Sean Booth Quotes

I use depth in my visuals even in 2-D, and found that 3-D is actually liberating.

I think computing power is ready to do 3D justice. It was great for shooters and racing games in the past, but I didn't think it was right for strategy games.

The trade-off between speed and image quality is a key constraint of first-person action games, and the job of developing a workable engine involves constantly optimizing both elements. Gamers dream of the day they'll be able to haul their arsenals through three-dimensional environments of photographic clarity, playing 'Myst' with a meat ax.

I think the work that they do and the style of 3D graphics is absolutely fabulous and I think it's a great brush to use for some stories. And there are other brushes that I think are exclusive to a different kind of story.

We don't know what the next generation of art is going to look like. We're kind of making it up as we go along. Not unlike the tech industry.

The basis for my own work during the years just before coming to America in 1915 was a desire to break up forms - to 'decompose' them much along the lines the cubists had done. But I wanted to go further - much further - in fact, in quite another direction altogether.

Painters, especially American painters since the Second World War, have been much more troubled, beset by formal perplexity, than American writers. They've been a laboratory for everybody.

I don't enjoy movies in 3D. I find I can't engage with the story as well.

Games are getting more interesting. I mean, when we talk about books, they can be anything from a summer blockbuster to 'War and Peace' - well, games are the same. I think the creative side is catching up with the technology.

I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.

I don't particularly enjoy watching films in 3D because I think that a well-shot and well-projected film has a very three-dimensional quality to it, so I'm somewhat sceptical of the technology.

I stick the collages on the wall and, if I still like them after a month or two, I make a painting.

In the mid- to late '60s to the mid-'70s, when I was a student, there was a major change in the thinking about what art can be and how art is made.

Oftentimes, when we think of 3D, we think of things coming out of the screen, but actually, you've got this zero, this negative space, what they call the negative space, which is the scene, what's being filmed in the positive space of the audience. As you can have things come out, you can have all of this depth.

Art is changing. Again. Here. Now. Opportunities to witness this are rare, so attend and observe.

Video games lend themselves completely to 3-D.

I believe in 3D for certain kinds of films. I certainly believe in using 3D for all things in animation because animation has such clarity and so much depth of focus. It worked great with 'Avatar' because 70 percent of that film is animated.

I get a little nauseous and disoriented watching 3D, but as a kid I loved it and I was really into it, so if a movie can be in 3D, then why not?

I'm constantly working on these edges of photography, either to employ so much information or reduce information to the point of collapse.

To the game code, the world is still just a tile map, but for rendering, each map was exported as a general-purpose 3D model, and the artists could then go through it and spend the polygons any way they liked, without the limits of line-of-constant-z software rasterization that we lived with on the mobile phones.

I don't really like watching 3-D.

When I'm at my best, I'm trying to destabilize myself and figure out new ways of approaching art as a provocation. I think I am at my best when I push myself into a place where I don't have all the answers.

Californian artists are kind of willing to push the limits a little bit further just because that's kind of our mentality in that state.

Made in Catteland is a project that aims to overcome the boundaries of the work of art as we're used to thinking of it: exploring new possibilities of reaching the audience through the creation of new forms of art.

The great art of the past became great because it started to go out of the perimeters that defined art and defined new territories.