It is impossible that the eye should project from itself, by visual rays, the visual virtue, since, as soon as it opens, that front portion [of the eye] which would give rise to this emanation would have to go forth to the object and this it could not do without time. And this being so, it could not travel so high as the sun in a month's time when the eye wanted to see it.
Leonardo da Vinci
» Leonardo da Vinci - all quotes »
The first time I saw Peter what made the impression was the visual content of what he and Dudley Moore were doing. It was Not Only, But Also..., and Pete and Dud were dressed up as nuns and were bouncing up and down on a trampoline. I rolled off my seat. I thought I'd ever seen anything so hilarious or so surreal or so... well... beautiful. I spent the next four or five years trying to emulate that sort of visual surprise.
Peter Cook
When you think of the visual style, when you think of the visual language of a film there tends to be a natural separation of the visual style and the narrative elements, but whit the great whether is Stanley Kubrick, Terrence Malick or Hitchcock what you're seeing is inseparable, a vital relationship between the images and the story he's telling. [from Chistopher Nolan and David Fincher featurette on Movieweb]
Christopher Nolan
At a very early stage I realised that it's a real problem to perform electronic music on stage because electronic instruments are not particularly convincing on a visual point of view: somebody behind his computer, it's not particularly visual. So I was inspired by the opera. And what was the opera in the 19th century? It was the idea for a musician to join and to work, to collaborate with a stage director, with carpenters, painters, people doing decors, graphic artists to have a visual prolongation, a visual correspondence to their work. That's what I tried to do with the tools of my generation: electronics and video and lights and all that.
Jean-Michel Jarre
I am probably the least sensuous of all living beings; being almost exclusively visual and quasi-abstract in imagination, and tending to view and enjoy all things as a passive, detached, and sometimes remote spectator. Those arts which appeal most to the ideational imagination—the sense of drama, pageantry, historic flux, collective organisation, or escape from the natural limitations of time, space, and natural law—are undoubtedly those which appeal chiefly to me. Even my strong love of architectural and decorative beauty is probably largely dependent upon the historical bearings of the forms and motifs in which I delight. I am not wholly insensible to abstract form, but seem to relish the associative element in art more instantly and acutely than the lyrical or mathematical element . . . I don't really revel in anything unless it reminds me of something else either real or visionary—unless it opens up visual avenues of linked pseudo-recollections leading to sensations of ego-expansion and liberation . . . usually bringing in the element of time, somehow based on the past, and harbouring hints of an elusive, intangible kind of adventurous expectancy.
H. P. Lovecraft
The function [of objective thinking] is to reduce all phenomena which bear witness to the union of subject and world, putting in their place the clear idea of the object as in itself and of the subject as pure consciousness. It therefore severs the links which unite the thing and the embodied subject, leaving only sensible qualities to make up our world (to the exlusion of the modes of appearance which we have described), and preferably visual qualities, because these give the impression of being autonomous, and because they are less directly linked to our body and present us with an object rather than introducing us into an atmosphere. But in reality all things are concretions of a setting, and any explicit perception of a thing survives in virtue of a previous communication with a certain atmosphere. p. 374
Maurice Merleau-Ponty
Vinci, Leonardo da
Vine, Stella
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