Quotes about visual
page 4

“Gambas does not try to be compatible with Visual Basic, and will never be. I'm convinced that its syntax and internals are far better than the one's of its proprietary cousin.”

Benoît Minisini (1973) French computer programmer

Quoted from the Gambas Website, http://gambas.sourceforge.net/introduction.html http://gambas.sourceforge.net/introduction.html

“[The title] was the last thing that I chose, after all the songs and the cover art were finished. So none of the songs directly allude to that myth. But the main themes that emerge out of that myth are really close to the themes on the record -- mortality, decadence, an excess of water, isolation, rebirth. The myth is also significant to me because of the way that I encountered it, which relates to one of the huge events the record is about.
I also liked the power of the word itself. I liked how violent and cryptic it felt; it's such a daunting word to encounter. I like how it contrasted this finely rendered, carefully composed front cover -- the painting is information-dense, formal, and stylized; it looks the way something looks when a painter spends a year on it, which is what Benjamin [Vierling] did. So it has all this detail and carefulness to it, which was really important to me and relates very closely to the record. But I also felt like it needed some sort of ballast, or balance, next to it, to reflect the other elements of the record; its innate violence. I wanted a word that was like throwing a brick at the visual on the front cover; I liked that whenever someone looked at that cover they also had to encounter this short, weird word.”

Joanna Newsom (1982) American musician

Interview with Pitchfork (2006)

Art, Way, Water, Painting

Cornel West (1953) African-American philosopher and political/civil rights activist

"Cornel West interviewed by bell hooks" in Breaking Bread: Insurgent Black Intellectual Life (1991)

People, World, Religion, Art

“This is the visual world, using the most advanced advertising techniques that are familiar to the crowds in their daily life.... What kind of representational art do you want to inflict on these men then, when they’re solicited everyday by the cinema, radio, huge photo montages and advertising hoardings? How can you compete with these enormous modern mechanisms, which give you art to the 1000th degree?”

Fernand Léger (1881–1955) French painter

Quote, 1950, in: Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 58
Quotes of Fernand Leger, 1950's

Life, Men, World, Art

“We must… maintain that mathematical geometry is not a science of space insofar as we understand by space a visual structure that can be filled with objects - it is a pure theory of manifolds.”

Hans Reichenbach (1891–1953) American philosopher

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

Mathematics, Understanding, Science

“We must begin by distinguishing between visual mental imagery and visual perception: Visual perception occurs while a stimulus is being viewed, and includes functions such as visual recognition (i. e., registering that a stimulus is familiar) and identification (i. e., recalling the name, context, or other information associated with the object). Two types of mechanisms are used in visual perception: “bottom-up” mechanisms are driven by the input from the eyes; in contrast, “top-down” mechanisms make use of stored information (such as knowledge, belief, expectations, and goals). Visual mental imagery is a set of representations that gives rise to the experience of viewing a stimulus in the absence of appropriate sensory input. In this case, information in memory underlies the internal events that produce the experience. Unlike afterimages, mental images are relatively prolonged.”

Stephen Kosslyn (1948) American psychologist

Stephen M. Kosslyn, "Mental images and the brain." Cognitive Neuropsychology 22.3-4 (2005): p. 334

Knowledge, Memory

“Despite my fervour for many Surrealist painters, I was soon wary of the preeminence of those 'literary anecdotes' that made many works appear as 'genre clichés', not unlike nineteenth-century pastiches. They often ignored the visual possibilities of the painting medium.”

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

as quoted in 'Tàpies: From Within', June/November 2013 - Presse Release text, Museu Nacional d'Art de Catalunya (MNAC), p. 9
1971 - 1980, Memòria Personal', 1977

Appearance, Painting

“To say that a body or its gravitational field 'bends in space' in its vicinity is the discuss visual space in acoustic terms.”

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. 40

“I came into DreamWorks looking to direct. I was hoping to go through story as a way toward directing, because that’s how it worked at Disney, story people became heads of story, and heads of story became directors. And they said, ‘Right now we don’t have a lot of story, but we have visual development,’ and I said, ‘Good, I paint!”

Vicky Jenson (1960) American animator

Quoted by Michael Mallory in " Firsts Among Equals http://www.animationmagazine.net/top-stories/firsts-among-equals/", Animation Magazine (March 6th, 2014).

People, Hope, Way, Painting

“Most studies employing three-dimensional objects as stimuli have used simultaneous presentation whereas most studies employing two-dimensional objects have used comparison of a single visual stimulus with a memory presentation. We suspect that it is this procedural difference rather than the difference in dimensionality that is the principal determiner of rate of mental rotation.”

Roger Shepard (1929) American psychologist

Source: Mental images and their transformations. 1982, p. 178; as cited in Niall (1997)

Study, Memory

“Can we find "The Universe in a grain of sand"? Well perhaps, but a stone seems easier to visualize.”

Peter J. Carroll (1953) British occultist

Source: The Apophenion (2008), p. 11; this makes reference to William Blake's Auguries of Innocence: "To see the world in a grain of sand…"

Universe

“The second conception of the world via the medium of matter required both a visual and a tactile perception of things. In this case the whole design process tends to emanate from the specific characteristics of the respective medium used. The leader of this movement (Tatlin) assumed.... that the intuitive and artistic mastery of materials would lead to inventions on the basis of which objects could be constructed. He believed he could prove this theory with his design for the 'Monument to the Third International' (1920), [never built]. He accomplished this task without having any special technical knowledge of construction.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

Quote from: 'Basic Premises'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

World, Knowledge

“We may usefully think of the language faculty, the number faculty, and others as 'mental organs,' analogous to the heart or the visual system or the system of motor coordination and planning. There appears to be no clear demarcation line between physical organs, perceptual and motor systems and cognitive faculties in the respects in question.”

Noam Chomsky (1928) american linguist, philosopher and activist

Source: Quotes 1960s-1980s, 1980s, Rules and Representations (1980), p. 4.

Question, Thinking, Appearance, Heart

“We are now in the middle of a long process of transition in the nature of the image which man has of himself and his environment. Primitive men, and to a large extent also men of the early civilizations, imagined themselves to be living on a virtually illimitable plane. There was almost always somewhere beyond the known limits of human habitation, and over a very large part of the time that man has been on earth, there has been something like a frontier…
Gradually, however, man has been accustoming himself to the notion of the spherical earth and a closed sphere of human activity. A few unusual spirits among the ancient Greeks perceived that the earth was a sphere. It was only with the circumnavigations and the geographical explorations of the fifteenth and sixteenth centuries, however, that the fact that the earth was a sphere became at all widely known and accepted. Even in the thirteenth century, the commonest map was Mercator's projection, which visualizes the earth as an illimitable cylinder, essentially a plane wrapped around the globe, and it was not until the Second World War and the development of the air age that the global nature of tile planet really entered the popular imagination. Even now we are very far from having made the moral, political, and psychological adjustments which are implied in this transition from the illimitable plane to the closed sphere.”

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

Source: 1960s, The Economics of the Coming Spaceship Earth, 1966, p. 3

Men, War, Age, World

“The importance of writing in the breakdown of the bicameral voices is tremendously important. What had to be spoken is now silent and carved upon a stone to be taken in visually.”

Julian Jaynes book The Origin of Consciousness in the Breakdown of the Bicameral Mind

Book II, Chapter 6, p. 302
The Origin of Consciousness in the Breakdown of the Bicameral Mind (1976)

“It was making me a little queasy. Doctors don’t seem to realize that most of us are perfectly content not having to visualize ourselves as animated bags of skin filled with obscene glop.”

Joe Haldeman book The Forever War

Source: The Forever War (1974), Chapter 20 (p. 108)

Animals

“I wanted to photograph this subject because the signs’ shrieking blatancy literally cried out for a visual record. To my mind the faded, yellowing paper and the red paint were not particularly paint, able. In black and white the signs shouted, clamored for attention, in visual anarchy. At the same time, the shrewd business sense which plastered them solid over the entire window area produced, as it were by chance, an esthetic by-product: the whole has homogeneity and variety of texture, simultaneously, which give the picture interest.”

Berenice Abbott (1898–1991) American photographer

New Guide to Better Photography, 1953.

Business, Sense, Chance, Time

“Snake predation was no joke. It shaped our evolutionary past. We're attuned to snakes. We are really good at detecting the camouflage pattern of snakes in the lower half of our visual field. There's evidence that the reason human beings have such acute vision, which means that our eyes were opened, is because we co-evolved with snakes and we learned how to see them. And then the price we paid for seeing was that our brain grew, because you need a lot of brainpower to see. And the consequence of our brain growing was that one day we woke up and discovered the future. And the future is where all the snakes might live, instead of where they live right now. I already made the case that there's a tight link between what you eat and information - conceptual link as well as a practical link. But it's also the case that we can see colors. The question is: why? The answer is: we evolved to see ripe fruit. In the story of Adam and Eve human beings are given vision by the snake and the fruit. That turns out to be correct.”

Jordan Peterson (1962) Canadian clinical psychologist, cultural critic, and professor of psychology

Concepts

Color, Question, Learning, Past

“I do not consider myself a Cubist either because I have come to the conclusion that cubes are not always made for expressing the thought of the brain and of the feeling of the spirit... I capture all these impressions [the visual sensations, Picabia sensed in the modern city] without any hurry to transfer to the canvas. I let them rest in my brain and then, when I'm visited by the spirit of creation, I improvise my paintings just as a musician improvises his music.”

Francis Picabia (1879–1953) French painter and writer

1910's
Source: 'How I see New York', in 'The New York American', New York 30 March 1913, p. 11

Music, Feeling, Sense, Painting

“An epidemic of destruction sweeps the world today. The mind of civilized man is set to stop it. What the enemy would destroy, however, he must first see. To confuse and paralyze this vision is the role of camouflage. Here the artist and more particularly the modern artist can fulfill a vital function for opposed to this vision of destruction is the vision of creation. Historically, it has been the artist's role to make manifest the beautiful inherent in all the objects of nature and man. In the study of the object, as a thing seen, he has acquired a profound understanding and sensibility concerning its visual aspects..”

Arshile Gorky (1904–1948) Armenian-American painter

Gorky's quote refers to the heavy swift in modern art because of the appearance of Cubism
1942 - 1948
Source: 'Camouflage', 1942; an announcement for a teaching program [set up by Gorky and the director of the Grand Central School of Art, Edmund Greasen]

World, Beauty, Understanding, Nature

“The relative meaning of two physical facts in an emotionally controlled relation always creates the phenomenon of a third fact of a higher order, just as two musical sounds, heard simultaneously create the phenomenon of a third, fourth or fifth. The nature of this higher third is non-physical. In a sense it is magic. Each such phenomenon always overshadows the material qualities and the limited meaning of the basic factors from which it has sprung. For this reason Art expresses the highest quality of the spirit when it is surreal in nature; or, in terms of the visual arts, when it is of a surreal plastic nature.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 41
Search for the Real and Other Essays (1948)

Art, Music, Nature, Sense

“If we then make the obvious assumption that the content of a map is appropriate to its purpose, there yet remains the equally significant evaluation of the visual methods employed to convey that content.”

Arthur H. Robinson (1915–2004) American geographer

Source: The Look of Maps (1952), p. 15

“Purity" of and in art — any art, including music and dance — is an illusory notion, of course. It may be remotely conceivable or imaginable, but it can't be realized because it can't be recognized any more than a "pure" human being or a "pure" (or, for that matter, gratuitous) act can be. All the same, for Western art in its Modernist phase "purity" has been a useful idea and ideal, with a kind of logic to it that has worked, and still works, to generate aesthetic value and maintain aesthetic standards as nothing else in our specializing culture has over the last hundred-odd years.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.”

Clement Greenberg (1909–1994) American writer and artist

This is part of the pity of Modernism, one of the sacrifices it enjoins.... "Detached Observations" http://www.sharecom.ca/greenberg/detached.html, Arts Magazine (December 1976) 1970s

Art, Music, Imagination, Idea

“The nature of maps and of their use in science and society is in the midst of remarkable change - change that is stimulated by a combination of new scientific and societal needs for geo-referenced information and rapidly evolving technologies that can provide that information in innovative ways. A key issue at the heart of this change is the concept of "visualization."”

Alan MacEachren (1952) American geographer

Source: Exploratory cartographic visualization: advancing the agenda (1997), p. 1

Way, Nature, Science, Change

“The easy problems of consciousness are those that seem directly susceptible to the standard methods of cognitive science, whereby a phenomenon is explained in terms of computational or neural mechanisms. The hard problems are those that seem to resist those methods…. The really hard problem of consciousness is the problem of experience. When we think and perceive, there is a whir of information-processing, but there is also a subjective aspect…. When we see, for example, we experience visual sensations: the felt quality of redness, the experience of dark and light, the quality of depth in a visual field. Other experiences go along with perception in different modalities: the sound of a clarinet, the smell of mothballs. Then there are bodily sensations, from pains to orgasms; mental images that are conjured up internally; the felt quality of emotion, and the experience of a stream of conscious thought.”

David Chalmers (1966) Australian philosopher and cognitive scientist

"Facing Up to the Problem of Consciousness," 1995

Pain, Problem, Thinking, Light

“My artwork is about resistance, de-colonization, self-definition, self-empowerment and survival. I draw upon myths, family folklore, and indigenismo (a native way of being). I reinterpret and register all these as cultural, visual, iconographic manifestations of my identity. As the subject matter of my art, I exalt a lineage of women, energized from a sacred space of creation.”

Santa Barraza (1951)

Santa Barraza, Artist of the Borderlands (2001)

Women, Family, Art, Way

“Nature's purpose in relation to the visual arts is to provide stimulus — not imitation... From its ceaseless urge to create springs all Life — all movement and rhythm — time and light, color and mood — in short, all reality in Form and Thought.”

Hans Hofmann (1880–1966) American artist

As quoted in Hans Hofmann (2000) by James Yohe
1970s and later

Life, Art, Color, Spring

“I myself regard the deaf people as superheroes, protectors of the visual language”

Emilio Insolera (1979) Actor and film producer

Source: As quoted in «Sign Gene», al cinema arrivano i supereroi sordi mutanti http://www.corriere.it/salute/disabilita/17_settembre_12/sign-gene-cinema-arrivano-supereroi-sordi-mutanti-92d2f6a2-97cb-11e7-8ca4-27e7bbee7bdd.shtml (September 12, 2017), Corriere della Sera)

People

“The attentive synthesis of any particular letter or figure takes an appreciable time, of the order of 100ms…If a whole row of letters is to be identified, they must be synthesized one at a time… To "identify" generally means to name, and hence to synthesize not only a visual object but a linguistic-auditory one… Hence the span of apprehension is limited to what can be synthesized, and then verbally stored.”

Ulric Neisser (1928–2012) American psychologist

Source: Cognitive Psychology, 1967, p. 103; As cited in: A.H.C. Van der Heijden (1996)

Time

“Usually, when I’ve met the people who are meant to be in a position of power, I’ve always made sure to give them a damn good soul stare—y’know, look right in their eyes, through the blackness of the pupils and into whatever conscious field exists within. Then lock the eyes on, but let them gently defocus so that the defined parameters of the visual physical go blurry and you can feel the energy behind it, the unseeable energy that isn’t made of photons. Then, if your mind is quiet, you will be informed of the quality of their essence, or at least of the manifest persona that they believe themselves to be.”

Russell Brand book Revolution

Revolution (2014)

People, Feeling, Soul

“I'm not as klutzy as I used to be… I've had visual therapy and all kinds of things to help, but I still wrap my purse around chair legs when I stand up to leave. I do ridiculous things on camera because I do them in my life all the time.”

Shelley Long (1949) actress

Quoted in "Funny Ladies: The Best Humor from America's Funniest Women", p. 7 http://books.google.co.uk/books?id=KOVGUVYj2XUC&pg=PA7&dq=%22I'm+not+as+klutzy+as+I+used+to+be%22&hl=en&sa=X&ei=Jfz6Tt78KpSm8gPfwpXeCA&ved=0CDEQ6AEwAA#v=onepage&q=%22I'm%20not%20as%20klutzy%20as%20I%20used%20to%20be%22&f=false

Life, Time, Help

“I've seen [visual] editors like that, but I don't feel a need for them. I don't want to see the state of the file when I'm editing.”

Ken Thompson (1943) American computer scientist, creator of the Unix operating system

Thompson on the superiority of <tt>ed</tt> to editors such as today's <tt>vi</tt> or <tt>emacs</tt>, as summarized by Peter Salus in A Quarter Century of UNIX (Addison-Wesley, 1994). http://web.archive.org/web/20080103071208/http://www.dcs.qmul.ac.uk/~george/history/

Feeling

“Cartography as a discipline has a significant stake in the evolving role of maps within systems for scientific visualization, within spatial decision support systems, within hypermedia information access systems, and within virtual reality environments.”

Alan MacEachren (1952) American geographer

Source: Exploratory cartographic visualization: advancing the agenda (1997), p. 1

Support, Reality, Decision

“The first thing the Muslim Sultanate of Delhi started on was construction of impressive buildings. The first sultan Qutbuddin Aibak had to establish Muslim power in India and to raise buildings "as quickly as possible, so that no time might be lost in making an impression on their newly-conquered subjects". Architecture was considered as the visual symbol of Muslim political power. It denoted victory with authority. The first two buildings of the early period in Delhi are the Qutb Minar and the congregational mosque named purposefully as the Quwwat-ul-Islam (might of Islam) Masjid. This mosque was commenced by Aibak in 592/1195. It was built with materials and gold obtained by destroying 27 Hindu and Jain temples in Delhi and its neighborhood. A Persian inscription in the mosque testifies to this. The Qutb Minar, planned and commenced by Aibak sometime in or before 1199 and completed by Iltutmish, was also constructed with similar materials, "the sculptured figures on the stones being either defaced or concealed by turning them upside down". A century and a quarter later Ibn Battutah describes the congregational mosque and the Qutb Minar. "About the latter he says that its staircase is so wide that elephants can go up there." About the former his observations are interesting. "Near the eastern gate of the mosque their lie two very big idols of copper connected together by stones. Every one who comes in and goes out of the mosque treads over them. On the site of this mosque was a bud khana, that is an idol house. After the conquest of Delhi it was turned into a mosque."”

Qutb al-Din Aibak (1150–1210) Turkic peoples king of Northwest India

Quoted from Lal, K. S. (1999). Theory and practice of Muslim state in India. New Delhi: Aditya Prakashan. Chapter 5 (quoting Gordon Sanderson, 'Archaeology at the Qutb', Archaeological Survey of India Report, 1912-13; Ibn Battutah)

Lie, Time, Victory, Housing

“Cognitive load theory has been designed to provide guidelines intended to assist in the presentation of information in a manner that encourages learner activities that optimize intellectual performance. The theory assumes a limited capacity working memory that includes partially independent subcomponents to deal with auditory/verbal material and visual/2- or 3-dimensional information as well as an effectively unlimited long-term memory, holding schemas that vary in their degree of automation. These structures and functions of human cognitive architecture have been used to design a variety of novel instructional procedures based on the assumption that working memory load should be reduced and schema construction encouraged. This paper reviews the theory and the instructional designs generated by it.”

John Sweller (1946) educational psychologist

John Sweller, Jeroen van Merrienboer, and Fred Paas. "Cognitive architecture and instructional design." Educational psychology review 10.3 (1998): 251-296.

Optimism, Memory

“The war with Japan had been enacted in the game rooms at the War College by so many people and in so many different ways that nothing that happened during the war was a surprise—absolutely nothing except the kamikaze tactics toward the end of the war. We had not visualized these.”

Chester W. Nimitz (1885–1966) United States Navy fleet admiral

Writing the president of the US Naval War College shortly after World War II. Quoted by Donald C. Winter, Secretary of the Navy http://www.navy.mil/navydata/people/secnav/winter/SECNAV_Remarks_NWC_Current_Strategy_Forum.pdf]

War, People, Way, Game

“I started with a kind of artistic approach… I visualized the best-looking shapes and sizes. I worked with the variables until it got to the point where, if I changed one of them, it didn't get any better… [only then I] figure out the mathematical formula to produce that effect.”

Arthur H. Robinson (1915–2004) American geographer

Robinson (1988) in The New York Times as cited in: John Noble Wilford (2004) " Arthur H. Robinson, 89, Geographer Who Reinterpreted World Map, Dies http://www.nytimes.com/2004/11/15/obituaries/15robinson.html?_r=0" in: The New York Times November 15, 2004: About the development of the Robinson projection.

Mathematics, Change

“When visualization tools act as a catalyst to early visual thinking about a relatively unexplored problem, neither the semantics nor the pragmatics of map signs is a dominant factor. On the other hand, syntactics (or how the sign-vehicles, through variation in the visual variables used to construct them, relate logically to one another) are of critical importance.”

Alan MacEachren (1952) American geographer

Source: How Maps Work: Representation, Visualization, and Design (1995), p. 368

Problem, Thinking

“For many years I visualized the Soviet Union as a land where the sun never came out and enslaved Catholic peasants labored under lowering skies for their godless rulers.
But our theology was often very practical: All men are created equal. Do onto others as you would have them do onto you. Follow the Ten Commandments, which we studied at length, except for adultery, “which you children don’t have to worry about.””

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

Source: Life Itself : A Memoir (2011), Ch. 54 : How I Believe In God

Men, Children, Study, Sun

“A heavy task, but there was light relief
In the Germanic ambience, boisterous, brash,
Torchlit parades and pogroms, guttural grief
In emigration queues, the smash and crash
Of pawnshop windows by insentient beef
In uniform, the gush of beer, the splash
Of schnapps, the joy of being drunk and Aryan,
Though Hitler was a teetotalitarian.
Human pain meant
But little in the Gulf War's visual grammar, a
Big feast of death to feed the cinecamera”

Anthony Burgess (1917–1993) English writer

Byrne
Poetry

Death, Pain, War, Beer

“Applied knowledge in the Renaissance had to take the form of translation of the auditory into visual terms, of the plastic into retinal form.”

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. 180

Knowledge

“I wanted to do something figurative. Well I couldn’t visualize a whole man... I felt that I wanted to make a painting primarily with painterly means. So I flattened out my canvas and made them roughly rectangular divisions, with lines going out in four directions. That is, vertically and horizontally... And then I would free associate, putting whatever came to my mind freely within these different rectangles… I thought of it as related tot the automatic writing the surrealists were interested in.”

Adolph Gottlieb (1903–1974) American artist

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

Painting

“I was interested in ideas - not merely in visual products. I wanted to put painting once again at the service of the mind.”

Marcel Duchamp (1887–1968) French painter and sculptor

In 'Artist's Voice', Kuh; p. 89; as quoted in Writings of Marcel Duchamp, Sanouillet and Peterson, p. 125
posthumous

Idea, Painting

“Well, I was interested in a subjective image [in the 1940's].... stemming perhaps from the subconscious. Because the external world as far as I was concerned had been totally explored in painting and there was a whole ripe new area in the inner world that we all have. Now in order to externalise this you have to use visual means and so the visual means may have some relation tot the external world. However what I was trying to focus on was what I experienced within my mind, within my feelings, rather than on the external world which I can see.”

Adolph Gottlieb (1903–1974) American artist

Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

World, Feeling, Painting

“A neurosurgeon once told me about operating on the brain of a young man with epilepsy. As is customary in this kind of operation, the patient was wide awake, under only local anesthesia, while the surgeon delicately explored his exposed cortex, making sure that the parts tentatively to be removed were not absolutely vital by stimulating them electrically and asking the patient what he experienced. Some stimulations provoked visual flashes or hand-raisings, others a sort of buzzing sensation, but one spot produced a delighted response from the patient: "It's 'Outta Get Me' by Guns N'Roses, my favorite heavy metal [sic] band!"I asked the neurosurgeon if he had asked the patient to sing or hum along with the music, since it would be fascinating to learn how "high fidelity" the provoked memory was. Would it be in exactly the same key and tempo as the record? Such a song (unlike "Silent Night") has one canonical version, so we could simply have superimposed a recording of the patient's humming with the standard record and compare the results. Unfortunately, even though a tape recorder had been running during the operation, the surgeon hadn't asked the patient to sing along. "Why not?" I asked, and he replied: "I hate rock music!"Later in the conversation the neurosurgeon happened to remark that he was going to have to operate again on the same young man, and I expressed the hope that he would just check to see if he could restimulate the rock music, and this time ask the fellow to sing along. "I can't do that," replied the neurosurgeon, "since I cut out that part." "It was part of the epileptic focus?"”

Daniel Dennett book Consciousness Explained

I asked, and he replied, "No, I already told you — I hate rock music."
Source: Consciousness Explained (1991), p. 58-59

Hate, Hope, Music, Learning

“My sculpture is becoming less representational, less an outward visual copy, and so what some people would call more abstract; but only because I believe in that in this way I can present the human psychological content of my work with the greatest directness and intensity.”

Henry Moore (1898–1986) English artist

in Henry Moore on Sculpture, James, Philip, New York: Viking Press, (1967), p. 68
1955 - 1970

People, Way

“The idea that different aspects of visual perception might be handled in separate areas of the brain was predicted by Freud at the end of the nineteenth century. …a cortical defect that affected [the] ability to combine aspects of vision into a meaningful pattern. …defects, which Freud called agnosias (loss of knowledge)…”

Eric R. Kandel (1929) American neuropsychiatrist

In Search of Memory (2006)

Idea, Knowledge, Loss

“[S]cience is often regarded as the most objective and truth-directed of human enterprises, and since direct observation is supposed to be the favored route to factuality, many people equate respectable science with visual scrutiny—just the facts ma'am, and palpably before my eyes. But science is a battery of observational and inferential methods, all directed to the testing of propositions that can, in principle, be definitely proven false. […] At all scales, from smallest to largest, quickest to slowest, many well-documented conclusions of science lie beyond the strictly limited domain of direct observation. No one has ever seen an electron or a black hole, the events of a picosecond or a geological eon.”

Stephen Jay Gould book Eight Little Piggies

"Muller Bros. Moving & Storage", pp. 200–201
Eight Little Piggies (1993)

People, Truth, Lie, Science

“Chemists think in the highly visual nanoscopic world of atoms and molecules, but they work in the tangible world of macroscopic laboratory apparatus. These two approaches to the chemical sciences cannot be divorced.”

David W. Oxtoby (1951) President of Pomona college

Principles of Modern Chemistry (7th ed., 2012), Ch. 1 : The Atom in Modern Chemistry

World, Thinking, Science

“Audile-tactile space is the space of involvement. We lose "touch" without it. Visual space is the space of detachment.”

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

1970s, Culture Is Our Business (1970)

“For in spite of much greater public interest in all aspects of visual culture, including design and architecture, the challenge posed by contemporary art has not evaporated. We have only to recall the headlines for last year's Turner Prize. "Eminence without merit" (The Sunday Telegraph). "Tate trendies blow a raspberry" (Eastern Daily Press), and my favourite, "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled bed threaten to make barbarians of us all" (The Daily Mail). Are these papers speaking the minds of their readers? I have no delusions. People may be attracted by the spectacle of new buildings, they may enjoy the social experience of visiting a museum, taking in the view, an espresso or glass of wine, purchasing a book or an artist designed t-shirt. Many are delighted to praise the museum, but remain deeply suspicious of the contents.”

Nicholas Serota (1946) British curator

The Dimbleby Lecture 2000

People, Books, Art, Wine

“The purpose of photography is the transmission of a visualized sector of life through the medium of the camera into a mental process that starts with the photographer's thinking about the subject he photographs and is continued in the mind of the spectator.”

Roman Vishniac (1897–1990) American photographer

Deschin, Jacob. "Nature as it is". New York Times (1857-Current file); Feb 3, 1952; Proquest Historical Newspapers The New York Times (1851 - 2002) pg. X14

Life, Thinking

“And they'll talk to you while you're in trances
And you'll visualize not taking any chances
But meet them halfway with love, peace and persuasion
And expect them to rise for the occasion.”

Van Morrison (1945) Northern Irish singer-songwriter and musician

Glad Tidings
Song lyrics, Moondance (1970)

Love, Peace, Chance

“Kinetic art was created by artists who pushed the boundaries of traditional, static art forms to introduce visual experiences that would engage the audience and profoundly change the course of modern art.”

Theo Jansen (1948) artist

Theo Jansen, quoted in: " 2015 International Kinetic Art Exhibit & Symposium - Boynton Beach, FL, USA http://intlkineticartevent.org/?page_id=107," 2015

Art, Change

“Everything in nature completes its action through its own force and species alone… as, for example, fire by its own force dries and consumes and does many things. Therefore vision must perform the act of seeing by its own force. But the act of seeing is the perception of a visible object at a distance, and therefore vision perceives what is visible by its own force multiplied to the object. Moreover, the species of the things of world are not fitted by nature to effect the complete act of vision at once, because of its nobleness. Hence these must be aided by the species of the eye, which travels in the locality of the visual pyramid, and changes the medium and ennobles it, and renders it analogous to vision, and so prepares the passage of the species itself of the visible object… Concerning the multiplication of this species, moreover, we are to understand that it lies in the same place as the species of the thing seen, between the sight and the thing seen, and takes place along the pyramid whose vertex is in the eye and base in the thing seen. And as the species of an object in the same medium travels in a straight path and is refracted in different ways when it meets a medium of another transparency, and is reflected when it meets the obstacles of a dense body; so is it also true of the species of vision that it travels altogether along the path of the species itself of the visible object.”

Roger Bacon book Opus Majus

Bacon, like Grosseteste, asserts that both the active extramitted species of vision from the eye, and the intramitted species of light from object seen, were necessary for sight.
v. i. vii. 4, ed. Briggs as quoted in A.C. Crombie, Robert Grossetest and the Origins of Experimental Science 1100-1700 (1953)
Opus Majus, c. 1267

World, Way, Travel, Understanding

“The teacher asked us to write an essay based on an artist's visual version of the cold and other hardships endured by Washington's men at Valley Forge. I dashed off a page or so of commentary, which brought from the teacher public commendation for my historical empathy and perception. This juvenile effort may have influenced my instructor when he gave me a grade on my report card of 100 percent in history. I thought then, and still think, that no pupil is worth 100 percent in history.”

Thomas A. Bailey (1902–1983) American historian

The American Pageant Revisited, p. 9

Men, History, Thinking, Effort

“Physically, we transmit signals or signs -- audible, visual, tactual. But the mere transmission and reception of a physical signal does not constitute communication. A sign, if it is perceived by the recipient, has the potential for selecting responses in him. Physically, when we communicate, we make noises with our mouths, or gesticulate, or exhibit some token or icon, and these physical signals set up a response behavior.”

Colin Cherry (1914–1979) British scientist

Source: On Human Communication (1957), What Is It That We Communicate?, p. 10

Behavior, Communication

“The film begins with a visual list of eight and a half Japanese Pachinko Parlours filmed in several Japanese cities -- Tokyo, Osaka, Kyoto.”

Peter Greenaway (1942) British film director

8 1/2 Women

“The Greeks, who were apparently strong on visual aids, originated the term stigma to refer to bodily signs designed to expose something unusual and bad about the moral status of the signifier. The signs were cut or burnt into the body and advertised that the bearer was a slave, a criminal, or a traitor — a blemished person, ritually polluted, to be avoided, especially in public places. Later, in Christian times, two layers of metaphor were added to the term : the first referred to bodily signs of holy grace that took the form of eruptive blossoms on the skin; the second, a medical allusion to this religious allusion, referred to bodily signs of physical disorder. Today the term is widely used in something like the original literal sense, but is applied more to the disgrace itself than to the bodily evidence of it. Furthermore, shifts have occurred in the kinds of disgrace that arouse concern. Students, however, have made little effort to describe the structural preconditions of stigma, or even to provide a definition of the concept itself. It seems necessary, therefore, to try at the beginning to sketch in some very general assumptions and definitions.”

Erving Goffman book Stigma

Source: 1950s-1960s, Stigma, 1963, p. 1-2 Lead paragraph

Sense, Effort, Strong, Time

“Let us explain again by examples. In painting a person on a balcony, seen from inside the room do not limit the scene to what the square of the window renders visible; we try to render the sum total of visual sensations which the person on the balcony has experienced; the sun-baked throng in the street, the double row of houses which stretch to right and left, the beflowered balconies etc. This implies the simultaneity of the ambient, and, therefore, the dislocation and the dislocation and dismemberment of objects, the scattering and fusion of details, freed from accepted logic and independent from one another. In order to make the spectator live in the center of the picture, as we express it in our manifesto the picture must be the synthesis of what one remembers and what one sees. You must render the invisible which stirs lives beyond intervening obstacles, what we have on the right, or the left, or behind us, and not merely the small square of life artificially compressed, as it were, by the wings of a stage set. We have declared in our manifesto that what must be rendered is the dynamic sensation, that is to say, the particular rhythm of each object, its inclination, its movement, or more exactly, its interior force.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Boccioni is referring in this quote to the 'Manifesto of Futurist Painters' of 1910, and its core Futurist concept of dynamic sensation; p. 47.
1912, Les exposants au public', 1912

Life, Sun, Painting, Housing

“Tsai's Multi-kinetics were dynamically integrated multiple constructions, employing thirty-two kinetic units, each of which contains a configuration of multi-colored gyroscopic forms. With these elements he created an active environmental field that could, apparently, be infinitely extended. Each motorized unit was a self-sufficient entity, and when it was combined with other similar units produced a large-scale kinetic work that joined visual intensity with mechanical power. By controlling the time sequence of each unit in skillful compositions, Tsai used engineering principles to achieve aesthetic ends.”

Sam Hunter (1923–2014) American art historian

Source: The Cybernetic Sculpture of Tsai Wen-Ying, 1989, p. 66-67

Color, Time

“Sentimentality, like pornography, is fragmented emotion; a natural consequence of a high visual gradient in any culture.”

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

1960s, Through the Vanishing Point (1968)

Nature

“Literacy, in translating man out of the closed world of tribal depth and resonance, gave man an eye for an ear and ushered him into a visual open world of specialized and divided consciousness.”

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

1960s, The Gutenberg Galaxy (1962)

World

“Art has its tradition, but it is a visual heritage. The artist's language is the memory from sight. Art is made from dreams, and visions, and things not known, and least of all from things that can be said. It comes from the inside of who you are when you face yourself. It is an inner declaration of purpose, it is a factor which determines artist identity.”

David Smith (1906–1965) American visual artist (1906-1965)

1950s, Tradition and Identity' (1959)

Dreams, Art, Memory

“The chess pieces are the block alphabet which shapes thoughts; and these thoughts, although making a visual design on the chess-board, express their beauty abstractly, like a poem... I have come to the personal conclusion that while all artists are not chess players, all chess players are artists.”

Marcel Duchamp (1887–1968) French painter and sculptor

quote from Marcel Duchamp, by Kynaston McShine, 1989; as quoted on Wikipedia: Marcel Duchamp
posthumous

Beauty, Personality

“Sheer visual quantity evokes the magical resonance of the tribal hoard. The box office looms as a return to the echo chamber of bardic incantation.”

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. 288

Box

“For us the most important thing is to be visual, and for the cats watching us to have fun. This is all we want. We get very upset if people get bored when we're only half way through smashing the second set. Then all of a sudden they hear Arnold Layne and they flip all over again.”

Roger Waters (1943) English songwriter, bassist, and lyricist of Pink Floyd

Rave UK Magazine, June 1967
Music

People, Way, Cats

“Once introduced discontinuity, once challenge any of the properties of visual space, and as they flow from each other, the whole conceptual framework collapses.”

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. 43

“Even the most purely rational minds who find the universe in "pure thought" are driven against their rational will to visualize this "pure thought" and to give it body and form and shape and movement.”

John Cowper Powys (1872–1963) British writer, lecturer and philosopher

Source: The Complex Vision (1920), Chapter I
Context: One of the curious psychological facts, in connection with the various ways in which various minds function, is the fact that when in these days we seek to visualize, in some pictorial manner, our ultimate view of life, the images which are called up are geometrical or chemical rather than anthropomorphic. It is probable that even the most rational and logical among us as soon as he begins to philosophize at all is compelled by the necessity of things to form in the mind some vague pictorial representation answering to his conception of the universe.
Most minds see the universe of their mental conception as something quite different from the actual stellar universe upon which we all gaze. Even the most purely rational minds who find the universe in "pure thought" are driven against their rational will to visualize this "pure thought" and to give it body and form and shape and movement.

Universe

“In schools, print shifted the emphasis from oral to written and visual communication.”

Neil Postman (1931–2003) American writer and academic

Teaching as a Subversive Activity (1969)
Context: In schools, print shifted the emphasis from oral to written and visual communication. Teachers who had been only partly concerned within instructing their students in how to read became by the mid-sixteenth century concerned with almost nothing else. Since the sixteenth century, the textbook has been a primary source of income for book publishers. Since the sixteenth century, written examinations and written assignments have been an integral part of the methodology of school teaching; and since the sixteenth century, the image of the isolated student who reads and studies by himself, has been the essence of our conception of scholarship. In short, for 400 years Western civilization has lived in what has been characterized as the "Age of Gutenberg." Print has been the chief means of our information flow. Print has shaped our literature and conditioned our responses to literary experience. Print has influenced our conception of the educational process. But... print no longer "monopolizes man's symbolic environment," to use David Riesman's phrase. That monopoly began to dissolve toward the middle of the nineteenth century, when a more or less continuous stream of media inventions began to make accessible unprecedented quantities of information and created new modes of perception and qualities of aesthetic experience....1839... Daguerre developed the first practical method of photography. In 1844, Morse perfected the telegraph. In 1876, Bell transmitted the first telephone message. A year later, Edison invented the phonograph. By 1894, the movies had also been introduced. A year after that, Marconi sent and received the first wireless message. In 1906, Fessenden transmitted the human voice by radio. In 1920, regularly scheduled radio broadcasts began. In 1923, a picture was televised between New York and Philadelphia. In that same year, Henry Luce and Briton Hadden created a totally new idea in magazines with Time. In 1927, the first "talkie" appeared; and in 1923, Disney's first animated cartoon. In 1935, Major E. H. Armstrong developed the FM radio. In 1936 came Life magazine. In 1941, full commercial television was authorized. These are just some of the inventions that form a part of the "communications revolution" through which we are all living. To these, of course could be added the LP record, the tape recorder, the comic strip, the comic book, the paperback book.... the point here is... that the perceptual-cognitive effects on us of the form of these new languages be understood.

School, Communication

“Brother Francis visualized a Fallout as half-salamander, because, according to tradition, the thing was born in the Flame Deluge, and as half-incubus who despoiled virgins in their sleep, for, were not the monsters of the world still called "children of the Fallout"? That the demon was capable of inflicting all the woes which descended upon Job was recorded fact, if not an article of creed.”

Walter M. Miller, Jr. book A Canticle for Leibowitz

Ch 1
A Canticle for Leibowitz (1959), Fiat Homo
Context: He had never seen a "Fallout," and he hoped he'd never see one. A consistent description of the monster had not survived, but Francis had heard the legends. He crossed himself and backed away from the hole. Tradition told that the Beatus Leibowitz himself had encountered a Fallout, and had been possessed by it for many months before the exorcism which accompanied his Baptism drove the fiend away.
Brother Francis visualized a Fallout as half-salamander, because, according to tradition, the thing was born in the Flame Deluge, and as half-incubus who despoiled virgins in their sleep, for, were not the monsters of the world still called "children of the Fallout"? That the demon was capable of inflicting all the woes which descended upon Job was recorded fact, if not an article of creed.

Children, World, Sleep

“Management, often visualized as the complex hierarchy which is familiar in organization charts, operates a simple control system, with information flowing up through a succession of filters, and decisions and instructions flowing downwards through a succession of amplifiers.”

Tom Burns (1913–2001) British sociologist

Source: The Management of Innovation, 1961, p. 5; as cited in: David Dugdale, Stephen Lyne. Budgeting Practice and Organisational Structure. Elsevier, 18 jan. 2010. p. 68-69
Context: In mechanistic systems the problems and tasks facing the concern as a whole are broken down into specialisms. Each individual pursues his task as something distinct from the real tasks of the concern as a whole, as if it were the subject of a subcontract. "Somebody at the top" is responsible for seeing to its relevance. The technical methods, duties, and powers attached to each functional role are precisely defined. Interaction within management tends to be vertical, i. e., between superior and subordinate... Management, often visualized as the complex hierarchy which is familiar in organization charts, operates a simple control system, with information flowing up through a succession of filters, and decisions and instructions flowing downwards through a succession of amplifiers.

Decision, Success

“Both poetry and lyrics and all visual arts draw their power from their ability to express abstractions of reality. …that is a feature of the musical brain.”

Daniel Levitin book The World in Six Songs

The World in Six Songs (2008)
Context: Both poetry and lyrics and all visual arts draw their power from their ability to express abstractions of reality.... that is a feature of the musical brain.

Art, Music, Reality, Drawing

“David Bowie had everything. He was intelligent, imaginative, brave, charismatic, cool, sexy and truly inspirational both visually and musically.”

Kate Bush (1958) British recording artist; singer, songwriter, musician and record producer

Tribute to David Bowie, in "David Bowie, as remembered by…" in The Guardian (17 January 2016) https://www.theguardian.com/music/2016/jan/17/david-bowie-as-seen-by-deborah-harry-chris-kate-bush-stein-carlos-alomar-julien-temple-edwyn-collins Context: David Bowie had everything. He was intelligent, imaginative, brave, charismatic, cool, sexy and truly inspirational both visually and musically. He created such staggeringly brilliant work, yes, but so much of it and it was so good. There are great people who make great work but who else has left a mark like his? No one like him.

Music, Imagination, Intelligence

“There were no longer words being spoken, but images being visualized. We achieved it above all by the dislocation of language. … Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words.”

Eugéne Ionesco (1909–1994) Romanian playwright

The Paris Review interview (1984)
Context: Beckett shows death; his people are in dustbins or waiting for God. (Beckett will be cross with me for mentioning God, but never mind.) Similarly, in my play The New Tenant, there is no speech, or rather, the speeches are given to the Janitor. The Tenant just suffocates beneath proliferating furniture and objects — which is a symbol of death. There were no longer words being spoken, but images being visualized. We achieved it above all by the dislocation of language. … Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words.

Silence

John D. Barrow (1952–2020) British scientist

Source: The Artful Universe (1995), Ch. 5, p.236

Art, Nature

“However the development proceeds in detail, the path so far traced by the quantum theory indicates that an understanding of those still unclarified features of atomic physics can only be acquired by foregoing visualization and objectification to an extent greater than that customary hitherto.”

Werner Heisenberg (1901–1976) German theoretical physicist

The Development of Quantum Mechanics (1933)
Context: However the development proceeds in detail, the path so far traced by the quantum theory indicates that an understanding of those still unclarified features of atomic physics can only be acquired by foregoing visualization and objectification to an extent greater than that customary hitherto. We have probably no reason to regret this, because the thought of the great epistemological difficulties with which the visual atom concept of earlier physics had to contend gives us the hope that the abstracter atomic physics developing at present will one day fit more harmoniously into the great edifice of Science.

Understanding

“He does not hesitate to assent to an opinion… that visual rays proceed from the eye”

Joseph Priestley (1733–1804) English theologian, chemist, educator, and political theorist

Period I To the Revival of Letters in Erope
The History and Present State of Discoveries Relating to Vision, Light, and Colours (1772)
Context: Great as Bacon was, he was far from being free from the mistakes and prejudices of those who went before him. Even some of the most wild and absurd opinions of the antients have the sanction of his approbation and authority. He does not hesitate to assent to an opinion... that visual rays proceed from the eye; giving this reason for it, that every thing in nature is qualified to discharge its proper functions by its own powers, in the same manner as the sun, and other celestial bodies. He acknowledges, however, that the presence of light, as well as several other circumstances, is necessary to vision.

“As I visualize it, the business of the future will be a scientific, social and economic unit.”

Edwin H. Land (1909–1991) American scientist and inventor

Congressional testimony (1945)
Context: As I visualize it, the business of the future will be a scientific, social and economic unit. It will be vigorously creative in pure science where its contributions will compare with those of the universities... the machinist will be proud of and informed about the company's scientific advances; the scientist will enjoy the reduction to practice of his basic perceptions. … year by year our national scene would change in the way, I think, all Americans dream of. Each individual will be a member of a group small enough so that he feels a full participant in the purpose and activity of the group. His voice will be heard and his individuality recognized.

Business, Future

“Drawing demands freedom, freedom demands liberty to expand in space – this is progress. By the extension of democracy – good draughtsmanship is – Democracy’s visual sign. To draw with integrity replaces bad habits with good, youth preserved from corruption. The hand works at high tension and organises as it simplifies, reducing to barest essentials, stripping all irrelevant matter obstructing the rapidly forming organisation which reveals the design. This is drawing.”

David Bomberg (1890–1957) painter

David Bomberg "The Bomberg Papers", ed. Patrick Swift, X: A Quarterly Review, Vol 1, No 3, June 1960
Context: Speaking generally Art endevours to reveal what is true and needs to be free. All things said regarding Art are subject to contradiction. An artist whose integrity sustains his strength to make no compromise with expediency is never degraded. His life work will resemble the integrating character of the primaries in the Spectrum. At the beginning, of the middle period, and at the end… I approach drawing solely for structure. I am perhaps the most unpopular artist in England – and only because I am draughtsman first and painter second. Drawing demands a theory of approach, until good drawing becomes habit – it denies all rules. It requires high discipline… Drawing demands freedom, freedom demands liberty to expand in space – this is progress. By the extension of democracy – good draughtsmanship is – Democracy’s visual sign. To draw with integrity replaces bad habits with good, youth preserved from corruption. The hand works at high tension and organises as it simplifies, reducing to barest essentials, stripping all irrelevant matter obstructing the rapidly forming organisation which reveals the design. This is drawing.

Youth, Democracy, Freedom, Drawing

“What about the utopian thinkers of all ages, from the Prophets who had a vision of eternal peace, on through the Utopians of the Renaissance, etc.? Were they just dreamers? Or were they so deeply aware of new possibilities, of the changeability of social conditions, that they could visualize an entirely new form of social existence even though these new forms, as such, were not even potentially given in their own society?”

Erich Fromm (1900–1980) German social psychologist and psychoanalyst

Human Nature and Social Theory (1969)
Context: What about the utopian thinkers of all ages, from the Prophets who had a vision of eternal peace, on through the Utopians of the Renaissance, etc.? Were they just dreamers? Or were they so deeply aware of new possibilities, of the changeability of social conditions, that they could visualize an entirely new form of social existence even though these new forms, as such, were not even potentially given in their own society? It is true that Marx wrote a great deal against utopian socialism, and so the term has a bad odor for many Marxists. But he is polemical against certain socialist schools which were, indeed, inferior to his system because of their lack of realism. In fact, I would say the less realistic basis for a vision of the uncrippled man and of a free society there is, the more is Utopia the only legitimate form of expressing hope. But they are not trans-historical as, for instance, is the Christian idea of the Last Judgment, etc. They are historical, but the product of rational imagination, rooted in an experience of what man is capable of and in a clear insight into the transitory character of previous and existing society.

Age, Peace

“The best way to take control of your future is by planning for it. Visualize your future self doing big things, and your hunger for success will grow.”

Ralph Smart

Hunger, Way, Success, Future

“Though in Bengal and Orissa, some say, Alakshmi is visualized as an owl seated beside Lakshmi, Alakshmi is a secret goddess, invisible to all. The only way to see her is to have Saraswati, goddess of knowledge and good sense by your side. But Lakshmi will never let Saraswati stay in the same house as her. She will go wherever there is Saraswati and kick her out, making room for Alakshmi. Why does she do that, one wonders. But then one is told that Lakshmi is a whimsical goddess, she does not like to stay in one place too long. By kicking Saraswati out and by getting Alakshmi in, she ensures there is a fight in the house and when there is a fight, wealth invariably moves out of a house.”

Devdutt Pattanaik (1970) Indian physician; leadership consultant, mythologist and author

Devdutt Pattanaik in: The Rise of Alakshmi http://devdutt.com/articles/modern-mythmaking/the-rise-of-alakshmi.html, Speaking Tree, The Times of India, 2 May 2010, Retrieved 7 September 2017

Secret, Making love, Way, Knowledge

“I realized I was thinking about fiction two-dimensionally. When I’m writing comics, I’m also visualizing how the story will look on the page—not even always art-wise, but panel-wise, like how a moment will be enhanced dramatically by simply turning a page and getting a reveal. It requires thinking about story in a way I never had to consider when I was writing prose.”

Marjorie M. Liu (1979) American writer

Source: On writing a comic versus a novel in “Marjorie Liu on the Road to Making Monstress” https://www.theatlantic.com/entertainment/archive/2017/09/marjorie-liu-monstress-interview/539394/ in The Atlantic (2017 Sep 14)

Art, Way, Thinking

“I have been taking these photographs as I am dead, and then I look back at these photographs to re-experience what it was like, as someone who experienced themselves as a dead person. And they’re the same. It’s very much the same experience, just one is visual and one is more verbal. Both are ways to get through a very difficult experience, and they’re also ways to remember it.”

Esmé Weijun Wang American writer

On using various mediums to highlight an experience in “Schizophrenia Terrifies: An Interview with Esmé Weijun Wang” https://www.theparisreview.org/blog/2019/02/04/schizophrenia-terrifies-an-interview-with-esme-weijun-wang/ in The Paris Review (2019 Feb 4)

Way, Personality, Dead

“Looking at, ie analyzing the so-called the visual elements of an image, we see the surface, the outer look of an artwork. All practical art education (the use of artistic elements, ie art grammar) is mainly focused on this surface analysis. Sometimes, through these elements, it tries to penetrate deep into the essence of the image, into what it initiated and created a work, into an experience (this is the primary task of theory, sociology, and art history). This is very difficult. There are works that undoubtedly suggest its depth and meaning, but there is, at least sometimes, the possibility of a mistake.”

Alfred Freddy Krupa (1971) Croatian contemporary painter, master draughtsman, book artist and art teacher, the pioneer of the New Ink Art m…

Aquarelle - Experiences of a Practitioner, Alfred Freddy Krupa , MB-Tisak (Croatia), 1994
1990s

Education, Art, History

“Plays are events in time and space. Plays are music. Word music. Visual music. I’ve always thought of plays as a form of composition—of text and the architecture of the experience of the full-length evening…”

Caridad Svich (1963) American writer

On how she describes plays in “Making Invisible Stories Seen, Heard and Felt Interview with Caridad Svich” http://www.critical-stages.org/3/making-invisible-stories-seen-heard-and-felt-interview-with-caridad-svich/ in The IATC webjournal/Revue web de l'AICT – Autumn 2010: Issue No 3

Music, Time

“Most of what we get up to in the Laundry is symbolic computation intended to evoke decidedly nonsymbolic consequences. But that’s not all there is to…well, any sufficiently alien technology is indistinguishable from magic, so let’s call it that, all right? You can do magic by computation, but you can also do computation by magic. The law of similarity attracts unwelcome attention from other proximate universes, other domains where the laws of nature worked out differently. Meanwhile, the law of contagion spreads stuff around. 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

Source: The Laundry Files, The Jennifer Morgue (2006), Chapter 12, “Power Breakfast” (p. 254)

Law, Nature, Universe

“Reading in the third millennium B. C. may therefore have been a matter of hearing the cuneiform, that is, hallucinating the speech from looking at its picture symbols, rather than visual reading of syllables in our sense.”

Julian Jaynes book The Origin of Consciousness in the Breakdown of the Bicameral Mind

Book II, Chapter 2, p. 182
The Origin of Consciousness in the Breakdown of the Bicameral Mind (1976)

Sense, Reading

“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.”

Hans Hofmann (1880–1966) American artist

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

Star, Universe

“The problem with world hunger is that rich, powerful governments are more than happy to send guns and money to dictators and despots who’ll use food to control their populations and line their pockets. There is no ‘world hunger’ problem. There’s a corruption problem. There’s a greed problem. There’s a gullibility problem....”
“So there’s a corruption problem,” I said. “Point taken. How about if we make a solution for the corruption problem, then? Maybe we could build some kind of visualizer that shows you if your Congresscritter is taking campaign contributions from companies and then voting for laws that benefit them?”

Cory Doctorow (1971) Canadian-British blogger, journalist, and science fiction author

“What, you mean like every single one of them?”
Source: Short fiction, The Man Who Sold The Moon (2014), p. 149 (ellipsis represents a brief elision of text)

Money, Hunger, Happiness, World

“I don't have a visual imagination. Please, that trivializes my suffering. She [Temple Grandin] blows her own horn all the time.”

Jonathan Mitchell (1955) American writer and activist

American Normal: The Hidden World of Asperger Syndrome

Imagination, Suffering, Time

“[O]ur purpose is to give a presentation of geometry... in its visual, intuitive aspects. With the aid of visual imagination we can illuminate the manifold facts and problems... beyond this, it is possible... to depict the geometric outline of the methods of investigation and proof, without... entering into the details... In this manner, geometry being as many-faceted as it is and being related to the most diverse branches of mathematics, we may even obtain a summarizing survey of mathematics as a whole, and a valid idea of the variety of problems and the wealth of ideas it contains. Thus a presentation of geometry in large brushstrokes... and based on the approach through visual intuition, should contribute to a more just appreciation of mathematics by a wider range of people than just the specialists.”

David Hilbert Geometry and the Imagination

Preface
Geometry and the Imagination (1952)

People, Imagination, Mathematics, Idea

“I want to make films that are about visual pleasure for women. Not worry about whether they are in fashion, whether they are politically correct.”

Anna Biller (1965) film director

Under the Influence: Anna Biller on DONKEY SKIN - 14 Feb 2017, at 4 Min 02 Sec https://www.youtube.com/watch?v=DD9MrwcE7o8 From interview with The Criterion Collection

Women, Pleasure, Making love, Fashion

“Latinos are still considered a bit of 'other', Arabs are still 'others,' Africans as American as they can be are still visually 'other' so I would like to say, 'hey we are part of the same family.' We all contribute to this nation. We overindex in the consumption of entertainment but we underindex in the representation and the quality of representation.”

Esai Morales (1962) American actor

On the “other” status of Latinos in “Esai Morales On Latinos, Hollywood and Trump” https://www.nbcnews.com/news/latino/esai-morales-latinos-hollywood-trump-n426866 in NBC News (2015 Sep 17)

Family, Parting

“The herdist instinct is furthermore not only personal, in the sense that it clamors for a personal collectivism; it creates also a longing and desire for the visual or acoustic contemplation of identitarian or uniformistic phenomena. The true herdist, the man truly dominated by that inferior instinct, will not only rejoice in marching amongst twenty thousand uniformly clad soldiers, all stepping rhythmically in one direction, but he will find an almost equal gratification in contemplating the show from a balcony. He will not only be happy in sitting amidst two hundred other bespectacled businessmen, drinking beer and humming one chant in unison, but the aspect of a skyscraper with a thousand identical windows will probably impress him more than a picture by Botticelli or Zurbarán.”

Erik von Kuehnelt-Leddihn (1909–1999) Austrian noble and political theorist

Pg 16
The Menace of the Herd (1943)

Happiness, Drink, Beer, Sense

“As a writer, I think I’m more an eye than an ear — the world comes mainly in for me at the eye. So I’m glad the visuals came through for you. As I’m writing my books, I really do see them almost literally — I experience scenes almost as an onlooker, watching from the outside.”

Donna Tartt (1963) American writer

Source: On how she uses visualization in her writings in “Interview with Donna Tartt” https://medium.com/@Powells/interview-with-donna-tartt-8d86a2438b41 in Medium (2015 Jul 13)

Books, World, Thinking

“Language is the most formless means of expression. Its capacity to describe concepts without physical or visual references carries us into an advanced state of abstraction.”

Ian Wilson (conceptual artist) (1940–2020) American artist, born 1940

Source: Conceptual Art, (1984), as cited in: " Ian Wilson, plug in #47; exhibition 27/09/2008 - 08/03/2009 http://vanabbemuseum.nl/en/programme/detail/?tx_vabdisplay_pi1%5Bptype%5D=18&tx_vabdisplay_pi1%5Bproject%5D=349 at Van Abbemuseum.nl, The Netherlands.

“My relationship with Italy is really a relationship of memory... of colors and shapes whose roots are in my childhood. I am convinced that anyone raised in Italy has unconsciously received a very incisive visual education. Having constantly been exposed to artistic masterpieces of incredible beauty, one implicitly receives an education in taste that remains unmatched.”

Vincenzo Amato (1966) Italian actor and sculptor

The Artist's Iron Man: a Life in Sculpture and Film http://www.iitaly.org/magazine/focus/art-culture/article/artists-iron-man-life-in-sculpture-and-film (June 30, 2008)

Education, Beauty, Color, Memory

“I am not a visual person. I have spent so many bounded years in my childhood that I have grown used to having books as my window on reality.”

Isaac Asimov (1920–1992) American writer and professor of biochemistry at Boston University, known for his works of science fiction …

In Joy Still Felt (1980), p. 217
General sources

Books, Reality, Childhood, Personality

Quotes about visual page 4

Quotes about visual
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