A Quote by William Carlos Williams

A poem is this:/A nuance of sound/delicately operating/upon a cataract of sense/...the particulars/of a song waking/upon a bed of sound. — © William Carlos Williams
A poem is this:/A nuance of sound/delicately operating/upon a cataract of sense/...the particulars/of a song waking/upon a bed of sound.
The 'idea' for the poem, which may come as an image thrown against memory, as a sound of words that sets off a traveling of sound and meaning, as a curve of emotion (a form) plotted by certain crises of events or image or sound, or as a title which evokes a sense of inner relations; this is the first 'surfacing' of the poem. Then a period of stillness may follow.
I don't really think there's a genre that we couldn't do, but it wouldn't sound like that genre, if that makes sense. I think we could take any song, but it would sound like us. If you're doing a country song, it could maybe sound a little bit country, but it's going to sound like Pentatonix.
I am a firm believer in playing the type of music that compliments the song the best. If it's a folk song make it sound like one. If it's a rock song make it sound like one, if it's a rap song take it off the record.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
I am always interested in the ways of scoring the sound of the poem, especially a poem with long lines. Spaces within a line, double colons, slashes, are indications of pause, of breath, of urgency, they are not metrically exact as in a musical notation but they serve (I hope) to make the reader think about the sound of the poem - just as traffic symbols, when driving, make us almost unconsciously aware of a steep hill, an intersection, an icy bridge etc.
I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.
All things are aggregations of atoms that dance & by their movement produce sound. When the rhythm of the dance changes, the sound it produces also changes... Each atom perpetually sings its song, and the sound at every moment creates dense subtle forms.
Prose is not so dependent on sound. The line of poetry, with the breaking of the line - to me, sound is the kind of doorway into poetry. And my sense of sound, or my ability to control it, lapsed or grew less.
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.
I've got a song on One Direction's album called 'Tell Me A Lie'. It's a really cute song - I love it. I loved that they liked it. They sound really great on it. I already have it - I'm so VIP with my copy on my computer! It does sound really good.
Ayahuasca is driven by sound, by song, by whistling. And its ability to transform sound, including vocal sound, into the visual spectrum indicates that some kind of information processing membrane or boundary is being overcome by the pharmacology of this stuff. And things normally experienced as acoustically experienced becomes visibly beheld, and it's quite spectacular.
All the translations of a poem in all possible languages may add nuance to nuance and, by a kind of mutual retouching, by correcting one another, may give an increasingly faithful picture of the poem they translate, yet they will never give the inner meaning of the original.
I like working with sound; sound and rhythm. I like the abstract more than "What does that mean?" Nobody ever says to you, "Why did you use a harmonium?" Or "What is that ringing sound that occurs here?" The questions are always "What does that song mean?" or "What were you trying to say here?"
Generally, you are held to a sound and that becomes your sound. That gets branded as your sound, and all the copycats start with it because the labels are looking for that sound.
We never look deeply into the quality of a tree; we never really touch it, feel its solidity, its rough bark, and hear the sound that is part of the tree. Not the sound of wind through the leaves, not the breeze of a morning that flutters the leaves, but its own sound, the sound of the trunk and the silent sound of the roots.
A poem employs both the sound and the sense of language, it treats words not just as signifiers but as a plastic medium of artistic expression.
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