A Quote by Oliver Sacks

The brain is more than an assemblage of autonomous modules, each crucial for a specific mental function. Every one of these functionally specialized areas must interact with dozens or hundreds of others, their total integration creating something like a vastly complicated orchestra with thousands of instruments, an orchestra that conducts itself, with an ever-changing score and repertoire.
There are a score of great religions in the world, each with scores or hundreds of sects, each with its priestly orders, its complicated creed and ritual, its heavens and hells. Each has its thousands or millions or hundreds of millions of true believers each damns all the others with more or less heartiness - and each is a mighty fortress of graft.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; we've become the most famous bad orchestra in the world.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; weve become the most famous bad orchestra in the world.
In the fetus, or a really young child, all the different brain areas are connected to each other, diffusely. And as the brain develops, the excess connections are turned off, so you get very specialized areas. So most people have really specialized talents. What happens in creative people is this pooling doesn't take place.
The game is if the orchestra can hear each other, they play better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience responds and the orchestra feels it.
The emergence of a unified cognitive moment relies on the coordination of scattered mosaics of functionally specialized brain regions. Here we review the mechanisms of large-scale integration that counterbalance the distributed anatomical and functional organization of brain activity to enable the emergence of coherent behaviour and cognition. Although the mechanisms involved in large-scale integration are still largely unknown, we argue that the most plausible candidate is the formation of dynamic links mediated by synchrony over multiple frequency bands.
Conducting is more difficult than playing a single instrument. You have to know the culture, to know the score, and to project what you want to hear. Some conductors are well prepared but cannot transmit their ideas to an orchestra, and others are good communicators but have nothing to transmit because they are not absorbed enough in the score.
You have to change your mind with every orchestra because every orchestra has a different character.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
'Sinister' is the first score I've done in which there's no orchestra in it whatsoever. There are traditional instruments I sampled, then manipulated, so you don't even recognize the source anymore.
The mental cognitive processes that we're targeting are ones that narrow human beings' repertoire and make it harder for them to learn to be more flexible, to take advantage of the opportunities in front of them. We can have something to help with in areas like child development or organizations and schools, or maybe even how peoples interact with each other, one to the other. We've taken the work into things like prejudice and stigma, because if we can't solve that we have planes flying into buildings. So it applies broadly because anywhere that a human mind goes these processes go.
The music lovers of London and the country deserve to have something where orchestras can flourish. You have no idea how wonderful an orchestra like the London Symphony Orchestra can sound in a great concert hall.
The more tools we have directors and cinematographers will be able to express more and create different worlds and feelings. It's like having more instruments in an orchestra.
I like this idea of identification with the local team. I think it's great. That's what an orchestra should be. It's an orchestra for its hometown, and it serves the people.
But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.
There are no genes or areas in the brain devoted uniquely to reading. Rather, our ability to read represents our brain's protean capacity to learn something outside our repertoire by creating new circuits that connect existing circuits in a different way.
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