A Quote by Yevgeny Zamyatin
The highly complex, almost mathematical, nature of music creates for it an ironclad protection against the microbes of dilletantism, which penetrate much more easily into the fields of painting, literature, and the theater.
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I believe that no one who is familiar, either with mathematical advances in other fields, or with the range of special biological conditions to be considered, would ever conceive that everything could be summed up in a single mathematical formula, however complex.
It is clear to all that the animal organism is a highly complex system consisting of an almost infinite series of parts connected both with one another and, as a total complex, with the surrounding world, with which it is in a state of equilibrium.
Of course theater will always be associated intimately to literature, but the themes or whatever have to penetrate you by the senses. Theater is a sensuous experience, and that's its main difference from film or any other dramatic art.
The narrative image has more dimensions than the painted image - literature is more complex than painting. Initially, this complexity represents a disadvantage, because the reader has to concentrate much more than when they're looking at a canvas. It gives the author, on the other hand, the opportunity to feel like a creator: they can offer their readers a world in which there's room for everyone, as every reader has their own reading and vision.
Anyone interested in design must be interested in other fields of expression - theater, ballet, photography, literature, music.
People whose understanding and taste in literature, painting, and music are beyond question are, for the most part, ignorant of what is good or bad art in the theater.
One of the things I always underscore when I teach criticism is that young critics, or would be critics, frequently have this illusion that if they write about music they're somehow part of music, or if they write about movies they're part of movies, or of they write about theater they're part of theater, or write about literature. Writing is a part of literature, we belong the species of literature. If you add all the music reviews together that have ever been written, they don't create two notes of music.
As the highly colored birds do not fly around in the dull, leaden plains of a sandy desert, but amid all the settings of nature's leaves and blossoms, and lights and shades — nature's framework of their picture — so there are truths which do not appear well in arid fields of philosophic inquiry.
... each of the 24 modes in the Ramanujan function corresponds to a physical vibration of a string. Whenever the string executes its complex motions in space-time by splitting and recombining, a large number of highly sophisticated mathematical identities must be satisfied. These are precisely the mathematical identities discovered by Ramanujan.
Everyone seems so excited by the fact that music is more accessible, people can find new artists more easily and it's cheaper, without focusing on the potential negatives, not least of which is that idiots can more easily listen to your favourite music.
When man continues to destroy nature, he saws the very branch on which he sits since the rational protection of nature is at the same time the protection of mankind
Again, if the world is destroyed, it must needs either be destroyed according to nature or against nature. Against nature is impossible, for that which is against nature is not stronger than nature. If according to nature, there must be another nature which changes the nature of the world: which does not appear.
I have expertise in five different fields which helps me to easily understand the analogy between my scientific problems and those occurring in nature.
Kafka was a complex character in a complex historical era. In order to understand him, you have to do more than cite facts. It is necessary to connect the facts in a meaningful way. His relationship to Judaism, to his father, to women, to literature - all of this is interconnected; and there are decisive moments in his life, in which such interactions suddenly become visible and can be experienced in an almost sensuous manner. It is these moments above all that I try to narrate dramatically.
There is that in the soul of man which must respond to the highest in virtue. It may not respond at once. Human nature can easily be over-faced by examples too remote and austere. Moreover, human nature can easily deny God because the whole race has long been in rebellion against Him. Yet there is that in human nature which calls out to the supreme examples of virtue: owns, as it were, the intention of God who made it, and feels the unmistakable homesickness of the soul.
As a composer I might class myself as a Neo-Romantic, inasmuch as I have always regarded music as a highly personal and emotional form of expression. I like to write music which takes its inspiration from poetry, art and nature. I do not care for purely decorative music. Although I am in sympathy with modern idioms, I abhor music which attempts nothing more than the illustration of a stylistic fad. And in using modern techniques, I have tried at all times to subjugate them to a larger idea or a grander human feeling.
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