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
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.
Interpretation
The quote highlights differing artistic philosophies in electronic music between Jarre and other influential groups.
Jean Michel Jarre reflects on the contrasting artistic perspectives within electronic music, contrasting the mechanical, precise style of bands like Tangerine Dream and Kraftwerk with his own impressionist approach inspired by composers Ravel and Debussy. This illustrates how personal interpretation and creativity can vary significantly even within the same genre, emphasizing the depth and diversity of artistic expression.
In practice
During a lecture on music history, this quote could illustrate the evolution of electronic music.
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.
With electronic music, you are not confined to the acoustics of a concert-hall, and that inspired me to bring my performances outdoors.
For me, electronic music is like cooking: it's a sensual organic activity where you can mix ingredients.
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.
A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story - you can work more by suggestion - than in a novel. Less is resolved, more is suggested, perhaps.
There was a German philosopher who is very well known, his name was Immanuel Kant, and he said there are two things that donβt have to mean anything, one is music and the other is laughter. Donβt have to mean anything that is, in order to give us deep pleasure.
The slightest thing can ruin a scene, but you must be willing to take chances.
Who made art history? Not the most reasonable people. The mad men did. If painting is the mirror of a time, it must be mad to have a true image of what that time is. To one madness we oppose another madness.
Poetry is thoughts that breathe, and words that burn.
Film acting, if you don't play the lead, you come, and you do your scenes in a few days, and you act with a couple of colleagues. All the rest of the actors you never see, and you don't even meet many of them. And you don't know what will happen with what you've done. Maybe it will be in the film, maybe it will not.
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