Quotes About Expression

Rather than numbing or drowning out the difficult-to-describe but urgently sensed feelings that are part of being human, poetry invites us to tease them out, to draw them into language that is rooted in intricate thought and strange impulse.

Sometimes I'll write without the guitar or the piano, but most of the time I'll be playing and just improvising some words. And when I get something that sounds good, a line with a story in it, I'll try and tease it out and figure out where the story is going.

I'm also launching a podcast. Because, I mean, the world desperately needs another podcast, am I right? Not to be a tease, but the format is different from anything else I've seen out there, and the subject matter is hopefully boundless, eye-opening, and a little cathartic.

Anything that's outside the standard of the average black male is looked down upon. For me, I wasn't raised playing sports. I was artistic, so that was looked down upon by people in my church, and I was teased for that growing up in school, so it goes both ways.

You absolutely cannot be big time tech guy without attending Burning Man.

I'm not one of those playwrights who says, 'Show up, hit your marks, and don't talk to me!' I always want to hear from the other artists involved, whether it's the director, the lighting tech, or the actors.

Look at lots of exhibitions and books, and don't get hung up on cameras and technical things. Photography is about images.

Kissing in films, it's just another thing you have to do. It kind of becomes as technical as how to open a door, really.

I think the goal is always to be both. I put more effort into the technical side of my riding, but style is very important nowadays.

My music is more native than intricate or technical.

I love all of the ballets that have a really strong story in them where I get to play a character. I don't enjoy the ones that are more technical without a story line and it's just me on stage dancing.

I'm not the most technical producer, so the weird mixes and blown-out sound happen naturally.

Most people think that I'm so technical that I don't have a feel aspect or a rhythm aspect of it, but that's just the opposite. I need to get into my momentum and my rhythm in regards to being technical and analytical, and also being that artist.

I'm a big, big blues fan and the last several years I've really invested in the blues a lot, and I think my playing is getting better because of it - not necessarily better on a technical level, but certainly on a level of appropriateness.

I am not a technical drummer at all. I'm more from the Keith Moon/Lars Ulrich school of, 'Hey, look at me!' I just get up there and bash.

Digital imaging has untied our hands with regards to technical limitations. We no longer have to be arbiters of technology; we get to participate in the interpretation of technology into creative content.

Because my musical training has been limited, I've never been restricted by what technical musicians might call a song.

It's kind of scary sometimes, I've seen this a lot in Asia. Children are given music lessons, very intensively I might add and involving great technical expertise sometimes, but you can tell that they have been told only to play happy pleasant music.

The difference between the student and the born composer is he really hears the thing, and they have to stage it and manipulate it by technical equipment.

Technical skill counts for nothing if it is used only to manufacture films which have little to do with humanity.

You could say that everything the musicians have learned and known over the years, all of their technical resources, are in a dialogue with the things they are discovering every time, as if it was the first time.

Music has nothing to do with your technical ability.

And then you start getting into the technical side of it and the aesthetic side and with those areas you can come up with new ways to visualise things, new ways to render and use the computer to make things look different and new and stuff like that.

'What is this', and 'How is this done?' are the first two questions to ask of any work of art. The second question immediately illuminates the first, but it often doesn't get asked. Perhaps it sounds too technical. Perhaps it sounds pedestrian.