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Visceral Quotes

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Visceral Quotes

“I have enough friends who are gamers. I actually enjoy watching them play because of the visuals and the storytelling of the games. I just love being able to go on an adventure and games are just so sophisticated now that you can just get lost in a world for 20 hours and just be someone else in a very visceral, emotional way. And that's just fascinating.”

“Intellectual culture seems to separate high art from low art. Low art is horror or pornography or anything that has a physical component to it and engages the reader on a visceral level and evokes a strong sympathetic reaction. High art is people driving in Volvos and talking a lot. I just don't want to keep those things separate. I think you can use visceral physical experiences to illustrate larger ideas, whether they're emotional or spiritual. I'm trying to not exclude high and low art or separate them.”

“People are much more likely to act on their self-percepts of efficacy inferred from many sources of information rather than rely primarily on visceral cues. This is not surprising because self knowledge based on information about one's coping skills, past accomplishments, and social comparison is considerably more indicative of capability than the indefinite stirrings of the viscera”

“Men feel challenged when a woman is in danger, so those types of stories interest women and they interest men on a level that the crimes against men tend to draw a different visceral reaction. Again, not saying it's right, but they tend to draw a different visceral reaction, which is that the man was out in the world doing men stuff and something happened to him.”

“We are living in complex, difficult times and I wanted Syriana to reflect this complexity in a visceral way, to embrace it narratively. There are no good guys and no bad guys and there are no easy answers. The characters do not have traditional character arcs; the stories don't wrap up in neat little life lessons, the questions remain open. The hope was that by not wrapping everything up, the film will get under your skin in a different way and stay with you longer. This seemed like the most honest reflection of this post 9-11 world we all find ourselves in.”

“We consider the Holocaust as being a sort of strange event taking place on another planet; we never understood in a visceral way that this is something that took place in the heart of man. That's something that you can feel, the genocidal tendency is within human nature. It seems that if we forget about this, our future is also compromised.”

“Anything that provokes a visceral or spiritual response and ignites my senses. Whether it's listening to the ocean, dancing to a song I adore, feeling the wind across my face, sampling a fantastic new dish, or witnessing a phenomenal show, if I experience it before I can even think about it, it makes me come alive.”

“Since I hold no judgments against my characters, no matter how heinous they might seem, I present them as real people with their own moral centers. We might feel those moral centers are mis-calibrated, but they are there and are the rudders that propel them. This makes reading my work a visceral roller coaster, 'cause the reader must embark on the journey of the protagonist equipped only with his or her own moral center.”

“Islam is a civilization that is fractured linguistically, ethnically, sectarian-wise, as ours is. What bin Laden has done, though, is to identify a number of issues that are tangible and visceral for Muslims. His indictment list of Western support for Arab tyranny, our ability to keep oil prices too low - at least until recently - our occupation of the Arabian Peninsula.”

“I'm not a big believer in slavishly following research. It's one of the things that's wrong with television is that if you throw the whole - the decision-making process to the research department, you're not making any instinctive, visceral judgments about programs, which are show business.”

“It was exciting to work with director Jennifer Baichwal, who made Manufactured Landscapes and others, on the film of Payback: Debt and the Shadow Side of Wealth. It's called, simply, PAYBACK. Jennifer didn't want to do a transliteration of the book, a kind of illustrated version, but to go into the core of the book: owing and being owed, paying and paying back, on all sorts of levels. So she found real-life, visceral stories that embodied the themes of the book.”

“I had a lot of fantasies about being an architect when I was young, and I think I still do. On a visceral level, I'm very intellectually and emotionally attracted to acknowledging how space functions in our lives, both in terms of pleasure and in terms of control, and in terms of all those factors that form a life. I'm also very anxious and maybe repulsed by how superficial that whole dialogue can become.”

“When students are first at the Kerouac School we harp on Gertrude Stein's very basic poetic insistence that words are things . Not to invalidate your experience or all the great feelings you have, I tell them. Although poetry may be good for you, it's not therapy. You're making something with words which are visceral, muscular, active, not just markers of how you feel. And we have classes studying William Blake, Ezra Pound, Charles Olson, Robert Duncan, Stein.”

“More than anything, I wanted to make sure that everybody was a pusher of difference. And they had to be able to do it in a communicative way, not esoterically. Because there are a lot of people who push things forward but sometimes only you and two people out of 500 in the room get it, but you want somebody who has mastered their craft so well that an 8-year-old gets it just like an 80-year-old gets it. They get the same visceral feeling.”

“And I saw it didn't matter who had loved me or who I loved. I was alone. The black oily asphalt, the slick beauty of the Iranian attendant, the thickening clouds--nothing was mine. And I understood finally, after a semester of philosophy, a thousand books of poetry, after death and childbirth and the startled cries of men who called out my name as they entered me, I finally believed I was alone, felt it in my actual, visceral heart, heard it echo like a thin bell.”

“Travel releases spontaneity. You become a godlike creature full or choice, free to visit the stately pleasure domes, make love in the morning, sketch a bell tower, read a history of Byzantium, stare for one hour at the face of Leonardo da Vinci's 'Madonna dei fusi.' You open, as in childhood, and--for a time--receive this world. There's visceral aspect, too--the huntress who is free. Free to go, free to return home bringing memories to lay on the hearth.”