The Northern idea of form is more of a process. The various units of the form overlap. You can't tell where some things stop and new things start. This is typical of Sibelius.
Los Angeles is just a more open place. The way L.A. functions is that people give you a forum. They say, Show us what you can do.
There is more openness in LA to possibilities than on the East Coast of America. There is a pioneering spirit there that stems from the reason people went out there in the first place-to find something new.
The sound was my greatest concern. There were certain difficulties getting used to the way every musician can hear his or herself, the way each of them relates to the musician in the next seat.
The players never think they project enough. In a hall that seats 3,300 people, it's a very scary thing to play so quietly that you can barely hear yourself.
We have made many glass vessels... with tubes two cubits long. These were filled with mercury, the open end was closed with the finger, and the tubes were then inverted in a vessel where there was mercury.
Everything in my house was either free or under 40 bucks, and people come to my house and can't believe that I picked up everything on the street or in a thrift shop.
As soon as I could speak, I was singing. Before I could even speak full words, I would make up ones to sing and I have it on tape, too.
Having those extra dimensions and therefore many ways the string can vibrate in many different directions turns out to be the key to being able to describe all the particles that we see.
You have that one basic string, but it can vibrate in many ways. But we're trying to get a lot of particles because experimental physicists have discovered a lot of particles.
On the other hand, we don't understand the theory too completely, and because of this fuzziness of spacetime, the very concept of spacetime and spacetime dimensions isn't precisely defined.
One very important aspect of string theory is definitely testable. That was the prediction of supersymmetry, which emerged from string theory in the early '70s.
People in chorus tends to be much more emotional or at least wear their hearts on their sleeve. They are generally the kind to hold hands and cry. It's just a different personality type.
I don't know if it is a spiritual, physiological or psychological phenomenon, but I believe now more than ever that singing is a universal, built-in mechanism designed to cultivate empathy and compassion.
If I can trust the word of a friend, why do I question the word of the God of the universe? Go figure. Sin is truly bizarre." [Running Scared, p. 111]
The designer must understand that form does not follow function nor does form follow a production process. For every use and for every production process there are innumerable equally attractive solutions.
When I met my designs in the market of a remote village in the West Indies, or in the airport restaurant in Zurich, I felt like the mother of many well-behaved children.
I don't call myself an 'industrial designer,' because I'm other things. Industrial designers want to make novel things. Novelty is a concept of commerce, not an aesthetic concept.
I have no problem twisting the facts if it's the only way I can be true to the moment.
What I can't tell with a photo I will tell with a painting, and what I can't tell with a painting I will tell with a video or text sometimes, et cetera.
We've lost control of this planet somewhere. There's an echo in that kind of tornado situation, where you're powerless facing those phenomena.
