A Quote by Karlheinz Stockhausen

Being quiet and meditating on sound is something completely different and will be discovered very soon by a lot of people who feel that the visual world doesn't reach their soul anymore.
But being quiet and meditating on sound is something completely different and will be discovered very soon by a lot of people who feel that the visual world doesn't reach their soul anymore.
When we meditate, what we actually do is enter into a vacant, calm, still, silent mind. We go deep within and approach our true existence, which is our soul. When we live in the soul, we feel that we are actually meditating spontaneously. On the surface of the sea are multitudes of waves, but the sea is not affected below. In the deepest depths, at the bottom of the sea is all tranquility. So when you start meditating, try to feel your own inner existence first. That is to say, the bottom of the sea: calm and quiet. Feel that your whole being is surcharged with peace and tranquility.
When you meditate with an enlightened teacher, you will feel something from them. They just dissolve completely, absorption in nirvana, where they don't even have physical contact with this world anymore.
A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.
Even though I'm resting I'm accomplishing something by sewing that shirt that I've been meaning to sew for weeks. And it's relaxing. It's so very meditative and quiet and enjoyable. But at least I'm producing something. I'm being productive in some way. I have a very hard time being completely idle.
I think I'm one of those people that needed to be seen by someone else to see myself. But then on the other hand, the way I do my work, I always try to only completely focus on my work, so when I do my work I'm only interested in my character. So I don't have an idea of what it means for my career. So this is why I don't feel like I need to be discovered, because I feel like even without being discovered, I will be fine.
I seem to wonder if we can reach some kind of new destination with cinema, or touch upon human existence in a different way to what cinema usually does in its very schematic and sometimes very controlled, plot-oriented ways of thinking. Sometimes I feel like I've found the holy grail, and next week I think it's a complete mistake and I need to try something completely different. It's an ongoing process.
Many environmentalists have failed to recognize that the preservation of quiet areas, places off-limits to noise pollution, should probably be a number-one environmental concern, not something we're going to get to later. And I say that because in that quiet is a whole experience that people can have that reaches to their soul. I like to think of quiet places in nature as the think tank of the soul. It's in these very basic levels that we'll be able to see what the real problem is.
I always feel like people misunderstand the difference between an Asian story and an Asian-American story. That's completely different, too. I have friends who grew up in Asia, and our experiences are so different. Even though we might look the same, I feel like being Asian and then being Asian-American is completely different.
I shall soon be laid in the quiet grave--thank God for the quiet grave--O! I can feel the cold earth upon me--the daisies growing over me--O for this quiet--it will be my first.
When I go to the cinema, I want to have a cinematic experience. Some people ignore the sound and you end up seeing something you might see on television and it doesn't explore the form. Sound is the other picture. When you show people a rough cut without the sound mix they are often really surprised. Sound creates a completely new world. With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue I think expositional dialogue is quite crass and not like real life.
I usually need a lot of time to be completely alone with the particular piece, the composer, and the instrument. I also prefer a very quiet atmosphere, and I usually choose pieces that are very close to my personality, my heart. I think the audience can feel it.
I have a very big phone book and a very long reach around the world. And I think - I don't think, I know - that 95 percent of the people who I know who weren't born into success who have become successful and done things that are different and made a lot of money and had a lot of excitement in their life are people who never hear the word 'no.'
The rhythmic feel of 'Dark Days In Paradise' is completely different to anything I've ever done before. There's a lot of drum loops on there, but used in conjunction with real drums: a lot of influence from hip-hop and dance music, with the keyboard sound and sequencing.
When something is discovered by people in movie theaters, it's discovered by people who are all together, and there's a sort of feeling of an event about it. And when it's on video, it's like something is being discovered in the library or something. It's like having a second life in public libraries. It's just like individuals, and it's less of a... We can't participate in it the same way.
We needed to make a sound that's not gonna fit in with everything else - we wanted to make something that was completely unique and individual to us. We spent a lot of time trying to make a sound that was a One Direction sound. At first it was quite hard to do that, but I'm really happy with the sound.
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