The function of Art is to imitate Nature in her manner of operation. Our understanding of her manner of operation&Rdquo; changes according to advances in the sciences.
The responsibility of the artist consists in perfecting his work so that it may become attractively disinteresting.
Beware of losing what isn't in your head.
Out of the work comes the work.
In the dark, all cats are black.
We carry our homes within us which enables us to fly.
I remember loving sound before I ever took a music lesson. And so we make our lives by what we love.
When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic - here on Sixth Avenue, for instance - I don’t have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound... I don’t need sound to talk to me.
If you don't have enough time to accomplish something, consider the work finished once it's begun.
We are not committed to this or that. We are committed to the nothing in-between, whether we know it or not.
In an utter emptiness anything can take place.
I believe the use of noise to make music will increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.
I never had a hat, never wore one, but recently was given a brown suede duck-hunting hat. The moment I put it on I realized I was starved for a hat. I kept it warm by putting it on my head. I made plans to wear it especially when I was going to do any thinking. Somewhere in Virginia, I lost my hat.
The attitude I take is that everyday life is more interesting than forms of celebration, when we become aware of it. That when is when our intentions go down to zero. Then suddenly you notice that the world is magical.
Where does beauty begin? Where does it end? Where it ends is where the artist begins.
It was at Harvard not quite forty years ago that I went into an anechoic [totally silent] chamber not expecting in that silent room to hear two sounds: one high, my nervous system in operation, one low, my blood in circulation. The reason I did not expect to hear those two sounds was that they were set into vibration without any intention on my part. That experience gave my life direction, the exploration of nonintention. No one else was doing that. I would do it for us. I did not know immediately what I was doing, nor, after all these years, have I found out much. I compose music.
People paying attention to vibratory activity, not in reaction to a fixed ideal performance, but each time attentively to how it happens to be this time, not necessarily two times the same. A music that transports the listener to the moment where he is.
I want to change my way of seeing, NOT my way of feeling. I was perfectly happy about my feelings.
Nothing more than nothing can be said.
Discord occasions a momentary distress to the ear, which remains unsatisfied, and even uneasy, until it hears something better. I am convinced...that provided the ear be at length made amends, there are few dissonances too strong for it. Disharmony, to paraphrase Bergson's statement about disorder, is simply a harmony to which many are unaccustomed.
It is not futile to do what we do. We wake up with energy and we do something. And we make, of course, failures and we make mistakes, but we sometimes get glimpses of what we might do next.
We only hear what we listen for.
Our poetry now is the realization that we possess nothing. Anything therefore is a delight (since we do not posses it) and thus need not fear its loss.
When you make music you are acting as a philosopher. You can either do that consciously or you can do it unconsciously, but you're doing it.
I certainly had no feeling for harmony, and Schoenberg thought that that would make it impossible for me to write music. He said, 'You'll come to a wall you won't be able to get through.' So I said, 'I'll beat my head against that wall.'
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