If you filter my words through any tradition or '-ism', you will miss altogether what I am saying. The liberating truth is not static; it is alive. It cannot be put into concepts and be understood by the mind. The truth lies beyond all forms of conceptual fundamentalism. What you are is the beyond—awake and present, here and now already. I am simply helping you to realize that.
When tradition is thought to state the way things really are, it becomes the director and judge of our lives; we are, in effect, imprisoned by it. On the other hand, tradition can be understood as a pointer to that which is beyond tradition: the sacred. Then it functions not as a prison but as a lens.
I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.
There's a long tradition of black folks pleading with white people. It's a tradition that emerges from political necessity, so I get it; I'm just not very interested in it.
It's really the sound of the voices, the sound of the words, the sound of the sound that we're interested in.
I was interested in theatre, and the only experience that I had in high school was as an actor. But when I got in Conservatoire, my teachers would give me a lot of flack because I wasn't rehearsing my lines; I'd be doing stage management. I was interested in sound. I was interested in architecture. I was interested in every aspect of theatre.
Every Bass Communion track is based on a single sound source. Increasingly I find that I'm really interested in taking a particular sound and it's almost like solving a problem. If I have a sound, the problem is how can I create a piece of music from this one sound source?
When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.
When they talk about family values, it's in a repressive way, as if our American tradition were only the Puritan tradition or the 19th century oppressive tradition. The Christian tradition.
I did try to write stories in college because I was interested in writing, and I was interested in the sound of language, but I was just no good at narrative and at fiction.
It's time to realise that tradition is fantastic but if because of tradition and only tradition you lose everyone it's less fantastic so you have to keep some tradition to this sport of course but you also have to live in your century.
I was never interested in the two-party system per se. I was interested in how authority was abused by government, and how lies were told, and rewritten, to seem to be true. I came up out of a tradition of radical journalism.
We have to talk about liberating minds as well as liberating society.
Spirituality points, always, beyond: beyond the ordinary, beyond possession, beyond the narrow confines of the self, and - above all - beyond expectations. Because "the spiritual" is beyond our control, it is never exactly what we expect.
I'm not interested in collage as the refuge of the composition-ally disabled. I'm interested in collage as (to be honest) an evolution beyond narrative.
I'm not interested in having an orchestra sound like itself. I want it to sound like the composer.