I’m struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity.
One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn’t if you knew better.
There are hundreds of manufacturers always producing dvices that in general do the same things. Since they have slight structural differences if you take one and fool around with it and give it a good kick it will actually do something that it wasn’t designed to do.
I can see the use and value of religion, just as I can see the use of mud wrestling, yoga, astronomy and sadomasochism. but I reject the idea that you can’t be a deep human being without it or any of them.
The texture suggests some kind of mood, and the mood suggests some kind of lyric. That’s like working in reverse, often quite the other way around, from sound to song. Although often they stop before they get to the song stage.
You know that in order to copyright material somebody has to write it down for you. Any piece of recorded material has to be scored in order for it to be copyrighted.
There’s a kind of edge to what you’re doing, the kind of leading edge of what you’re doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. “I’ve pulled that one out before. Oh, no, I can’t I’m just fed up with that.
So, I try to make signs, graphically and visually, to say to people “Okay, this is this department of my work and this is this other department of my work.” And of course I’m very pleased if people like all of them, but I don’t want them to feel deceived at any point.
Cultural objects have no notable identity outside of that which we confer upon them. Their value is entirely a product of the interaction that we have with them.
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