A Quote by Peter Ustinov
I was irrevocably betrothed to laughter, the sound of which has always seemed to me the most civilised music in the world.
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I was irrevocably betrothed to laughter.
One of its most powerful weapons has always been 'barbarity': 'we' know that 'we' are civilised by contrasting ourselves with those we deem to be un-civilised, with those who do not - or cannot be trusted to - share our values.
Stories helped me unite parts of my existence that might otherwise have seemed irrevocably split by geography and time. And stories helped me find a future in which I, such a mongrel, could be comfortable.
I really wanted to be able to make the music that acknowledged the metaphysical aspect of extreme sports because when I started watching GoPro videos, the thing that struck me the most was that the sound seemed completely detached from the imagery.
This was the most important discovery I had ever made in my life. It was a discovery which has irrevocably changed my whole life's direction. It immediately elevated me to the status of one of the world's leading anthropologists.
Music makes me forget my real situation. It transports me into a state which is not my own. Under the influence of music I really seem to feel what I do not feel, to understand what I do not understand, to have powers which I cannot have. Music seems to me to act like yawning or laughter; I have no desire to sleep, but I yawn when I see others yawn; with no reason to laugh, I laugh when I hear others laugh. And music transports me immediately into the condition of soul in which he who wrote the music found himself at that time. ~The Kreutzer Sonata
Laughter... the most civilized music in the world.
The theoretical understanding of the world, which is the aim of philosophy, is not a matter of great practical importance to animals, or to savages, or even to most civilised men.
All I can say is that laughter is my music; I would deeply suspect an argument which hadn't laughter.
I never made a distinction, really, between music and sound. Let me explain what I mean by that. I grew up near to a train station, and the sound of the trains became a very important part of my world. It was a very musical sound to me.
It sometimes seems to me as if I do not belong to this world at all. I deplore music that engenders in people not love but madness: which rouses them to scornful laughter instead of lifting their thoughts to God.
My dark sound could be heard across a room clearer than somebody with a reedy sound. It had more projection. My sound always seemed to fill a room.
With the violin, for example, one understands culturally that the sound comes from the instrument that can be seen. With electronic music, it is not the same at all. That's why it seemed so important to me, from the beginning of my career, to invent a grammar, a visual vocabulary adapted to electronic music.
It is agreed that all sound which is the material of music is of three sorts. First is harmonica, which consists of vocal music; second is organica, which is formed from the breath; third is rhythmica, which receives its numbers from the beat of the fingers. For sound is produced either by the voice, coming through the throat; or by the breath, coming through the trumpet or tibia, for example; or by touch, as in the case of the cithara or anything else that gives a tuneful sound on being struck.
There's a difference between writing, the written word, and music. When you have the blank page it doesn't make a sound, which is like what happens to me every night when I'm playing. There is that crazy moment: the first mark you make on the page. But sound can inspire sound, in a way that words can't inspire words - at least for me. The nature of sound itself is still a huge mystery to me. I'm very happy about that.
The 'trap' sound is a sound from the city. We've always liked music with bass. We've always liked old schools with big speakers in the trunks. We like our music loud. We've always had a nightlife scene in Atlanta.
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