Quotes about visual
page 2

“It's in the action scenes that things fall apart. Consider the scene where Spider-Man is given a cruel choice between saving Mary Jane or a cable car full of school kids. He tries to save both, so that everyone dangles from webbing that seems about to pull loose. The visuals here could have given an impression of the enormous weights and tensions involved, but instead the scene seems more like a bloodless storyboard of the idea. In other CGI scenes, Spidey swoops from great heights to street level and soars back up among the skyscrapers again with such dizzying speed that it seems less like a stunt than like a fast-forward version of a stunt.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/spider-man-2002 of Spider-Man (3 May 2002) <br class="br">Reviews, Two-and-a-half star reviews

School, Cars, Idea, Speed

“Scientific realism in classical (i. e. pre-quantum) physics has remained compatible with the naive realism of everyday thinking on the whole; whereas it has proven impossible to find any consistent way to visualize the world underlying quantum theory in terms of our pictures in the everyday world. The general conclusion is that in quantum theory naive realism, although necessary at the level of observations, fails at the microscopic level.”

Ravi Gomatam (1950) Indian academic

R.Gomatam's paper Physics and Commonsense - Reassessing the connection in the light of the quantum theory http://arxiv.org/abs/0708.1536, 2004.

World, Way, Thinking

“Since I was a child, I’ve used my imagination to escape from life. At the same time, my imagination has plagued me with both reality-based anxieties as well as anxieties based entirely in the imagination, such as the fear of Hell I was taught to have by the Catholic Church. Paired with a talent for literary composition, a talent that it took me over ten years to refine, I became a writer of horror stories. To my mind, writing is the most important form of human expression, not only artistic writing but also philosophical writing, critical writing, etc. Art as such, especially programmatic music such as operas, seems trivial to me by comparison, however much pleasure we may get from it. Writing is the most effective way to express and confront the full range of the realities of life. I can honestly say that the primary stature I attach to writing is not self-serving. I’ve been captivated to some degree by all forms of creativity and expression—the visual arts, film, design of any sort, and especially music. In college I veered from literature to music for a few years, which is the main reason it took me six years to get an undergraduate degree in liberal arts. I’ve loved music for as long as I can remember. Since my instrument is the guitar, I know every form and style in its history and have written the classical, acoustic, and electric forms of this instrument. I think because I have had such a love and understanding of music do I realize, to my grief, its limitations. Writing is less limited in the consolations it offers to those who have lost a great deal in their lives. And it continues to console until practically everything in a person’s life has been lost. Words and what they express have the best chance of returning the baneful stare of life.”

Thomas Ligotti (1953) American horror author

Wonderbook Interview with Thomas Ligotti http://wonderbooknow.com/interviews/thomas-ligotti/

Love, Life, Pleasure, Fear

“Maps have been a successful form of representation for centuries by making the world understandable through systematic abstraction that retains the iconicity of space depicting space. Advances in methods and technologies are blurring the lines among maps and other forms of visual representation and pushing the bounds of “map” as a concept toward both more realistic and more abstract depiction. As a result, there are a variety of unanswered questions about the attributes and implications of “maps.””

Alan MacEachren (1952) American geographer

Source: Research challenges in geovisualization (2001), p. 6-7

World, Understanding, Question, Success

“This is what the sculptor must do. He must strive continually to think of, and use, form in its full spatial completeness. He gets the solid shape, as it were, inside his head - he thinks of it, whatsoever its size, as if he were holding it completely enclosed in the hollow of his hand. He mentally visualizes a complete form..”

Henry Moore (1898–1986) English artist

Quote of Moore from his text 'The sculptor speaks' (1937), p. unknown
1925 - 1940

Thinking

“Modern physics has thus revealed that every subatomic particle not only performs an energy dance, but also is an energy dance; a pulsating process of creation and destruction. The dance of Shiva is the dancing universe, the ceaseless flow of energy going through an infinite variety of patterns that melt into one another’’. For the modern physicists, then Shiva’s dance is the dance of subatomic matter. As in Hindu mythology, it is a continual dance of creation and destruction involving the whole cosmos; the basis of all existence and of all natural phenomenon. Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our times, physicists have used the most advanced technology to portray the patterns of the cosmic dance.”

Fritjof Capra book The Tao of Physics

Source: The Tao of Physics (1975), p. 244.

Beauty, Nature, Universe, Time

“I want to cover all areas that can be depicted visually. This ranges from fairytales to attempts to enter the abstract and view oneself as a social outcast or someone struggling to stay alive.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 218 (1987)

Fairytale

“He considered recording it. His suit would be able to make a simple visual file and stream the data out in real time. But no. This was his moment. His and Julia’s. The rest of humanity could guess what it had been like if they cared.”

Daniel Abraham (1969) speculative fiction writer from the United States

Source: Leviathan Wakes (2011), Chapter 48 (p. 488)

Time

“Although my own previous enthusiasm has been for syntactically rich languages like the Algol family, I now see clearly and concretely the force of Minsky's 1970 Turing lecture, in which he argued that Lisp's uniformity of structure and power of self reference gave the programmer capabilities whose content was well worth the sacrifice of visual form.”

Robert Floyd (1936–2001) American computer scientist

The Paradigms of Programming (1979)

Family

“Interdeterminacy was a figure-ground problem arising from incongruity between the visual bias of classical science and the new acoustic sensibilities.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 44

Problem, Science

“My wife [painter Musa McKim, ] on her own, did several other murals for the Section of Fine Arts. Then in 1940 and 1941 we moved out of New York City and came to Woodstock [at the age of 54] where we did the Laconia murals and several murals for the Presidents Lines, which were later turned into troop ships. I then went to teach at the University of Iowa where I finished the mural for the Social Security Building in Washington, D. C., in 1942 or 1943, I'm not sure which. With the exception of some visual aid material for the navy flight program in Iowa - navigational maps, etc.”

Phillip Guston (1913–1980) American artist

this marks the end of the mural period.
n.p.
1961 - 1980, Oral history interview with Philip Guston, 1965 January 29

Age, Art, Universe

“Under its first two Indian editors [The Illustrated Weekly] became a vehicle of Indian culture devoting most of its pages to art, sculpture, classical dance and pretty pictures of flowers, birds, and dencing belles. It did not touch controversial subjects, was strictly apolitical and asexual (save occasional blurred reproductions of Khajuraho or Konarak). It earned a well-deserved reputation for dull respectability. I changed all that. What was a four-wheeled victoria taking well-draped ladies out to eat the Indian air I made a noisy rumbustious, jet-propelled vehicle of information, controversy and amusement. I tore up the unwritten norms of gentility, both visual and linguistic…. And slowly the circulation built up, till the Illustrated did become a weekly habit of the English-reading pseudo-elite of the country. It became the most widely read journal in Asia (barring Japan) because it reflected all the contending points of view on every conceivable subject: politics, economics, religion, and the arts.”

Khushwant Singh (1915–2014) Indian novelist and journalist

In Khushwant Singh's editor's page http://books.google.co.in/books?id=sNBOAAAAMAAJ, IBH Pub. Co., 1981, p. 4

Religion, Art, Flowers, Bird

“There science is dealing with physical facts, in art we are dealing with psychic effects. With this I come to my first statement: 'The source of art – that is, where it comes from – is the discrepancy between physical fact and psychic effect'. That's what I'm talking about. When I want to speak about why I am doing the same thing now, which is squares, for – how long? – 19 years. Because there is no final solution in any visual formulation. Although this may be just a belief on my part, I have some assurances that that is not the most stupid thing to do, through Cezanne whom I consider as one of the greatest painters. From Cézanne we have, so the historians tell us – 250 paintings of Mont St. Victoire. But we know that Cézanne has left in the fields often more than he took home because he was disappointed with his work. So we may conclude he did many more than 250 of the same problem.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Stupidity, Art, Disappointment, Home

“Harriet: [making an excuse] Um… I'm looking for a copy of The Wheat-Free Guide to Creative Visualization in Co-dependent Past-Life Relationships.
Mo: Huh. Jeez, I never heard of that one… Wonder if it's in spirituality or cooking.”

Alison Bechdel book Dykes to Watch Out For

#21, "By the Book" (1987), collected in More DTWOF (1988).
Dykes to Watch Out For

Life, Past, Dependency, Cooking

“Renaissance Italy became a kind of Hollywood collection of sets of antiquity, and the new visual antiquarianism of the Renaissance provided an avenue to power for men of any class.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, The Gutenberg Galaxy (1962), p. 136

Men

“This museum is like a ghost train—at every stage you find a surprise. Intuition prepares you for enlightenment, not audio-visual lectures. There's less to read, more to fee.”

Philippe Starck (1949) French architect and industrial designer

Starck cited in: Priscilla Boniface, Peter Jon Fowler (1993) Heritage and Tourism: In the Global Village. p. 161: Starck is talking about the Groninger Museum.

Reading, Training

“We are frequently faced with the necessity of looking for the picture required for the visualization of an object, not in the perception of this particular object, but in a different perceptual image. …we can assert the discrepancy between the perceived picture and the objective state. This discrepancy… proves absolutely nothing against the fact that all visualizations are merely sense qualities of the perceptual space. …If the parallelism is …to be visualized, we must supplement our assertion by the description of certain qualities with which we are familiar from perceptual space.”

Hans Reichenbach (1891–1953) American philosopher

The Philosophy of Space and Time (1928, tr. 1957)

Sense

“Agnes Martin often speaks of joy; she sees it as the desired condition of all life. Who would disagree with her?… No-one who has seriously spent time before an Agnes Martin, letting its peace communicate itself, receiving its inexplicable and ineffable happiness, has ever been disappointed. The work awes, not just with its delicacy, but with its vigor, and this power and visual interest is something that has to be experienced.”

Wendy Beckett (1930–2018) British Catholic nun and presenter of documentaries for the BBC on the history of art

Sister Wendy Beckett, in her book American Masterpieces, about American painter Agnes Martin.

Life, Happiness, Peace, Disappointment

“When Hussainji narrated the script [on Gaja Gamini] to me, I couldn´t understand it. And I told him so. So, he worked out a storyboard and then I could visualize the whole film. You know the film is like a painting on celluloid.”

Madhuri Dixit (1967) Indian actress

Quote, When personality comes first.....

Understanding, Painting

“Chinese script is not visual but iconic and tactile. It does not disturb the tribal bonds.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1970s, Culture Is Our Business (1970), p. 72

“A thought that has found a plastic expression must continue to expand in keeping with its own plastic idiom. A plastic idea must be expressed with plastic means just as a musical idea is expressed with musical means, or a literary idea with verbal means. Neither music nor literature are wholly translatable into other art forms; and so a plastic art cannot be created through a superimposed literary meaning. The artist who attempts to do so produces nothing more than a show-booth. He contents himself with visual story-telling. He subjects himself to a mechanistic kind of thinking which disintegrates into fragments.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 40-46
Search for the Real and Other Essays (1948)

Art, Music, Literature, Idea

“Her hair is troublesome and curly … It falls in long, black strands, but each strand has a gentle, complicated undulation travelling through it, like a mild electric shock or a thrill, hat gives it a life of its own; it is visually analogous to a tremolo on a musical note.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

Afternoon Raag (1993)

Life, Music, Travel

“As pointed out in a followup, Real Perl Programmers prefer things to be visually distinct.”

Larry Wall (1954) American computer programmer and author, creator of Perl

[199710161841.LAA13208@wall.org, 1997]
Usenet postings, 1997

“Merz art strives for immediate expression by shortening the path from intuition to visual manifestation of the artwork.... they will receive my new work as they always have when something new presents itself: with indignation and screams of scorn.”

Kurt Schwitters (1887–1948) German artist

1910s
Source: 'Merz Painting' (1919); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 91.

Art

“Concept maps have long provided visual languages widely used in many different disciplines and application domains. Abstractly, they are sorted graphs visually represented as nodes having a type, name and content, some of which are linked by arcs. Concretely, they are structured diagrams having discipline- and domain-specific interpretations for their user communities, and, sometimes, formally defining computer data structures. Concept maps have been used for a wide range of purposes and it would be useful to make such usage available over the World Wide Web.”

Brian R. Gaines (1938) British computer scientist

Gaines (2001) " WebMap: Concept Mapping on the Web http://www.w3.org/Conferences/WWW4/Papers/134/" on w3.org/Conferences/WWW4, 2001.

World, Communication

“[The Constructive idea.. ] has revealed a universal law that the elements of a visual art such as lines, colours, shapes, possess their own forces of expression independent of any association with the external aspects of the world; that their life and action are self-conditioned psychological phenomena rooted in human nature; that those elements are not chosen by convention by any utilitarian or other reason as words and figures are, they are not merely abstract signs, but they are immediately and organically bound up with human emotions. The revelation of this fundamental law has opened up a vast field in art giving the possibility of expression to those human impulses and emotions which have been neglected.”

Naum Gabo (1890–1977) Russian sculptor

Naum Gabo (1937) 'Editorial', p. 7 as cited in: W. Rotzler (1989) Constructive Concepts - A History of Constructive Art from Cubism to the Present, Rizzoli.
1936 - 1977, Circle: International Survey of Constructive Art, 1937

Life, World, Law, Art

“Caricatures speak through visual language and are therefore understandable by all people. They trigger a laugh which is also an international language and reaction. Caricatures can decrease violence and converge cultures. They aim to promote peace, and teach us to be moderate and laugh at our problems.”

Javad Alizadeh (1953) cartoonist, journalist and humorist

Quoted in "Cartoonist Alizadeh, translating world into humor" in Press TV (23 April 2009) http://edition.presstv.ir/detail/92323.html

People, Peace, Understanding, Problem

“The double reservoir at the top shows the amount of money in the hands of individuals and available for expenditure in consumption. This is what we have previously called the consumers' fund. The reservoir is divided into two parts in order graphically to represent the fact that a large part of the money received by individuals is income, most of which is spent in consumption; while a smaller part is money received from the sale of real estate, bonds and stocks, most of which is reinvested. The two parts of the reservoir, however, are connected with pipes, in order to take account of the fact that some income is invested and some money received from the sale of securities is spent in consumption. These connecting pipes are important. We must bear in mind that they are always partly, and never wholly, clogged. By their aid, we may visualize the fact that we have no means of knowing how much of the consumers' fund actually will be spent in consumption in any given period of time.”

William Trufant Foster (1879–1950) American economist

Source: The circuit flow of money, 1922, p. 264

Money, Time, Parting

“I loved New York—every inch of it. It was a little bit scary at that time, but still, the excitement was so strong—visually and intellectually. It was like a monster.”

Ai Weiwei (1957) Chinese concept artist

2010-, I have to speak for people who are afraid, 2010

Love, Strong, Time

“Other times I am pestered by a recurrent visual image and this image will resonate with some tone-rhythm pattern, only after that does language start to come.”

Jan Zwicky (1955) Canadian philosopher

'Perfect Fluency' interview with Scott Rosenberg, University of Wyoming Campus, Oct. 2010.
Other

Time

“More often than not, [people] expect a painting to speak to them in terms other than visual, preferably in words, whereas when a painting or a sculpture needs to be supplemented and explained by words it means either that it has not fulfilled its function or that the public is deprived of vision”

Naum Gabo (1890–1977) Russian sculptor

Quote of Naum Gabo (1962), as cited in: Joseph Goguen (1999) Art and the Brain. p. 76
1936 - 1977

People, Painting

“I wanted to get away from the physical act of painting... For me the title ('Fresh Widow', 1920), with inscription under: 'Fresh Widow Copyright Rose Sélavy, 1920', [probably referring to all the widows because of the many killings of soldiers in World War, 1. which ended in 1918] was very important... I was interested in ideas – not merely visual products. I wanted to put painting once again at the service of the mind.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote from: Looking at Dada ed. Sarah Blyth / Edward Powers, MoMa, New york 2006; p. 13
posthumous

War, World, Idea, Painting

“An information retrieval system is therefore defined here as any device which aids access to documents specified by subject, and the operations associated with it. The documents can be books, journals, reports, atlases, or other records of thought, or any parts of such records—articles, chapters, sections, tables, diagrams, or even particular words. The retrieval devices can range from a bare list of contents to a large digital computer and its accessories. The operations can range from simple visual scanning to the most detailed programming.”

Brian Campbell Vickery (1918–2009) British information theorist

Source: The Structure of Information Retrieval Systems (1959), p. 1275.

Books, Parting

“Personally, I’ve always been of the sleek and minimalist design school: make sure the core play is consistent and strong, then let that idea play out against different environments and challenges, this tends toward focusing on bio-mechanical twitch responses, audio-visual awe, and leaning more toward general strategy and tactics development over specific puzzle solving.”

John D. Carmack (1970) American computer programmer, engineer, and businessman

Quoted in Brad Cook, "John Carmack: Making the Magic Happen" http://www.apple.com/games/articles/2009/02/johncarmack/ Apple.com

School, Idea, Strong, Personality

“The main objection to the theory of pure visualization is our thesis that the non-Euclidean axioms can be visualized just as rigorously if we adjust the concept of congruence. This thesis is based on the discovery that the normative function of visualization is not of visual but of logical origin and that the intuitive acceptance of certain axioms is based on conditions from which they follow logically, and which have previously been smuggled into the images. The axiom that the straight line is the shortest distance is highly intuitive only because we have adapted the concept of straightness to the system of Eucidean concepts. It is therefore necessary merely to change these conditions to gain a correspondingly intuitive and clear insight into different sets of axioms; this recognition strikes at the root of the intuitive priority of Euclidean geometry. Our solution of the problem is a denial of pure visualization, inasmuch as it denies to visualization a special extralogical compulsion and points out the purely logical and nonintuitive origin of the normative function. Since it asserts, however, the possibility of a visual representation of all geometries, it could be understood as an extension of pure visualization to all geometries. In that case the predicate "pure" is but an empty addition, since it denotes only the difference between experienced and imagined pictures, and we shall therefore discard the term "pure visualization."”

Hans Reichenbach (1891–1953) American philosopher

Instead we shall speak of the normative function of the thinking process, which can guide the pictorial elements of thinking into any logically permissible structure.
The Philosophy of Space and Time (1928, tr. 1957)

Imagination, Problem, Thinking, Change

“2.6.: still a stable kernel, but accept bigger changes leading up to it (timeframe: a month or two).2.. x: aim for big changes that may destabilize the kernel for several releases (timeframe: a year or two). x. x: Linus went crazy, broke absolutely everything, and rewrote the kernel to be a microkernel using a special message-passing version of Visual Basic. (timeframe: "we expect that he will be released from the mental institution in a decade or two").”

Linus Torvalds (1969) Finnish-American software engineer and hacker

Message to Linux kernel mailing list, 2005-03-02, Torvalds, Linus, 2006-12-11 http://lkml.org/lkml/2005/3/2/247, <br class="br">2000s, 2005

Change

“Use of the term visualization in the cartographic literature can be traced back at least four decades (Philbrick, 1953). It was the 1987 publication of a report by the U. S. National Science Foundation, however, that established a new meaning for this term in the context of scientific research (McCormick et al., 1987). The report, produced by a committee containing no cartographers, emphasized the role of computer display technology in prompting mental visualization - and subsequent insight. Scientific visualization has, thus, been defined as the use of sophisticated computing technology to create visual displays, the goal of which is to facilitate thinking and problem solving. Emphasis is not on storing knowledge but on knowledge construction.”

Alan MacEachren (1952) American geographer

Source: Exploratory cartographic visualization: advancing the agenda (1997), p. 2

Literature, Knowledge, Problem, Thinking

“Writing turned a spotlight on the high, dim Sierras of speech; writing was the visualization of acoustic space. It lit up the dark.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, Counterblast (1969), p. 14

“The fact is we are all, no matter where we live, surrounded constantly by stories, whether they are literal, oral or visual…the benign story I'm really growing tired of is the "humorous" story of the blonde woman who is either injured or humiliated all in order to sell beer. Not funny. I am tired of these stories. I am angered by these stories. There are other stories far more wondrous — stories of women claiming and reclaiming power, stories of rage and resistance and indefatigable courage, and stories of women and some men — reaching across great divides and into the most treacherous places on Earth where turmoil reigns and violence against women is unchecked, taking the hands of those women, helping to lift them up and leading them toward safety and sanctuary and self-determination.”

Jennifer Beals (1963) American actress and a former teen model

Speech at private fundraiser for V-Day (March 2008) http://www.jennifer-beals.com/media/speeches/vday.html.

Women, Men, Courage, Beer

“Journalists have never before been able to tell stories so effectively, bouncing off each other, linking to each other (as the most generous and open-minded do), linking out, citing sources, allowing response – harnessing the best qualities of text, print, data, sound and visual media. If ever there was a route to building audience, trust and relevance, it is by embracing all the capabilities of this new world, not walling yourself away from them.”

Alan Rusbridger (1953) British newspaper editor

Source: 2010s, Does journalism exist? (2010), p. 7; Cited in: Janet Jones, ‎Lee Salter (2011) Digital Journalism. p. 88. Also cited in: Bob Franklin (2013) The future of journalism. p. 1969:

World

“Languages never stand still. Modern spelling crystallises lost pronunciations: the visual never quite catches up with the aural.”

Anthony Burgess (1917–1993) English writer

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“The word, although prevalent in our day, has lost its reasoning value, and has value only as an accessory to images. In turn, the word actually evokes images. But it does not evoke the direct images related to my personal experience. Rather, it calls up images from the newspaper or television. The key words in our modern vocabulary, thanks to propaganda and advertising, are words that relate to visual reproduction. They are stripped of all rational content, so they evoke only visions that whisk us away to some enchanted universe. Saying "fascism," "progress," "science," or "justice" does not suggest any idea or produce any reflection. It only causes a fanfare of images to explode within us: a sort of fireworks of visual commonplaces, which link up very precisely with each other. These related images provide me with practical content: a common truth that is especially easy to swallow because the ready-made images that showed it to me had been digested in advance. Make no mistake here: this is how modern people usually think. We are arriving at a purely emotional stage of thinking.”

Jacques Ellul (1912–1994) French sociologist, technology critic, and Christian anarchist

J. Hanks, trans. (1985), p. 210
The Humiliation of the Word (1981)

People, Truth, Justice, Idea

“A painter should never speak because words are not the means at his command. Words cannot express visually dimension at a glance they can only establish their own relationship in time.
However, it is possible for a painter, at certain moments of his development to formulate some of the problems he is facing in the growth of his work. A painting cannot be explained. Words can only stimulate the act of looking.
A visual problem is never put a priori as a mathematical problem but is born in the process of painting and evolves in a state of unawareness of the painter.”

Fritz Glarner (1899–1972) Swiss artist

Source: George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis. " What Abstract Art Means to Me http://www.jstor.org/stable/4058250," in: The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15

Mathematics, Problem, Time, Painting

“I have received a question I have expected, 'Don't you deal with accidents?' Yes, I deal with accidents, just as Arp admits it all the time. And I admit it, too. But I like to have them under my command and not sign them because they are accidents. If it remains only accident then sign it 'accident' or 'fate' or 'the Lord', whatever you prefer. It's not you because you have not visioned it. You see visual formulation deals with vision, visual information and visual reaction. So I speak differently from all those who deliver themselves to uncontrolled accidents.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Fate, Question, Time

“But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness."”

Robert Morgan (1943) American art historian

This is part of the pity of Modernism, one of the sacrifices it enjoins... <br class="br">Clement Greenberg, Robert C. Morgan in: Clement Greenberg, Late Writings in Detached Observations http://books.google.co.in/books?id=8wFNAAAAYAAJ, University of Minnesota Press, 30 January 2007, p. 70

Art, Parting

“The interiorization of the technology of the phonetic alphabet translates man from the magical world of the ear to the neutral visual world.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, The Gutenberg Galaxy (1962), p. 21

World

“Our visual discrimination is far better than our linguistic system at dealing with complex ratios and continuous variations in space, line, shape, and color.”

Jay Lemke (1946) American academic

Source: Textual politics: Discourse and social dynamics, 1995, p. 110

Color

“The visual possibility of seeing the historical person (as opposed to the eternal Qur'anic man) on screen is arguably the single most important event allowing Iranians access to modernity.”

Hamid Dabashi (1951) American academic

Close-up: Iranian Cinema Past, Present and Future

Personality

“Geovisualization integrates approaches from visualization in scientific computing (ViSC), cartography, image analysis, information visualization, exploratory data analysis (EDA), and geographic information systems (GISystems) to provide theory, methods, and tools for visual exploration, analysis, synthesis, and presentation of geospatial data”

Alan MacEachren (1952) American geographer

any data having geospatial referencing
Source: Research challenges in geovisualization (2001), p. 3

“Music combines the temporal aspects of film and dance with the spatial aspects of painting and sculpture, where pitch space (or frequency space) takes the place of three-dimensional physical space… frequency maps in the auditory cortex… function much the way that spatial maps do in the visual cortex.”

Daniel Levitin book The World in Six Songs

The World in Six Songs (2008)

Music, Way, Dance, Painting

“We started out in the middle ages creating music which had certain desirable physical properties (for example, a major chord sounds "nice" because the frequencies are in integer ratios to each other). And then as society evolved, we created these emotional contexts for certain instruments and progressions. Major-chord arpeggios sound "happy", minor chords sound "sad", chromatic scales can sound "scary", et cetera. In the 20th century, film soundtracks reinforced this point as people associated certain kinds of music with certain visual and emotional experiences. It's a giant feedback loop, really; once you grow up in a given culture, it leaves this musical fingerprint on you which colors your experiences.”

Andrew Sega (1975) musician from America

Andrew Sega Shrine interview, 2011

Happiness, People, Age, Sadness

“Friends — They are like air bubbles on water, hastening to flow together. History tells of Orestes and Pylades, Damon and Pythias, but why should not we put to shame those old reserved worthies by a community of such? Constantly, as it were through a remote skylight, I have glimpses of a serene friendship-land, and know the better why brooks murmur and violets grow. This conjunction of souls, like waves which met and break, subsides also backward over things, and gives all a fresh aspect. I would live henceforth with some gentle soul such a life as may be conceived, double for variety, single for harmony — two, only that we might admire at our oneness — one, because indivisible. Such community to be a pledge of holy living. How could aught unworthy be admitted into our society? To listen with one ear to each summer sound, to behold with one eye each summer scene, our visual rays so to meet and mingle with the object as to be one bent and doubled; with two tongues to be wearied, and thought to spring ceaselessly from a double fountain.”

Henry David Thoreau (1817–1862) 1817-1862 American poet, essayist, naturalist, and abolitionist

January 26, 1840
Journals (1838-1859)

Life, Friendship, Soul, History

“Lisp has all the visual appeal of oatmeal with fingernail clippings mixed in.”

Larry Wall (1954) American computer programmer and author, creator of Perl

[1994Jul21.173737.16853@netlabs.com, 1994]
Usenet postings, 1994

“I remember one clear example of the problem of communicating what is to be learned. You may have heard of or gone through a similar experience with a student or your child. Years ago, the child of a friend whom I was visiting arrived home from his day at school, all excited about something he had learned. He was in the first grade and his teacher had started the class on reading lessons. The child, Gary, announced that he had learned a new word. "That's great, Gary," his mother said. "What is it?" He thought for a moment, then said, "I'll write it down for you." On a little chalkboard the child carefully printed, HOUSE. "That's fine, Gary," his mother said. "What does it say?" He looked at the word, then at his mother and said matter-of-factly, "I don't know."The child apparently had learned what the word looked like — he had learned the visual shape of the word perfectly. The teacher, however, was teaching another aspect of reading — what words mean, what words stand for or symbolize. As often happens, what the teacher had taught and what Gary had learned were strangely incongruent.As it turned out, my friend's son always learned visual material best and fastest, a mode of learning consistently preferred by a number of students. Unfortunately, the school world is mainly a verbal, symbolic world, and learners like Gary must adjust, that is, put aside their best way of learning and learn the way the school decrees. My friend's child, fortunately, was able to make this change, but how many other students are lost along the way?”

Betty Edwards (1926) American artist

Source: The New Drawing on the Right Side of the Brain (1979), p.237

World, School, Way, Home

“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.”

Walt Disney (1901–1966) American film producer and businessman

As quoted in "COSI exhibit explores world of cartoons" by Jeffrey Zupanic in The Review (2 August 2007) http://www.the-review.com/news/article/2344671

People, Pleasure, Age, World

“It makes no difference whether a work is naturalistic or abstract; every visual expression follows the same fundamental laws.”

Hans Hofmann (1880–1966) American artist

'Excerpts from the Teaching of Hans Hofmann', p. 61
Search for the Real and Other Essays (1948)

Law

“The opposition between structure and sonority in music is almost as misleading as that between line and color in the visual arts. Baudelaire insisted, correctly, that Delacroix was one of the three greatest draftsmen of the century, and emphasized his mastery of line. In the same way, a study of Chopin demonstrates the intimate relation between line and color in music.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 7 : Chopin: From the Miniature Genre to the Sublime Style

Art, Music, Color, Way

“I started writing instrumentals but Roma pointed out they were very visual, so she started writing lyrics.. and Nicky had this idea of creating a wall of sound and started multi-tracking my voice.”

Enya (1961) Irish singer, songwriter, and musician

The Times Magazine interview (2005)

Idea

“My own experience of mescalin is described in the appendix of Beyond the Outsider. My 'trip' was pleasant enough, although I experienced none of the visual effects described by Huxley; I was plunged into an agreeable but sluggish dreaminess. In this torpid state, I became aware of the problem mentioned by Huxley: 'How was this cleansed perception to be reconciled with a proper concern with human relations…?' -- in my case, with my concern for my wife and three-year-old daughter? Although I personally felt nothing but a sense of relaxation and trustfulness, I was aware that, in practice, the world is full of dangers, and in this state, I was incapable of the necessary vigilance; it made me feel guilty. I was neglecting my job of looking after them. Moreover, my ability to think was impaired. Huxley remarks that he found his own ability to remember and 'think straight' to be little, if at all, reduced. I could 'think straight', but I could not think to any purpose. Even the feeling of universal love was not particularly pleasant; I compared it to having a large alsation dog who puts his paws on your shoulder and licks your face.”

Colin Wilson (1931–2013) author

Source: Frankenstein's Castle (1980), p. 59-60

Love, World, Dogs, Feeling

“Even though we started in the days when the equipment itself wasn't able to do very exciting visual things, we were always concentrating on this matter of communication and meaning.”

Douglas T. Ross (1929–2007) American computer scientist

Source: Retrospectives : The Early Years in Computer Graphics at at MIT, Lincoln Lab and Harvard (1989), p. 26.

Communication

“I mean, there is a certain amount of exposition you have to have in films and how that exposition is handled tells you whether it's a good script or not, whether it's a good filmmaker or not. You know, the more exposition that can be handled without a character speaking it, the more thematic metaphors that you can do visually, to me that’s a better situation.”

Clancy Brown (1959) American actor and voice actor

“The imperative need of the hour is to visualize the grave dangers not only to our cherished political and social system, but to the very foundation of our values, if there is not greater discipline in national life…Undoubtedly, the nation has registered progress, especially during the last two or three years, but we must accelerate the pace and increase the momentum. We need vigour and the will to rekindle the moral timbre to channelize our energies for constructive purposes. We must eschew communal frenzy…”

Zail Singh (1916–1994) Indian politician and former President of India

His first speech on assuming charge as President of India, p. 170.
Presidents of India, 1950-2003

Life, Communication

“Current concern with reading and spelling reform steers away from visual to auditory stress.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, The Gutenberg Galaxy (1962), p. 54

Reading

“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.”

Dorothea Lange (1895–1965) American photojournalist

As quoted in Dorothea Lange: A Visual Life by Elizabeth Partridge (1994)

Life

“There is a world of visual beauty open to the one willing to undergo the practice and striving necessary to the understanding of its language.
This world is a important as culturally as is the world of words or of music. My ideal is to form and to paint as Schubert sings his songs and as Beethoven creates his world in sounds. That is to say, creation of one’s own inner world through the same human and artistic discipline.
An inner sensation can find external expression only through spiritual realization.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 58
Search for the Real and Other Essays (1948)

World, Beauty, Music, Understanding

“All our steps in creating or absorbing material of the record proceed through one of the senses — the tactile when we touch keys, the oral when we speak or listen, the visual when we read. Is it not possible that some day the path may be established more directly?”

Vannevar Bush book As We May Think

As We May Think (1945)

Sense, Reading

“The human brain has left and right brain symmetry with its own nature and can process information which initially appears to have no pattern or order. However, the brain has the ability to process visual information much more efficiently.”

Tony Buzan (1942–2019) British psychologist

The Mind Map Book, Buzan and Buzan (1991)

Nature, Appearance

“Inaudible melodies
Serve narrational strategies
Unobtrusive tones
Help to notice nothing but the zone
Of visual relevancy
Frame-lines tell me what to see
Chopping like an axe
Or maybe Eisenstein should just relax”

Jack Johnson (musician) (1975) American musician

Inaudible Melodies.
Song lyrics, Brushfire Fairytales (2001)

Help

“Medieval and ancient sensibility now dominates our time as acoustic and multisensory awareness displaces the merely visual.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 225

Time

“I believe that there are varying points of contact. You have to be able to see the whole thing first. All great paintings are sculptures – there's so much of the factualness about it that a great painting forces you into a visual, physical movement of yourself. That's what determines the way you experience a painting kinetically. You move closer, you sight down it, you till your head, you step back, you feel as though you are in it. That being in it is just as important as looking from a distance.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 10
Conversation with Karen Wilkin' (1986-1988)

Way, Feeling, Painting

“The alphabet, when pushed to a high degree of abstract visual intensity, became typography. The printed word with its specialist intensity burst the bonds of medieval corporate guilds and monasteries, created extreme individualist patterns of enterprise and monopoly.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, Understanding Media (1964), p. 23

“The plane is the mainstay of all graphic representation. It is so familiar that its properties seem self-evident, but the most familiar things are often the most poorly understood. The plane is homogeneous and has two dimensions. The visual consequences of these properties must be fully explored.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 44

“When theoretical physicists censor the public's spontaneous visualizing response by warning us we must not try to picture the underlying nature of the world, whether atoms or quarks or preons, they are drawing upon an intellectual discipline devised by Calvin. Reality is beyond the senses; only the rigorously logical mind, leaping bravely into the intangible, can grasp it. No images.”

Theodore Roszak (1933–2011) American social historian, social critic, writer

Source: The Gendered Atom: Reflections on the Sexual Psychology of Science (1999), Ch.10 The Black Madonna

World, Nature, Reality, Sense

“The Uniﬁed Modeling Language (UML) is a general-purpose visual modeling language that is used to specify, visualize, construct, and document the artifacts of a software system. It captures decisions and understanding about systems that must be constructed. It is used to understand, design, browse, conﬁgure, maintain, and control information about such systems. It is intended for use with all development methods, lifecycle stages, application domains, and media. The modeling language is intended to unify past experience about modeling techniques and to incorporate current software best practices into a standard approach. UML includes semantic concepts, notation, and guidelines. It has static, dynamic, environmental, and organizational parts. It is intended to be supported by interactive visual modeling tools that have code generators and report writers. The UML speciﬁcation does not deﬁne a standard process but is intended to be useful with an iterative development process. It is intended to support most existing object-oriented development processes.”

Ivar Jacobson (1939) Swedish computer scientist

James Rumbaugh, Ivar Jacobson, & Grady Booch (1999) The Unified Modeling Language Reference Manual. p. 1.

Understanding, Support, Decision, Past

“No film ever ends up exactly as you would like it to, but with minor exceptions, THX came out pretty much as I had visualized it, thanks to some excellent assistance — and a whole lot of luck.”

George Lucas (1944) American film producer

American Cinematographer (October 1971)

“A point which I want very much to establish is that the choice of these 'Readymade' was never dictated by aesthetic delectation. This choice was based on a reaction of visual indifference with at the same time a total absence of good or bad taste…. in fact a complete anesthesia. One important characteristic was the short sentence which I occasionally inscribed on the 'readymade'. That sentence instead of describing the object like a title was meant to carry the mind of the spectator towards other regions more verbal.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, Apropos of Ready Mades', 1961

Time, Indifference

“It was van Gogh's madness that prevented him from working; the paintings themselves are ineffably sane, if sanity is to be defined in terms of exact judgment of ends and means and the power of visual analysis.”

Robert Hughes (1938–2012) Australian critic, historian, writer

"Vincent van Gogh, Part I" (1984)
Nothing If Not Critical (1991)

Painting, Madness

“Segregation occurs in the primary visual area of the cortex, which gives rise to two parallel pathways. …the "what" pathway, carries information about the form of an object… the "where" pathway, carries information about the movement of the object in space: where the object is located.”

Eric R. Kandel (1929) American neuropsychiatrist

In Search of Memory (2006)

“The day has not only passed, it has long since passed, when we could visualize a healthy psychiatrist confronting a sick patient.”

Martti Siirala (1889–1948) Finnish philosopher

Medicine in Metamorphosis (2003).

“It is my own personal psychosis that it is only by the background that you can see what is in front of you. Only be accepting all that surrounds you can you be totally self-visualized. And at the same time, your self-visualization is a reflection of your surroundings. Albers was right about that. That's why I like Cezanne so much. Matisse said, you have to read between the lines. When he would stop a line, say, at the ear, and beginning it again at the neck, he was really exercising the viewer's mind to fill in the blanks”

Robert Rauschenberg (1925–2008) American artist

parts
Quote from an interview with Barbara Rose, 1987, in Rauschenberg, Avedon Vintage, Random House, New York 1987, p. 72
1980's

Exercises, Time, Reading, Parting

“It seems far simpler to go ahead and say that the epic is a fantastic myth, that happens to be true of the material Universe, that other myths are true in terms of their cultural meaning, and that there's absolutely no problem with holding more than one story, just as there's no problem with viewing the sunset in terms of planetary rotation and spectra and nuclear fusions one moment and as visual splendor the next.”

Ursula Goodenough (1943) American biologist

On the Epic of Evolution in Cosmogen "Board Forum: How Grand a Narrative?" (1999) http://www.thegreatstory.org/HowGrand.pdf

Problem, Universe

“We can… treat only the geometrical aspects of mathematics and shall be satisfied in having shown that there is no problem of the truth of geometrical axioms and that no special geometrical visualization exists in mathematics.”

Hans Reichenbach (1891–1953) American philosopher

The Philosophy of Space and Time (1928, tr. 1957)

Truth, Mathematics, Problem

“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.”

Joyce Carol Oates (1938) American author

Tavis Smiley interview (2005)

Thinking, Time, Reading

Grady Booch (1955) American software engineer

James Rumbaugh, Ivar Jacobson, & Booch (1999) The Unified Modeling Language Reference Manual. p. 1

Understanding, Support, Decision, Past

“The sheer increase in the quantity of information movement favoured the visual organization of knowledge and the rise of perspective even before typography.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, The Gutenberg Galaxy (1962), p. 128

Knowledge

“I am a visual man. I watch, watch, watch. I understand things through my eyes.”

Henri Cartier-Bresson (1908–2004) French photographer

"An island of pleasure gond adrift" in LIFE magazine (15 March 1963), p. 42

Understanding

“Understanding how maps work and why maps work (or do not work) as representations in their own right and as prompts to further representations, and what it means for a map to work, are critical issues as we embark on a visual information age.”

Alan MacEachren (1952) American geographer

(2004), p. v
How Maps Work: Representation, Visualization, and Design (1995)

Age, Understanding

“.. the wall, the window or the door — and so many other images that parade in my canvases — are indeed there and I am far from trying to hide the fact. With this I mean that I do not think that images, in my works, should be considered as indifferent excuses to prop visual elements, as the 'subject-matters' were said to be for Impressionists and Fauves. From those 'subject-matters', it is further said, the ensuing abstractionists or Informalists liberated themselves. My walls, windows or doors — or at least my suggestions of them — do not avoid their responsibility and hold their full archetypal or symbolic weight.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

1945 - 1970, A Report on the Wall' 1970

Thinking, Indifference

“As I sit at my desk, I know where I am. I see before me a window; beyond that some trees; beyond that the red roofs of the campus of Stanford University; beyond them the trees and the roof tops which mark the town of Palo Alto; beyond them the bare golden hills of the Hamilton Range… beyond that other mountains, range upon range, until we come to the Rockies; beyond that the Great Plains and the Mississippi; beyond that the Alleghenies; beyond that the eastern seaboard; beyond that the Atlantic Ocean; beyond that is Europe; beyond that is Asia. I know, furthermore, that if I go far enough I will come back to where I am now. In other words, I have a picture of the earth as round. I visualize it as a globe. I am a little hazy on some of the details… I probably could not draw a very good map of Indonesia, but I have a fair idea where everything is located on the face of this globe. Looking further, I visualize the globe as a small speck circling around a bright star which is the sun, in the company of many other similar specks, the planets. Looking still further, I see our star the sun as a member of millions upon millions of others in the Galaxy. Looking still further, I visualize the Galaxy as one of millions upon millions of others in the universe.”

Kenneth E. Boulding (1910–1993) British-American economist

Source: 1950s, The Image: Knowledge in Life and Society, 1956, p. 3 Introduction

Mountain, Star, Idea, Tree

“Material, space, and color are the main aspects of visual art. Everyone knows that there is material that can be picked up and sold, but no one sees space and color. Two of the main aspects of art are invisible; the basic nature of art is invisible.”

Donald Judd (1928–1994) artist

1990s
Source: Artforum International. Vol. 32 (1994), p. 38

Art, Color, Nature

“To know how scientists engage in visual imagery is to understand how they think creatively.”

Edward O. Wilson (1929) American biologist

Source: Letters to a Young Scientist (2013), chapter 5, "The Creative Process", page 69.

Understanding, Thinking

“What happened this far remote would have little political impact on Earth. What the visual media could not carry into living rooms, the general public could not long remain exercised about. Statistically, a majority of the electorate could not or did not read complicated issues; no pictures, no news; no news, no event.”

C. J. Cherryh book Downbelow Station

Book 2, Chapter 2 (p. 118)
Downbelow Station (1981)

Exercises, Reading

“In visual perception a color is almost never seen as it really is — as it physically is. This fact makes color the most relative medium in art.”

Josef Albers (1888–1976) German-American artist and educator

Quoted in: Margaret Walch (1979) Color source book, p. 98

Art, Color

“…even more ominous … is the fact that since the Second World War a new kind of intellectual has emerged in large numbers. … he is only minimally interested in the proper intellectual significance of images and objects. Such people are not really intellectuals, but visuals … A visual is more interested in style than in content … A visual does not feel a rioting crowd being machine-gunned by the police, he simply sees a brilliant news photograph.”

John Fowles book The Aristos

The Aristos (1964)

War, People, World, Feeling

“A friend and a prudent friend, can help to shape a friend's decision. He does so by virtue of that love which makes the friend's problem his own, the friend's ego his own (so that after all it is not entirely "from outside"). For by virtue of that oneness which love can establish he is able to visualize the concrete situation calling for decision, visualize it from, as it were, the actual center of responsibility. Therefore it is possible for a friend - only for a friend and only for a prudent friend - to help with counsel and direction to shape a friend's decision or, somewhat in the manner of a judge, help to reshape it.
Such geniune and prudent loving friendship (amor amicitiae) - which has nothing in common with sentimental intimacy, and indeed is rather imperiled by such intimacy - is the sine qua non for geniune spirtual guidance. For only this empowers another to offer the kind of direction which - almost!”

Josef Pieper (1904–1997) German philosopher

conforms to the concrete situation in which the decision must be made.
The Four Cardinal Virtues: Prudence, Justice, Fortitude, Temperance (1965)

Love, Friendship, Problem, Decision

“It seems incredible that we should willingly trade certainty for quantum confusion and doubt. But, make no mistake, despite its simplicity, its appealing visual images and its resonance with our common understanding, classical physics failed. The quantum description was built amidst the ruins of the structure that preceded it, and it is therefore appropriate that we begin our journey from within this classical landscape.”

Jim Baggott (1957) British writer

Source: Beyond Measure (2004), Ch. 1 : An act of desperation

Understanding

“Tactile space separates us from objects, as opposed to visual space, which separates objects from one another. I have spent my life trying to paint the former kind.”

Georges Braque (1882–1963) French painter and sculptor

Quote of Braque to John Richardson, in 'Braque Discusses His Art', in 'Realités', no. 93, August 1958, p. 28
1946 - 1963

Life, Painting

“He was reminded of a Dutch book whose moral he often returned to: De Schoonheid van hoogspanningslijnen in het Hollandse landschap, written by a couple of academics in Rotterdam University, Anne Kieke Backer and Arij de Boode. The Beauty of Electricity Pylons in the Dutch Landscape was a defence of the contribution of transmission engineering to the visual appeal of Holland, referencing the often ignored grandeur of the towers on their march from power stations to cities. Its particular interest for Ian, however, lay in its thesis about the history of the Dutch relationship to windmills, for it emphasised that these early industrial objects had originally been felt to have all the pylons’ threateningly alien qualities, rather than the air of enchantment and playfulness now routinely associated with them. They had been denounced from pulpits and occasionally burnt to the ground by suspicious villagers. The re-evaluation of the windmills had in large part been the work of the great painters of the Dutch Golden Age, who, moved by their country’s dependence on the rotating utilitarian objects, gave them pride of place in their canvases, taking care to throw their finest aspect into relief, like their resilience during storms and the glint of their sails in the late afternoon sun. … It would perhaps be left to artists of our own day to teach us to discern the virtues of the furniture of contemporary technology.”

Alain de Botton (1969) Swiss writer

Source: The Pleasures and Sorrows of Work (2009), p. 212.

Books, Age, Beauty, History

“Just as it's possible to write a TCP/IP protocol stack in some utterly inappropriate programming language like ML or Visual Basic, so, too, it's possible to implement TCP/IP over carrier pigeons, or paper tape, or daemons summoned from the vasty deep.”

Charles Stross The Laundry Files

Jennifer morgue (2007)
The Laundry Files

“[I]f texts are unified by a central logic of argument, then their pictorial illustrations are integral to the ensemble, not pretty little trifles included only for aesthetic or commercial value. Primates are visual animals, and (particularly in science) illustration has a language and set of conventions all its own.”

Stephen Jay Gould book Time's Arrow, Time's Cycle

Source: Time's Arrow, Time's Cycle (1987), p. 18

Science, Animals

Quotes about visual page 2

Quotes about visual
page 2