From a creative standpoint, I'm interested not only in the idea of helping couples and women, but challenging myself creatively, and doing each one better than the last thing I did. I think by doing that, by adding a visual element to these films, it really makes a huge difference.
Video games are perfect to make into films because they are so visual.
In the past, people couldn't place me. They thought that I was Danish or English or French. They never got that I am Italian. I'm not typical, maybe because my visual education was very mixed. There was a lot of London in my aesthetic: The Face, i-D, British music, and a lot of British fashion . . . But I really enjoy this contrast.
And as particles are living digital elements, moving on their own according to the various attributes (such as weight, speed, shape) given to them by the animator, we don't know what the visual result will be until everything is completed. This result can often be unsatisfying, obliging us to repeat the process all over again, with new features.
And luckily, for whatever reason, I've found people who are interested in living with and owning and existing around the DNA of my mind, which is my visual work. I've found collectors who are willing to put money down to live with my work. So I can't criticize the whole mechanism. But I can criticize it as an artist, in spite of the fact that I benefit from it. And there are problems with it.
I someday hope to find the time and coin to invest more of my creative energy towards the visual media side of releasing music. I'd love to make short film videos pushing the conventional standards of what a country music video can be.
I hope that many visual journalists will be hired or funded along the way as well - we urgently need their perspectives.
We also use our imagination and take shortcuts to fill gaps in patterns of nonvisual data. As with visual input, we draw conclusions and make judgments based on uncertain and incomplete information, and we conclude, when we are done analyzing the patterns, that out picture is clear and accurate. But is it?
To accept Naturalism is to reject such entities as Cartesian minds, private visual and tactual spaces, angelic beings and God.
I write my novels longhand. I love the feeling of writing; I love to see pen on paper. It feels more creative than typing, and it's a more visual process for me - I can picture the entire scene in my head and am merely writing what I see.
When you drive a car, either you manage it and feel it with the grip of the car, or, like me, you fix it on visual speed. If you do it through the grip, you lose it very quickly - because when the track changes, you can have scares. I do it visually, so if I am going too fast I fight to get the car back, but I do not do it by feeling the grip.
The images are visual, auditory, olfactory, kinesthetic. They aren't laid down on the same tracks as thought. And sometimes, when they return to you, it is as if you feel them for the very first time. Memory lives on in the details, like the color of a room, a tone of a voice, the touch of a child, the smell of a man.
I loved all those Doris Day visuals of her being a tomboy and then changing into this gorgeous girl in a ballgown.
I hope my visual language inspires others to tell their stories and challenges people's thinking.
There's some connection between visual images and music. But there's plenty of old records where I have no idea what the band looked like, or even what sort of context the music was played in.
My biggest influence growing up was Mad magazine, which is a very text-heavy form of visual satire. I didn’t grow up wanting to draw donkeys and elephants with the names of politicians written across them.
Puppets are pure form then ideas for performance come out of that. It's always the form and the visuals and that's why I like to make puppets in a gallery or museum. They're not often in those contexts.
The danger of these collaborations across disciplines is in having too strict of a division of labor - in my case, of getting stuck doing the music. When I make an album, I write music, I write lyrics, I come up with the visual design, etc. I get to do all of that stuff.
What I'm doing in writing has been thoroughly and exhaustively explored in other fields like visual art, music, and cinema, yet somehow it's never really been tested on the page.
I've always written songs with a visual counterpart in my mind that no one else can see.
I'm a very visual person and I love the ability to tell stories through images.
When you walk around, your vision system is processing a whole bunch of signals in milliseconds and judging that a visual object is a wall, or an imminent cliff, or a car heading towards you. This might be disturbing to a lot of people, but some of those guesses are errors.
Color, like everything else concerning visual expression, usually boils down to a gift, an innate sensibility and sensitivity. Ultimately, artists develop their own palette and color sense.
If you take an intense color and put an intense complement next to it without graying it, it's very hot. The gray allows the eye to do the visual mixing.
Visual journaling allows us to access our inner language of imagery and express it both verbally and visually, while exploring the connection between image and word.
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