I consider music like a mirage in the desert. You're obsessed with the ideal piece of music, and the more you think you're getting closer, it's not there.
Jean Michel JarreRead
With electronic music, you are not confined to the acoustics of a concert-hall, and that inspired me to bring my performances outdoors.
Interpretation
Electronic music allows for creative freedom beyond traditional venues, inspiring performances in outdoor settings.
Jean Michel Jarre expresses how electronic music transcends the limitations of conventional concert venues, like concert halls, and encourages artistic innovation by taking performances into open spaces. This reflects a broader opportunity for creativity and connection with nature, as well as the audience.
In practice
This quote can be used during a panel discussion on the evolution of music performances.
I consider music like a mirage in the desert. You're obsessed with the ideal piece of music, and the more you think you're getting closer, it's not there.
For me, electronic music is like cooking: it's a sensual organic activity where you can mix ingredients.
I thought we had opposite visions of electronic music. Tangerine Dream and Kraftwerk had a very robotic, mechanical approach. I had a more impressionist vision - a Ravel/Debussy approach.
Saying that you don't care about the right to privacy because you have nothing to hide is no different than saying you don't care about freedom of speech because you have nothing to say.
The major rock instruments and classical instruments were designed for performance, for sharing the music with an audience, and then later people put microphones on them and recorded them. But for electronic music, the opposite was true - they're designed in laboratories, and later, we tried to put them on stage.
If music is to continue to support the livelihoods of artists, it cannot be taken without the permission of artists.
By the time I got to record my first album, I was 26, I didn't need pen or paper - my memory had been trained just to listen to a song, think of the words, and lay them to tape.
What I wrote all the time when I was a kid - I don't want to call it 'poetry,' because it wasn't poetry. I was not that kind of a writer. I was a rhymer. I was a fan of Dorothy Parker's, so maybe I wrote poetry to that extent, but my main focus was the humor of it, and word construction, and the slant. Your words, it's a very powerful experience.
My drawings inspire, and are not to be defined. They place us, as does music, in the ambiguous realm of the undetermined.
All the stuff I love most in game storytelling is never the big-picture stuff; it's the stuff that feels like curlicues, stuff that's just there because it's a game and because you can do it.
That's the thing about musicians: The priority is to create something new that's never been before. And you put your life on the line every time that you play.
Believing that art is either worth a fortune or worth nothing at all.
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