The mosaic form of the TV image demands participation and involvement in depth, of the whole being, as does the sense of touch. (p. 334)

It has to be visual stuff. Too many radio writers are writing radio gags for television, which is a visual medium.

During the time when I was doing Monitor for the BBC I found that if I wanted to show the detail of a painting it suffered pretty badly. You can get away with it provided the lighting is not too heavily contrasted and the details are not too minute. But by and large the electrical mechanics of television are still at such a primitive stage that almost any fine visual detail suffers and is rubbed away. If it weren't for the fact that it is the only medium available for transmitting things into a large number of homes simultaneously, no one would ever dream of using television as a didactic instrument for showing visual detail.
It is fair to say that if you're showing diagrams on flat surfaces it is not too hard to read the detail. It is terrible, though, for showing any sort of depth—for example, if you're trying to demonstrate not an art object, but a relatively complicated thing like a skull.

We need imagination in programming, not sterility; creativity, not imitation; experimentation, not conformity; excellence, not mediocrity. Television is filled with creative, imaginative people. You must strive to set them free.

In television, images are projected at you. You are the screen. The images wrap around you. You are the vanishing point.

Television is art by committee…I’m lucky to have worked on some really interesting shows, but in film, you’re there to fulfill the director’s vision. If you get to work with great directors, you become a vehicle for that work.

in my own work...there’s an important sense of the visual, of the visualized. I see it all so vividly. It’s not that I don’t see what I imagine. If I don’t see it then I can’t write anything.

The work of television is to establish false contexts and to chronicle the unraveling of existing contexts; finally, to establish the context of no-context and to chronicle it.

Sooner or later, everything turns into television.

The television is 'real'. It is immediate, it has dimension. It tells you what to think and blasts it in. It must be right. It seems so right. It rushes you on so quickly to its own conclusions your mind hasn't time to protest, 'What nonsense!'.

Vision is not enough; it must be combined with venture. It is not enough to stare up the steps; we must step up the stairs. — Vaclav Havel

In television, images are projected at you. You are the screen. The images wrap around you. You are the vanishing point. (p. 125)

Television is becoming a collage — there are so many channels that you move through them making a collage yourself. In that sense, everyone sees something a bit different.

TV is not good at covering single events. It needs a ritual, a rhythm, and a pattern...[TV] tends to fosters patterns rather than events.