Electronic Music Quotes

We've searched our database for all the quotes and captions related to Electronic Music. Here they are! All 142 of them:

If Pac-Man had affected us as kids, we'd all be running around in dark rooms, munching pills and listening to repetitive electronic music.
Marcus Brigstocke
He let his mind wander slightly closer to his present. Electronic music bled into his awareness, reminding him that his body was actually in Ronan’s car. In this other place, it was easy to tell that the music was the sound of Ronan’s soul. Hungry and prayerful, it whispered of dark places, old places, fire and sex.
Maggie Stiefvater (The Raven King (The Raven Cycle, #4))
When we read, we decide when, where, how long, and about what. One of the few places on earth that it is still possible to experience an instant sense of freedom and privacy is anywhere you open up a good book and begin to read. When we read silently, we are alone with our own thoughts and one other voice. We can take our time, consider, evaluate, and digest what we read—with no commercial interruptions, no emotional music or special effects manipulation. And in spite of the advances in electronic information exchange, the book is still the most important medium for presenting ideas of substance and value, still the only real home of literature.
Andrew Clements
Rule #1: You may bring only what fits in your backpack. Don’t try to fake it with a purse or a carry-on. Rule #2: You may not bring guidebooks, phrase books, or any kind of foreign language aid. And no journals. Rule #3: You cannot bring extra money or credit/debit cards, travelers’ checks, etc. I’ll take care of all that. Rule #4: No electronic crutches. This means no laptop, no cell phone, no music, and no camera. You can’t call home or communicate with people in the U.S. by Internet or telephone. Postcards and letters are acceptable and encouraged. That’s all you need to know for now.
Maureen Johnson (13 Little Blue Envelopes (Little Blue Envelope, #1))
If movements were a spark every dancer would desire to light up in flames.
Shah Asad Rizvi
Show me a person who found love in his life and did not celebrate it with a dance.
Shah Asad Rizvi
Life is an affair of mystery; shared with companions of music, dance and poetry.
Shah Asad Rizvi
Three days later, Mrs. Dalloway was in the hall, blocking the classroom door. 'Hi there, Dick. Are you prone to seizures?' 'Uh, no.' Thirty minutes later I was wishing I'd said 'Uh, yes,' because then she's have had to turn off the strobe light. Then again, it might not have made a difference; the loud electronic music and Mrs. D's yelling probably would have been enough to do me in anyway.
Mindi Scott (Freefall)
Adam relented. As they kept walking and the Orphan Girl kept piping her song and the fish kept darting through the air around them, he threw out intention of his own. The volume of the resulting boom surprised even him; he heard it in one ear and felt it in both feet. The others all startled as another bass-heavy boom sounded at the beginning of the next measure of the tune. By the time the third thud came, it was obviously pounding in time with the music. Each of the trees they passed sounded with a processed thud, until the sound around them was the pulsing electronic beat that invariably played in Ronan’s car or headphones. “Oh God,” Gansey said, but he was laughing. “Do we have to endure that here, too? Ronan! ” “It wasn’t me,” Ronan said. He looked to Blue, who shrugged. He caught Adam’s eye. When Adam’s mouth quirked, Ronan’s expression stilled for a moment before turning to the loose smile he ordinarily reserved for Matthew’s silliness. Adam felt a surge of both accomplishment and nerves. He skated an edge here. Making Ronan Lynch smile felt as charged as making a bargain with Cabeswater. These weren’t forces to play with.
Maggie Stiefvater (The Raven King (The Raven Cycle, #4))
Picture a thirteen-year-old boy sitting in the living room of his family home doing his math assignment while wearing his Walkman headphones or watching MTV. He enjoys the liberties hard won over centuries by the alliance of philosophic genius and political heroism, consecrated by the blood of martyrs; he is provided with comfort and leisure by the most productive economy ever known to mankind; science has penetrated the secrets of nature in order to provide him with the marvelous, lifelike electronic sound and image reproduction he is enjoying. And in what does progress culminate? A pubescent child whose body throbs with orgasmic rhythms; whose feelings are made articulate in hymns to the joys of onanism or the killing of parents; whose ambition is to win fame and wealth in imitating the drag-queen who makes the music. In short, life is made into a nonstop, commercially prepackaged masturbational fantasy.
Allan Bloom (The Closing of the American Mind)
To the Technocrats: Have mercy on us. Relax a bit, take time out for simple pleasures. For example, the luxuries of electricity, indoor plumbing, central heating, instant electronic communication and such, have taught me to relearn and enjoy the basic human satisfactions of dipping water from a cold clear mountain stream; of building a wood fire in a cast-iron stove; of using long winter nights for making music, making things, making love; of writing long letters, in longhand with a fountain pen, to the few people on this earth I truly care about.
Edward Abbey (Postcards from Ed: Dispatches and Salvos from an American Iconoclast)
And in her ears the little Seashells, the thimble radios tamped tight, and an electronic ocean of sound, of music and talk and music and talk coming in, coming in on the shore of her unsleeping mind. The room was indeed empty. Every night the waves came in and bore her off on their great tides of sound, floating her, wide-eyed, toward morning. There had been no night in the last two years that Mildred had not swum that sea, had not gladly gone down in it for the third time.
Ray Bradbury (Fahrenheit 451)
What was remarkable was that associating with a computer and electronics company was the best way for a rock band to seem hip and appeal to young people. Bono later explained that not all corporate sponsorships were deals with the devil. “Let’s have a look,” he told Greg Kot, the Chicago Tribune music critic. “The ‘devil’ here is a bunch of creative minds, more creative than a lot of people in rock bands. The lead singer is Steve Jobs. These men have helped design the most beautiful art object in music culture since the electric guitar. That’s the iPod. The job of art is to chase ugliness away.
Walter Isaacson (Steve Jobs)
With the years and convulsions of history, the word-as reductionist as the dictionary itself-has undergone absurd metamorphoses. In some countries, they prefer the word "destabilization." Poor" countries no longer exist, just "disadvantaged" or "underprivileged" ones. We say "brainwashing" instead of "propaganda." And now we refer to revolutions in fashion, music and electronics, where ink flows but not blood. The point is profit, not truth
Elie Wiesel (Hostage)
Just because your electronics are better than ours, you aren't necessarily superior in any way. Look, imagine that you humans are a man in LA with a brand-new Trujillo and we are a nuhp in New York with a beat-up old Ford. The two fellows start driving toward St. Louis. Now, the guy in the Trujillo is doing 120 on the interstates, and the guy in the Ford is putting along at 55; but the human in the Trujillo stops in Vegas and puts all of his gas money down the hole of a blackjack table, and the determined little nuhp cruises along for days until at last he reaches his goal. It's all a matter of superior intellect and the will to succeed. Your people talk a lot about going to the stars, but you just keep putting your money into other projects, like war and popular music and international athletic events and resurrecting the fashions of previous decades. If you wanted to go into space, you would have.
George Alec Effinger (Live! from Planet Earth)
Karlheinz Stockhausen to journalist: "I heard the piece Aphex Twin of Richard James carefully: I think it would be very helpful if he listens to my work "Song of the Youth," which is electronic music, and a young boy's voice singing with himself. Because he would then immediately stop with all these post-African repetitions, and he would look for changing tempi and changing rhythms, and he would not allow to repeat any rhythm if it [was] varied to some extent and if it did not have a direction in its sequence of variations.” Aphex Twin to journalist: "I thought he should listen to a couple of tracks of mine: 'Didgeridoo,' then he'd stop making abstract, random patterns you can't dance to".
Karlheinz Stockhausen
techno boy -- seventeen years old. junior. red car. works at a restaurant. it hurts when he smiles. dandruff. computers, electronic music. seeking a girl that won't eat his heart with a steak knife.
Zoe Trope (Please Don't Kill the Freshman)
I was listening to this playlist I’d made for her, headphones clamped over my ears. It was the story of us in music, except it wasn’t finished yet. I had this plan that I’d add a new song every month, so that the playlist would keep going as long as we did. It was sort of an electronic version of adopting a tree, which I’d done in the Carbon Footprint Awareness Club, but only because it had looked good, not because I’d actually wanted to. Keeping a playlist alive sounded much more me.
Robyn Schneider (Extraordinary Means)
This is me trying to bridge the gap and make a record that I’m truly proud of, I’ve got my 80s side and my indie side, my super pop slant and the electronic music that I love. I wanted to make happy, feel-good music. It all comes from an organic place
Blake Lewis
And before you say this is all far-fetched, just think how far the human race has come in the past ten years. If someone had told your parents, for example, that they would be able to carry their entire music library in their pocket, would they have believed it? Now we have phones that have more computing power than was used to send some of the first rockets into space. We have electron microscopes that can see individual atoms. We routinely cure diseases that only fifty years ago was fatal. and the rate of change is increasing. Today we are able to do what your parents would of dismissed as impossible and your grandparents nothing short of magical.
Nicolas Flamel
At the same time I grew increasingly dissatisfied and irritable with what we are prone to call normal life. Except for wine, music, and books, I disliked shopping. Television grated on my nerves, the commercials in particular, so I got rid of the television. I found it harder and harder to rouse any interest in sports, celebrities, electronic gadgets, the chatter of the culture, the latest this or that. Nor did I have any desire to own a house, or get rich, or start a family. I wanted to keep traveling and see the world, live an eventful, unpredictable life with as much personal freedom as possible, and have a few adventures along the way.
Richard Grant (God's Middle Finger: Into the Lawless Heart of the Sierra Madre)
My freedom thus consists in my moving about within the narrow frame that I have assigned to myself for each one of my undertakings. I shall go even further: my freedom will be so much the greater and more meaningful the more narrowly I limit my field of action and the more I surround myself with obstacles. Whatever diminishes constraint diminishes strength. The more constraints one imposes, the more one frees oneself of the claims that shackle the spirit.” — Igor Stravinsky, Poetics of Music
Dennis DeSantis (Making Music: 74 Creative Strategies for Electronic Music Producers)
The story of the rapper and the story of the hustler are like rap itself, two kinds of rhythm working together, having a conversation with each other, doing more together than they could do apart. It's been said that the thing that makes rap special, that makes it different both from pop music and from written poetry, is that it's built around two kinds of rhythm. The first kind of rhythm is the meter. In poetry, the meter is abstract, but in rap, the meter is something you literally hear: it's the beat. The beat in a song never stops, it never varies. No matter what other sounds are on the track, even if it's a Timbaland production with all kinds of offbeat fills and electronics, a rap song is usually built bar by bar, four-beat measure by four-beat measure. It's like time itself, ticking off relentlessly in a rhythm that never varies and never stops. When you think about it like that, you realize the beat is everywhere, you just have to tap into it. You can bang it out on a project wall or an 808 drum machine or just use your hands. You can beatbox it with your mouth. But the beat is only one half of a rap song's rhythm. The other is the flow. When a rapper jumps on a beat, he adds his own rhythm. Sometimes you stay in the pocket of the beat and just let the rhymes land on the square so that the beat and flow become one. But sometimes the flow cops up the beat, breaks the beat into smaller units, forces in multiple syllables and repeated sounds and internal rhymes, or hangs a drunken leg over the last bap and keeps going, sneaks out of that bitch. The flow isn't like time, it's like life. It's like a heartbeat or the way you breathe, it can jump, speed up, slow down, stop, or pound right through like a machine. If the beat is time, flow is what we do with that time, how we live through it. The beat is everywhere, but every life has to find its own flow. Just like beats and flows work together, rapping and hustling, for me at least, live through each other. Those early raps were beautiful in their way and a whole generation of us felt represented for the first time when we heard them. But there's a reason the culture evolved beyond that playful, partying lyrical style. Even when we recognized the voices, and recognized the style, and even personally knew the cats who were on the records, the content didn't always reflect the lives we were leading. There was a distance between what was becoming rap's signature style - the relentlessness, the swagger, the complex wordplay - and the substance of the songs. The culture had to go somewhere else to grow. It had to come home.
Jay-Z (Decoded)
I will take you down my own avenue of remembrance, which winds among the hazards and shadows of my single year as a plebe. I cannot come to this story in full voice. I want to speak for the boys who were violated by this school, the ones who left ashamed and broken and dishonored, who departed from the Institute with wounds and bitter grievances. I want also to speak for the triumphant boys who took everything the system could throw at them, endured every torment and excess, and survived the ordeal of the freshman year with a feeling of transformation and achievement that they never had felt before and would never know again with such clarity and elation. I will speak from my memory- my memory- a memory that is all refracting light slanting through prisms and dreams, a shifting, troubled riot of electrons charged with pain and wonder. My memory often seems like a city of exiled poets afire with the astonishment of language, each believing in the integrity of his own witness, each with a separate version of culture and history, and the divine essentional fire that is poetry itself. But i will try to isolate that one lonely singer who gathered the fragments of my plebe year and set the screams to music. For many years, I have refused to listen as his obsessive voice narrated the malignant litany of crimes against my boyhood. We isolate those poets who cause us the greatest pain; we silence them in any way we can. I have never allowed this furious dissident the courtesy of my full attention. His poems are songs for the dead to me. Something dies in me every time I hear his low, courageous voice calling to me from the solitude of his exile. He has always known that someday I would have to listen to his story, that I would have to deal with the truth or falsity of his witness. He has always known that someday I must take full responsibility for his creation and that, in finally listening to him, I would be sounding the darkest fathoms of myself. I will write his stories now as he shouts them to me. I will listen to him and listen to myself. I will get it all down. Yet the laws of recall are subject to distortion and alienation. Memory is a trick, and I have lied so often to myself about my own role and the role of others that I am not sure I can recognize the truth about those days. But I have come to believe in the unconscious integrity of lies. I want to record even them. Somewhere in the immensity of the lie the truth gleams like the pure, light-glazed bones of an extinct angel. Hidden in the enormous falsity of my story is the truth for all of us who began at the Institute in 1963, and for all who survived to become her sons. I write my own truth, in my own time, in my own way, and take full responsibility for its mistakes and slanders. Even the lies are part of my truth. I return to the city of memory, to the city of exiled poets. I approach the one whose back is turned to me. He is frail and timorous and angry. His head is shaved and he fears the judgment of regiments. He will always be a victim, always a plebe. I tap him on the shoulder. "Begin," I command. "It was the beginning of 1963," he begins, and I know he will not stop until the story has ended.
Pat Conroy (The Lords of Discipline)
Develop your own skills and styles. In music, designing, electronics, etc., you may have a peculiar way of exposing your dreams in an uncommon way
Israelmore Ayivor (Shaping the dream)
There was an electric buzzing sound that was constantly on, acting as background music like a million cicadas in the forest. A constant white noise.
Missy Lyons (Alien Promise)
All we are is filters. Each of us has a unique filter that takes in information in a unique way and puts something new back into the world.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
You are NOT the person you think you are until you put those potential thoughts into action.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
The truth is, 80% and maybe more of the crap you’ve filled your head with is just an addiction to consuming information. It’s really just procrastination disguised as productivity.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
I'll add another return track for compression. This will be used for Parallel, or New York compression, which is basically mixing the fully compressed sound with the original. This has the advantage of adding punch and fatness without losing the transients.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
As every economist knows, third-party transactions are always more expensive, whether the third party is an insurer or the government...Third-party transactions are always inflationary. So let's return as much of daily life as possible to a two-party system--buyer and seller. You'll be amazed how affordable it is. Compare cellphone and laptop and portable music systems prices with what they were in the Eighties, and then ask yourself how it would have turned out with a government-regulated system of electronic insurance plans.
Mark Steyn (After America: Get Ready for Armageddon)
Although a little noisy at first, in a bizarre twist of fate, electronic music became popular in France in the 1890’s before fizzling out in favor of Swing music – which somehow made an early appearance in the 1900’s. In another alternative timeline, the Beatles never existed and England invented popcorn and hamburgers in the 1840’s. Damn, that’s what almost happened last time again, thought Scrooby tensely, while maneuvering himself onto a stronger looking branch. Details, everything was about the details. Sometimes there was almost too much detail to keep up with.
Christina Engela (The Time Saving Agency)
things were created by God and for God, no exceptions. Every note of music. Every color on the palette. Every flavor that tingles the taste buds. Arnold Summerfield, the German physicist and pianist, observed that a single hydrogen atom, which emits one hundred frequencies, is more musical than a grand piano, which only emits eighty-eight frequencies. Every single atom is a unique expression of God’s creative genius. And that means every atom is a unique expression of worship. According to composer Leonard Bernstein, the best translation of Genesis 1:3 and several other verses in Genesis 1 is not “and God said.” He believed a better translation is “and God sang.” The Almighty sang every atom into existence, and every atom echoes that original melody sung in three-part harmony by the Father, Son, and Holy Spirit. Did you know that the electron shell of the carbon atom produces the same harmonic scale as the Gregorian chant? Or that whale songs can travel thousands of miles underwater? Or that meadowlarks have a range of three hundred notes? But the songs we can hear audibly are only one instrument in the symphony orchestra called creation. Research in the field of bioacoustics has revealed that we are surrounded by millions of ultrasonic songs. Supersensitive sound instruments have discovered that even earthworms make faint staccato sounds! Lewis Thomas put it this way: “If we had better hearing, and could discern the descants [singing] of sea birds, the rhythmic tympani [drumming] of schools of mollusks, or even the distant harmonics of midges [flies] hanging over meadows in the sun, the combined sound might lift us off our feet.” Someday the sound will lift us off our feet. Glorified eardrums will reveal millions of songs previously inaudible to the human ear.
Mark Batterson (All In: You Are One Decision Away From a Totally Different Life)
Mister Geoffrey, my experiment shows that the dynamo and the bulb are both working properly," I said. "So why won't the radio play?" "I don't know," he said. "Try connecting them here." He was pointing toward a socket on the radio labeled "AC," and when I shoved the wires inside, the radio came to life. We shouted with excitement. As I pedaled the bicycle, I could hear the great Billy Kaunda playing his happy music on Radio Two, and that made Geoffrey start to dance. "Keep pedaling," he said. "That's it, just keep pedaling." "Hey, I want to dance, too." "You'll have to wait your turn." Without realizing it, I'd just discovered the difference between alternating and direct current. Of course, I wouldn't know what this meant until much later. After a few minutes of pedaling this upside-down bike by hand, my arm grew tired and the radio slowly died. So I began thinking, "What can do the pedaling for us so Geoffrey and I can dance?
William Kamkwamba (The Boy Who Harnessed the Wind: Creating Currents of Electricity and Hope)
McMansions in sprawling suburbs, without mountains of unnecessary packaging, without giant mechanized monofarms, without energy-hogging big-box stores, without electronic billboards, without endless piles of throwaway junk, without the overconsumption of consumer goods no one really needs is not an impoverished world. I disagree with those environmentalists who say we are going to have to make do with less. In fact, we are going to make do with more: more beauty, more community, more fulfillment, more art, more music, and material objects that are fewer in number but superior in utility and aesthetics. The cheap stuff that fills our lives today, however great its quantity, can only cheapen life.
Charles Eisenstein (Sacred Economics: Money, Gift, And Society In The Age Of Transition)
Consider this, music is a collection of sounds and silences, if music was just a constant sound, it would be horrible and difficult to listen to, if music was just silence there would be nothing to listen to. In fact, rests could be easily compared to punctuation, if we ignored commas and full stops then reading and indeed speaking would become chaotic.
Michael Shaw (Easy Sheet Music For Piano - Electronic Keyboard & Electric Organ - Book 1: Five Easy Pieces & Tutorials For Electronic Keyboard & Organ With Left Hand Chords)
The house was winning, thanks to its chief weapon: Fleetwood Mac. Sarah had bashed Mom’s old radio to bits two days after we found it during a never-ending concert of “The Chain.” The house retaliated by removing all the toilet-paper rolls from the bathroom cabinets and replacing them with a variety of electronic gadgets capable of playing music. It made for a rousing morning
Deborah Harkness (The All Souls Trilogy)
I consider myself a Chicagoan now, having lived in the city since I graduated from the University of Illinois at Urbana-Champaign with a degree in accounting. I came here often when I went to Maine West High School out in Des Plaines, which is a short drive west on the Kennedy or a short Blue Line ride toward O’Hare airport, the next-to-last stop in fact. My friends and I would take the Blue Line downtown and then transfer to the Red or Brown Line up to Belmont and Clark, our favorite part of the city when we were 16 and 17, mainly because of The Alley—a store that sold concert shirts, posters, spiked bracelets and stuff like that—and Gramophone Records, the electronic music store that took my virginity, so to speak. - 1st paragraph from Sophomoric Philosophy
Victor David Giron (Sophomoric Philosophy)
When you listen to the beautiful sounds of stereo music, remember that you are listening to the rhythms of trillions of electrons obeying this and other bizarre laws of quantum mechanics. But if quantum mechanics were incorrect, then all of electronics including television sets, computers, radios, stereo, and so on, would cease to function. (In fact, if quantum theory were incorrect, the atoms in our bodies would collapse, and we would instantly disintegrate. According to Maxwell's equations, the electrons spinning in an atom should lose their energy within a microsecond and plunge into the nucleus. This sudden collapse is prevented by quantum theory. Thus the fact that we exist is living proof of the correctness of quantum mechanics.) This also means that there is a finite, calculable probability that "impossible" events will occur. For example, I can calculate the probability that I will unexpectedly disappear and tunnel through the earth and reappear in Hawaii. (The time we would have to wait for such an event to occur, it should be pointed out, is longer than the lifetime of the universe. So we cannot use quantum mechanics to tunnel to vacation spots around the world.)
Michio Kaku (Hyperspace: A Scientific Odyssey Through Parallel Universes, Time Warps, and the Tenth Dimension)
There was a school here now, in Concourse C. Like educated children everywhere, the children in the airport school memorized abstractions: the airplanes outside once flew through the air. You could use an airplane to travel to the other side of the world, but—the schoolteacher was a man who’d had frequent-flyer status on two airlines—when you were on an airplane you had to turn off your electronic devices before takeoff and landing, devices such as the tiny flat machines that played music and the larger machines that opened up like books and had screens that hadn’t always been dark, the insides brimming with circuitry, and these machines were the portals into a worldwide network. Satellites beamed information down to Earth. Goods traveled in ships and airplanes across the world. There was no place on earth that was too far away to get to. They were told about the Internet, how it was everywhere and connected everything, how it was us. They were shown maps and globes, the lines of the borders that the Internet had transcended. This is the yellow mass of land in the shape of a mitten; this pin here on the wall is Severn City. That was Chicago. That was Detroit. The children understood dots on maps—here—but even the teenagers were confused by the lines. There had been countries, and borders. It was hard to explain.
Emily St. John Mandel (Station Eleven)
It is also possible to carve atomic devices using electron beams. For example, scientists at Cornell University have made the world’s smallest guitar, one that is twenty times smaller than a human hair, carved out of crystalline silicon. It has six strings, each one hundred atoms thick, and the strings can be plucked using an atomic force microscope. (This guitar will actually play music, but the frequencies it produces are well above the range of the human ear.)
Michio Kaku (Physics of the Impossible: A Scientific Exploration of the World of Phasers, Force Fields, Teleportation, and Time Travel)
The consumer is constantly screaming "Give me what I want!", while inside they are really thinking "Inspire me", even if they aren't consciously aware of it. To give the customer what they want is everything that is wrong with music today. Popular music just continues to get more and more dumbed down. The consumer doesn't know what they want, plain and simple, and if you ask them, they will likely regurgitate something that has already been recycled, filtered, over produced and watered down for the masses.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
the consciousness that joins self and world is analog, and the energetic potential for exchange between them might be named the analog axis. In the way that analog audio technology leans on the vibrating source—the music—and enables its waveform to shape the groove in the LP, the analog axis allows our sensitivities to lean on the One Source—the present—and receive the impression of all the subtle waveforms of Being. Taken together, those waveforms, those currents of exchange, are the one reality. On the subatomic level, even so-called ‘particles’ can be understood in those terms. Physicist Heinz Pagels explains, The electron is not a particle … it is a matter wave as an ocean wave is a water wave. According to this interpretation … all quantum objects, not just electrons, are little waves—and all of nature is a great wave phenomenon.199 We might also say that Being is a great wave phenomenon—and that its every ripple conveys information.
Philip Shepherd (New Self, New World: Recovering Our Senses in the Twenty-First Century)
As TARDIS comes to rest, the only sound, its insistent hum, seems to fill the space entirely, and then this too is lost as the viewer is thrown outside, no longer a participant, but forced into the detached role of observer: the police box now sitting at a tilt in a dark and barren alien landscape accompanied by the chilling audionaturalism of wind noise [...] In the silence of electronic sound, the audience ejection is experienced as sudden sensory deprivation, making the impression of das unheimliche the dominant one. Again the fourth wall is breached, this time a figure cuts between us and the ship, carrying a spear rather than a torch, his shadow lengthening impossibly across the landscape towards TARDIS. When the end titles and signature start up, the eerie recognition threatens to become full blown horror as if the music, having transported us here, is now leaving us to face an awakening of our repressed pasts. Next week, the titles inform us, THE CAVE OF SKULLS.
Dene October (Mad Dogs and Englishness: Popular Music and English Identities)
The year 1968 was also ground zero for popular music in Germany. Karl Bartos, in 1968 a 16-year-old gifted classical musician, puts it like this: ‘We don’t have the blues in our genes and we weren’t born in the Mississippi Delta. There were no black people in Germany. So instead we thought we’d had this development in the twenties which was very, very strong and was audio-visual. We had the Bauhaus school before the war; and then after the war we had tremendous people like Karlheinz Stockhausen and the development of the classical and the electronic classical. This was very strong and it all happened very close to Düsseldorf, in Cologne, and all the great composers at that time came there. During the late forties up until the seventies they all came to Germany; people like John Cage, Pierre Boulez and Pierre Schaeffer, and they all had this fantastic approach to modern music, and we felt it would make more sense to see Kraftwerk as part of that tradition more than anything else.
David Buckley (Kraftwerk: Publikation)
For some years, Trieste was a murky exchange for the commodities most coveted in the deprived societies of Hungary, Czechoslovakia, Bulgaria, Romania and Yugoslavia. Jeans, for example, were then almost a currency of their own, so terrific was the demand on the other side of the line, and the trestle tables of the Ponterosso market groaned with blue denims of dubious origin ("Jeans Best for Hammering, Pressing and Screwing", said a label I noted on one pair). There was a thriving traffic in everything profitably resellable, smuggleable or black-marketable - currencies, stamps, electronics, gold. Not far from the Ponterosso market was Darwil's, a five-storey jewellers' shop famous among gold speculators throughout central Europe. Dazzling were its lights, deafening was its rock music, and through its blinding salons clutches of thick-set conspiratorial men muttered and wandered, inspecting lockets through eye-glasses, stashing away watches in suitcases, or coldly watching the weighing of gold chains in infinitesimal scales.
Jan Morris (Trieste and The Meaning of Nowhere)
her room now?” They were led down the hall by Beth. Before she turned away she took a last drag on her smoke and said, “However this comes out, there is no way my baby would have had anything to do with something like this, drawing of this asshole or not. No way. Do you hear me? Both of you?” “Loud and clear,” said Decker. But he thought if Debbie were involved she had already paid the ultimate price anyway. The state couldn’t exactly kill her again. Beth casually flicked the cigarette down the hall, where it sparked and then died out on the faded runner. Then she walked off. They opened the door and went into Debbie’s room. Decker stood in the middle of the tiny space and looked around. Lancaster said, “We’ll have the tech guys go through her online stuff. Photos on her phone, her laptop over there, the cloud, whatever. Instagram. Twitter. Facebook. Tumblr. Wherever else the kids do their electronic preening. Keeps changing. But our guys will know where to look.” Decker didn’t answer her. He just kept looking around, taking the room in, fitting things in little niches in his memory and then pulling them back out if something didn’t seem right as weighed against something else. “I just see a typical teenage girl’s room. But what do you see?” asked Lancaster finally. He didn’t look at her but said, “Same things you’re seeing. Give me a minute.” Decker walked around the small space, looked under piles of papers, in the young woman’s closet, knelt down to see under her bed, scrutinized the wall art that hung everywhere, including a whole section of People magazine covers. She also had chalkboard squares affixed to one wall. On them was a musical score and short snatches of poetry and personal messages to herself: Deb, Wake up each day with something to prove. “Pretty busy room,” noted Lancaster, who had perched on the edge of the girl’s desk. “We’ll have forensics come and bag it all.” She looked at Decker, obviously waiting for him to react to this, but instead he walked out of the room. “Decker!” “I’ll be back,” he called over his shoulder. She watched him go and then muttered, “Of all the partners I could have had, I got Rain Man, only giant size.” She pulled a stick of gum out of her bag, unwrapped it, and popped it into her mouth. Over the next several minutes she strolled the room and then came to the mirror on the back of the closet door. She appraised her appearance and ended it with the resigned sigh of a person who knows their best days physically are well in the past. She automatically reached for her smokes but then decided against it. Debbie’s room could be part of a criminal investigation. Her ash and smoke could only taint that investigation.
David Baldacci (Memory Man (Amos Decker, #1))
Music of the Grid: A Poem in Two Equations _________________________ The masses of particles sound the frequencies with which space vibrates, when played. This Music of the Grid betters the old mystic mainstay, "Music of the Spheres," both in fantasy and in realism. LET US COMBINE Einstein's second law m=E/C^2 (1) with another fundamental equation, the Planck-Einstein-Schrodinger formula E = hv The Planck-Einstein-Schrodinger formula relates the energy E of a quantum-mechanical state to the frequency v at which its wave function vibrates. Here h is Planck's constant. Planck introduced it in his revolutionary hypothesis (1899) that launched quantum theory: that atoms emit or absorb light of frequency v only in packets of energy E = hv. Einstein went a big step further with his photon hypothesis (1905): that light of frequency v is always organized into packets with energy E = hv. Finally Schrodinger made it the basis of his basic equation for wave functions-the Schrodinger equation (1926). This gave birth to the modern, universal interpretation: the wave function of any state with energy E vibrates at a frequency v given by v = E/h. By combining Einstein with Schrodinger we arrive at a marvelous bit of poetry: (*) v = mc^2/h (*) The ancients had a concept called "Music of the Spheres" that inspired many scientists (notably Johannes Kepler) and even more mystics. Because periodic motion (vibration) of musical instruments causes their sustained tones, the idea goes, the periodic motions of the planets, as they fulfill their orbits, must be accompanied by a sort of music. Though picturesque and soundscape-esque, this inspiring anticipation of multimedia never became a very precise or fruitful scientific idea. It was never more than a vague metaphor, so it remains shrouded in equation marks: "Music of the Spheres." Our equation (*) is a more fantastic yet more realistic embodiment of the same inspiration. Rather than plucking a string, blowing through a reed, banging on a drumhead, or clanging a gong, we play the instrument that is empty space by plunking down different combinations of quarks, gluons, electrons, photons,... (that is, the Bits that represent these Its) and let them settle until they reach equilibrium with the spontaneous activity of Grid. Neither planets nor any material constructions compromise the pure ideality of our instrument. It settles into one of its possible vibratory motions, with different frequencies v, depending on how we do the plunking, and with what. These vibrations represent particles of different mass m, according to (*). The masses of particles sound the Music of the Grid.
Frank Wilczek (The Lightness of Being: Mass, Ether, and the Unification of Forces)
The US traded its manufacturing sector’s health for its entertainment industry, hoping that Police Academy sequels could take the place of the rustbelt. The US bet wrong. But like a losing gambler who keeps on doubling down, the US doesn’t know when to quit. It keeps meeting with its entertainment giants, asking how US foreign and domestic policy can preserve its business-model. Criminalize 70 million American file-sharers? Check. Turn the world’s copyright laws upside down? Check. Cream the IT industry by criminalizing attempted infringement? Check. It’ll never work. It can never work. There will always be an entertainment industry, but not one based on excluding access to published digital works. Once it’s in the world, it’ll be copied. This is why I give away digital copies of my books and make money on the printed editions: I’m not going to stop people from copying the electronic editions, so I might as well treat them as an enticement to buy the printed objects. But there is an information economy. You don’t even need a computer to participate. My barber, an avowed technophobe who rebuilds antique motorcycles and doesn’t own a PC, benefited from the information economy when I found him by googling for barbershops in my neighborhood. Teachers benefit from the information economy when they share lesson plans with their colleagues around the world by email. Doctors benefit from the information economy when they move their patient files to efficient digital formats. Insurance companies benefit from the information economy through better access to fresh data used in the preparation of actuarial tables. Marinas benefit from the information economy when office-slaves look up the weekend’s weather online and decide to skip out on Friday for a weekend’s sailing. Families of migrant workers benefit from the information economy when their sons and daughters wire cash home from a convenience store Western Union terminal. This stuff generates wealth for those who practice it. It enriches the country and improves our lives. And it can peacefully co-exist with movies, music and microcode, but not if Hollywood gets to call the shots. Where IT managers are expected to police their networks and systems for unauthorized copying – no matter what that does to productivity – they cannot co-exist. Where our operating systems are rendered inoperable by “copy protection,” they cannot co-exist. Where our educational institutions are turned into conscript enforcers for the record industry, they cannot co-exist. The information economy is all around us. The countries that embrace it will emerge as global economic superpowers. The countries that stubbornly hold to the simplistic idea that the information economy is about selling information will end up at the bottom of the pile. What country do you want to live in?
Cory Doctorow (Content: Selected Essays on Technology, Creativity, Copyright, and the Future of the Future)
decade was over For Dummies books had been published in over 30 languages, from Albanian to Turkish. In the early years, many publishers questioned whether the series would work in their language market. The answer today is a global phenomenon. Our reach also expanded beyond books. In 1996 a license agreement with EMI brought Classical Music For Dummies enhanced CDs to market. Critically and commercially successful, the series initiated the For Dummies licensing program of products and services that has included software, consumer electronics, instructional DVDs, DIY home improvement kits, online support services, beginner musical instruments, and more. Today, as books themselves have reached beyond traditional print formats to digital platforms, For Dummies continues to expand, into e-books, enhanced e-books, and mobile applications. And again, this too is happening globally, as Wiley editors in Australia, Canada, Germany, the U.K., and U.S. work together to grow our print and electronic publishing program, which is further enhanced by contributions from licensee publishers in France, the Netherlands, Spain, and elsewhere. It is remarkable to think that one book
John Wiley & Sons (A Little Bit of Everything For Dummies)
When we start to break things down into smaller and smaller categories, it becomes much easier to agree on who is the best. If you want to be the best in the world at something, you have to define who you are in very specific terms.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
My god, if I couldn't steal recipes from people much more gifted in cooking than me, I'd be in even more trouble.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
My proposal to you is to devote yourself to just fifteen minutes a day, every day, to music making.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
The real problem is and always has been your reaction to your new habits!
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
When you attempt something new, set aside some time for the "suck factor".
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
Trying to get the exact sound in your head and succeeding can be very satisfying, but it's largely a waste of time. Let me explain further.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
you want to make a mark on the music scene, fitting in is the best way to disappear.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
Exploring new tools should never come from the thought process that you don't have enough already, but from a "this looks like something fun to explore" standpoint.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
Only one synth for a whole song No chords, only melodies How long can you sustain one note in a song without it getting boring? How long can you sustain silence?
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
As a rule, a new producer should be spending 80% of their time making music and only 20% (at most) spent learning new techniques.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
If you want to be a successful songwriter or producer, you should first concentrate on your habits far before your knowledge. If you haven't instilled the habits that will force you to work on music daily, your knowledge won't matter.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
Time is the only difference from you and those who are now successful
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
Ghost tracks are a common secret among producers. The basic idea is to grab a loop or section from a song you like and start playing along to it.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
Does filling my head with this new information make me more productive now or less productive?
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
The reward shouldn't be approval, it should be the satisfaction of finishing something you yourself are happy with.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
When your music takes you somewhere you hadn't expected, you become both the driver and the passenger. This is the best place for an artist to be.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
Thomas Edison was able to create these moments on demand by falling asleep in a chair with a spoon in his hand and a pan at his feet. When he would start to doze off, the spoon would fall from his hand onto the pan and wake him up. At those moments he would get his great ideas.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
Mozart had a very similar experience of music. He felt that he was simply given full works of music, already completed. His job was simply to get out of the way and write down what had come to him.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
The ancient path is the path of quiet. So turn off the noise. Turn off all the electronic devices. Yes. All of them. Even turn off the music. Turn off your own thoughts…harder than it sounds, by the way! But it gets easier with practice. Just be quiet for a season. Listen for that still, small voice. God has wonderful things to say to you and about you.
Donna Partow (The Special Blessings Prayer: Beyond Forgiveness To Unleash God's Love, Favor & Power Upon Your Life)
I felt I was New Age before it became hip (and now passé), and disliked the name given to this 'recent' wave of spiritual interest in the 1980s because the word 'new' was in it: this word automatically implies that the phase will soon pass into something either “established” or stale, or will be chronicled as an ephemeral fad or phase to be found on some old bookshelf one day. Again, passé. For instance, the New Thought movement faded with the smoke of the Great War, the war to end all wars – which later was reclassified as WWI. Indeed, just a few years into the new 21st century, New Age was becoming old. Smooth jazz seemed to replace the name in music, and holistic and integral were the latest catch words describing the eclectic philosophy of the past decades. Astrologers were laughing: they knew the planetary alignments that predicted this network of integrated thought; it was the same inspiration behind the world wide web. Uranus (technological innovations, groups) and Neptune (images, imagination) reunited in the mid 1990s in the practical sign of Capricorn; we all became more connected with the next jump in electronics, technology and vision, right on cue. The world wide wave (www) was here. That wave came in, peaked in the 1990s, everyone was refreshed and expanded (some got drenched), and the promoters were now looking for new packaging. By the end of the 1990s, the Dot.com bubble burst. It was time for the next phase.
Stephen Poplin (Inner Journeys, Cosmic Sojourns: Life transforming stories, adventures and messages from a spiritual hypnotherapist's casebook)
Spending a day or 2 putting together a “go to” list of 10 or less sounds for each section that gives you quick access to sounds you already know you like.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
The number of movies released shrank too, from twenty-two in 2011 to just thirteen in 2015. And annual development spending, the R&D of the movie industry, fell dramatically, from $127 million in fiscal 2010 to $71 million in 2015. Pascal even had to let go of her longtime assistant, Mark Seed. He made her life run so magically that she nicknamed him “Mark Poppins,” but he made more than $250,000 per year. Pascal had less to work with and at the same time, Sony Corporation demanded more from her, as it responded to pressure from Loeb and the struggles of its electronics business. One result was growing tension between Pascal and Lynton, who in 2012 had been promoted to CEO of Sony Entertainment, putting him in charge of the company’s music businesses and officially making him Pascal’s boss, not her partner. Their relationship grew less familial, and he privately admonished her about the company’s faltering financial situation. “Why is everyone freaking out[?]” she asked, when the Hollywood Reporter revealed her assistant’s eye-popping salary. “Because we said no cost is too small,” responded Lynton. “An assistant paid that amount suggests a lack of controls. We claim to have those controls.
Ben Fritz (The Big Picture: The Fight for the Future of Movies)
All molecules pulse with vibrations. They shimmer and wiggle and sing with the vibrations of the electron strings that hold them together, which means molecules are, oddly enough, a sort of musical instrument.
Chandler Burr (The Emperor of Scent: A True Story of Perfume and Obsession)
When he wasn't making quirky jokes about his mother like this—it happened more than once—he mainly spoke at me, about his job and about his band, Jettisoned Airplane, an electronic music duo, which had been formed in March, inspired by the plane that had gone missing and not yet been found.
Olivia Sudjic (Sympathy)
Back in my room I put my earphones in. Put on A Tribe Called Red. They’re a group of First Nations DJs and producers based out of Ottawa. They make electronic music with samples from powwow drum groups. It’s the most modern, or most postmodern, form of Indigenous music I’ve heard that’s both traditional and new-sounding. The problem with Indigenous art in general is that it’s stuck in the past. The catch, or the double bind, about the whole thing is this: If it isn’t pulling from tradition, how is it Indigenous? And if it is stuck in tradition, in the past, how can it be relevant to other Indigenous people living now, how can it be modern? So to get close to but keep enough distance from tradition, in order to be recognizably Native and modern-sounding, is a small kind of miracle these three First Nations producers made happen on a particularly accessible self-titled album, which they, in the spirit of the age of the mixtape, gave away for free online.
Tommy Orange (There There)
It doesn’t matter how you start; just do!
Dennis DeSantis (Making Music: 74 Creative Strategies for Electronic Music Producers)
Many parents wonder if we really need to worry about this stuff. Some argue that the flurry of concern over smartphones resembles the panic over previous advances in media, such as radio, music albums, TV, or even novels. That might be true, but it’s not particularly relevant. Social media and electronic device use is linked to higher rates of loneliness, unhappiness, depression, and suicide risk, in both correlational and experimental data. Novels and music are not. TV watching is also linked to depression, and sure enough, more Boomers (the first TV generation) were depressed than previous generations that had grown up without TV. Just because an argument has been made before does not mean it’s wrong; the “panic” over TV turned out to be somewhat justified. Thus an argument about whether a “panic” about media has happened before seems trivial—our kids need help now.
Jean M. Twenge (iGen: Why Today's Super-Connected Kids Are Growing Up Less Rebellious, More Tolerant, Less Happy--and Completely Unprepared for Adulthood--and What That Means for the Rest of Us)
After reading A Journey Around My Room, I vowed that I would take a trip to my room every few months, and these have been some of the happiest days I've spent. It's an incredible luxury to be home and not sick, to wake up with no agenda other than to wander around the apartment all day. I can lie on the sofa and look at the light as it plays across the glass table. Or see the way it catches on a cracked ceramic vase. I can play with the shells I've brought back from the beach. I can admire our hearty little African violet. And I can visit my books, flipping through this one and then that to light on a passage. This only works if I remain totally unplugged. The rules for such a day are simple—no electronics at all (except for music). I'm finding that on a slow, lazy day, when I'm a traveler in my own home, just about anything I touch is new to me, as I see it differently than I have before, but each object also brings back memories, as I recall how I came to have it.
Will Schwalbe (Books for Living)
To deepen alignment across specialties, the Apple organizational structure was very different from that of most other firms. There were no product divisions that were their own profit centers. “We run one P&L for the company,” said operations head Tim Cook (who became CEO after Jobs’s death).8 Thus, divisions did not compete against each other for customers or worry about "cannibalization.” This proved a huge competitive advantage when Apple introduced the iPod and iTunes. Rival Sony, rich in assets that could have given Apple a run for its money, was undermined by their organization structure, which was divided into profit centers that drove focus on product lines but hampered collaboration across these lines. Sony’s music division and their consumer electronics division were never able to successfully join forces to compete against Apple. Conversely, at Apple, all departments could celebrate a sale, whether a consumer chose to download music through their iPod or iPhone, or send emails using an iPad or MacBook.
Reed Deshler (Mastering the Cube: Overcoming Stumbling Blocks and Building an Organization that Works)
Nothing kills the creative flow more than having to stop and solve a non-creative problem.
Dennis DeSantis (Making Music: 74 Creative Strategies for Electronic Music Producers)
You are NOT the person you think you are until you put those potential thoughts into action. (You can tweet that, go ahead!)
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
Luke lay on the floor of my apartment in a baby gym, a floor quilt with two crossed arches featuring rattling beads, spinning birds and butterflies, crinkly leaves, and cheerful electronic music. He loved it nearly as much as I loved watching him. At two months, he laughed, smiled, made noises, and was able to raise his head and chest. Jack lay on the floor beside him, lazily reaching up to flick the toys or to push a button for new music. “I wish I had one of these,” he said. “Strung with beer cans, Cohíbas, and those little black panties you wore Saturday night.” I paused in the midst of putting away dishes in the kitchen. “I didn’t think you noticed them, you took them off me so fast.” “I’d just spent a two-hour dinner looking at you in that low-cut dress. You’re lucky I didn’t jump you in the parking garage again.
Lisa Kleypas (Smooth Talking Stranger (Travises, #3))
Sony: Make Believe... ...we lose money on almost every electronic gadget we sell -- only Hollywood and the music business stands between us and bankruptcy.
Beryl Dov
I have no problem with film music. I do not take it upon myself to judge what sort of music one should have–whether symphonic, electronic, twelve-tone, or whether music has altogether gone out of fashion in the cinema. I really don’t know the answer. I have not given it any thought. Shostakovich’s music is another matter. There is no point in my thinking about it. I would not be able to make a Shakespearean film without it just as I would not be able to do without Pasternak’s translation. What do I think is the main point about it–the feeling of tragedy? This is an important quality. But not just tragedy…philosophy, and a general concept of the whole world? Yes of course, how could you have Lear without philosophy?…But all the same it is another feature which is most important. A quality about which it is difficult to write. Goodness. Kindness. Mercy. However, it is a special kind of goodness. Russian has an excellent word–‘lyuty’–or, fierce. In Russian art, goodness does not exist without a fierce hatred of everything which destroys a man. In Shostakovich’s music I can hear a ferocious hatred of cruelty, the cult of power and the oppression of justice. This is a special goodness: a fearless goodness which has a threatening quality.
Grigori Kozintsev (King Lear, The Space of Tragedy: The Diary of a Film Director)
What is Lisztomania, and how was it cured? Who was Drog, and what was his prophecy regarding Electronic Music? What preparation do you need before throwing an artistic tantrum? Which orchestral musicians are also qualified to run a hospital? The plausible answers to these and many other tantalising questions can be found in this wickedly funny – and occasionally just wicked – book.
Patrick Brislan (Heresies of Music: An A-Z Diagnostic Guide)
So, before he got sick, he used to tear up her hardware, the designer's, and put the real parts into cases he'd make in his shop. Say he'd make a solid bronze case for a minidisk unit, ebony inlays, carve the control surfaces out of fossil ivory, turquoise, rock crystal. It weighed more, sure, but it turned out a lot of people liked that, like they had their music or their memory, whatever, in some-thing that felt like it was there…. And people liked touching all that stuff: metal, a smooth stone…. And once you had the case, when the manufacturer brought out a new model, well, if the electronics were any better, you just pulled the old ones out and put the new ones in your case. So you still had the same object, just with better functions.
William Gibson (Idoru (Bridge Trilogy, #2))
In most genres, we can think of the “bottom” of the music as being the low-pitched or purely rhythmic instruments, such as the bass and drums.
Dennis DeSantis (Making Music: 74 Creative Strategies for Electronic Music Producers)
Innovative ideas don’t come only to those, who look at the future, but also to those, who want to bring new, modern and innovative touch to devices and products that were big in the past. Like the founder of RokBlok – the world’s first infinitely portable, wireless record player that allows you to listen to your vinyl records anywhere you want.
Logan Riley
Supergravity is a version of Einstein's theory of general relativity, dressed up with supersymmetry-a symmetry that draws a connection between bosons and fermions, matching one boson for every fermion into "superpartners." Bosons are the entities responsible for transmitting forces, such as the photon that transmits the electromagnetic force. On the other hand, fermions are both matter particles, such as electrons and quarks, and the antiparticles of all these subatomic entities. Looking in the mirror is an example of how symmetry works. The image you see closely resembles how you appear to others because of your bilateral symmetry, even though the mirror switches your left side for your right. Think of supersymmetry as a mirror that switches Bosons for fermions without changing the behavior of the physical system.
Stephon Alexander (The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe)
In the above equation, p is the momentum of the electron as it moves around the center of the nucleus and is the wavelength. It is amazing that this equation is a physical reality, for it states that an electron's "orbital" wavelength, a wave-like property, is related to how fast it is going around the nucleus, its momentum. The larger the wavelength, the slower and lighter the particle-recall that momentum is the product of the mass and velocity of a particle.
Stephon Alexander (The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe)
A good way to understand the uncertainty principle is to consider a wave where we have complete certainty in its frequency, like a pure tone. Now, I ask you, where is the wave? The wave with its many periodic oscillations is distributed across a very large distance, meaning that a wave of definite frequency will have an arbitrary position. Now let's consider a traveling wave pulse, which only exists for a short duration of time, like a beat. I can localize where the pulse is, but its frequency is not well defined because its frequency is not well defined because a frequency requires many repeating cycles, and a pulse does not have enough width to define a definite frequency. This is Heisenberg's uncertainty principle: it says that the more you can know about the position, the less you can know about its frequency, and vice versa. But we just learned that the frequency is proportional to the momentum, so the more one knows about the momentum of a particle, the less one knows about its position, and vice versa. This is incredibly profound. When scientists want to understand nature, they use instruments to probe and measure it. What the uncertainty principle tells us is that no matter how careful we are, no matter how precise our instrumentation, we can never pin down both the particle-like and the wave-like properties of a quantum entity, whether it be a photon or an electron, a quark or a neutrino. The uncertainty principle is a statement that is fundamental to nature, to the universe, whether we are there to measure it or not.
Stephon Alexander (The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe)
In de Broglie's hypothesis, every "orbit" of the electron is a wave corresponding to a pure tone. Matter and waves are one and the same. Neils Bohr called this idea-that quantum matter can have both wave-like and particle-like properties-complementarity.
Stephon Alexander (The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe)
What's even more breathtaking is that all electron-those in your body, those in stars, and those distributed across the universe-arise as vibrations from one universal electron field that permeates the vacuum. So if this picture is true, then why isn't the universe completely filled with electrons, photons, and other particles everywhere? Well, one immediate surprise is that the universe can be filled with fields but be absent of particles. Something has to trigger all that potential energy in the fields to become particles, just like a push can make a ball roll down a hill to accumulate kinetic energy.
Stephon Alexander (The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe)
Traditional rock music favors a working-class body with callused hands and a whisky-rough voice, and by denying this particular brand of physicality the body of electronic music was easily heard as lazy, weak, undisciplined, and effete. The criticism in the 1980s and 1990s that electronic musicians were fake or talentless, then, is a response to a perceived threat against a specific bodily identity as encoded in sound—an identity within a narrow range of class, gender, sexual orientation, and race. As
S. Alexander Reed (Assimilate: A Critical History of Industrial Music)
After the emergence of quantum mechanics in the early 1900s, many great theorists, including Albert Einstein, tried to find the microscopic theoretical underpinnings of superconductivity but to no avail. A quantum mechanical picture of superconductivity did not exist. It was Cooper's ingenious physical insight, known as the Cooper pair, that unlocked the quantum secrets of superconductivity. Under typical circumstances, the individual electrons flowing in a piece of metal wire experience resistance because they repel each other, much like the defending players in rugby or football interfere with the movement of the player with the ball. However, Cooper showed that by using the wave-like property of electrons, they can "pair up," thus changing their repulsive properties in the metal and allowing them to conduct without resistance.
Stephon Alexander (The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe)
Magnetic train levitation is based on the Meissner effect, which is a direct result of superconductors. The influence between magnetic fields and electric currents implies that magnetic fields exert forces on electrons, which work to obstruct the flow of a current. Superconductors, with their unrestricted flow of electrons, will expel any magnetic field present in order to maintain the resistance-free flow of the current. Thus, if you place a magnet above a superconducting material, the material's supercurrent, which refuses to allow a magnetic field to enter it, produces a strong mirror image magnetic field, causing the external magnet to levitate. Train tracks made out of superconductors and train "wheels" made of magnets will induce the Meissner effect, causing the train to levitate. This effect played a key role in the discovery of the Higgs Boson particle. The Higgs boson is nothing but a type of super-conductivity, only now the superconducting medium is empty space itself. These achievements, which followed from the groundbreaking discovery of Cooper and his colleagues, are only a few of the reasons why Cooper was my hero.
Stephon Alexander (The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe)
At one in the morning on the 20th. November, radio hams over most of Europe suffered serious interference to their reception, as if a new and exceptionally strong broadcaster was operating. They located the interference at two hundred and three metres; it sounded something like the noise of machinery or rushing water; then the continuous, unchanging noise was suddenly interrupted by a horrible, rasping noise (everyone described it in the same way: a hollow, nasal, almost synthetic sounding voice, made all the more so by the electronic apparatus); and this frog-like voice called excitedly, "Hello, hello, hello! Chief Salamander speaking. Hello, chief Salamander speaking. Stop all broadcasting, you men! Stop your broadcasting! Hello, Chief Salamander speaking!" And then another, strangely hollow voice asked: "Ready?" "Ready." There was a click as if the broadcast were being transferred to another speaker; and then another, unnaturally staccato voice called: "Attention! Attention! Attention!" "Hello!" "Now!" A voice was heard in the quiet of the night; it was rasping and tired-sounding but still had the air of authority. "Hello you people! This is Louisiana. This is Kiangsu. This is Senegambia. We regret the loss of human life. We have no wish to cause you unnecessary harm. We wish only that you evacuate those areas of coast which we will notify you of in advance. If you do as we say you will avoid anything regrettable. In future we will give you at least fourteen days notice of the places where we wish to extend our sea. Incidents so far have been no more than technical experiments. Your explosives have proved their worth. Thank you for them. "Hello you people! Remain calm. We wish you no harm. We merely need more water, more coastline, more shallows in which to live. There are too many of us. Your coastlines are already too limited for our needs. For this reason we need to demolish your continents. We will convert them into bays and islands. In this way, the length of coastline can be increased five-fold. We will construct new shallows. We cannot live in deep ocean. We will need your continents as materials to fill in the deep waters. We wish you no harm, but there are too many of us. You will be free to migrate inland. You will not be prevented from fleeing to the hills. The hills will be the last to be demolished. "We are here because you wanted us. You have distributed us over the entire world. Now you have us. We wish that you collaborate with us. You will provide us with steel for our picks and drills. you will provide us with explosives. You will provide us with torpedoes. You will work for us. Without you we will not be able to remove the old continents. Hello you people, Chief Salamander, in the name of all newts everywhere, offers collaboration with you. You will collaborate with us in the demolition of your world. Thank you." The tired, rasping voice became silent, and all that was heard was the constant noise resembling machinery or the sea. "Hello, hello, you people," the grating voice began again, "we will now entertain you with music from your gramophone records. Here, for your pleasure, is the March of the Tritons from the film, Poseidon.
Karel Čapek (War with the Newts)
If computers can create musical compositions or design electronic components, then it seems likely that they will soon be able to formulate a new legal strategy or perhaps come up with a new way to approach a management problem.
Martin Ford (Rise of the Robots: Technology and the Threat of a Jobless Future)
The Fourier transform is one of the most used tools in all of pbysics, engineering, and computer science. It can be found in electronic circuits and lies at the foundation for sending and receiving signals to satellites and back to Earth through electromagnetic waves. And the Fourier transform is essential to understanding how the structure of the universe arises.
Stephon Alexander (The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe)
South Carolina’s fourth-grade music exam, administered via computer, asks: “When singing a melody together with a friend, what dynamic level should you sing? A) Louder than your friend B) Not too loud and not too soft C) Softer than your friend or D) the same as your friend.” (The correct answer is D.) Students are then shown a measure of sheet music and asked to identify which of four electronic recordings matches the notation.
Dana Goldstein (The Teacher Wars: A History of America's Most Embattled Profession)
On Jan. 30, a Japanese-American college student named George Miller, posted a three-and-a-half minute compilation of comedy on YouTube. Miller has been posting videos since 2008 and had developed an absurd comic style and an audience of tens of thousands. Miller’s movie began with 19 seconds of “Pink Guy,” (a character where he plays a mime in a pink body suit who dances and pratfalls) and three friends dancing in Miller’s bedroom to an obscure piece of electronic dance music: “Harlem Shake” by a little-known DJ called Harry Rodrigues, or “Baauer.” Miller’s audience loved the dance. Within hours, one fan had posted a video that looped the 19-second sequence for three and a half minutes.
playing juvenile pranks. In twelfth grade he built an electronic metronome—one of those tick-tick-tick devices that keep time in music class—and realized it sounded like a bomb. So he took the labels off some big batteries, taped them together, and put it in a school locker; he rigged
Walter Isaacson (Steve Jobs)
How has a failure, or apparent failure, set you up for later success? Do you have a “favorite failure” of yours? There was a period when I was drinking at every show, and I was DJing a lot, maybe four nights a week, playing local shows in Los Angeles. I had a couple of Dim Mak parties, and we were on top of the world! We had cornered the market with our sound and culture, and I was just getting booked left and right. I was the ambassador of this new culture that was burgeoning in electronic music called “electro,” and my ego was flexing a bit. I was drinking and having fun. It was a great feeling, but then you forget about the most important things in life because you’re in that fog of self-indulgence. My mom was coming to visit me, and she never flies in. This was one of the few times she had. I was supposed to pick her up in the morning. I had a big night the night before—we had a party, I drank, and I stayed out super late. The next morning my mom landed around 7 A.M., and I slept through it. I woke up at 10 A.M., or something awful like three hours later. I saw a text message from my mom—she barely even knew how to text! I don’t know why, but she waited at the airport for three hours, sitting outside on a bench. My poor mom. Once I got to the airport an hour later—making it four hours she had been there—she was just innocently sitting on this bench, and I broke down. She was still so sweet about it. It was at that moment that I felt like this whole life of partying and drinking was all bullshit, especially if you can’t maintain your priorities of valuing and taking care of your family. That was one fail I will never forget. After that, I stopped being caught up in that Hollywood bubble where everyone parties and drinks every single night. You can live in that bubble and forget about the realities of your family and relationships outside the bubble. But those relationships are vital to who you are and are important in your life. Eventually, I quit drinking, which I am happy about, partly because of this major fail.
Timothy Ferriss (Tribe of Mentors: Short Life Advice from the Best in the World)
My music genres, New Age Music, Electronic synth – pop, Disco, Electro house, Electronica- ambient, Electro pop. Hi-NRG, Electronic; ambient; folk; world; classical; easy listening, Latin salsa , Latin cha cha, latin bolero , latin – pop , Rock , Metal , ambient – rock , Arab dance , Nubian music ,jazz . World music , Trance , House music , Techno , Industrial music, Electronic dance music, Ambient house; chill-out …. Mood Music and Sami Abouzid
Sami Abouzid
Culture is a vehicle for true self-expression. The flowering of individual creativity takes place in the context of culture. When a child becomes peer-oriented, the transmission lines of civilization are downed. The new models to emulate are other children or peer groups or the latest pop icons. Appearance, attitudes, dress, and demeanor all adapt accordingly. Even children's language changes — more impoverished, less articulate about their observations and experience, less expressive of meaning and nuance. Peer-oriented children are not devoid of culture, but the culture they are enrolled in is generated by their peer orientation. Although this culture is broadcast through media controlled by adults, it is the children and youth whose tastes and preferences it must satisfy. They, the young, wield the spending power that determines the profits of the culture industry — even if it is the parents’ incomes that are being disposed of in the process. Advertisers know subtly well how to exploit the power of peer imitation as they make their pitch to ever-younger groups of customers via the mass electronic media. In this way, it is our youth who dictate hairstyles and fashion, youth to whom music must appeal, youth who primarily drive the box office. Youth determine the cultural icons of our age. The adults who cater to the expectations of peer-oriented youth may control the market and profit from it, but as agents of cultural transmission they are simply pandering to the debased cultural tastes of children disconnected from healthy adult contact. Peer culture arises from children and evolves with them as they age. Peer orientation breeds aggression and an unhealthy, precocious sexuality. The result is the aggressively hostile and hypersexualized youth culture, propagated by the mass media, to which children are already exposed by early adolescence. Today's rock videos shock even adults who themselves grew up under the influence of the “sexual revolution.” As the onset of peer-orientation emerges earlier and earlier, so does the culture it creates. The butt-shaking and belly-button-baring Spice Girls pop phenomenon of the late 1990s, as of this writing a rapidly fading memory, seems in retrospect a nostalgically innocent cultural expression compared with the pornographically eroticized pop idols served up to today's preadolescents.
Gabor Maté (Hold On to Your Kids: Why Parents Need to Matter More Than Peers)
Sell your business products, used Products online here, Art Baby Kids, Books, Clothing accessories, Electronics products, Jewelry, Watchesgift cards, Sports equipment, Crafts, Musical instrument, Real estate. Visit us - inkeex.com
In the 1960s both Roman Catholics and evangelical Protestants turned to popular genres of music to provide songs for Christian worship. Roman Catholic songs tended to follow the folk idiom, using acoustical instruments such as guitar and flute, whereas evangelical Protestants turned to rock music, using electronic instruments.
Frank C. Senn (Introduction to Christian Liturgy)
Right now, We are living in perhaps the most exciting time in history to buy, own or play that eternal instruments, The piano Cover. What is your goal is to purchase something as small as software that can record what you want to play, a newly designed player piano, a digital machine or a classic phonetic model, there have never been as many options for the trencherman. Player Pianos Also called reproducing pianos. this class of instrument describe a modern update on the paper-outcry player pianos you keep in mind from old movies, and they have grown enormously in popularity over the final decennial. These are not digital instruments they are real, philological pianos with hammers and rope that can be played generally. but they can also start themselves. using filthy electronic technology. Instead of shove paper, they take their hint from lethargic disks, specially formatted CDs or internal memory systems. different manufacturers offer vast sanctum of pre-recorded titles for their systems. music in every genre from pop to the classics filed by some of the earth’s top pianists. These sophisticated systems arrest every nuance of the original performances and play them back with dramatic accuracy providing something that’s actually so much better than CD fidelity because the activities are live. Watch my new cover : Dancing on my own piano Thanks to these new systems, many people who do not play the piano are enjoying live piano music at any time of at morning, night and day. How many they are concurrent dinners for two or entertaining a houseful of partygoers, these high-tech pianos take centre period. For people who do play the piano, these systems can be used to record their own piano deeds, Interface by- Computers, aid in music education, assist with composing and many other applications. In short, these modern marvels aren’t your grandfather's’ player pianos! If you want to learn see the video first : Dancing on my own piano cover
Music-making time is sacred. Don’t stop to learn and don’t stop to fix something unless it’s absolutely critical. Use what you have and know, right now, to keep going forward.
Dennis DeSantis (Making Music: 74 Creative Strategies for Electronic Music Producers)
e=mc^2. I know. I promised there would be no equations and, except for a few footnotes, I've kept my promise. But I think you will forgive me for making an exception for the world's most famous equation-the only equation to have its biography written. And the thing is this: e = mc^2 pops right out of QFT. Einstein had to work hard to find it (it was published in a separate paper that followed his breakthrough paper on relativity theory in 1905), but in QFT it appears as an almost trivial consequence of the two previous results. Since both mass and energy are associated with oscillations in the field, it doesn't take an Einstein to see that there must be a relationship between the two. Any schoolboy can combine the two equations and find (big drum roll, please) e = mc^2. Not only does the equation tumble right out of QFT, its meaning is seen in the oscillations or "shimmer" of the fields. Frank Wilczek calls these oscillations "a marvelous bit of poetry" that create a "Music of the Grid" (Wilczek's term for space seen as a lattice of points): Rather than plucking a string, blowing through a reed, banging on a drumhead, or clanging a gong, we play the instrument that is empty space by plunking down different combinations of quarks, gluons, electrons, photons,...and let them settle until they reach equilibrium with the spontaneous activity of Grid...These vibrations represent particles of different mass m...The masses of particles sound the Music of the Grid. ----- Frank Wilczek
Rodney A. Brooks (Fields of Color: The theory that escaped Einstein)
the chorus serves as a point of musical resolution, while the verse creates musical tension.
Dennis DeSantis (Making Music: 74 Creative Strategies for Electronic Music Producers)
SCULLEY. Pepsi executive recruited by Jobs in 1983 to be Apple’s CEO, clashed with and ousted Jobs in 1985. JOANNE SCHIEBLE JANDALI SIMPSON. Wisconsin-born biological mother of Steve Jobs, whom she put up for adoption, and Mona Simpson, whom she raised. MONA SIMPSON. Biological full sister of Jobs; they discovered their relationship in 1986 and became close. She wrote novels loosely based on her mother Joanne (Anywhere but Here), Jobs and his daughter Lisa (A Regular Guy), and her father Abdulfattah Jandali (The Lost Father). ALVY RAY SMITH. A cofounder of Pixar who clashed with Jobs. BURRELL SMITH. Brilliant, troubled hardware designer on the original Mac team, afflicted with schizophrenia in the 1990s. AVADIS “AVIE” TEVANIAN. Worked with Jobs and Rubinstein at NeXT, became chief software engineer at Apple in 1997. JAMES VINCENT. A music-loving Brit, the younger partner with Lee Clow and Duncan Milner at the ad agency Apple hired. RON WAYNE. Met Jobs at Atari, became first partner with Jobs and Wozniak at fledgling Apple, but unwisely decided to forgo his equity stake. STEPHEN WOZNIAK. The star electronics geek at Homestead High; Jobs figured out how to package and market his amazing circuit boards and became his partner in founding Apple. DEL YOCAM. Early Apple employee who became the General Manager of the Apple II Group and later Apple’s Chief Operating Officer. INTRODUCTION How This Book Came to Be In the early summer of 2004, I got a phone call from Steve Jobs. He had been scattershot friendly to me over the years, with occasional bursts of intensity, especially when he was launching a new product that he wanted on the cover of Time or featured on CNN, places where I’d worked. But now that I was no longer at either of those places, I hadn’t heard from him much. We talked a bit about the Aspen Institute, which I had recently joined, and I invited him to speak at our summer campus in Colorado. He’d be happy to come, he said, but not to be onstage. He wanted instead to take a walk so that we could talk. That seemed a bit odd. I didn’t yet
Walter Isaacson (Steve Jobs)
There is no sun at all, no moon; only the rustling northern lights, like electronic music, and the hard little stars.
Margaret Atwood (Wilderness Tips)
Whatcha listenin' to?" "Oh, you probably wouldn't like it." "Try me." He shrugs as he passes the headphones across the slim space between our beds. This is gonna be good. I've got him pegged for a Yanni diehard, and I smirk a little as the music starts. One of my cellies had a thing for electronic rock, so I recognize the song right away. With the heavy breathing at the start, it's unforgettable and creepy as hell. Seriously. Like stalker-level shit. I want you now, tomorrow won't do. There's a yearning inside and it's showing through. "Depeche Mode, huh? Cool, man. Wouldn't have figured it." Reach out your hands and accept my love. We've waited for too long. Enough is enough. Like I said, stalker-level. His laugh is jittery, quick as the cockroaches in Folsom. "It's my favorite song. Reminds me of being seventeen again. You know, when sex was all you could think about." I pretend I'm not totally skeeved out when I return his headphones and shut the lights.
Ellery A. Kane (The Hanging Tree (Doctors of Darkness, #2))
Every track you show people will be a “work in progress”. You’ll never commit to saying “Here it is, it’s done”.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
Ussachevsky was well-known for opposing the keyboard. The standard keyboard just did not fit with his conception of how electronic music should be made
Soon after that, Eno briefly joined a group called the Scratch Orchestra, led by the late British avant-garde composer Cornelius Cardew. There was one Cardew piece that would be a formative experience for Eno—a piece known as “Paragraph 7,” part of a larger Cardew masterwork called The Great Learning. Explaining “Paragraph 7” could easily take up a book of its own. “Paragraph 7”’s score is designed to be performed by a group of singers, and it can be done by anyone, trained or untrained. The words are from a text by Confucius, broken up into 24 short chunks, each of which has a number. There are only a few simple rules. The number tells the singer how many times to repeat that chunk of text; an additional number tells each singer how many times to repeat it loudly or softly. Each singer chooses a note with which to sing each chunk—any note—with the caveats to not hit the same note twice in a row, and to try to match notes with a note sung by someone else in the group. Each note is held “for the length of a breath,” and each singer goes through the text at his own pace. Despite the seeming vagueness of the score’s few instructions, the piece sounds very similar—and very beautiful—each time it is performed. It starts out in discord, but rapidly and predictably resolves into a tranquil pool of sound. “Paragraph 7,” and 1960s tape loop pieces like Steve Reich’s “It’s Gonna Rain,” sparked Eno’s fascination with music that wasn’t obsessively organized from the start, but instead grew and mutated in intriguing ways from a limited set of initial constraints. “Paragraph 7” also reinforced Eno’s interest in music compositions that seemed to have the capacity to regulate themselves; the idea of a self-regulating system was at the very heart of cybernetics. Another appealing facet of “Paragraph 7” for Eno was that it was both process and product—an elegant and endlessly beguiling process that yielded a lush, calming result. Some of Cage’s pieces, and other process-driven pieces by other avant-gardists, embraced process to the point of extreme fetishism, and the resulting product could be jarring or painful to listen to. “Paragraph 7,” meanwhile, was easier on the ears—a shimmering cloud of sonics. In an essay titled “Generating and Organizing Variety in the Arts,” published in Studio International in 1976, a 28-year-old Eno connected his interest in “Paragraph 7” to his interest in cybernetics. He attempted to analyze how the design of the score’s few instructions naturally reduced the “variety” of possible inputs, leading to a remarkably consistent output. In the essay, Eno also wrote about algorithms—a cutting-edge concept for an electronic-music composer to be writing about, in an era when typewriters, not computers, were still en vogue. (In 1976, on the other side of the Atlantic, Steve Jobs and Steve Wozniak were busy building a primitive personal computer in a garage that they called the Apple I.) Eno also talked about the related concept of a “heuristic,” using managerial-cybernetics champion Stafford Beer’s definition. “To use Beer’s example: If you wish to tell someone how to reach the top of a mountain that is shrouded in mist, the heuristic ‘keep going up’ will get him there,” Eno wrote. Eno connected Beer’s concept of a “heuristic” to music. Brecht’s Fluxus scores, for instance, could be described as heuristics.
Geeta Dayal (Brian Eno's Another Green World (33 1/3 Book 67))
For example, sounds can be made to seem closer to the listener by making them louder, “brighter” (an increase in high-frequency content in comparison to other sounds), and/or “dryer” (an increase in the amount of original, unprocessed signal in comparison to the amount of reverb applied to that signal).
Dennis DeSantis (Making Music: 74 Creative Strategies for Electronic Music Producers)
it’s much easier to decide that something is bad once it exists than it is to make something good from nothing.
Dennis DeSantis (Making Music: 74 Creative Strategies for Electronic Music Producers)
Techno emerged in the early to mideighties in and around Detroit, at the hands of black middle-class DJs who for some reason idealized the glamour and suavity of European electronic pop and Italo disco, as it reached them via GQ and the radio DJ who called himself the Electrifying Mojo. They brought some rigor and a hint of Motown to it and created an industrial-sounding music that was funky, futuristic, and kind of arch—evoking the auto plants that were putting these kids’ parents out of work.
Andrew McCarthy (The Best American Travel Writing 2015 (The Best American Series ®))
Berlin is to electronic music what Florence was to Renaissance art: crucible, arbiter, patron. Credit for this could go as far back as Bismarck; the city owes its peculiar fertility as much to the follies of statesmen and generals as to any generation of ardent youth. Citizens have spoken and sung for many years of the “Berliner Luft”—“the nervous, endlessly quivering Berlin air,” as Conrad Alberti wrote in 1889, “which works upon people like alcohol, morphine, cocaine, exciting, inspiring, relaxing, deadly.
Andrew McCarthy (The Best American Travel Writing 2015 (The Best American Series ®))
He also flowered intellectually during his last two years in high school and found himself at the intersection, as he had begun to see it, of those who were geekily immersed in electronics and those who were into literature and creative endeavors. “I started to listen to music a whole lot, and I started to read more outside of just science and technology—Shakespeare, Plato. I loved King Lear.
Walter Isaacson (Steve Jobs)
It seems that perfection is reached not when there is nothing left to add, but when there is nothing left to take away.” — Antoine de Saint-Exupéry
Dennis DeSantis (Making Music: 74 Creative Strategies for Electronic Music Producers)
Jay Stevens’s classic LSD history Storming Heaven
Michaelangelo Matos (The Underground Is Massive: How Electronic Dance Music Conquered America)
Heightened capacity for visual imagery and fantasy “Was able to move imaginary parts in relation to each other.” “It was the non-specific fantasy that triggered the idea.” “The next insight came as an image of an oyster shell, with the mother-of-pearl shining in different colors. I translated that in the idea of an interferometer—two layers separated by a gap equal to the wavelength it is desired to reflect.” “As soon as I began to visualize the problem, one possibility immediately occurred. A few problems with that concept occurred, which seemed to solve themselves rather quickly…. Visualizing the required cross section was instantaneous.” “Somewhere along in here, I began to see an image of the circuit. The gates themselves were little silver cones linked together by lines. I watched the circuit flipping through its paces….” “I began visualizing all the properties known to me that a photon possesses and attempted to make a model for a photon…. The photon was comprised of an electron and a positron cloud moving together in an intermeshed synchronized helical orbit…. This model was reduced for visualizing purposes to a black-and-white ball propagating in a screwlike fashion through space. I kept putting the model through all sorts of known tests.” 5. Increased ability to concentrate “Was able to shut out virtually all distracting influences.” “I was easily able to follow a train of thought to a conclusion where normally I would have been distracted many times.” “I was impressed with the intensity of concentration, the forcefulness and exuberance with which I could proceed toward the solution.” “I considered the process of photoconductivity…. I kept asking myself, ‘What is light? and subsequently, ‘What is a photon?’ The latter question I repeated to myself several hundred times till it was being said automatically in synchronism with each breath. I probably never in my life pressured myself as intently with a question as I did this one.” “It is hard to estimate how long this problem might have taken without the psychedelic agent, but it was the type of problem that might never have been solved. It would have taken a great deal of effort and racking of the brains to arrive at what seemed to come more easily during the session.” 6. Heightened empathy with external processes and objects “…the sense of the problem as a living thing that is growing toward its inherent solution.” “First I somehow considered being the needle and being bounced around in the groove.” “I spent a productive period …climbing down on my retina, walking around and thinking about certain problems relating to the mechanism of vision.” “Ability to grasp the problem in its entirety, to ‘dive’ into it without reservations, almost like becoming the problem.” “Awareness of the problem itself rather than the ‘I’ that is trying to solve it.” 7. Heightened empathy with people “It was also felt that group performance was affected in …subtle ways. This may be evidence that some sort of group action was going on all the time.” “Only at intervals did I become aware of the music. Sometimes, when I felt the other guys listening to it, it was a physical feeling of them listening to it.” “Sometimes we even had the feeling of having the same thoughts or ideas.” 8. Subconscious data more accessible “…brought about almost total recall of a course that I had had in thermodynamics; something that I had never given any thought about in years.” “I was in my early teens and wandering through the gardens where I actually grew up. I felt all my prior emotions in relation to my surroundings.
James Fadiman (The Psychedelic Explorer's Guide: Safe, Therapeutic, and Sacred Journeys)
making me feel alive. I switch on the kitchen radio and “Keep Hope Alive” fills the small open space. The Crystal Method reminds me of early high school. I turn it up as loud as I can and plop down on the couch. Leaning my head back on the cushion I close my eyes, take a deep breath, and smile, letting the electronic pull of the music lift me up. Hope creeps back into my soul. When it ends I stand and stride with purpose to the fridge and pause. I grab the sharpie in the pencil holder and cross out number one on my list.  Done. * * * * * “That was odd, what the hell?” Ben hollers two seats over to me. “Yeah seriously, what’d you do to her hand?” John asks. “I have no idea.” I shrug, still slightly stunned. When she sat next to me I couldn't tear my
K. Larsen (30 Days (30 Days, #1))
JONATHAN “RUBY” RUBINSTEIN. Worked with Jobs at NeXT, became chief hardware engineer at Apple in 1997. MIKE SCOTT. Brought in by Markkula to be Apple’s president in 1977 to try to manage Jobs. JOHN SCULLEY. Pepsi executive recruited by Jobs in 1983 to be Apple’s CEO, clashed with and ousted Jobs in 1985. JOANNE SCHIEBLE JANDALI SIMPSON. Wisconsin-born biological mother of Steve Jobs, whom she put up for adoption, and Mona Simpson, whom she raised. MONA SIMPSON. Biological full sister of Jobs; they discovered their relationship in 1986 and became close. She wrote novels loosely based on her mother Joanne (Anywhere but Here), Jobs and his daughter Lisa (A Regular Guy), and her father Abdulfattah Jandali (The Lost Father). ALVY RAY SMITH. A cofounder of Pixar who clashed with Jobs. BURRELL SMITH. Brilliant, troubled hardware designer on the original Mac team, afflicted with schizophrenia in the 1990s. AVADIS “AVIE” TEVANIAN. Worked with Jobs and Rubinstein at NeXT, became chief software engineer at Apple in 1997. JAMES VINCENT. A music-loving Brit, the younger partner with Lee Clow and Duncan Milner at the ad agency Apple hired. RON WAYNE. Met Jobs at Atari, became first partner with Jobs and Wozniak at fledgling Apple, but unwisely decided to forgo his equity stake. STEPHEN WOZNIAK. The star electronics geek at Homestead High; Jobs figured out how to package and market his amazing circuit boards and became his partner in founding Apple.
Walter Isaacson (Steve Jobs)
Entirely in agreement with Salieri when he rails against God for having given humanity the gift of Mozart's divine music, for the sole purpose of making us look ridiculous and plunging us into despair. Salieri sets himself up as Man's champion against divine injustice. It is the same problem as that of the Grand Inquisitor in the Brothers Karamazov. When Christ returns to earth he says to him: 'We manage humanity for its greatest happiness. It has paid for this with its mediocrity. Don't come disturbing this fragile balance with insane promises. ' And he condemns Christ to death once again. Salieri is not mean-spirited: it took pride, not to become jealous of Mozart, but to challenge God and ask: 'Tell it to me plainly, why am I not Mozart?' For God mocked us by throwing Mozart among us in the guise of a vulgar being, who did not even bear the exceptional marks of grace. God is toying with us, and that is unbearable. Mozart must be destroyed. All that challenges God is noble in spirit and superior to gaping, unconditional admiration of His works. We will not have the same problem with Changeux's Neuronal Man, emerging on the horizon like Nietzsche's Last Man, with his cortical and synaptic flatness. Farewell Mozart, farewell Salieri, no more grace, but no more challenges either, such is the solution offered by modern science to the insoluble despair of the difference between men. Signs, signs? Is that all you have to say? People act and people dream, they speak or they don't - none of that is unreal. Shut up and watch. See the philosophical beauty of these closing years of the century, the stars in the sky falling lower as the fateful date approaches, and the interactive horizon of couples in love - all this is beyond doubt, and it moves me to tears . . . The age, the coming age is like a metropolis deserted by its population, cut off from its sources of energy. Are you going to say that, are you going to go on with these twilight rantings? Every century throws the reality principle into question as it closes, but it's over today, finished, done. Everybody works these days. Narrative and moral passions, the philosophical animal spirits, are literally blocking the electronic animal spirits, a thousand times more lively and insignificant. Videos and advertisements, credits, news reports and sports flashes, Dallas, that's television, all that transfers easily, with the minimum of energy, on ephemeral film. But pure television, like pure painting or pure speed, is hard to bear.
Jean Baudrillard (Cool Memories)
Right in the middle of a Stevie Wonder concert, right in the middle of this musical trance, this electronic night with thousands in the stadium, a night worthy of Metropolis with the thousands of cerebro-motor slaves gyrating to the rhythm of synthesizers and all the lighter flames serving as a luminous ovation - a new ritual worthy of the catacombs - I feel a total coldness, complete indifference to this faked music, without the slightest melodic phrase, music of a pitiless technicity. Everything is both visceral and coded at the same time. A strictly regulated release, a cold ceremonial, very far in human terms from its own musical savagery, which is merely that of technology. Only the visual impact remains, the spectacle of the crowd and its phYSical idolatry, particularly as the idol is blind and directs the whole thing with his dead eyes, exiled from the world and its tumult, but absorbing it all like an animal. The same air of sacredness as with Borges. The same translucidity of the blind, who enjoy the benefits of the silence of light and therefore of blackmail by lucidity. But modern idolatry is not easily accepted; the bodies stay clenched. Technicity wins out over frenzy in the new metropolitan nights. Growing old is not the approach of a biological term. It is the ever lengthening spiral which distances you from the physical and intellectual openness of your youth. Eventually, the spiral becomes so long that all chance of return is lost. The parabola becomes eccentric, and the peak of one's life-curve gets lost in space. Simultaneously the echo of pleasures in time becomes shorter. One ceases to find pleasure in pleasure. Things live on in nostalgia, and their echo becomes that of a previous life. This is the second mirror phase, and the beginning of the third age.
Jean Baudrillard (Cool Memories)
His intertwined understanding informed his professional path; his path informed an industry.
Mark Vail (The Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument)
Cahill intended the Telharmonium to transmit music through phone lines to paying subscribers, but the venture failed.
Mark Vail (The Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument)
Imperfection gives life to your music and art.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
Writer's block is simply fear disguised as other things. It's certainly not something that is out of your control. Make creating a habit, even if it's for fifteen minutes a day. Whatever you do, never stop because of fear.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
When you already have non-productive momentum, it's hard to turn that boat around.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
Surveillance capitalism’s command of the division of learning in society begins with what I call the problem of the two texts. The specific mechanisms of surveillance capitalism compel the production of two “electronic texts,” not just one. When it comes to the first text, we are its authors and readers. This public-facing text is familiar and celebrated for the universe of information and connection it brings to our fingertips. Google Search codifies the informational content of the world wide web. Facebook’s News Feed binds the network. Much of this public-facing text is composed of what we inscribe on its pages: our posts, blogs, videos, photos, conversations, music, stories, observations, “likes,” tweets, and all the great massing hubbub of our lives captured and communicated.
Shoshana Zuboff (The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power)
Opening your DAW and listening to your 8 bar loop for twenty minutes is NOT making music. It's just procrastinating.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
The things that are easy in your life are processed as one simple task, while the things you dread fill your head with all kinds of seemingly complicated details.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
See, you don’t have to call a song done forever, you just have to abandon it when your current ear is satisfied.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
It's really important to create partnerships with other musicians of a similar vibe or style. These are your "go to" people when you want feedback on an idea.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
The secret to becoming great If you seek quantity over quality, you will get both.
Jason Timothy (Music Habits - The Mental Game of Electronic Music Production: Finish Songs Fast, Beat Procrastination and Find Your Creative Flow)
. Recommendation: One avenue for ensuring that all civilian CCTV equipment is SCORPION STARE compatible by 2006 is to exploit an initiative of the US National Security Agency for our own ends. In a bill ostensibly sponsored by Hollywood and music industry associations (MPAA and RIAA: see also CDBTPA), the NSA is ostensibly attempting to legislate support for Digital Rights Management in all electronic equipment sold to the public. The implementation details are not currently accessible to us, but we believe this is a stalking-horse for requiring chip manufacturers to incorporate on-die FPGAs in the one million gate range, re-configurable in software, initially laid out as DRM circuitry but reprogrammable in support of their nascent War on Un-Americanism. If such integrated FPGAs are mandated, commercial pressures will force Far Eastern vendors to comply with regulation and we will be able to mandate incorporation of SCORPION STARE Level Two into all digital consumer electronic cameras and commercial CCTV equipment under cover of complying with our copyright protection obligations in accordance with the WIPO treaty. A suitable pretext for the rapid phased obsolescence of all Level Zero and Level One cameras can then be engineered by, for example, discrediting witness evidence from older installations in an ongoing criminal investigation. If we pursue this plan, by late 2006 any two adjacent public CCTV terminals—or private camcorders equipped with a digital video link—will be reprogrammable by any authenticated MAGINOT BLUE STARS superuser to permit the operator to turn them into a SCORPION STARE basilisk weapon. We remain convinced that this is the best defensive posture to adopt in order to minimize casualties when the Great Old Ones return from beyond the stars to eat our brains.
Charles Stross (The Atrocity Archives (Laundry Files, #1))
While Daft Punk framed technology in a paranoid light, dehumanizing at best and a tool of outright fascism at worst, Perfume sang about technology with a shrug, accepting this new world and ultimately embracing it. Nakata and the three members touched on familiar subjects while drowning them in modern sounds. They were ahead of the curve with Game, as a few years later, the overwhelming, emotional branches of electronic dance music (EDM) would be among the most popular styles in the world.
Patrick St. Michel (Perfume's GAME (33 1/3 Japan))