Quotes about visual
page 3

“If a chemical drug like Viagra is accepted by society and by the world to ignite desire, then what is the problem with my audio-visual drug called cinema which ignites desire? Both are basically doing the same thing!”

Mallika Sherawat (1976) Indian actress

Cine Blitz magazine (May 2006)

World, Problem

“There was a time, and not so long ago, when one could score a success also here with a bit of irony, which compensated for all other deficiencies and helped one get through the world rather respectably, gave one the appearance of being cultured, of having a perspective on life, an understanding of the world, and to the initiated marked one as a member of an extensive intellectual freemasonry. Occasionally we still meet a representative of that vanished age who has preserved that subtle, sententious, equivocally divulging smile, that air of an intellectual courtier with which he has made his fortune in his youth and upon which he had built his whole future in the hope that he had overcome the world. Ah, but it was an illusion! His watchful eye looks in vain for a kindred soul, and if his days of glory were not still a fresh memory for a few, his facial expression would be a riddle to the contemporary age, in which he lives as a stranger and foreigner. Our age demands more; it demands, if not lofty pathos then at least loud pathos, if not speculation then at least conclusions, if not truth then at least persuasion, if not integrity then at least protestations of integrity, if not feeling then at least verbosity of feelings. Therefore it also coins a totally different kind of privileged faces. It will not allow the mouth to be defiantly compressed or the upper lip to quiver mischievously; it demands that the mouth be open, for how, indeed, could one imagine a true and genuine patriot who is not delivering speeches; how could one visualize a profound thinker’s dogmatic face without a mouth able to swallow the whole world; how could one picture a virtuoso on the cornucopia of the living world without a gaping mouth? It does not permit one to stand still and to concentrate; to walk slowly is already suspicious; and how could one even put up with anything like that in the stirring period in which we live, in this momentous age, which all agree is pregnant with the extraordinary? It hates isolation; indeed, how could it tolerate a person’s having the daft idea of going through life alone-this age that hand in hand and arm in arm (just like itinerant journeymen and soldiers) lives for the idea of community.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

Source: 1840s, On the Concept of Irony with Continual Reference to Socrates (1841), p. 246-247

Life, Hate, Truth, Youth

“The business I’ve found myself in for my adult life, it requires a certain amount of stereotyping. It’s just the nature of the beast. You have a limited amount of time to tell a story; in particular on camera. So you want the visual information there to provide a certain amount of background. People that look a certain way are cast in certain roles.”

Bill Fagerbakke (1957) American actor

Life, People, Way, Business

“Visual thinking is often driven more strongly by the conceptual knowledge we use to organize our images than by the contents of the images themselves. Chess masters are known for their remarkable memory for the pieces on a chessboard. But it's not because people with photographic memories become chess masters. The masters are no better than beginners when remembering a board of randomly arranged pieces. Their memory captures meaningful relations among the pieces, such as threats and defenses, not just their distribution in space.”

Steven Pinker book How the Mind Works

Source: How the Mind Works (1997), p. 295

People, Knowledge, Thinking, Memory

“My picture-poems are linguistic margins on visual atolls.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 250 (2003)

“Early on, presenter Mark Evans observes that a snake is essentially just "one massive tube with a head at the end", which, coincidentally, is also how he might describe his genitals to an audience of blind women in a hypothetical situation I've just invented in which hen nights for the visually impaired are held in special strip clubs where naked men describe their bodies in time to disco music. For what it's worth, I don't know what I'm going on about, either”

Charlie Brooker (1971) journalist, broadcaster and writer from England

Discussing Inside Nature's Giants 12 jUNE 2010 http://www.guardian.co.uk/tv-and-radio/2010/jun/12/charlie-brooker-screen-burn Guardian columns, Screen Burn

Women, Men, Music, Time

“Literacy, the visual technology, dissolved the tribal magic by means of its stress on fragmentation and specialization and created the individual.”

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

1990s and beyond, "The Agenbite of Outwit" (1998)

“Images produce an intellectual process different from the ancient one or the one developed by classical education. It goes without saying that this process is not completely new; of course, since sight existed, and since people themselves chose their images, they also thought by means of images and entered into this kind of thinking. But this was limited and not frequent, because images were not dominant. The new factor in our day comes from the effect of visual reproduction’s triumph over all else, which involves us in the domination of one form of thought. This supremacy is new, even though we are not dealing with a completely new form of thought.”

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

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

People, Education, Thinking

“Only damaged people want good things to happen to them through visualization. They want something for nothing.”

Douglas Coupland book JPod

JPod (2006)

People

“It is common to think of statistical graphics and data visualization as relatively modern developments in statistics. In fact, the graphic representation of quantitative information has deep roots. These roots reach into the histories of the earliest map-making and visual depiction, and later into thematic cartography, statistics and statistical graphics, medicine, and other fields. Along the way, developments in technologies (printing, reproduction) mathematical theory and practice, and empirical observation and recording, enabled the wider use of graphics and new advances in form and content.”

Michael Friendly (1945) American psychologist

Michael Friendly. " A brief history of data visualization http://www.datavis.ca/papers/hbook.pdf at datavis.ca, March 21, 2006.

Way, History, Mathematics, Thinking

“In the last twenty-five years a change has come over the visual habits of Americans... From being a wordminded people we are becoming an eyeminded people.”

John Dos Passos (1896–1970) novelist, playwright, poet, journalist, painter

"Grosz Comes to America," Esquire, 1936

People, Change

“The function [of objective thinking] is to reduce all phenomena which bear witness to the union of subject and world, putting in their place the clear idea of the object as in itself and of the subject as pure consciousness. It therefore severs the links which unite the thing and the embodied subject, leaving only sensible qualities to make up our world (to the exclusion of the modes of appearance which we have described), and preferably visual qualities, because these give the impression of being autonomous, and because they are less directly linked to our body and present us with an object rather than introducing us into an atmosphere. But in reality all things are concretions of a setting, and any explicit perception of a thing survives in virtue of a previous communication with a certain atmosphere.”

Maurice Merleau-Ponty book Phenomenology of Perception

Source: Phenomenology of Perception (1945), p. 374

World, Communication, Idea, Thinking

“In the spring of 1920, General Motors found itself, as it appeared at the moment, in a good position. On account of the limitation of automotive production during the war there was a great shortage of cars. Every car that could be produced was produced and could be sold at almost any price. So far as any one could see, there was no reason why that prosperity should not continue for a time at least. I liken our position then to a big ship in the ocean. We were sailing along at full speed, the sun was shining, and there was no cloud in the sky that would indicate an approaching storm. Many of you have, of course, crossed the ocean and you can visualize just that sort of a picture yet what happened? In September of that year, almost over night, values commenced to fall. The liquidation from the inflated prices resulting from the war had set in. Practically all schedules or a large part of them were cancelled. Inventory commenced to roll in, and, before it was realized what was happening, this great ship of ours was in the midst of a terrific storm. As a matter of fact, before control could be obtained General Motors found itself in a position of having to go to its bankers for loans aggregating $80,000,000 and although, as we look at things from today's standpoint, that isn't such a very large amount of money, yet when you must have $80,000,000 and haven't got it, it becomes an enormous sum of money, and if we had not had the confidence and support of the strongest banking interests our ship could never have weathered the storm.”

Alfred P. Sloan (1875–1966) American businessman

Source: Alfred P. Sloan in The Turning Wheel, 1934, p. 185-6; Retrospective vein President Alfred P. Sloan, Jr., addressing the automobile editors of American newspapers at the Proving Ground at Milford, Michigan in 1927.

Money, War, Cars, Confidence

“There was another major phase of split-brain research where we studied the patients as a way of getting at the other questions very much alive in neuroscience, everything from questions about visual midline overlap to spatial attention and resource allocations. At this point the split-brain patients provided a way of examining cortical-subcortical relationships, and other matters.”

Michael S. Gazzaniga (1939) American neuroscientist

[Interview with Michael Gazzaniga, 2011, 12 April, Annals of the New York Academy of Science]

Way, Question, Study

“I am using the word image in a wide meaning, which does not restrict it to the mind's eye as a visual organ. An image in my usage is what Charles Pierce called a sign…”

Jacob Bronowski (1908–1974) Polish-born British mathematician

"The Reach of Imagination" (1967)

“What we cannot express by the art of thinking, by the art of Science or philosophy or logic, we can and should express by the poetic, visual, or some other arts. It is for that reason that I consider morals and aesthetics one and the same; for they cover only one impulse, one drive inherent in our consciousness - to bring our life and all our actions into a satisfactory relationship with the events of the world, as our consciousness want it to be, in harmony with our life and according to the laws of consciousness itself - Naum Gabo”

Naum Gabo (1890–1977) Russian sculptor

Quote from The Quotable Artist, by Peggy Hadden; Skyhorse Publishing, Inc., 2010; not paged
undated

Life, World, Law, Art

“It is essential to bear in mind that the world of the mystics, like that of modern physics, cannot always be 'explained' in normal words, but often 'shows' itself the better through visual images.. [from the accumulation of matter and of objects to the radicalism of a gesture, it is a matter of] painting the essential and nothing more”

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

Tàpies is citing here Llull
in his 1990 speech 'L'art modern, la mística i l'humor' ('Modern Art, Mysticism and Humour'), Barcelona: Editorial Empúries i Fundació Antoni Tàpies, 1993; as quoted in: 'Tàpies: From Within', June ─ November, 2013 - Presse Release, Museu Nacional d'Art de Catalunya (MNAC), p. 12
insisting on his 'magma works' like 'Montseny-Montnegre' and 'Díptic amb dues formes corbes' (Diptych with Two Curved Shapes), 1988.
1981 - 1990

World, Painting

“Omni: Will robots be complex enough to be friends of people?
Shannon: I think so. I myself could very easily imagine that happening. I see no limit to the capabilities of machines. As microchips get smaller and faster, I can see them getting better than we are. I can visualize a time in the future when we will be to robots as dogs are to humans.
[…]
Omni: Do you find it depressing that chess computers are getting so strong?
Shannon: I am not depressed by it. I am rooting for the machines! I have always been on the machines' side. Ha-ha!”

Claude Elwood Shannon (1916–2001) American mathematician and information theorist

Omni Magazine (1987) https://archive.org/details/omni-magazine-1987-08. (sometimes quoted as "I visualize a time when we will be to robots what dogs are to humans. And I am rooting for the machines.")

People, Dogs, Imagination, Thinking

“In addition, 'Elementarism' is real instead of abstract. The use of the term 'abstract' also caused much misunderstanding. This is easily explained... As used in connection with visual methods of expression, the term 'abstract' is extremely relative. 'To abstract' something implies one of those mental activities (in contrast to emotional spontaneity) through which certain [aesthetic] values are isolated from the world of reality. However, when such values were realized visually and applied as purely constructive means, they became real. Thus the abstract was transformed into the real, thereby illustrating the relativity of the former term. Hence, the term ‘abstract-real’ [proposed by his former artist-fellow Piet Mondrian, ] was a fortunate invention, although in reference to a new orientation [van Doesburg's new art orientation 'Elementarism'] the term 'real' is sufficient. The period of abstraction is at an end. Is not an elementary painting, which is to say a certain composition of plane-linear colours, organic in itself, more concrete…”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from Van Doesburg's article 'Elementarism as real art', in: 'Painting and plastic art' - Rome, July 1926, in De Stijl', series XIII, 1 75-6, 1926, pp. 35–43
1926 – 1931

World, Art, Reality, Painting

“In Germany, it seems that the intellectual and aesthetic life are to be celebrated and are seen as part of a real and good education, whereas in Britain, traditionally – certainly since the Enlightenment – we've been afraid of anything intellectual, aesthetic, visual.”

Anish Kapoor (1954) British contemporary artist of Indian birth

Life, Education, Parting

“Italian language is not just sonore. It is also a visual one.”

Emilio Insolera (1979) Actor and film producer

Transcript of Emilio Insolera on Sky Sport 24 (September 12, 2017)

“Personal computers will make our future adult population simultaneously more mathematically able and more visually literate. Ten years from now, teenagers are likely to enjoy a much richer panorama of options because the pursuit of intellectual achievement will not be tilted so much in favor of the bookworm, but instead cater to a wider range of cognitive styles, learning patterns, and expressive behaviors.”

Nicholas Negroponte book Being Digital

Being Digital (1995)

Behavior, Mathematics, Learning, Future

“The development of design principles based on objective visual tests, experience, and logic; the pursuit of research in the physiological and psychological effects of color; and investigations in perceptibility and readability in typography are being carried on in other fields… such a movement in cartography cannot fail to materialize”

Arthur H. Robinson (1915–2004) American geographer

Source: The Look of Maps (1952), p. 13-14; As cited in: Clifford H. Wood, C. Peter Keller (1996) Cartographic design: theoretical and practical perspectives. p. 21

Color

“Although The Terminator is arguably the more visionary of the first two films, [Terminator 2] is the more visually and viscerally satisfying. It's an exhausting experience and, even 18 years after its release (as I write this review), few films have matched it within the science fiction genre for sheer white-knuckle exhilaration.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=1632 of Terminator 2: Judgment Day (1991). Three-and-a-half star reviews

Science

“Cubism taught me much and the principle of Pissarro, furthered by Seurat, taught me more. These with Cezanne are the great logicians of color.
No one will ever paint like Cezanne for example, because no one will ever have his peculiar visual gifts; or to put it less dogmatically, will anyone ever appear again with so peculiar and almost unbelievable a faculty for dividing color sensations and making logical realizations of them? Has anyone ever placed his color more reasonably with more of a sense of time and measure than he? I think not, and he furnished for the enthusiast of today new reasons for research into the realm of color for itself.”

Marsden Hartley (1877–1943) American artist

n.p.
1921 - 1930, Art and the Personal Life', Marsden Hartley, 1928

Color, Thinking, Sense, Appearance

“This film is extremely visual. It is difficult to describe in words without running the risk of losing or boring the reader.
I have come up with a simplified summary, therefore, like a readers guide, which will conjure up the images in as few words as possible :
— the beginning is Leon: The Professional
— the middle is Inception
— the end is 2001: A Space Odyssey
Don't interpret this as pretension on my part, merely a visual, emotional and philosophical point of reference.”

Luc Besson (1959) French film director, writer, and producer

"NOTA", for his film Lucy, as quoted in "Luc Besson's Statement Of Intent For 'Lucy' Compares The Film To '2001,' 'Inception' & 'Leon The Professional'" by Kevin Jagernauth, in Indiewire (28 July 2014) http://blogs.indiewire.com/theplaylist/luc-bessons-statement-of-intent-for-lucy-compares-the-film-to-2001-inception-leon-the-professional-20140728

Parting

“The general ignorance of the visual arts, especially their theoretical bases, deplorable even in the so-called intellectual world; the artist’s well-founded despair of ever reaching the mythical “masses” with “advanced art”; the resulting ghetto mentality predominant in the narrow and incestuous art world itself, with its resentful reliance on a very small group of dealers, curators, critics, editors, and collectors who are all too frequently and often unknowingly bound by invisible apron strings to the “real world’s” power structure—all of these factors may make it unlikely that conceptual art will be any better equipped to affect the world any differently than, or even as much as, its less ephemeral counterparts.”

Lucy R. Lippard (1937) American art curator

John Chandler and Lucy R. Lippard, " The Dematerialization of Art http://www.c-cyte.com/OccuLibrary/Texts-Online/Lippard-Chandler_The_Dematerialization_of_Art.pdf," in Conceptual Art: A Critical Anthology, ed. Alexander Alberro and Blake Stimson (Cambridge, Mass.: MIT Press, 1999).

World, Art, Despair

“When I came to the United States [in 1898], I filled my sketchbook with drawings, very much as any educated girl of my generation might have kept a diary... My American sketches were private notations of visual experiences which I wanted to fix on paper as a personal 'memento.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 114

Education, Girl, Drawing, Personality

“We are limited by our visual, physical senses; yet from the Scriptures we can readily conclude that heaven is indeed not distant at all. It is nearby.”

Paul P. Enns (1937) American theologian

Source: Heaven Revealed (Moody, 2011), p. 58)

Sense, Distant

“What particularly attracted me [in his painting 'Still-life with Musical instruments', 1908 – 1909].... was the materialization of this new space that I felt to be in the offing. So I began to concentrate on still-life's, because in the still-life you have a tactile, I might almost say a manual space... This answered to the hankering I have always had to touch things and not merely see them. It was this space that particularly attracted me, for this was the first concern of Cubism, the investigation of space.... In tactile space you measure the distance separating you from the object, whereas in visual space you measure the distance separating things from each other. This is what led me, long ago, from landscape to still-life.”

Georges Braque (1882–1963) French painter and sculptor

Source: posthumous quotes, Braque', (1968), p. 41

Life, Music, Painting

“It's a simple fact, when you move from one color space to another color space, that if there's a value contrast you get a strong optical illusion. Strong value contrast can be expressive and dramatic. Like the difference between high or low volume or the low key and the high keys on the piano... Actually, if you're moving from one flat color to another flat color, if there's a difference of color – if one is matte and the other is shiny – that contrast of tactility can keep them visually in the same dimension. It keeps them adjacent – side by side... Another reason is that a matte color and a shiny, transparent color are emotionally different. If something is warm and fuzzy and dense we have a kind of emotional response to that. If something is clear and you can see through it, like yellow or green or red can be, we have a different emotional sensation from that. So there's an expressive difference you can get that gives you more expressive range.”

Kenneth Noland (1924–2010) American artist

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

Color, Strong

“My primary concern is visual form. The visual meaning may be discovered afterwards – by those who look for it. Two meanings have been ascribed to these American Flag paintings of mine. One position is: 'He's painted a flag so you don't have to think of it as a flag but only as a painting'. The other is: 'You are enabled by the way he has painted it to see it as a flag and not as a painting.”

Jasper Johns (1930) American artist

Actually both positions are implicit in the paintings, so you don't have to choose.
The Insiders, Rejection en Rediscovery of Man in the Arts of our Time, Selden Rodman, Baton Rouge, Louisiana State University Press, 1960, Chapter 6.
1960s

Way, Thinking, Painting

“To my delight, Federico had seen Dans la ville blanche (1983) by Swiss director Alain Tanner. Enthusiastic about Bruno Ganz’s performance, he also was impressed by the film’s startling visual poetry of Lisbon achieved by transferring inferior film stock onto 35mm. It was exactly this kind of uncomplicated technical innovation that inspired Federico during the writing of Attore. Conceived in 1992, Attore focused on the craft and the psychology of actors. Having completed a film treatment with roles for Mastroianni, Giulietta Masina, and Paolo Villagio, Fellini was now wondering if he should provide Marcello with a home movie camera to be used in a loosely Shakespearian sense that all the world’s a film set. The 8mm footage of intimate memories of the theatre from his Rimini childhood would then be transferred to 35mm – a most intriguing idea that would have been a new departure for the Maestro had he lived to bring it to the screen.”

Damian Pettigrew Canadian filmmaker

On Fellini’s last film project, Attore
Federico Fellini: Sou um Grande Mentiroso (2008)

World, Home, Idea, Departure

“According to Husserl, that 'act of meaning', or the use of a given phrase as an expression of a certain language, consists in the fact that a sensory content appears in consciousness, by means of which one might think visually about that phrase, should that content be joined by an appropriate intention directed to that phrase. But when a given phrase is used as an expression belonging to a certain language, then that sensory content is joined by another intention, not necessarily a representative one, which is however in principle directed to something other than that phrase itself. Together with the sensory content in question, that intention makes up a uniform experience, but neither the experiencing of that sensory content, nor that intention is a complete, independent experience. Both the one and the other are non-independent parts of the experience as a whole. The meaning of a given expression (as a type) would be, according to Husserl, the type under which that intention joined to the sensory content must fall if the given phrase is to be used as an expression belonging precisely to that language”

Kazimierz Ajdukiewicz (1890–1963) Philosopher, logician

Kazimierz Ajdukiewicz, On the Meaning of Expressions, Lwow 1931. (original title: O znaczeniii wyrazen.) p. 19-20; as cited in: Schaff (1962;299)

Question, Thinking, Appearance, Parting

“I'm trying to go through moral crisis myself to the highest degree that I can, to remove moral crisis from the visual vocabulary of the viewer, so that when somebody sees my work, the only thing that they see is the Sacred Heart of Jesus”

Jeff Koons (1955) American artist

Jeff Koons, ‎San Francisco Museum of Modern Art, ‎Walker Art Center (1992). Jeff Koons. p. 103
1990s and later

Heart

“[Director Christopher] Nolan … gives us enough multilayered subplots to at least fool us into thinking this is a work of intellectual and moral complexity. But as a piece of visual storytelling, from shot to shot, The Dark Knight is a mess. Characters disappear from one locale and show up inexplicably in another, thanks to the magic of editing. At one point, we learn two characters have been abducted, but Nolan doesn't bother to show us who did it or how. (Later, he explains the "who did it" with dialogue -- the lazy way.) At the end, a major character is left hanging, literally, as we are figuratively. If this is genius, give me hackery.”

Stephanie Zacharek (1963) American film critic

Review http://www.salon.com/ent/movies/review/2008/07/17/dark_knight/index.html of The Dark Knight (2008)

Fools, Way, Thinking, Learning

“The sculptor carves because he must. He needs the concrete form of stone and wood for the expression of his idea and experience, and when the idea forms the material is found at once. …. I have always preferred direct carving to modelling because I like the resistance of the hard material and feel happier working that way. Carving is more adapted to the expression of the accumulative idea of experience and clay to the visual attitude. An idea for carving must be clearly formed before starting and sustained during the long process of working; also, there are all the beauties of several hundreds of different stones and woods, and the idea must be in harmony with the qualities of each one carved; that harmony comes with the discovery of the most direct way of carving each material according to its nature.”

Barbara Hepworth (1903–1975) English sculptor

quote from an extract of 'Barbara Hepworth – the Sculptor carves because he must, The Studio, London, vol. 104, December 1932, p. 332
1932 - 1946

Beauty, Way, Feeling, Idea

“When Coleridge said that all men are born either Platonists or Aristotelians, he was saying that all men tend to be either acoustic or visual in their sensory bias.”

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. 113

Men

“By Suprematism I mean the supremacy of pure feeling in creative art. To the Suprematist the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

In 'The Non-Objective World: The Manifesto of Suprematism', 1926; trans. Howard Dearstyne [Dover, 2003, ISBN 0-486-42974-1], 'part II: Suprematism', p. 67
1921 - 1930

World, Art, Feeling

“Some philosophers have believed that a philosophical clarification of space also provided a solution of the problem of time. Kant presented space and time as analogous forms of visualization and treated them in a common chapter in his major epistemological work. Time therefore seems to be much less problematic since it has none of the difficulties resulting from multidimensionality. Time does not have the problem of mirror-image congruence, i. e., the problem of equal and similarly shaped figures that cannot be superimposed, a problem that has played some role in Kant's philosophy. Furthermore, time has no problem analogous to non-Euclidean geometry. In a one-dimensional schema it is impossible to distinguish between straightness and curvature. …A line may have external curvature but never an internal one, since this possibility exists only for a two-dimensional or higher continuum. Thus time lacks, because of its one-dimensionality, all those problems which have led to philosophical analysis of the problems of space.”

Hans Reichenbach (1891–1953) American philosopher

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

Problem, Time

“Battlefield Earth is like taking a bus trip with someone who has needed a bath for a long time. It's not merely bad; it's unpleasant in a hostile way. The visuals are grubby and drab. The characters are unkempt and have rotten teeth. Breathing tubes hang from their noses like ropes of snot. The soundtrack sounds like the boom mike is being slammed against the inside of a 55-gallon drum. The plot. … Some movies run off the rails. This one is like the train crash in The Fugitive. I watched it in mounting gloom, realizing I was witnessing something historic, a film that for decades to come will be the punch line of jokes about bad movies.”

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

Review http://www.rogerebert.com/reviews/battlefield-earth-2000 of Battlefield Earth (12 May 2000) Reviews, Half-star reviews

Hostility, Way, Time, Training

“Art is no longer a purely visual experience.... it is a work of our intellect triggered by nature.... the imagination again become the queen of our strengths and we liberate our sensitivity.”

Maurice Denis (1870–1943) French painter

Nouvelles théories sur l'art moderne..., 1922

Art, Imagination, Nature

“You can see the existence of these beautiful signed languages which are incredibly visual, and they require space, they require space to grow.”

Emilio Insolera (1979) Actor and film producer

Transcript of Emilio Insolera on BBC Radio (October 9, 2017)

Beauty

“I think visual literacy and media literacy is not without value, but I think plain old-fashioned text literacy and mathematical literacy are much more powerful and flexible ways to organize your mind.”

Neal Stephenson (1959) American science fiction writer

Neal Stephenson coins the term "text literacy" during interview for the article "Pushing the Edge With 'Diamond Age' Nano-Machines," Associated Press, May 10, 1995

Way, Mathematics, Fashion, Thinking

“Regardless of how I live my life, there are people who develop fixations that are not healthy. It could be a visual thing, or it could be the music that they are drawn to. These people need help.”

Enya (1961) Irish singer, songwriter, and musician

The Telegraph interview (2005)

Life, People, Music, Help

“Speech is an acoustic reality, writing a visual one. Performance of the former has been perfected through a million years of natural selection in the evolutionary process. The latter is a trick which we began to learn only yesterday (in terms of evolutionary time). To "hear" language (and to "say" it) is programmed in our genes; to "see" it (and "read" it) is not.”

Eric A. Havelock (1903–1988) 1903-1988, British classical philologist

"Chinese Characters and the Greek Alphabet" in Sino-Platonic Papers, 5 (December 1987)

Nature, Reality, Learning, Time

“What I am after, above all, is expression. Sometimes it has been conceded that I have a certain technical ability but that, my ambition being limited, I am unable to proceed beyond a purely visual satisfaction such as can be procured from the mere sight of a picture. But the purpose of a painter must not be conceived as separate from his pictorial means, and these pictorial means must be the more complete (I do not mean complicated) the deeper is his thought. I am unable to distinguish between the feeling I have for life and my way of expressing it.”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), pp. 409-410

Life, Way, Feeling

“I… praise the newly opened halls of fossil mammals at the American Museum of Natural History. …teaching us about evolutionary trees by organizing the entire hall as a central trunk and set of branches… placing our brains in our feet and letting us learn by walking. …the chosen geometry of evolutionary organization… violates the traditional picture of life's history, thus illustrating… an important principle in the history of science: the central role of pictures, graphs, and other forms of visual representation in channeling and constraining our thought. …Words are an evolutionary afterthought. …My colleagues have actually done it. …They have ordered all the fossils into an unconventional iconographic tree that fractures the bias of progress. …so that we can preambulate along the tree of life and absorb the new scheme viscerally by walking… They have taken Colbert's radical idea and arranged all the fossils by their branching order, not their later "success" or "advancement."”

Stephen Jay Gould book Dinosaur in a Haystack

Groups that branch early appear early in the hall... Sea cows and elephants are at the end of the hall, horses in the middle, and primates near the beginning.
"Evolution by Walking", pp. 249-254.
Dinosaur in a Haystack (1995)

Life, History, Idea, Tree

“What we really mean by free will… is the visualizing of alternatives and making a choice between them. …the central problem of human consciousness depends on this ability to imagine.”

Jacob Bronowski (1908–1974) Polish-born British mathematician

The Origins of Knowledge and Imagination (1978)

Imagination, Problem, Dependency

“Our intellectual powers are rather geared to master static relations and … our powers to visualize processes evolving in time are relatively poorly developed. For that reason we should do (as wise programmers aware of our limitations) our utmost to shorten the conceptual gap between the static program and the dynamic process, to make the correspondence between the program (spread out in text space) and the process (spread out in time) as trivial as possible.”

Edsger W. Dijkstra (1930–2002) Dutch computer scientist

Dijkstra (1968) " A Case against the GO TO Statement http://www.cs.utexas.edu/users/EWD/ewd02xx/EWD215.PDF" cited in: Bill Curtis (1981) Tutorial, human factors in software development. p. 109. 1960s

Time

“The new painter owes the abstract artist a debt for giving him his language, but the new painting is concerned with a new type of abstract thought... He [the new painter] is declaring that the art of Western Europe is voluptuous art first, an intellectual art by accident. He is reversing the situation by declaring that art is an expression of the mind first and whatever sensuous elements are involved are incidental to that expression. The new painter is therefore the true revolutionary, the real leader who is placing the artist's function on its rightful plane of the philosopher and the pure scientist who is exploring the world of ideas, not the world of the senses.... so the artist is today giving us a vision of the world of truth in terms of visual symbols.”

Barnett Newman (1905–1970) American artist

Source: 1940 - 1950, The Plasmic Image 2. 1943-1945, p. 127

Truth, World, Art, Idea

“A line cannot control pictorial space absolutely. A line may flow freely in and out space, but cannot independently create the phenomenon of push and pull necessary to plastic creation. Push and pull are expanding and contracting forces which are activated by carriers in visual motion. Planes are the most important carriers, lines and points less so... the picture plane reacts automatically in the opposite direction to the stimulus received; thus action continues as long as it receives stimulus in the creative process. Push answers with pull and pull with push. … At the end of his life and the height of his capacity Cézanne understood color as a force of push and pull. In his pictures he created an enormous sense of volume, breathing, pulsating, expanding, contracting through his use of colors.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)

Life, Color, Sense

“Euclidean geometry can be easily visualized; this is the argument adduced for the unique position of Euclidean geometry in mathematics. It has been argued that mathematics is not only a science of implications but that it has to establish preference for one particular axiomatic system. Whereas physics bases this choice on observation and experimentation, i. e., on applicability to reality, mathematics bases it on visualization, the analogue to perception in a theoretical science. Accordingly, mathematicians may work with the non-Euclidean geometries, but in contrast to Euclidean geometry, which is said to be "intuitively understood," these systems consist of nothing but "logical relations" or "artificial manifolds". They belong to the field of analytic geometry, the study of manifolds and equations between variables, but not to geometry in the real sense which has a visual significance.”

Hans Reichenbach (1891–1953) American philosopher

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

Mathematics, Reality, Sense, Study

“When you use a camera, your visual concentration is intense, as it is when you draw. But if you overshoot, your contact sheet is likely to become a jumble of peelings. You need a lot of sand to discover a nugget. Shooting is a play between pickpocketing and tightrope walking; an endless play, fraught with huge tension.”

Henri Cartier-Bresson (1908–2004) French photographer

Source: Henri Cartier-Bresson: Interviews and Conversations, 1951-1998, An Endless Play: Interview with Gilles Mora (1986), p. 102

Drawing

“It may be that the human brain not only perceives but stores the essentials of a visual scene using the same geometrical, quasi-symbolic, minimalist vocabulary found in maps.”

Alan MacEachren (1952) American geographer

Source: How Maps Work: Representation, Visualization, and Design (1995), p. 171

“I never feel quite complete unless I'm doing all the arts-visual, musical, literary.”

Dick Higgins (1938–1998) English composer and poet

The Ruud Jansson Mail Interview 1995

Art, Music, Feeling

“…a peculiar condition of the nervous system, induced by a fixed and abstracted attention of the mental and visual eye, on one object, not of an exciting nature.”

James Braid (1795–1860) Scottish surgeon, hypnotist, and hypnotherapist

In Beyond the Keynesian Endpoint: Crushed by Credit and Deceived by Debt — How … (24 October 2011) http://books.google.co.in/books?id=9uFbtlkYY08C&pg=PA197, p. 197.

Nature

“As far as the sensory experience of the spectator goes, the most outstanding American kinetic artist is unquestionably the Chinese-born Wen-Ying Tsai. His pieces, which are perfect on the technological level, serve the primary purpose of giving a complete visual experience to the spectator, whose sound solicitations provoke a choreographic, chromatic and rhythmic response in the ‘cybernetic sculptures’. […]
György Kepes has commented enthusiastically on the ‘magic rhythms emanating from this swaying, dancing steel trembling with life’, and he has also noted the sense of ‘an instant fellowship, a spontaneous celebration’ which is re-created in their presence. As he concludes: ‘Rhythm is friendship and in Tsai’s work there is friendship of light, sound and our own heart-beats.’
If this appraisal testifies to the success with which Tsai affects the sensory and emotional responses of the spectator, we must not neglect the fact that he is also addressing himself to reason and the scientific element in his audience. In effect, the observer can enter an almost mathematical relationship with these works, and sharpen his perceptual powers through the exact assessment of the various aesthetic parameters of vibration, sound, colour, wave movement, etc.”

Frank Popper (1918) French art historian

Frank Popper, Art--Action and Participation, New York University Press, 1975, p. 214

Life, Friendship, Mathematics, Sense

“The linguistic entity is not accurately defined until it is delimited, i. e. separated from everything that surrounds it on the phonic chain. These delimited entities or units stand in opposition to each other in the mechanism of language.
One is at first tempted to liken linguistic signs to visual signs, which can exist in space without becoming confused, and to assume that separation of the significant elements can be accomplished in the same way, without recourse to any mental process. The word "form," which is often used to indicate them (cf. the expression "verbal form," "noun form") gives support to the mistake. But we know that the main characteristic of the sound-chain is that it is linear.”

Ferdinand de Saussure book Course in General Linguistics

Source: Cours de linguistique générale (1916), p. 103

Way, Support

“The world of visual perspective is one of unified and homogeneous space. Such a world is alien to the resonating diversity of spoken words. So language was the last art to accept the visual logic of Gutenberg technology, and the first to rebound in the electric age.”

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

Age, World, Art

“The war with the Soviet Union began in June 1941, I think. And I believe it was two months later, or maybe three, that Heydrich sent for me. I reported. He said to me: "The Führer has ordered physical extermination." These were his words. And as though wanting to test their effect on me, he made a long pause, which was not at all his way. I can still remember that. In the first moment, I didn't grasp the implications, because he chose his words so carefully. But then I understood. I didn't say anything, what could I say? Because I'd never thought of a … of such a thing, of that sort of violent solution. … Anyway, Heydrich said: "Go and see Globocnik, the Führer has already given him instructions. Take a look and see how he's getting on with his program. I believe he's using Russian anti-tank trenches for exterminating the Jews." As ordered, I went to Lublin, located the headquarters of SS and Police Commander Globocnik, and reported to the Gruppenführer. I told him Heydrich had sent me, because the Führer had ordered the physical extermination of the Jews. … Globocnik sent for a certain Sturmbannführer Höfle, who must have been a member of his staff. We went from Lublin to, I don't remember what the place was called, I get them mixed up, I couldn't say if it was Treblinka or some other place. There were patches of woods, sort of, and the road passed through — a Polish highway. On the right side of the road there was an ordinary house, that's where the men who worked there lived. A captain of the Ordnungspolizei welcomed us. A few workmen were still there. The captain, which surprised me, had taken off his jacket and rolled up his sleeves, somehow he seemed to have joined in the work. They were building little wooden shacks, two, maybe three of them; they looked like two- or three-room cottages. Höfle told the police captain to explain the installation to me. And then he started in. He had a, well, let's say, a vulgar, uncultivated voice. Maybe he drank. He spoke some dialect from the southwestern corner of Germany, and he told me how he had made everything airtight. It seems they were going to hook up a Russian submarine engine and pipe the exhaust into the houses and the Jews inside would be poisoned.
I was horrified. My nerves aren't strong enough … I can't listen to such things… such things, without their affecting me. Even today, if I see someone with a deep cut, I have to look away. I could never have been a doctor. I still remember how I visualized the scene and began to tremble, as if I'd been through something, some terrible experience. The kind of thing that happens sometimes and afterwards you start to shake. Then I went to Berlin and reported to the head of the Security Police.”

Adolf Eichmann (1906–1962) German Nazi SS-Obersturmbannführer

Source: Eichmann Interrogated (1983), p. 75 - 76.

Men, War, Way, Thinking

“I had been doing the same kind of stuff for 15-16 years and was desperately seeking a change. But there was no opportunity to reinterpret Indian music. With Roja, we wanted to strike a new note. Mani's amazing visuals, Mutthu's romantic lyrics, relatively unknown singers… we wanted to impart to Roja an international flavour — and we succeeded.”

A. R. Rahman (1966) Indian singer and composer

A R Rahman: In tune with life

Music, Change

“The visual always fascinated me. As I grew up, I slowly realized that we not only see through our eyes, but also from the heart. Feeling is living. Beauty is understanding. I was overwhelmed by the harmony of creation. My youth was one rapturous communion with nature. The ecstasy is gone but fragments of its memory, still, at times, shimmer, to give a sudden insight. My paintings are such fragments. Yes, they are fragments because my life is so.”

V. P. Singh (1931–2008) Indian politician

Source: Sushmita Dutta Singh: The Renaissance Man (25 June 1931- 27 Nov 2008) http://zeenews.india.com/blog-print.aspx?nid=2136VP, Zeenews.com

Life, Youth, Beauty, Feeling

“Contrast = dissonance, and hence a maximum expressive effect. I will take as an example a commonplace subject: the visual effect of curled and round puffs of smoke rising between houses. You want to convey their plastic value... Here you have the best example on which to apply research into multiplicative intensities. Concentrate your curves with the greatest possible variety without breaking up their mass; frame them by means of the hard, dry relationship of the surfaces of the houses, dead surfaces that will acquire movement by being colored in contrast to the central mass and being opposed by live forms; you will obtain a maximum effect.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 14
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Color, Housing, Dead

“Visual delight, sentiment, and exploration become one in the new appreciation of landscape and Nature.”

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

Source: The Romantic Generation (1995), Ch. 3 : Mountains and Song Cycles

Nature

“Happenings are a fusion of visual art, music and theatre.”

Dick Higgins (1938–1998) English composer and poet

The Origin of Happenings (1976)

Art, Music

“Photographers learn to interpret photographs in that technical way because they want to understand and use that ‘language’ themselves (just as musicians learn a more technical musical language than the layman needs). Social scientists who want to work with visual materials will have to learn to approach them in this more studious and time-consuming way”

Howard S. Becker (1928) American sociologist

Becker (1978) cited in: Peter Hamilton (2006) Visual Research Methods'. Volume 1. p. 214.

Music, Way, Understanding, Learning

“Marcel Duchamp, one of this century's pioneers, moved his work through the retinal boundaries which had been established with Impressionism into a field where language, thought and vision act upon one another. There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art... He declared that he wanted to kill art ('for myself') but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, a "new thought for that object."”

Jasper Johns (1930) American artist

Jasper John's quote, from: Marcel Duchamps 1887 – 1968, in 'Artforum' 7 no. 3, November 1968, p. 6
1960s

Art, Thinking, Change

“The graphic portrayal of quantitative information has deep roots. These roots reach into histories of thematic cartography, statistical graphics, and data visualization, which are intertwined with each other. They also connect with the rise of statistical thinking up through the 19th century, and developments in technology into the 20th century. From above ground, we can see the current fruit; we must look below to see its pedigree and germination. There certainly have been many new things in the world of visualization; but unless you know its history, everything might seem novel.”

Michael Friendly (1945) American psychologist

Michael Friendly. " Milestones in the history of thematic cartography, statistical graphics, and data visualization http://www.math.yorku.ca/SCS/Gallery/milestone/milestone.pdf, at math.yorku.ca, 2008.

World, History, Thinking

“Visual space is the space of detachment. Audile-tactile space is the space of involvement.”

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. 194

“THE ORIGIN OF ART: The discrepancy between physical fact and psychic effect. THE CONTENT OF ART: Visual information of our reaction to life. THE MEASURE OF ART: The ratio of effort to effect. THE AIM OF ART: Revelation and evocation of vision.”

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

'The Origin of Art'
Homage to the square' (1964)

Life, Art, Effort

“Whereas the conception of space and time as a four-dimensional manifold has been very fruitful for mathematical physicists, its effect in the field of epistemology has been only to confuse the issue. Calling time the fourth dimension gives it an air of mystery. One might think that time can now be conceived as a kind of space and try in vain to add visually a fourth dimension to the three dimensions of space. It is essential to guard against such a misunderstanding of mathematical concepts. If we add time to space as a fourth dimension it does not lose any of its peculiar character as time. …Musical tones can be ordered according to volume and pitch and are thus brought into a two dimensional manifold. Similarly colors can be determined by the three basic colors red, green and blue… Such an ordering does not change either tones or colors; it is merely a mathematical expression of something that we have known and visualized for a long time. Our schematization of time as a fourth dimension therefore does not imply any changes in the conception of time. …the space of visualization is only one of many possible forms that add content to the conceptual frame. We would therefore not call the representation of the tone manifold by a plane the visual representation of the two dimensional tone manifold.”

Hans Reichenbach (1891–1953) American philosopher

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

Music, Color, Mathematics, Thinking

“As the paintings the 'Night Watch' and the 'Staalmeesters' [famous works of Rembrandt ] are showed now it is clear to everyone that they have searched but, indeed messed with it, to enable these paintings to do what they can do [visually]. But you see, they did not find a good solution just because they appreciated the museum itself [a rather new building, then! ] higher than the paintings themselves. I told at the very first opening of the Rijksmuseum [1885] already everyone who wanted to listen to me: in this room, where the Night Watch' is hanging now, it can never comes to its full right…. There must be built for the 'Night Watch' and for the 'Staalmeesters' a separate room each…. [with] standing light and the paintings positioned on an easel or standard behind…. I just want to add here, that my own studio can serve as a very special model…. concerning the sizes and the lighting.”

Jozef Israëls (1824–1911) Dutch painter

Quote from Israëls' letter to the Dutch Minister S. van Houten, 4 Nov. 1894; as cited in In het Rijksmuseum, Jan Veth (translation from the original Dutch: Fons Heijnsbroek); Holkema's Boekhandel http://docplayer.nl/42488824-In-het-rijksmuseum-door-jan-veth-met-twee-brieven-van-jozef-israels-holkema-s-boekhandel-i-4-november-mdcccxciv.html, Amsterdam, 1894, p. 10 During Israel's whole artistic life Rembrandt was his inspiration and had a strong impact on his own painting-style Quotes of Jozef Israels, 1871 - 1900

Search, Light, Painting, Night

“The old "red in tooth and claw" view of the natural economy has to be updated. We need a new metaphor for the forest, one that helps us visualize plants both sharing and competing. … Evolution's engine is fired by genetic self-interest, but this manifests itself in cooperative action as well as solo selfishness. The natural economy has as many trade unions as robber barons, as much solidarity as individualistic entrepreneurship.”

David G. Haskell (1950) writer, Biologist

"December 3rd — Litter," pages 228-229 The Forest Unseen: A Year's Watch in Nature http://theforestunseen.com/ (2012)

Nature, Help, Selfishness

“If an object is pleasant, repetition will increase its charm; if it expresses sorrow or pain, then repetition will intensify its melancholy. On the contrary, any subject that is peculiar or unpleasant will be made unbearable by repetition. So repetition always acts to increase intensity. Since the time that this principle of harmony was employed by the primitives, it has been visually lost, and so forgotten. One strove for the charm of variety, and so achieved the destruction of unity... Variety is just as much an element of beauty as parallelism, provided that one does not exaggerate it. For the structure of our eye itself demands that we introduce some variety into any absolutely unified object... To be simple is not always as easy as it seems... The work of art will bring to light a new order inherent in things, and this will be: the idea of unity.”

Ferdinand Hodler (1853–1918) Swiss artist

another source of his 'parallelism' concept is Hodler's letter, written in 1904 to de:Franz Servaes; in which Hodler explained his design principle of 'parallelism', later adopted by the Vienna Secession artists. The Leopold Museum in Vienna discovered and owns this letter
from: Die Kunst Ferdinand Hodlers, 1923

Pain, Beauty, Art, Idea

“The Process Chart is a device for visualizing a process as a means of improving it. Every detail of a process is more or less affected by every other detail; therefore the entire process must be presented in such form that it can be visualized all at once before any changes are made in any of its subdivisions. In any subdivision of the process under examination, any changes made without due consideration of all the decisions and all the motions that precede and follow that subdivision will often be found unsuited to the ultimate plan of operation.”

Frank Bunker Gilbreth, Sr. (1868–1924) American industrial engineer

Source: Process charts (1921), p. 3.

Decision, Change

“As parents, we can do a great deal to further this goal by helping our children develop alternative ways of knowing the world — verbally/analytically and visually/spatially. During the crucial early years, parents can help to shape a child's life in such a way that words do not completely mask other kinds of reality. My most urgent suggestions to parents are concerned with the use of words, or rather, not using words.”

Betty Edwards (1926) American artist

Source: The New Drawing on the Right Side of the Brain (1979), p.239

Life, Children, World, Way

“I was never interested in the obvious, or in the details one takes for granted, and everybody seemed to be addicted to the obvious, being astonished by it, and forever harping about the details which I had long ago weighted, measured, and discarded as irrelevant and useless. If you can measure it, don't. If you can weigh it, it isn't worth the bother. It isn't what you're after. It isn't going to get it. My wisdom was visual and as swift as vision. I looked, I saw, I understood, I felt, "That's that, where do we go from here?"”

William Saroyan (1908–1981) American writer

.
Here Comes There Goes You Know Who (1961)

Wisdom

“In my own researches and findings I have always insisted on plastic and sculptural values, and also on what I call a poetic climate. The object, whether it is a book, a bottle, or a human body, once it is visualized and expressed by means of clay, stone, or wood, ceases to be a document and becomes an animated object in stone, wood, or bronze and lives its independent life..”

Ossip Zadkine (1890–1967) French sculptor

Quote of Zadkine from New York, early 1944; as cited in: Artists on Art – from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 430
1940 - 1960

Life, Books, Animals

“Think about whatever you want to say in the first place. Do not talk only with your lips. Use your eyes, ears and body language to talk as well. If you see what you are talking about, audience can also visualize and feel it.”

Elia M. Ramollah (1973) founder and leader of the El Yasin Community

The Great Master of Thought (Amen- Vol.3), Observing management

Feeling, Thinking

“Just as towers and crenellations indicated a building’s status, so the crenellated wall signified a castle in the visual arts and in that distinctive medieval sign language known as heraldry. The heraldic symbol of the kingdom of Castile, for example, consisted of a wall and three crenellated towers. This simple composition was easily recognized and reproduced.”

Marilyn Stokstad (1929–2016) art historian

Source: Medieval castles (2005), Ch. 4 : The Castle as Symbol and Palace

Art

“In their evolution, we see that the earliest pterosaurs were small, and yet still unnecessarily heavy and clumsy, both in the air and on the ground, but 160 million years of refinement has honed their abilities to the limit of incidental engineering. Despite their enormity, they were unbelievably lightweight; even the biggest ones were estimated at less than 500 lbs. They had hollow pneumatic bones of large diameter but only millimeters thick, making a strut-supported tubular frame that's surprisingly strong and highly resistant to the stresses of aeronautics. They also had extraordinarily powerful wing muscles, and this made them capable of vaulting airborne in a single bolt. Once in the air, muscle strands and tendons in the membrane of the wing itself worked with a network of pycnofibres to give them all the data they needed for subtle adjustments to the shape of the wing. The portions of the brain which were dedicated to flight, balance and visual gaze stabilization in birds are all larger and more adapted in pterosaurs. In fact, scientists are now convinced that these animals had such a mastery of flight, that the larger ones could even cross oceans, going 80 mph at 15,000 feet for thousands of miles on a single launch.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

Youtube, Other, Pterosaurs are Terrible Lizards https://www.youtube.com/watch?v=3_htQ8HJ1cA (December 3, 2013)

Support, Bird, Strong, Animals

“When you visualized a man or woman carefully, you could always begin to feel pity— that was a quality God's image carried with it.”

Graham Greene book The Power and the Glory

The Power and the Glory (1940)

God, Feeling

“Meditate, Visualize and Create your own reality and the universe will simply reflect back to you.”

Amit Ray (1960) Indian author

Yoga and Vipassana: An Integrated Lifestyle (2012) https://books.google.co.in/books?id=sBsG9V1oVdMC,

Reality, Universe

“I tend to keep books of art more than anything else now. I'm interested in visual things. And astronomy books. Things you can look at over and over and over again and see something new. … My notions of God and the universe have always been too small. And limited by language. So now I'm looking at picture books. My children say I'm just beginning to enter my dotage: can't read, just looks at picture books.”

Robert Fulghum (1937) American writer

Robert Fulghum : Philosopher King

God, Children, Books, Art

“What appear to be the most valuable aspects of the theoretical physics we have are the mathematical descriptions which enable us to predict events. These equations are, we would argue, the only realities we can be certain of in physics; any other ways we have of thinking about the situation are visual aids or mnemonics which make it easier for beings with our sort of macroscopic experience to use and remember the equations.”

Celia Green (1935) British philosopher

The Lost Cause (2003)

Way, Mathematics, Thinking, Reality

“A glimpse heavenward at a constellation or even at a single star only suggests infinity; actually our vision is limited. We cannot perceive unlimited space; it is immeasurable. The universe, as we know it through our visual experience, is limited. It first came into existence with the formation of matter, and will end with the complete dissolution of matter.<!-- I TRIMMED this portion to simply cut down a little on quotes from this one essay. ~ 2009·03·21 02:36 Kalki} Where there is matter and action, there is space. Pictorial space exists two dimensionally. When the two dimensionality of a picture is destroyed, it falls into parts — it creates the effect of a naturalistic space. When a picture conveys only naturalistic space, it represents a special case, a portion of what is felt about three-dimensional experience. This expression of the artist’s experience is thus incomplete.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 40-48
'Search for the Real in the Visual Arts', p. 43
Search for the Real and Other Essays (1948)

Quotes, Star, Universe, Parting

“The reciprocal relation of color to color produces a phenomenon of a more mysterious order. This new phenomenon is psychological. A high sensitivity is necessary in order to expand color into the sphere of the surreal without losing creative ground. Color stimulates certain moods in us. It awakens joy or fear in accordance with its figuration. In fact, the whole world, as we experience it visually, comes to us through the mystic realm of color. Our entire being is nourished by it. This mystic quality of color should likewise find expression in a work of art.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 45
Search for the Real and Other Essays (1948)

World, Fear, Art, Color

“If you see what you say, then whatever heard from you, can be seen and visualized by your audience.”

Elia M. Ramollah (1973) founder and leader of the El Yasin Community

The Great Master of Thought (Amen- Vol.3), Observing management

“Art is no longer a visual sensation that we gather, like a photograph, as it were, of nature. No, it is a creation of our spirit, for which nature is only the occasion.”

Maurice Denis (1870–1943) French painter

Quote of Denis, 1909: from Bouillon 2006, pp. 17-18; as cited on Wikipedia: Maurice Denis https://en.wikipedia.org/wiki/Maurice_Denis - reference [9] 1890 - 1920

Art, Nature

“The increase of visual stress among the Greeks alienated them from the primitive art that the electronic age now reinvents after interiorizing the “unified field” of electric all-at-onceness.”

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. 72

Age, Art

“This is what happens, unquestionably – I am positive: an optical sensation is produced in our visual organ, which leads us classify as light, half-tone or quarter-tone, the planes represented by sensations of color. [Thus the light does not exist for the painter]. As long as, inevitably, one proceeds from black to white, the former of these abstractions being a kind of point of rest both for eye and brain, we flounder about, we cannot achieve self-mastery, get possession of ourselves. During this period (I tend to repeat myself, inevitably) we turn to the admirable works [of the five great Venetian painters a. o. Titian and Tintoretto] handed down to us through the ages, in which we find comfort and support…”

Paul Cézanne (1839–1906) French painter

Quote from Cézanne's letter to Émile Bernard, 23 December 1904; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 184
Quotes of Paul Cezanne, after 1900

Age, Color, Support, Light

“It cannot be said that at the time these inscriptions were set up at ANhilwãD Pãtan, Prabhas Patan, Khambat, Junagadh and other places, the Hindus of Gujarat had had no taste of what Islam had in store for them, their women, their children, their cities, their temples, their idols, their priests, and their properties. The invasion of Ulugh Khãn that was to subjugate Gujarat to a long spell of Muslim rule, was the eighth in a series which started within a few years after the Prophet’s death at Medina in AD 632. Five Islamic invasions had been mounted on Gujarat before Siddharãja JayasiMha ascended the throne of that kingdom in AD 1094 - first in AD 636 on Broach by sea; second in AD 732-35 by land; third and fourth in AD 756 and 776 by sea; and fifth by Mahmûd of Ghazni in AD 1026. Two others had materialised by the time the Muslim ship-owner set up his inscription in AD 1264 on a mosque at Prabhas Patan. The sixth invasion was by Muhammad Ghûrî in AD 1178, and the seventh was by Qutbu’d-Dîn Aibak in AD 1197. The only conclusion that can be drawn from the evidence is that either the Hindus of Gujarat had a very short memory or that they did not understand at all the inspiration at the back of these invasions. The temple of Somnath which stood, after the invasion of Mahmûd of Ghazni in AD 1026, as a grim reminder of the character of Islam, had also failed to teach them any worthwhile lesson. Nor did they visualize that the Muslim settlements in their midst could play a role other than that of carrying on trade and commerce.”

Sita Ram Goel (1921–2003) Indian activist

Hindu Temples – What Happened to Them, Volume II (1993)

Death, Women, Children, Understanding

“[about his painting 'Approaching a CityWell' Hopper painted in 1946:] I've always been interested in approaching a big city in a train, and I can't exactly describe the sensations, but they're entirely human and perhaps have nothing to do with aesthetics. There is a certain fear and anxiety and a great visual interest in the things that one sees coming into a great city. I think that's about all I can say about it.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

1941 - 1967
Source: 'Oral history interview with Edward Hopper' (1959, June 17), conducted by John Morse; 'Archives of American Art', Smithsonian Institution

Fear, Thinking, Painting, Training

“I don't have a specific picture in my mind's eye. I want to end up with a picture that I haven't planned. This method of arbitrary choice, chance, inspiration and destruction may produce a specific type of picture, but it never produces a predetermined picture. Each picture has to evolve out of a painterly or visual logic: it has to emerge as if inevitably. And by not planning the outcome, I hope to achieve the same coherence and objectivity that a random slice of nature (or a ready-made) always possesses. Of course, this is also a method of bringing in unconscious processes, as far as possible. I just want to get something more interesting out of it than those things that I can think out for myself.”

Gerhard Richter (1932) German visual artist, born 1932

Quote from an interview with Sabine Schütz, 1990; as cited on collected quotes on the website of Gerhard Richter: 'on Other subjects' https://www.gerhard-richter.com/en/quotes/other-aspects-6 1990's

Hope, Nature, Thinking, Chance

“By phonemic transformation into visual terms, the alphabet became a universal, abstract, static container of meaningless sounds.”

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. 15

Universe

“Rollerball is an incoherent mess, a jumble of footage in search of plot, meaning, rhythm and sense. There are bright colors and quick movement on the screen, which we can watch as a visual pattern that, in entertainment value, falls somewhere between a kaleidoscope and a lava lamp.”

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

Review http://www.rogerebert.com/reviews/rollerball-2002 of the 2002 film Rollerball (8 February 2002) Reviews, Half-star reviews

Color, Search, Sense

“Critics of visual arts and of music describe in words — that is to say, a system of signs other than those made by brushes on canvas or chisels into stone or notes of music — those characteristics of painting or sculpture or music which can be described or analysed. Visual artists and composers can disregard critics on the ground that the medium of verbal criticism bears so indirect a relation to the medium in which they make something. Poets are in a different situation. With the development of so-called scientific methods of criticism they are made ever conscious that criticism of poetry is in the same medium of work as the art which they practise. “Close analysis” is useful to critics and readers. But for the poet there is the danger of disintegration of poetry into paraphrase, examination of technique, influences, all analysed in the language of criticism.”

Stephen Spender (1909–1995) English poet and man of letters

"Tradition-Bound Literature and Traditionless Painting"
The Struggle of the Modern (1963)

Art, Music, Painting

“When you think of the visual style, when you think of the visual language of a film there tends to be a natural separation of the visual style and the narrative elements, but with the great, whether it is Stanley Kubrick, Terrence Malick or Hitchcock what you're seeing is inseparable, a vital relationship between the images and the story he's telling.”

Christopher Nolan (1970) British–American film director, screenwriter, and producer

Chistopher Nolan and David Fincher featurette on Movieweb http://www.movieweb.com/movie/the-tree-of-life-2011/christopher-nolan-and-david-fincher-featurette

Nature, Thinking

“The visual power of the phonetic alphabet is the translate other languages into itself is part of its power to invade right hemisphere (oral) cultures.”

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. 74

Parting

Quotes about visual page 3

Quotes about visual
page 3