A Quote by Johann Johannsson
I'm very interested in voice synthesis and vocoders in general.
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In my solo work on my own albums, I have used voice synthesizers and vocoders quite a lot in connection with orchestral instruments.
I think I'm fascinated with history and - just in general. And I'm always interested in how did - how did this come to be? Why is this the way it is? And even singing classical voice, I quickly became more and more interested with early music, baroque voice. And that became an obsession to me - just figuring out how - who are the ancestors of whatever it is.
I am very interested in the human voice and how we use it, especially when we aren't thinking, like the kind of stuff Robert Ashley was interested in.
Moreover the incorporation requires the same components needed for protein synthesis, and is inhibited by the same inhibitors. Thus the system is most unlikely to be a complete artefact and is very probably closely related to genuine protein synthesis.
So much of making movies is about discovery on the day, what you're figuring out. If you know everything going in, then it's not worth doing - it's already done. I'm interested in finding people who I think have a voice - and a very specific voice.
I'm very interested in people, in general.
I loved being a soprano. It was one of my very favorite things in life, and thus far, and losing that voice was a profound emotional moment for me in my life. I never became that interested in my adult male singing voice.
English people ... are very kind, very friendly, interested in a general way, and consider us a great, wonderful, unknown sort of Australia, and that is all.
I wasn't interested in sport or anything obvious, so I didn't stand out. I was interested in music, but I couldn't read music, so I wasn't allowed to do the GCSE. I was interested in painting, but no one's interested in a 16-year-old boy who's interested in painting. I wanted to get out of school very, very quickly.
I think I'm very interested in people, in the way our minds work and how we navigate through the experience that is life. Very interested in people's struggles and their choices and their regrets and joys. I'm very interested in the human animal.
I am interested in the highbrow/lowbrow synthesis. My sensibility, I am proud to say, is middlebrow.
I think the problem with polemics is that it's general and it's lazy. When you say, "This is bad," that's a general thing. We're more interested in asking the question.
But what I would like to say is that the spiritual life is a life in which you gradually learn to listen to a voice that says something else, that says, "You are the beloved and on you my favour rests."... I want you to hear that voice. It is not a very loud voice because it is an intimate voice. It comes from a very deep place. It is soft and gentle. I want you to gradually hear that voice. We both have to hear that voice and to claim for ourselves that that voice speaks the truth, our truth. It tells us who we are.
I will do a lot of research and create a lot of material for use in one painting. And then I go on discovering and working with a whole other range of material in another painting. I'm interested in a fairly comprehensive and orchestrated synthesis that might bring about a new situation consisting of this hidden material. I'm interested in hidden source material.
From the fact of general well-being came the new position of the poor. They were now in most communities a minority. The voice of the people was now the voice of relative affluence. Politicians in pursuit of votes could be expected to have a diminishing concern for the very poor. Compassion would have to serve instead - an uncertain substitute.
There are a couple of carp fishing books I've been reading. I'm very interested in that line of books, because I think they write very well, carp anglers, about the general environment.
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