Quotes About Visual

I studied graphic design originally. I used to like drawing, and I was quite into technical drawing. I was always interested in the visual medium, but I thought I was going to be an architect or something like that, but it's quite a lonely job.

I write about art out of gratitude to painters for the joy and spiritual uplift they have given me. Painters interpret for us the visual glories of God and, in this way, bring us closer to Him.

Really good writing, from my perspective, runs a lot like a visual on the screen. You need to create that kind of detail and have credibility with the reader, so the reader knows that you were really there, that you really experienced it, that you know the details. That comes out of seeing.

The fruit flies we work with have the equivalent of about a 25 by 25 pixel camera. But that camera is very, very fast, about 10 times faster than the human visual system.

Virtual-reality researchers have long struggled to eliminate effects that distort the brain's normal processing of visual information, and when these effects arise in equipment that augments or mediates the real world, they can be that much more disturbing.

Sacred texts give no specific depiction of God, so for centuries, artists and filmmakers have had to choose their own visual depiction.

For me in my twenties, working in Hollywood was confusing in that the differences between what was fiction and what was nonfiction seemed to blur in my mind. Everything became a visual memory for me. I carried my Leica camera, giving opportunity to take pictures from my view.

Before I became an actor, I was a visual artist, and I've always hankered for the storytelling behind the camera.

Memes can be visual. Our image of George Washington is a meme. We don't actually have any idea what George Washington looked like. There are so many different portraits of him, and they're all different. But we have an image in our head, and that image is propagated from one place to another, from one person to another.

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 continue to write essays about art. The visual is always part of my work, and it gives me immense pleasure to make up the words of art and create them verbally rather than build them.

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.

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.

I don't think that my work is very moralistic - at least, I try to avoid that. I grew up with that sermonising tendency, and I don't think visual work operates like that.

I don't really have a drive toward being a director at all. Not that I wouldn't rule it out, but I just don't think my instincts lie necessarily in a very visual way. But I am very interested in storytelling, narrative and character development, so writing is something that I absolutely want to do.

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 played the violin my whole life. I wanted to play from the time I was just a little kid, and I've always loved dance as well. I wanted to make people smile. I wanted to add an extra energy to my playing and make it visual and make it unique and fun.

The visual team of 'Blade Runner' - one of the last big fantasy movies to be made without much computer graphics finery - worked directly for Scott, who sketched each of his prolific ideas on paper (they were called 'Ridley-grams').

The Lowcountry traditionally is a logical place where the big ships stopped and brought new things in from the ocean, and the islands have a mystical tradition. It is such a visual place, too, with these iconic villages with the Spanish moss and the village and historical homes and the coast.

Film is probably the medium best suited to reach the most people - the visual, the aural, the limbic, the intellectual: it captures all these parts of our mind and soul. No other art form comes close.

As a visual storyteller, a lot is learning what to include so you're not being redundant between images and text.

We are living in a culture where we are so led by the visual, and what is promoted in the media, that the attitude becomes, 'I don't have to go through normalcy in life - I can look for exemptions. And I expect them, and when I look for them and they are not there, I am angry.'

Some of the martial arts films, the motivation is about martial arts. That's where it's coming from. It is a visual, commercial film, to showcase the next stunt, the biggest thing. And character development becomes a side thing.

Art about art and backstory has taken over visual pleasure.