A Quote by Florian Schneider

A person doing experimental music must be responsible for the results of the experiments. They could be very dangerous emotionally. — © Florian Schneider
A person doing experimental music must be responsible for the results of the experiments. They could be very dangerous emotionally.
I think I was the only person in my experimental film class doing comedy. But my sense of humor and a lot of comedy that I love is quite surreal and strange, you know? You could argue that 'Monty Python' is experimental film. It just happens to be really funny.
He who experiments must, while doing so, divest himself of every preconception. It is clear then that if we wish to make use of a method of experimental psychology, the first thing necessary is to renounce all former creeds and to proceed by means of the method in the search for truth.
At the risk of sounding really corny now, I'm a career prosecutor. I've been doing this for a very long time. And I believe in holding people responsible when they violate the law. But our sole responsibility is to seek justice. And sometimes that means a very lengthy sentence for people who are dangerous and from which society must be protected.
I feel like the music I'm doing is very experimental and very radical.
Some people have set up sort of "gotcha" algorithms that apparently crawl through psychology articles and look for fraudulent p-values [a measure of the likelihood that experimental results weren't a fluke]. But they're including rounding errors that don't change the significance levels of the results, and they're doing it anonymously.
The youth is hungry for good music; I feel responsible and glad that I can be an agent who can mentally, emotionally stimulate them to listen to music outside of cinema.
I always wanted to be an experimental physicist and was attracted to the idea of using continuing advances in technology to carry out fundamental science experiments that could not be done otherwise.
What most experimenters take for granted before they begin their experiments is infinitely more interesting than any results to which their experiments lead.
It is known to all persons who are conversant in experimental philosophy, that there are many little attentions and precautions necessary to be observed in the conducting of experiments, which cannot well be described in words, but which it is needless to describe, since practice will necessarily suggest them; though, like all other arts in which the hands and fingers are made use of, it is only much practice that can enable a person to go through complex experiments, of this or any kind, with ease and readiness.
I think my formative experiences were really in junior high, where at a typical public school we were doing little genetic experiments, very classic experiments.
It is not necessarily true that expensive experiments are not worthwhile doing but there are plenty of rather cheap experiments which are certainly worth doing.
I am frequently astonished that it so often results in correct predictions of experimental results.
I think my music is experimental, playful, challenging, focused, fun. I don't want it to be thought of as trying to appeal to a certain type of person or being very cerebral.
Like the music and the period, I wanted 'I'm Not There' to be fun and full of emotions, desires and experiments that were thrilling and dangerous.
I am not doing something that it is experimental music in relation to classical music.
I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment.
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