Quotes About Perception

I don't really think about a visual aspect to the work at all; I just think about making the piece. And everything that occurs visually comes out of the subject matter you are dealing with so that I find it difficult to treat the visual element as a separate entity.

I like looking at the characters. Seeing them always brings up some voice or attitude. I am much more visual, and that works so much better than having someone tell me what the character is all about.

I think that's one of the first things you'd say if you met me: that I am just nice and smiley. And that's how I might appear when I'm not competing. But I'm totally different when it comes to sport. It's just something that seems to be within me. It's not external or visual. But it's within me.

In the course of our daily lives, we're bombarded with a barrage of visual messages, some blatantly aggressive, some subtle. The trick is to find a way to break through without adding to the clutter and the ugliness. We have to be responsible about that.

A visual sense is something you either have or you don't.

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 a visual imagination.

Drawing is not only a way to come up with pictures: drawing is a way to educate your eye to understand visual information, organizing it into a more hierarchical way, a more economical way. When you see something, if you draw often and frequently, you examine a room very differently.

I know that I've played a lot of comedic roles. It's a visual medium. When you get one role, you start to get cast in that role for awhile because that's what people have seen you do, and have hopefully seen you do it successfully.

The visual aspect of a dish is so important; the shapes and colors and overall design have to strike the right mood and convey the right idea.

For me nature is not landscape, but the dynamism of visual forces.

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

One does not contemplate it like a picture. The idea of contemplation disappears completely. Simply take note that it's a bottle rack, or that it's a bottle rack that has changed its destination... It's not the visual question of the readymade that counts; it's the fact that it exists, even.

Let's face facts, this is visual medium, there's a very high premium put on people who are good-looking. But the minute you rely on that you get yourself in trouble. You certainly don't make a career out of that anymore as an actor.

If you respond to pop music as an older person, then it's your game. But this business has a tremendously visual focus.

The thrill of doing visual effects doesn't exist.

High Alpine meadows, like their near relatives prairie, desert and certain varieties of wetland, teach us to consider the world from a fresh perspective, to open our eyes and take account of what we have missed, reminding us that, in spite of our emphasis on the visual in everyday speech, we see so very little of the world.

If smart technology can transform 3-D from a crude novelty to a genuine visual enhancement, why shouldn't a sophisticated odor synthesizer follow a similar path?

Be able to describe anything visual, such as a street scene, in words that convey your meaning.

We often forget that everything we see, animate or inanimate, is a visual manifestation of the work of our invisible God. We have become so accustomed to trees, mountains, sky, air, water, flowers, animals, vegetables and people that we no longer see them for what they are - God's work.

Language, I think, has nothing to do with film-making. It is how you make your point and whether you exploit the visual medium maintaining a certain standard that does the trick.

The young generation has a different curiosity that is more visual.

We make such terrible mistakes with visual choices about beauty.

As bad as we are at remembering names and phone numbers and word-for-word instructions from our colleagues, we have really exceptional visual and spatial memories.