Visual Images Quotes

It's much easier to consume the visual image than to read something.

The visual image is a kind of tripwire for the emotions.

It frequently happens that I begin a novel with just a visual image of something, a vague sense of people in three dimensional space.

A visual image is a simple thing, a picture that enters the eyes.

I don't see perfection as far as a visual image of perfection. "Perfection" to me is, I walk away from a situation and say, "I did everything I could do right there. There was nothing more that I could do." Like, I worked as hard as I possibly could have. That's perfection.

Well, I have an idea, usually a visual image of some sort. A setting. A particular, I don't know, urban scene, a particular time of day. Something that grips my imagination for some reason.

A visual image in the hand of an artist is merely a tool to trigger a mental image.

I can hear you and I can watch your mouth move, and then I put together the sounds and the visual image and I can understand the words as I integrate the two signals.

Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.

The only way Congress can get one dollar to spend is to take that one dollar from Americans, borrow that one dollar from Americans, or inflate that one dollar from Americans. So, it's very much like the visual image of a swimming pool. A person notes there is a shallow end, so he takes the water out of the deep end and pours it in the shallow end, hoping to raise the height of the water in the pool - and you would call that person stupid.

Film fixes a precise visual image in the viewer's head. In fiction, you just hope you're precise enough to convey the intended effect.

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.

...never have I subscribed to the doctrine of willful rejection of the world or its visual image. To the non-objectivist this act of impiety may be shockingly impure, but God, I have no desire to be either hollow or sterile.

I know that everyone who listens to radio creates you in a visual image that they need you to have. Whatever that is, I thought, let them have it. Let me be who the listener needs me to be and let me not contradict that with the reality of my photograph and risk disappointing them.

Not only has photography so thoroughly saturated our visual environment as to make the invention of visual images seem archaic, but it is also clear that photography is too multiple, too useful to other discourses, ever to be wholly contained within traditional definitions of art.

I am fascinated by language in daily life: the way it can evoke an emotion, a visual image, a complex idea, or a simple truth.

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'.

I don't think there is any scientific evidence about the question of whether we think only in language or not. But introspection indicates pretty clearly that we don't think in language necessarily. We also think in visual images, we think in terms of situations and events, and so on, and many times we can't even express in words what the content of our thinking is. And even if we are able to express it in words, it is a common experience to say something and then to recognize that it is not what we meant, that it is something else.

The art of watching has become mere skill at rapid apperception and understanding of continuously changing visual images. The younger generation has acquired this cinematic perception to an amazing degree.

Alan Rocke's Image and Reality does so many things vividly and convincingly: it shows how visual images led chemistry step by step to the reality of the microscopic world; how simple portrayals of the logic of substitution and combination were reified; brings to our attention the imaginative, neglected work of Williamson and Kopp; and takes a critical look at Kekule's daydream. And it beautifully delineates the essential place the imagination has in science. A rewarding, lively picture of chemistry in formation.

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.

What Warcollier demonstrated is compatible with what modern cognitive neuroscience has learned about how visual images are constructed by the brain. It implies that telepathic perceptions bubble up into awareness from the unconscious and are probably processed in the brain in the same way that we generate images in dreams. And thus telepathic “images” are far less certain than sensory-driven images and subject to distortion.

The best way way to get a visual image is not to think of a visual image.

You can be an artist without visual images, a reader without eyes, a mass of erudition with a bad elementary memory. In almost any subject your passion for the subject will save you. If you only care enough for a result, you will almost certainly attain it. If you wish to be rich, you will be rich; if you wish to be learned, you will be learned; if you wish to be good, you will be good. Only you must, then, really wish these things, and wish them with exclusiveness, and not wish at the same time a hundred other incompatible things just as strongly.

There's some connection between visual images and music. But there's plenty of old records where I have no idea what the band looked like, or even what sort of context the music was played in.

I like visual images and there are certainly other bands that have strong visual images going all the way back to Elvis Presley, but it's kind of like that's never really been my bag. Probably because I'm too shy.

It would be wrong of me to suppose that just because I can form private mental images, that everyone can. As Francis Galton and William James long ago showed, a small proportion of adults-and some of these extremely intelligent-are unable to form such visual images. Berkeley's point is that it would be equally arrogant for these non-thinkers or non-image formers to claim that everyone is like them in the relevant respect. The temptation to pontificate in that way reveals a narrowness and unwillingness to see the world from another perspective.

With all the arguments and discussions about the Vietnam War, what did the visual image do? It ended the war.

Who dreamt and made incarnate gaps in Time & Space through images juxtaposed, and trapped the archangel of the soul between 2 visual images and joined the elemental verbs and set the noun and dash of consciousness together jumping with sensation of Pater Omnipotens Aeterna Deus to recreate the syntax and measure of poor human prose and stand before you speechless and intelligent and shaking with shame

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.

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.

I think setting a goal, getting a visual image of what it is you want. You've got to see what it is you want to achieve before you can pursue it.

A film in which the speech and sound effects are perfectly synchronized and coincide with their visual image on the screen is absolutely contrary to the aims of cinema. It is a degenerate and misguided attempt to destroy the real use of the film and cannot be accepted as coming within the true boundaries of the cinema.