An artist's initial broad stroke is always most impactful, and obsessively adding layer upon layer of paint to fill in details often diminishes the painting's aura. When an aura is lost, it is impossible to get back.
Ryuichi SakamotoRead
The majority of the people think that noise is not music. I want to accept noise and even errors and glitches. I enjoy them.
Interpretation
This quote emphasizes the value of embracing unconventional elements in music and art, including noise and imperfections.
Ryuichi Sakamoto's quote reflects a progressive perspective on music and creativity, suggesting that what many dismiss as mere noise can hold artistic significance. By accepting and enjoying these unconventional sounds, he advocates for a broader understanding of beauty in art, where imperfections and errors contribute to a unique and personal expression.
In practice
During a talk on modern music, I quoted Ryuichi Sakamoto to highlight the artistic value of unconventional sounds.
An artist's initial broad stroke is always most impactful, and obsessively adding layer upon layer of paint to fill in details often diminishes the painting's aura. When an aura is lost, it is impossible to get back.
In the old days, people shared music; they didn't care who made it. A song would be owned by a village, and anyone could sing it, change the words, whatever. That is how humans treated music until the late 19th century. Now, with the Internet, we are going back to having tribal attitudes towards music.
I'm just delighted to be living, to be able to have a simple conversation, to feel a ray of sunlight on my skin and listen to the breeze move through the leaves of a tree.
Conceptually, I am open to mistakes - errors, actually. I do play lots of wrong notes while I am making some music, and a mistake or a wrong note is like a gift for me: 'Oh, wow, an unknown sound or an unknown harmony. I didn't know about this.'
We were just amazed we were putting out a record. We were, and are, still learning. But we've never cared much for professionalism as long as the energy was there. Like our live shows: We're out of tune and use a lot of feedback. That's not on purpose or because we don't care, we're just musically and rhythmically retarded and we play so hard that we can't tune our guitars fast enough.
A poem should not mean but be.
Some actors, I think, want to feel that they are as creative as the writer. And the answer is, frankly, they're not.
The silent thing onstage allows for a kind of intimacy that no conversation can have. If I just shut up, we're forced to look at each other and really confront that moment.
I really believe that if you practice enough you could paint the 'Mona Lisa' with a two-inch brush.
He seemed to be made of sunshine and blood-red tissue and clear weather.
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