Quotes About Classical

This is why classical thought concerning structure could say that the center is, paradoxically, within the structure and outside it. The center is at the center of the totality, and yet, since the center does not belong to the totality (is not part of the totality), the totality has its center elsewhere. The center is not the center.

Medieval Romans colonized the vestiges of the ancient city as sea creatures might a sunken ship. Amphitheatres and temples were turned into fortified strongholds; the monuments of the imperial capital were used as quarries for building materials. An entire neighbourhood was devoted to burning classical marbles, sculptures included, to turn them into lime: steadily reducing the glories of antiquity to powder.

The alarm in the morning? Well, I have an old tape of Carlo Maria Giulini conducting the Vienna Philharmonic Orchestra in a perfectly transcendent version in Shubert's seventh symphony. And I've rigged it up so that at exactly 7:30 every morning it falls from the ceiling onto my face.

Real gravitons make up what classical physicists would call gravitational waves, which are very weak—and so difficult to detect that they have not yet been observed. The

In the classical theory of gravity, which is based on real space-time, there are only two possible ways the universe can behave: either it has existed for an infinite time, or else it had a beginning at a singularity at some finite time in the past.

Las teorías cuánticas han resultado ser notablemente precisas en la predicción de acontecimientos a dichas escalas, y también reproducen las predicciones de las viejas teorías clásicas cuando son aplicadas al mundo macroscópico de la vida corriente.

Of course, any scenario involving quantum mechanics in the origin of life three billion years ago remains highly speculative. But, as we have discussed, even classical explanations of life's origin are beset with problems: it isn't easy to make life from scratch!

it was known that genes could be faithfully transmitted with mutation rates (errors) of less than one in one billion. This extraordinary high degree of fidelity convinced Schrödinger that the laws of heredity could not be founded on the "order from disorder" classical laws. Instead, he proposed that genes were more like individual atoms or molecules in being subject to the nonclassical but strangely orderly rules of the science he helped to found, quantum mechanics.

between the quantum and classical worlds, the quantum edge, where we, as you will have guessed from the title of this book, are claiming life also lies.

Life appears to have one foot in the classical world of everyday objects and the other planted in the strange and peculiar depths of the quantum world. Life, we will argue, lives on the quantum edge.

The effect, to be sure, is precisely that which they describe, and is, furthermore, the actual source of the conception of epic which they themselves hold, and with them all writers decisively influenced by classical antiquity. But the true cause of the impression of "retardation" appears to me to lie elsewhere—namely, in the need of the Homeric style to leave nothing which it mentions half in darkness and unexternalized.

The pianist, Daniel Hossack, was a classically trained music teacher at Westminster School for the terminally privileged.

Call forth thundering Aeschylus.

With rock music, the amount of power that you can generate, the intensity behind the intentions of your lyrics that you can really reflect through rock music - you can't do that in jazz. You can't do that with classical.

If I had to reflect on the finest classical male ballet dancers of my time, Vladimir Vasiliev of the Bolshoi and the Danish dancer Eric Bruhn were, I feel, without peer.

Because in classical music cello is not regarded as a popular choice, it's always playing the long, boring notes.

Listening to my regular favourites - Mozart, Beethoven, Brahms and so on - I always feel, quite misguidedly, that nothing can be too bad if such beauty and brilliance exists in the world.

I play only classical music. My pianos are my only big indulgence, but they're a necessity. When I'm playing the piano is literally the only time I can be completely abstract and disconnected from the regular world and yet be connected - to my music.

I'd like to play something classical. I'm in the Strindberg society, and we do readings of Strindberg plays. I'd love to do Nora in 'A Doll's House.' And Chekhov. I have been working back to back on what I call 'regular jobs,' so it's hard to do plays.

When working with classical musicians, it is important to be clear as possible in the score about what my intentions are. Because there isn't a lot of rehearsal time, especially at the ballet, it's best if everything is written in the score.

I reject the premise that liberal and libertarian values are necessarily in conflict. In fact, I often self-identify as a 'classical liberal.'

It's hilarious, because my guitar has what's known as a tremolo bar or a whammy bar. And the whammy bar is probably the most alien thing on my guitar that could possibly relate to a classical guitar.

I listen to classical music when I need to relax. It depends a lot on mood.

The contemporary programs in London are harder and much more damaging for the body. With classical ballet you are relaxed mentally because it's what you learnt, but I want to push myself.