Quotes on Visuals

Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.

Backlock, a poet blind from his birth, could describe visual objects with accuracy; Professor Sanderson, who was also blind, gave excellent lectures on color, and taught others the theory of ideas which they had and he had not. In the social sphere these gifted ones are mostly women; they can watch a world which they never saw, and estimate forces of which they have only heard. We call it intuition.

The written word, obviously, is very inward, and when we're reading, we're thinking. It's a sort of spiritual, meditative activity. When we're looking at visual objects, I think our eyes are obviously directed outward, so there's not as much reflective time. And it's the reflectiveness and the spiritual inwardness about reading that appeals to me.

In my own research when I'm working with equations, I never feel like I really understand what I'm doing if I'm solely relying on the mathematics for my understanding. I need to have a visual picture in my mind. I'm constantly translating from the math to some intuitive mind's-eye picture.

All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression. To call this expression abstract seems to me often to confuse the issue. Abstract means literally to draw from or separate. In this sense every artist is abstract . . . a realistic or non-objective approach makes no difference. The result is what counts.

Semiotics is a general theory of all existing languages... all forms of communication - visual, tactile, and so on... There is general semiotics, which is a philosophical approach to this field, and then there are many specific semiotics.

The emotional, physical and aesthetic value of a sound is linked not only to the causal explanation we attribute to it but also to its own qualities of timbre and texture, to its own personal vibration. So just as directors and cinematographers (even those who will never make abstract films) have everything to gain by refining their knowledge of visual materials and textures, we can similarly benefit from disciplined attention to the inherent qualities of sounds.

In a world rife with unsolicited messages, typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn. Typography with anything to say therefore aspires to a kind of statuesque transparency. It's other traditional goal is durability: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking timelessness and time.

We are not passive exhibitors of visual or auditory or tactile images. We have selves. We have a Me that is automatically present in our minds right now.

We must first realize that dancing is an absolutely independent art, not merely a secondary accompanying one. I believe that it is one of the great arts. . . . The important thing in ballet is the movement itself. A ballet may contain a story, but the visual spectacle . . . is the essential element. The choreographer and the dancer must remember that they reach the audience through the eye. It's the illusion created which convinces the audience, much as it is with the work of a magician.

A cinematographer is a visual psychiatrist, moving an audience... making them think the way you want them to think, painting pictures in the dark.

One should really use the camera as though tomorrow you'd be stricken blind. To live a visual life is an enormous undertaking, practically unattainable. I have only touched it, just touched it.

In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.

The artist does not illustrate science; ... [but] he frequently responds to the same interests that a scientist does, and expresses by a visual synthesis what the scientist converts into analytical formulae or experimental demonstrations.

Slowly poetry becomes visual because it paints images, but it is also musical: it unites two arts into one.

Poetry is prose bewitched, a music made of visual thoughts, the sound of an idea.