In the 1950s we use to feel that television was taking away our comic readership; with today's exciting, powerfully visual movies I have to wonder about their effect on the kids' loyalty to the comic book medium all over again.
I don't think that my work is very moralistic - at least, I try to avoid that. I grew up with that sermonising tendency, and I don't think visual work operates like that.
Communication is the key, and it's one thing I had to learn-to talk to the actors. I was so involved with the visual and technical aspects that I would forget about the actors.
I'm never going to be one of those people who is good at organization. But I'm very visual. I have a catalog in my head of things I already own, so it's easy to shop and I always know exactly what I'm looking for.
A lot of art and visual crafts are based on appropriating things.
With 'Anna Karenina,' I just think it's a stunning visual tour de force for a director who is at the top of his game.
I tried the second season of 'American Horror Story,' and it scared me horribly. I guess I prefer my own imagination to a realized visual.
It's pretty hard to measure influence of written or visual material.
When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
I played the violin my whole life. I wanted to play from the time I was just a little kid, and I've always loved dance as well. I wanted to make people smile. I wanted to add an extra energy to my playing and make it visual and make it unique and fun.
I really want to do a book on the history of the no-wave music scene in New York, how it extended out and formed lots of other things. It was such a great visual culture.
I don't really have a drive toward being a director at all. Not that I wouldn't rule it out, but I just don't think my instincts lie necessarily in a very visual way. But I am very interested in storytelling, narrative and character development, so writing is something that I absolutely want to do.
At some stage in the process, most mainstream pop records are being manipulated and possibly completely rebuilt on a computer, with a visual program.
The way I create music is maybe like a painting, to compose in a more visual way. Basically it's the music that I want to hear- that's my inspiration and bottom line. I just try to get ideas from books, movies, paintings.
I am interested in ideas, not merely in visual products.
Film is probably the medium best suited to reach the most people - the visual, the aural, the limbic, the intellectual: it captures all these parts of our mind and soul. No other art form comes close.
I think that cognitive scientists would support the view that our visual system does not directly represent what is out there in the world and that our brain constructs a lot of the imagery that we believe we are seeing.
When you're talking about Tim Burton, you're talking about a guy that has such a visual sense, an aesthetic, a storytelling style. It's like he's got his own genre.
But I think we're also just talking about the literacy of the audience. The visual literacy of the audience. They've seen so many images now, especially here in the States. There's so much to look at, to watch. So the visual storytelling literacy is harder to impress.
It has been said that 80% of what people learn is visual.
Israel is a wonderful place to be an artist - a place where imagination flourishes. Israeli culture is refreshingly avant garde - making films, music, performance art and visual art that continues to push the envelope, inspire and empower.
A painter tries to convey to us a picture of the world as he sees it; an ophthalmologist tries to enable us to see the world as it really is. The logotherapist's role consists of widening and broadening the visual field of the patient so that the whole spectrum of potential meaning becomes conscious and visible to him.
Movies are visual, aural, they involve people, and life, and ideas and art, they are so elastic. They can hold anything, withstand everything, and make you feel anything. Other arts can do that, but movies are the only ones that can incorporate other media into cinema.
I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.
Visual art and writing don't exist on an aesthetic hierarchy that positions one above the other, because each is capable of things the other can't do at all. Sometimes one picture is equal to 30 pages of discourse, just as there are things images are completely incapable of communicating.
Adam does most of the work when it comes to videos and he basically does the same as I do with the lyrics. The videos are his visual interpretations of our music.
Visual storytelling of one kind or another has been around since cavemen were drawing on the walls.
It's thought that about 96% of us have visual imagery, and there's a very tiny minority in the population, some of whom are normal, some of whom have brain lesions, who cannot produce visual imagery.
When people in stadiums do the Wave, it's the group-mind collective organism spontaneously organizing itself to express an emotion, pass time, and reflect the joy of seeing the rhythms of many as one, a visual rhyming or music in which everyone senses where the motion is going.
For many years in my laboratory and other laboratories around the world, we've been studying fly behaviors in little flight simulators. You can tether a fly to a little stick. You can measure the aerodynamic forces it's creating. You can let the fly play a little video game by letting it fly around in a visual display.
I like visual images and there are certainly other bands that have strong visual images going all the way back to Elvis Presley, but it's kind of like that's never really been my bag. Probably because I'm too shy.
Around the time I began starving, in the early eighties, the visual image had begun to supplant text as culture's primary mode of communication, a radical change because images work so differently than words: They're immediate, they hit you at levels way beneath intellect, they come fast and furious.
Women spend their lives trying to look good for men. So a woman who feels she's sending the right visual signals is pleased with herself.
With the violin, for example, one understands culturally that the sound comes from the instrument that can be seen. With electronic music, it is not the same at all. That's why it seemed so important to me, from the beginning of my career, to invent a grammar, a visual vocabulary adapted to electronic music.
The issue in Web accessibility is the fact that blind and visually-impaired people need the single biggest boost to achieve equivalence, since the real-world Web is a visual medium.
I used to hate, with a capitol H, making videos. It was nothing but a chore. It was something you had to do to have your music accepted in the visual medium.
