A Quote by David Byrne
We tend to mistake music for the physical object.
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The object of a bunker or trap is not only to punish a physical mistake, to punish lack of control, but also to punish pride and egotism.
When you're the object of everyone's affection, make no mistake about it: you are an object. People don't have any interest in loving you for you. Their love for you is for who they think you are.
I'm not one for sitting around listening to my own music, because I tend to cringe and think that I could have done better. I also suffer from red light syndrome quite a lot. I tend to narrow my thinking when the red light goes on to record. Instead of just relaxing and playing and emoting, I think of time being wasted so I won't take a chance on something. Consequently, when I hear it back, I think, "Why the hell did I play it so safe on that piece of music when I could have really opened up?" Well, it's because of not wanting to make a mistake.
We never really see time. We see only clocks. If you say this object moves, what you really mean is that this object is here when the hand of your clock is here, and so on. We say we measure time with clocks, but we see only the hands of the clocks, not time itself. And the hands of a clock are a physical variable like any other. So in a sense we cheat because what we really observe are physical variables as a function of other physical variables, but we represent that as if everything is evolving in time.
Music is a physical expression that has a physical impact upon the listener. Sound travels in waves through the air. This is not abstract. This is scientific fact. And it makes physical contact with the eardrum... and with the heart... and with the rest of the body.
It really doesn’t matter how the manager is. If you make a mistake and the manager is calm, you still feel terrible for making that mistake. It helps to have a manager who can be cool but as an individual you tend to be in control of your own emotions.
It is a mistake, to think the same thing affects both sight and touch. If the same angle or square, which is the object of touch,be also the object of vision, what should hinder the blind man, at first sight, from knowing it?
Make something, a kind of object, which as it changes or falls apart (dies as it were) or increases in its parts (grows as it were) offers no clue as to what its state or form or nature was at any previous time. Physical and Metaphysical. Obstinacy. Could this be a useful object?
I love the idea of engaging the object, whether it be architecture or a piece of good graphic design, or a good painting, or piece of sculpture, or even a piece of industrial manufactured object. A piece of engineering can be quite beautiful, too, or a photomicrograph, or a cosmic photograph. We're physical beings and why deny that. So in that sense, it's very sensual to have an object that has the power to communicate some emotion or a state or give you some sense.
You have to seduce the reader, manipulate their mind and heart, listen to the music of language. I sometimes think of prose as music, in terms of its rhythms and dynamics, the way you compress and expand the attention of a reader over a sentence, the way the tempo pushes you towards an image or sensation. We want an intense experience, so that we can forget ourselves when we enter the world of the book. When you are reading, the physical object of the book should disappear from your hands.
It is not a mistake to commit a mistake, for no one commits a mistake knowing it to be one. But it is a mistake not to correct the mistake after knowing it to be one. If you are afraid of committing a mistake, you are afraid of doing anything at all. You will correct your mistakes whenever you find them.
And learn that when you do make a mistake, you'll surface that mistake so you can get it corrected, rather than trying to hide it and bury it, and it becomes a much bigger mistake, and maybe a fatal mistake.
A book is a physical object in a world of physical objects. It is a set of dead symbols. And then the right reader comes along, and the words—or rather the poetry behind the words, for the words themselves are mere symbols—spring to life, and we have a resurrection of the word.
Fear, as opposed to anxiety, has a definite object, which can be faced, analyzed, attacked, endured... anxiety has no object, or rather, in a paradoxical phrase, its object is the negation of every object.
An object that is at rest will tend to stay at rest. An object that is in motion will tend to stay in motion.
Apple was selling $400 iPods with $1 earbuds. They're making a beautiful white object with all the music in the world in it... I'm going to make a beautiful black object that will play it back.
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