Quotes about visual
page 4

Benoît Minisini photo

“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

Joanna Newsom photo
Cornel West photo
Fernand Léger photo
Hans Reichenbach photo
Antoni Tàpies photo

“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

Marshall McLuhan photo

“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

Roger Shepard photo

“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…"

El Lissitsky photo
Noam Chomsky photo

“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

Joe Haldeman photo
Berenice Abbott photo
Jordan Peterson photo
Francis Picabia photo
Arshile Gorky photo
David Chalmers photo
Emilio Insolera photo

“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)

Russell Brand photo
Shelley Long photo

“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

Ken Thompson photo

“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/

Qutb al-Din Aibak photo

“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)

Chester W. Nimitz photo

“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]

“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.

Roger Ebert photo
Anthony Burgess photo
Marshall McLuhan photo

“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

Marcel Duchamp photo

“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

Daniel Dennett photo

“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?"”

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

Henry Moore photo
Eric R. Kandel photo
Marshall McLuhan photo

“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)

Nicholas Serota photo
Roman Vishniac photo

“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

Van Morrison photo
Theo Jansen photo

“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

Roger Bacon photo

“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.”

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

Peter Greenaway photo
Erving Goffman photo
Umberto Boccioni photo

“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

Marshall McLuhan photo

“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)

Marshall McLuhan photo

“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)

Marcel Duchamp photo
Marshall McLuhan photo

“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

Roger Waters photo
Marshall McLuhan photo

“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

John Cowper Powys photo

“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.

“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.

“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.”

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.

“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.

Daniel Levitin photo

“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.”

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.

Kate Bush photo

“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.

Eugéne Ionesco photo

“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.

John D. Barrow photo
Werner Heisenberg photo

“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.

Joseph Priestley photo

“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.

David Bomberg photo

“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.

Erich Fromm photo

“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.

Devdutt Pattanaik photo
Marjorie M. Liu photo

“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)

Esmé Weijun Wang photo

“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)

Alfred Freddy Krupa photo

“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

Charles Stross photo
Cory Doctorow photo
Jonathan Mitchell photo

“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

David Hilbert photo

“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

Esai Morales photo
Donna Tartt photo

“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)

“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.

Isaac Asimov photo

“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