A Quote by Grimes

I know texture is really important, but I think texture and stuff precedes songwriting a lot of the time these days. — © Grimes
I know texture is really important, but I think texture and stuff precedes songwriting a lot of the time these days.
The verb 'to darn' is explained in my pocket dictionary as follows: 'To mend by imitating the texture of the stuff, with thread and needle.' But this definition does not correspond to the work accomplished by good Chinese housewives. When they mend a sock, they do not try 'to imitate the texture of the stuff'. Their art makes no attempt at concealment: it even takes a certain pride in revealing itself.
When I do my own hair, I love Oribe Texture spray and Redken dry shampoo whenever I'm in a rush. It gives it texture and makes it look clean!
In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.
Photography is space, light, texture, of course, but the really important element is time - that nanosecond when the image organizes itself on the ground glass.
We need to find another way or another shape or an allegory or something that tells us more. Even Vagabond - it was a fiction but it was really a documentary. I mean, it has the texture of documentary. Even if I made up every line, it has the texture of being true.
I regard texture similar to the function of taste buds in our mouths. But in a visual form. Texture does create a specific flavour which affects our senses.
I actually prefer to hear small groups of instruments. Orchestras seem to lack a texture for me, or variety of texture. There's only about ten things you can do with one note in a string section. But a lone violin is continuously changing textures.
Since I first picked up the violin, I've been very interested in tone and texture: I would have very visceral reactions to the texture of a snare drum or a pedal steel guitar or a violin.
When one wants to become cognizant of the color and the texture of the soil, one does not get a ladder; one gets a shovel. When one wants to get into touch with the texture of the universal mind, one does not go to Boston; one goes to the Bowery.
You start realizing that good prose is crunchy. There's texture in your mouth as you say it. You realize bad writing, bland writing, has no texture, no taste, no corners in your mouth. I'm a great believer in reading aloud.
I am oblique; I think that has to do with my own nature. I like trying to do things which work on many levels, because I think it is terribly important to give an audience a lot of things they might not get as well as those they will, so that finally the film does take on a texture and is not just simplistic communication.
I think it's huge that I'm wearing my natural hair texture on ABC in prime time. As Dr. Rainbow Johnson on 'Black-ish,' I think my hair is part of the reality of this woman's life. She has four children and is an anesthesiologist and a wife. She doesn't have a lot of time to fuss with beauty, so her look is pretty simple.
I like film because it brings you very close to the absurd reality that you might spend a day shooting and not get a single image that you like or works, and you won't really know for a few days at least as you wait. It connects you and grounds you to a material reality and a patience that seems lost with digital. I also think the grain texture remains forever different, and in my opinion, what I find to be more beautiful.
You know, that was the first time [with Any Winehouse] that I probably ever used a baritone sax. And it's certainly the texture that, you know - it's all over the record 'cause it's a nice compliment to her tone.
I love the idea that if you build something with enough depth and texture, you can watch it again and again and see new things every time, and that's very important.
I think what really stays with me is the idea that you can write music about the texture of a wall, and everything is in some way connected.
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