I write when I have to; I write when the song is done and I deal with the idea and I just go with it and I'll become what that song is all about until I have finished it. And when you do that, it makes the song more visual, it makes it more personal.
'Instagram' is a media company. I think we're about visual media. I explain ourselves as a disruptive entertainment platform that enables communication through visual media. I don't think it's just photos.
I love storytelling, I love being a visual person, and it just made perfect sense to be an underwater photographer and explore the ocean and work with scientists.
We often forget that everything we see, animate or inanimate, is a visual manifestation of the work of our invisible God. We have become so accustomed to trees, mountains, sky, air, water, flowers, animals, vegetables and people that we no longer see them for what they are - God's work.
Despite their lack of visual impact, headline sex-appeal, and their 'out of sight, out of mind' nature, we should all care about aquatic dead zones because we are all connected to their causes and we all feel their impacts.
When the target audience is American teenage kids, you can have problems. My generation prized really fine acting and writing. Sometimes you have to go back to the basic principles which underpin great visual comedy.
As both a fine artist and a graphic designer, I specialize in the visual presentation of words.
I know that everyone who listens to radio creates you in a visual image that they need you to have. Whatever that is, I thought, let them have it. Let me be who the listener needs me to be and let me not contradict that with the reality of my photograph and risk disappointing them.
Architecture is a visual art, and the buildings speak for themselves.
I've always been into visual effects. It was something I took keen interest in before films happened. Ironically, I am a part of 'Raaz 3,' a film that is shot entirely on 3D. It has encouraged me to pursue my dream. Hopefully, if time permits, I will travel to the United States and attend a crash course in visual graphics and animation.
My personal style at this point in my life is more audio; it's more driven on less visual and more musicality. But because of my upbringing, my fabulous mentors and teachers that I've had throughout my dance journey or career, I also possess a style that is of the past. It was just a matter of me reaching back.
I felt I really wanted to back off from music completely and just work within the visual arts in some way. I started painting quite passionately at that time.
I think my books come out very visual, which is an obvious consequence.
Instagram is a media company. I think we're about visual media.
I learned in the computer game business early on that all senses are not equal. The best example is, you're listening to a radio play and you're driving down the road, and suddenly you realize you haven't seen the road in five minutes. It's because your visual cortex has been partying with your imagination, basically.
Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.
I'm not a big fan of visual effects.
In 1983, I became the Vincent and Brook Astor Professor at The Rockefeller University, where I established a new Laboratory of Neurobiology and continued my close collaboration with Charles Gilbert on the circuitry of primary visual cortex.
I've been designing since I was 8. I started sketching dresses I could wear when skating. I was always involved in all aspects of skating, not just the technique, the choreography, the music, but the visual aspects, too - what I should wear.
As bad as we are at remembering names and phone numbers and word-for-word instructions from our colleagues, we have really exceptional visual and spatial memories.
Kids cannot follow stories. They don't know what the hell is going on in a cartoon. They like to see funny visual things happening.
Be drawn to the visual arts for it can expand your imagination.
Jazz vision is a wordless conversation between musical notes and visual expressions.
You know, things that might work in a book just do not work in the visual medium of movies.
At the School of Visual Arts in New York, you can get your degree in Net art, which is really a fantastic way of thinking of theater in new ways.
I just dreamed about living in Paris and being French. I always loved the visual arts, film and theatre, and I hoped to be involved in creating beautiful products and images.
I learned first of all not to be intimidated by any visual effects that I don't understand. It can all be learned. You can then use them as tools to tell your story. I also learned that you have to be really vigilant, the more complex the movie, to not lose yourself and to not lose sight of the priority.
I kind of write about visual art the way Roger Angell writes about baseball, which is to say, you're writing about life: it's a somewhat focused, limited terrain in which you write about everything.
I try to ask visual questions. I'll ask what someone was wearing, if that seems relevant. If possible, I'll walk over the same ground that they're depicting. Of course, I can never get it precisely as it was.
I think television has betrayed the meaning of democratic speech, adding visual chaos to the confusion of voices. What role does silence have in all this noise?
We've carried that over into the visual development as well. We've designed quite an exotic cast of characters, but the last thing we want is to dictate to the players how their PCs should look. What we want to do is inspire.
I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
In France, they call the people who come to the theatre 'les spectateurs'; in Britain and Ireland, they are the audience, the people who listen. This does not mean the French are not interested in language. On the contrary. It actually says more about the undeveloped visual sense over here.
When I began to choreograph and find my way pulling other artists' dreams out and changing music in a visual way, there was still a part of me that had something more to say. There was still a desire to rock a stage and ultimately perform the eight count of my dream, but there was a lot of insecurity there.
I like working closely with artists. I think that's very important in fantasy and science fiction - the visual aspect of the worlds and the characters.
You don't go see Primus to see what kind of new clothing I'm wearing or what my new hairdo is. You come to see Primus for the musical experience and the visual experience. I think, anyways. Maybe I'm wrong!
