In science, probably ninety-nine percent of the knowable has to be discovered. We know only a few streaks about astronomy. We are only beginning to imagine the force and composition of the atom. Physics has not yet found any indivisible matter, or psychology a sensible soul.
If we consider what science already has enabled men to know-the immensity of space, the fantastic philosophy of the stars, the infinite smallness of the composition of atoms, the macrocosm whereby we succeed only in creating outlines and translating a measure into numbers without our minds being able to form any concrete idea of it-we remain astounded by the enormous machinery of the universe.
Music, art, and literature are inseparable for me. How does "composition" evolve in a music and art context? It's a question we can never answer: it only asks for more information and generates more questions.
Taxing is an easy business. Any projector can contrive new compositions, any bungler can add to the old.
The way I understand composition and form and my ability to enter into material all comes from my disciplines and my commitment as a painter - my energy, my arm, my eyes, my sense of space and form and time. It's a wonderful realm for me. I never leave it.
When I design buildings, I think of the overall composition, much as the parts of a body would fit together. On top of that, I think about how people will approach the building and experience that space.
Human happiness seems to consist in three ingredients; action, pleasure and indolence. And though these ingredients ought to be mixed in different proportions, according to the disposition of the person, yet no one ingredient can be entirely wanting without destroying in some measure the relish of the whole composition.
Whenever you take a subject you're obsessed with or that haunts you, and make a movie about it, you're converting it into work units that need to be completed. You gotta turn it into a treatment, a script, a grant application, a bunch of forms to be filled out, a shooting schedule, casting sessions, auditions, shooting, editing, music compositions, the film festival circuit, interviews even. And by the time you've finished the process you're so sick and tired by something that was once very precious to you that you're done with it.
It was in Shizuoka, where my home was. I first attended this school when I was five years old. I also attended a regular elementary school, and I was taking piano lessons with a local teacher. I began to study composition at the Yamaha school. And I continued to study there until the age of 15.
Well, I've heard a lot of people, but I think I would say a Brazilian musician named Hermeto Pascoal was one of my biggest influences. Through the years he mastered the keyboards. He use to play the organ Hammond B3, flute, saxophone, percussion and guitar. He is one of the most complete musicians that I ever met. Not too long after we came to the United States, Airto Moreira introduced him to Miles Davis, who recorded three of Hermeto's compositions on his album "Live Evil.
If we start with chimpanzees, they differ from us with the composition of the DNA by only just over one percent. So, as far as genetics go, we're almost identical. The composition of the blood, the immune system, the structure of the brain - almost identical.
My first serious attempts at writing were made in 1868, and I took up two very different lines of composition; I wrote some short stories of a very flimsy type, and also a work of a much more ambitious character, 'The Lives of the Black Letter Saints.'
No man should be viewed as having more to offer the world than another. We are all equals and every human being has something of value in their composition which makes them unique, just as every country has their own unique resources to share with the world. Never discount somebody based on material wealth, for true wealth is what cannot be seen. Never discount a country by what they can't provide your country, while their resources may benefit other lands in need.
The first part of my career was indeed as a performer and recording artist, and I am still keenly involved with both. While rummaging around in the British Library, I found many delightful and interesting compositions by 18th-century men and women composers.
...a photographer must be aware of and concerned about the words that accompany a picture. These words should be considered as carefully as the lighting, exposure and composition of the photograph.
As all nocturnal creatures, I have a tendency to wander about during the night, embracing and relishing in its mysteriousness, unexplained sounds, and thick aura of darkness. As a pianist I was drawn to compositions with the titles of Nocturne and Notturno - from Maria Szymanowska's Nocturne in B-flat to John Field and Frederic Chopin's Nocturnes. The night offers a myriad array of emotions from solace to absolute horror. I tried to infuse some of these terrifying thoughts, as well as solace that only night can bring into Night Soundings.
I took some comp for non-comp major classes with Giacomo Bracali and Ludmila Ulela, who was a really famous composition teacher.
Essentially, I look for what is interesting to me, out there in the three-dimensional world, and translate or interpret so that it becomes visually pleasing in a two-dimensional photographic print. I search for subject matter with visual patterns, interesting abstractions and graphic compositions.
For me, this is one of the advantages of not using digital, I never know when I have a good photograph! I practice doubt as a way to push myself into alternative compositions by selective focus, different speeds of exposure, and unusual perspectives.
Oil companies are radical because they're willing to alter the chemical composition of the atmosphere.
Do not think I do not realise what I am doing. I am making a composition using the following elements: the winter beach; the winter moon; the ocean; the women; the pine trees; the riders; the driftwood; the shells; the shapes of darkness and the shapes of water; and the refuse. These are all inimical to my loneliness because of their indifference to it. Out of these pieces of inimical indifference, I intend to represent the desolate smile of winter which, as you must have gathered, is the smile I wear.
You have to study composition to understand that things can be done backwards and forwards and upside down, inverted, but it's mainly just an inner valid intuitive thing. Where do you want to go? Ok this is busy, or this needs some space, or this is too much space so now I want to put more notes in there or something. It's all about contrast. High, low. Fast, slow, thick or thin or what have you. And it's the same with improvisation.
For me, it's important that a movie is the congregate of all art forms, from writing to art composition to music to performing. Trying to keep a balance of all those is what I think a director's job is.
When we look at the universe, what we see by eye or with our telescopes is only five percent of the universe. The rest, 95 percent is dark. Dark meaning, first of all, not visible to our instrument. Second, dark also indicates our ignorance. We don't know what's the composition of this part of the universe.
The conception, composition, practice, and performance of a piece of music can blossom in a single moment.
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