A Quote by Morton Feldman

No one has the Houdini school of composition. — © Morton Feldman
No one has the Houdini school of composition.
In 1921, Harry Houdini started his own film company called - wait for it - the Houdini Picture Corporation.
Almost the first thing you see after entering the Houdini exhibition at the Jewish Museum is a large-screen film of Harry Houdini hanging by his ankles upside-down from a tall building, high over a sea of men in fedoras, and thrashing his way out of a straitjacket.
Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.
It was in Shizuoka, where my home was. I first attended this school when I was five years old. I also attended a regular elementary school, and I was taking piano lessons with a local teacher. I began to study composition at the Yamaha school. And I continued to study there until the age of 15.
Good composition is like a suspension bridge; each line adds strength and takes none away... Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer – that is composition.
In some exquisite critical hints on "Eurythmy," Goethe remarks, "that the best composition in pictures is that which, observing the most delicate laws of harmony, so arranges the objects that they by their position tell their own story." And the rule thus applied to composition in painting applies no less to composition in literature.
I started playing piano when I was eight, and I went on to study piano in school, so I have a background in classical piano and studied composition in school. Writing music came later.
What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.
To be a good improviser, you have to study composition as a parallel. Because what improvisation is, on a high level, is spontaneous composition.
The composition is the thing seen by everyone living in the living they are doing, they are the composing of the composition that at the time they are living is the composition of the time in which they are living.
When we look at a painting, listen to a piece of music, read a novel, or watch a movie we are taking in the artist's composition. The composition is the totality of the work.
When I was in high school, I became interested in cytochemistry: chemical analysis under the microscope, and trying to understand the composition of cells.
I pay a lot of attention to composition in my art, and I will often shift myself or change a pose according to the golden triangle rule of photography composition.
By having the big lines of the composition going out of the canvas, your imagination can wander beyond the edge. It will make it seem part of a large composition.
My intention here is to make it clear that not a single cell of my composition, here in regard to The Raven, is found by chance or intuition, that the composition moved towards perfection with the precision and inevitability of a mathematical equation.
When I was four years old, my mother put me into a school for early music education where you get perfect pitch and harmony and composition.
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