There's no performance where I never have to think about setting up a phrase or making a technical adjustment while I'm performing.
It is convenient to distinguish the two kinds of experience which have thus been described, the experienc-ing and the experienc-ed, by technical words.
I was attracted to photography because it was technical, full of gadgets, and I was obsessed with science. But at some point around fifteen or sixteen, I had a sense that photography could provide a bridge from the world of science to the world of art, or image. Photography was a means of crossing into a new place I didn't know.
This could only happen in a technical college.
I'm a total ignoramus about the technical aspects but I have to say that it's awfully purty now.
Anything, even the conceptually most complex material, can be written for general audiences without any dumbing down. Of course you have to explain things carefully. This goes back to Galileo, who wrote his great books as dialogues in Italian, not as treatises in Latin. And to Darwin, who wrote The Origin of Species for general readers. I think a lot of people pick up Darwin's book and assume it must be a popular version of some technical monograph, but there is no technical monograph. That's what he wrote. So what I'm doing is part of a great humanistic tradition.
The goal is that people will find something of themselves in it. But you don't need to know what a hexachord is! You don't need to know what serialism is. You don't need to know anything technical. It's more about the state of mind of being open and listening to what's really going on. And I think that the more open you can be, the better. So maybe it's not good to have expectations.
There's less of a connection for a lot of people between the technical decisions we make and the ethical ramifications we are responsible for.
My "thinking" time was devoted mainly to activities that were essentially clerical or mechanical: searching, calculating, plotting, transforming, determining the logical or dynamic consequences of a set of assumptions or hypotheses, preparing the way for a decision or an insight. Moreover. . . the operations that fill most of the time allegedly devoted to technical thinking are operations that can be performed more effectively by machines than by men.
I always say that I can help someone who can already compose, but if they can't, I can't help them. I can advise on technical issues, of course, like how low the piccolo can go, but otherwise what's important is not wisdom but enthusiasm.
There's a really rough and relatively consistent hierarchy of concerns. My musical interests come first and principally my fascination with how notes and rhythms interlock. Then comes the technical side like programming, instruments and designing instruments. Next is production and mixing and beyond that I start to care less.
Comedy has to do with holding and releasing tension; it's very technical. It's more technical than drama.
There's no great technical expertise in being a movie producer.
I'm not sure I had ever written a fan letter before to a poet I had not met, but that's what I did when I read two poems by Gregory Woods. . . I admired them especially for their technical virtuosity, in that it was technique completely used, never for the sake of cleverness but as a component of feeling. . . What an enviable talent Gregory Woods has
But it wasn't just a technical approach towards the piano, studying the music for this film was also a way of approaching the soul of the film, because the film is really about the soul of Schubert and the soul of Bach
My engineer dad is where my technical acumen comes from. I remember him taking me to the factories to see how what works. Often he used to open up his motorbike to fix things and I saw how the wheels worked. His car used to be open for dissection very regularly. All this taught me and inspired me to look beyond what I could see on the skin.
You can actually go to school and college to learn how to play and get technical with the electric bass.
A technical failure that shows some attempt at aesthetic expression is of infinitely more value than uninspired success.
a samurai is a total human being, whereas a man who is completely absorbed in his technical skill has degenerated into a ‘function’, one cog in a machine.
Communication is the key, and it's one thing I had to learn-to talk to the actors. I was so involved with the visual and technical aspects that I would forget about the actors.