A Quote by Albert Einstein
In music I do not look for logic. I am quite intuitive on the whole and know no theories. I never like a work if I cannot intuitively grasp its inner unity (architecture).
Related Quotes
When the logician has resolved each demonstration into a host of elementary operations, all of them correct, he will not yet be in possession of the whole reality, that indefinable something that constitutes the unity ... Now pure logic cannot give us this view of the whole; it is to intuition that we must look for it.
People should allow themselves the opportunity to really know what the unity of God means. To grasp a part of the nondivisible union is to grasp the whole.
I'm not by nature a terribly intuitive person; I need to build a situation in which I will behave more intuitively, and that has really changed the life of my work - I found a way to trick myself into being intuitive.
I think the gift of music is it's intuitive capability. I think music is a powerful medium because it co-inspires. It inspires the artist who then inspires the listener, and it's a back-and-forth process. Because it's intuitive, the truth has to be defined intuitively. It can't be preached, it can't be pushed. It's got to normally go across organically and make someone feel something, and that's the power of music.
Promenade was totally driven by the context. The internal relationships of measurement and placement related to the central axis of the site. The placement of the rectangular plates followed a strict logic in that the plates tilted away and towards the center line in an asymmetrical counterpoint. However, the perception of the sculpture contradicts the logic of its relation to the site. As you walk inbetween the plates you see fragments, you see the work in part, you cannot grasp the whole.
The purpose of architecture is to transmute the emptiness into space, that is into something which our minds can grasp as an organized unity.
Architecture is involved with the world, but at the same time it has a certain autonomy. This autonomy cannot be explained in terms of traditional logic because the most interesting parts of the work are non-verbal. They operate within the terms of the work, like any art.
The thing that drives me and my colleagues at both Apple and Pixar is that you see something very compelling to you, and you don't quite know how to get to it, but you know, sometimes intuitively, it's within your grasp. And it's worth putting in years of your life to make it come into existence.
His musical inspiration operates in a world uncluttered by conventional bar lines, conventional chord changes, and conventional ways of blowing or fingering a saxophone. Such practical 'limitations' did not even have to be overcome in his music; they somehow never existed for him. Despite this - or more accurately, because of this - his playing has a deep inner logic. Not an obvious surface logic, it is based on subtleties of reaction, subtleties of timing and color that are, I think, quite new to jazz - at least they have never appeared in so pure and direct a form.
A language possesses utility only insofar as it can construct conventional boundaries. A language of no boundaries is no language at all, and thus the mystic who tries to speak logically and formally of unity consciousness is doomed to sound very paradoxical or contradictory. The problem is that the structure of any language cannot grasp the nature of unity consciousness, any more than a fork could grasp the ocean.
Capablanca possessed an amazing ability to quickly see into a position and intuitively grasp its main features. His style, one of the purest, most crystal-clear in the entire history of chess, astonishes one with his logic.
Without this spirit, Modernist architecture cannot fully exist. Since there is often a mismatch between the logic and the spirit of Modernism, I use architecture to reconcile the two.
You're brainwashed in the West with equal temperament, so it's quite hard for people who like following rules to get outside of that and see what you can do. But for me it's easy because I don't work like that. I work intuitively.
I think I may have too much of a scientific mindset and am always looking for the caveats and qualifications in any situation. I never thought seriously of doing a PhD until relatively late in the day. I was always diligent at the book-work at university but the brightest amongst my friends all seemed to have a more intuitive grasp of the subject.
As a viewer, that's work I respond to - work that I know is singular in some way. If I'm being challenged by something on screen, if I don't quite know why it's happening, I want to know I can do the work of pulling it apart and that there'll be something satisfactory about it. If the architecture is sound, you can be lyrical in execution.
When I go into the editing process, I re-look at the original intuitive thoughts and then it becomes the written performance or text work. Because they look quite big there's this assumption that there isn't much editing, but that's a huge part of it.
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