A Quote by Issey Miyake
To be honest, I think we should find first the possibility to make it. Research is first - if you're not interested, you never can find something. Many things happen from forgotten machines - ones that are no longer used.
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I was the first artist, I think, to ever do an all-keyboard album. There were things that resembled it, like Stevie Wonder. A lot of his stuff was on keyboards, but he used brass and he used other things as well. I was the first artist, also, to use drum machines. I was really the one who kind of started that whole thing.
I find it very difficult not to write in any sort of Sudanese style. With Sudanese music, there are very specific things that happen with the syncopation of the drums, melodies and stuff. And whenever I write, that's always the first thing that comes out, because I grew up listening to it. It's a part of me, so I try to bring that out in the music. I think that you have to be honest with what you do, and that's the most honest thing that I can do, is to write that way.
What happens with fear is that probability doesn't matter very much. That is, once I have raised the possibility that something terrible can happen to your child, even though the possibility is remote, you may find it very difficult to think of anything else. Emotion becomes dominant.
I like writing a lot more than I used to. I used to find it scary but now I've got used to it once it gets going. I used to find it hard to start. Fear of the blank page. The first thing you write down won't bear any relation to what's in your head and that's always disappointing.
I don't make any notes, but I do know where to find things. Suppose I need to know where Wexford first talked about his love of the countryside or where he quotes Larkin or what was the beginning of his hatred of racism or where he first encountered domestic violence; I would be able to find it straight away.
One of the things that's great about doing a show over and over again... is that you have to find ways to make it spontaneous, as though everything is happening for the first time... to continue to mine the material and find new things.
If you find a solution with the Cube, it doesn't mean you find everything. It's only a starting point. You can work on and find something else: you can improve your solution, you can make it shorter, you can go deeper and deeper and collect knowledge and many other things.
Nirvana's amazing, but they're just never going to find another one, there's no artist development anymore, you're never going to have a U2, you're never going to have a Bruce Springsteen, those guys didn't make it off of their first single and real artists probably won't make it off of their first singles.
It used to happen, and still happens, to me to take no pleasure in a work of art at the first sight of it, because it is too much for me; but if I suspect any merit in it, I try to get at it; and then I never fail to make the most gratifying discoveries--to find new qualities in the work itself and new faculties in myself.
I used to live with two other guys. We used to cook two things. The first one was called 'cheese... thing' and that was where you get something and you melt cheese over it and the first one to guess what it is doesn't have to wash up. That's obviously quite Mediterranean; the other one was less complex. It was just called 'cheese fantasy.' That's where you come in, very drunk, at about five in the morning and find an apple and just pretend there's some cheese on it.
I consider drawings finished works of art, first of all. However, the ideas can be something that can be developed into something larger. I don't make so many drawings anymore since I'm working with language. I used to make more when I worked with sculptural things, especially the wire pieces.
I tend to view the superstitions or fragments of myth as triggers for lyric inquiry. I also find I think of this kind of language as ars poetica - if we can find the right combination of words, we can make something improbably or extraordinary happen.
... I don't think anybody should avoid mistakes. If it is within their nature to make certain mistakes, I think they should make them, make the mistakes and find out what the cost of the mistake is, rather than to constantly keep avoiding it, and never really knowing exactly what the experience of it is, what the cost of it is, you know, and all the other facets of the mistake. I don't think that mistakes are that bad. I think that they should try and not do destructive things, but I don't think that a mistake is that serious a thing that one should be told what to do to avoid it.
At first you might find that nothing happens there. But if you have a sacred space and use it, eventually something will happen. Your sacred space is where you find yourself again and again.
I think young writers should get other degrees first, social sciences, arts degrees or even business degrees. What you learn is research skills, a necessity because a lot of writing is about trying to find information.
Find a way and make it happen: I've always been the type of person who couldn't rest until I found a way to make something happen. If I couldn't go around the rock, I'd find a way to go over it or under it or through it.
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