always visual.

Some images stick with you forever, images that you can't unsee.

The great problems of life — sexuality, of course, among others — are always related to the primordial images of the collective unconscious. These images are really balancing or compensating factors which correspond with the problems life presents in actuality. This is not to be marveled at, since these images are deposits representing the accumulated experience of thousands of years of struggle for adaptation and existence.

We're so conditioned to the syntax of the camera that we don't realize that we are running on only half the visual alphabet... It's what we see every day in the magazines, on billboards and even on television. All those images are being produced basically the same way, through a lens and a camera. I'm saying there are many, many other ways to produce photographic imagery, and I would imagine that a lot of them have yet to be explored.

Images can make realities out of people and struggles - the reality we give them. Images really matter.

What we're focusing on is the images that were in people's minds being replaced by fresh images, to make way for the rebirth of New Orleans. We're showing the other side.

Photography is a tool to negotiate our idea of reality. Thus it is the responsibility of photographers to not contribute with anaesthetic images but rather to provide images that shake consciousness.

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.

We do not see the danger clearly enough that we develop images adequate to our state of civilization. When you watch TV, you know instantly that there's something wrong with the images. When you open a magazine and see the ads, you know there's something wrong with the images. And it's unhealthy and not good and outright dangerous, in my opinion.

Images are probably the most important part of the poem. First of all you want to tell a story, but images are what are going to shore it up and get to the heart of the matter.

Inspired by words you have to create images to tell the story, while it's much more difficult to find your own images with a film for inspiration, because someone has already done it for you.

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.

I have always said that archival images are images without imagination. They petrify thought and kill any power of evocation.

Let yourself daydream sometimes... Allow spontaneous images to come and go. Capture one in a sketch. These images express connections with your inner self.

I've spent my life capturing beautiful images. And whether in wilderness or in the downtown of a giant city, I find connections, universal rhythms, patterns and beauty that I recognize as a part of me, a part of all of us that celebrates life. It's my great pleasure to share with you that energy which inspires me; this great visual beauty of our world.

It is my mind, with its store of images, that gives the world color and sound; and that supremely real and rational certainty which I can "experience" is, in its most simple form, an exceedingly complicated structure of mental images. Thus there is, in a certain sense, nothing that is directly experienced except the mind itself. Everything is mediated through the mind, translated, filtered, allegorized, twisted, even falsified by it. We are . . . enveloped in a cloud of changing and endlessly shifting images.

I was a rapper and a DJ, and if you wanted to be involved in hip-hop, you had to be involved in the sonic, the kinetic and the visual aspects. The visual was graffiti.

I had always wanted to include images in a novel, and with my first book, 'Telex From Cuba,' I made an elaborate website that is basically all images.

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.

Nothing scales quite the way a sci-fi feature does, I mean, you can always add more visual effects; you can spend a lot of money on the visual fidelity alone.

Rag & bone images always reflect the authenticity of the brand. Their images have character and tell a story.

People always form images of who others are, and they can be inflated images.

When you see a silent movie, you understand everything that's going on from the images because the images are so strong.

As I saw more and more people buying the images that were happy buyers, and people selling the images that were happy with how the market was pricing them, I started to get the sense this could be the go-to place for businesses to get the images they need.

I remember how my world expanded in amazing fashion by that magical operation of translating words into images, and images into stories.

Instagram Stories. I am really excited about it. I think Instagram is such a great platform: It's so creative; it's so visual. It's an incredible way to experience the world through images, whether photo or video. I also think that our community is incredible, in the sense that it's such a passionate community connecting around shared interests.

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.

I worry about images. Images are what things mean.

Because it's visual art, a lot of it comes from childhood experience but then a lot comes from the visual language - in advertising and stuff like that - which is around us.

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.

You can't be a passive recipient of images, you have to engage with images and read their subtexts. These are critical things that will be taught to the students by a film club.

I haven't had the opportunity to study visual art, but it was always my first love when it came to artistic expression. I started drawing and experimenting with visual art when I was 5.

We know only what we do, what we make, what we construct; and all that we make, all that we construct, are realities. I call them images, not in Plato's sense (namely that they are only reflections of reality), but I hold that these images are the reality itself and that there is no reality beyond this reality except when in our creative process we change the images: then we have created new realities.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

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.

I'm interested in loving, beautiful, sexy images... I also want the images to be a turn on, create an adrenaline high, a rush of desire so intense that the act of looking is sexual.

Evolutionary learning calls upon our creative potentials as it empowers us to envision images of the future and bring those images to life by design.

The objective tendency of the Enlightenment, to wipe out the power of images over man, is not matched by any subjective progress on the part of enlightened thinking towards freedom from images.

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.

Before music videos first came out, you’d listen to a song with headphones on, sitting in a beanbag chair with your eyes closed, and you’d come up with your own visions, these things that came from within. Then all of a sudden, sometimes even the very first time you heard a song, it was with these visual images attached, and it robbed you of any form of self-expression.

... the constant flow of images undercuts the sense that there's actually something wrong with the world. How can there really be a shortage of whooping cranes when you've seen a thousand images of them - seen ten times more images than there are actually whooping cranes left in the wild?

Images have enormous power, and images freed from deep within ourselves can change us profoundly.

Writing is not possible without images. Yet, images don't have to be descriptive; they can be concepts.

I have a longstanding fascination with visual art. I do, in fact, draw as well, as I did in 'The Summer without Men.' I also write essays about visual art.

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.

I'm so in awe of what visual artists do and I do understand the differences of what visual artists do. I have a small art collection I hope to expand.

I am a musician who stopped working with music. Now I work with visual music, or audio-visual music.

The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.

She wondered: How could people respond to these images if images didn't secretly enjoy the same status as real things? Not that images were so powerful, but that the world was so weak. It could be read, certainly, in its weakness, as on days when the sun baked fallen apples in orchards and the valley smelled like cider, and cold nights when Jordan had driven Chadds Ford for dinner and the tires of her Chevrolet had crunched on the gravel driveway; but the world was fungible only as images. Nothing got inside the head without becoming pictures.

Human beings are creators, flinging powerful images into the minds of their fellow men. And all of these images are built of tiny particles of thought.

I realize after spending so long working with images, semiotic deconstruction and redeployment becomes second nature. We all speak with images. I guess I look at everything sideways nowadays.

Every film starts with two or three images. Then I try to edit these images.

The power of Hollywood, as we know, is that it can create these images in people's minds, and they live with those images for their whole life.

Elizabeth A. Johnson explains that including divine female symbols and images not only challenges the dominance of male images but also calls into question the structure of patriarchy itself.

The idea of discussing psychological and philosophical ideas in a visual medium was really exciting to me. I thought I was going to go into philosophy...and suddenly I found this way to combine that with my love for visual mediums.

The instant the atmosphere is illuminated it will be filled with an infinite number of images which are produced by the various bodies and colours assembled in it. And the eye is the target, a lodestone, of these images.