Quotes About Fusion

The goal was always to do something that felt human but was 100 percent electronic.

I never like something too live or too electronic. I'll take a bit of both.

I don't ever want to stop making country, and I don't want to stop making electronic music, either.

Maybe some people that only listen to electronic music will pick up my record and get turned on to some of the story songs, some of the more country-type stuff.

When I make a record, I want to use some electronics, although I still want to keep things pretty basic.

Sometimes you cannot produce a specific sound you want with, say, a guitar or piano, and you simply need to use electronic elements.

I embraced EDM from the beginning.

In some ways, technology keeps on enhancing us, and we embrace it.

Entertainment and information work well together.

You can't live in Austin and escape the music.

I crush her against me. I want to be part of her. Not just inside her but all around her. I want our rib cages to crack open and our hearts to migrate and merge. I want our cells to braid together like living thread.

Even when I work with computers, with high technology, I always try to put in the touch of the hand.

The here and the beyond are enough, but there were a few angels for whom it was not enough: who demanded a third dimension--who sought fusions, communes, who ate each other and created sex.

Mine will never be things of purity, strictly one or the other. I am multitude and mosaic. I will give of myself to this kindred land where no thing will ever be exclusively one or another. This is the boundary where all things merge in shades of mixture.

At Newsweek, I get paid to meet amazing people and write about subjects that fascinate me: fusion energy, education reform, supercomputing, artificial intelligence, robotics, the rising competitiveness of China, the global threat of state-sponsored hacking.

A life of obligation and no opportunity is crimped. A life of opportunity and no obligation is hollow. A life that fuses opportunity and obligation is true.

Normally, things are viewed in these little segmented boxes. There's classical, and then there's jazz; romantic, and then there's baroque. I find that very dissatisfying. I was trying to find the thread that connects one type of music - one type of musician - to another, and to follow that thread in some kind of natural, evolutionary way.

Now, of course, cold fusion is the daddy of them all in a way, in terms of value, so I think that viewed in a social way, from the point of social considerations and economics, it will tell you that this thing will stay around.

I can bring in all these different components, and I marry these components, and I let them get traversed by the viewer, who reorganizes them.

But in my imagination this whole thing developed and I started mixing up old folk songs with the Beatles beat and taking them down to Greenwich Village and playing them for the people there.

If I like dubstep and electronic, why don't I make the violin fit me rather than making myself fit the violin?

Some songs are just going to be acoustic with just maybe some light background stuff going on and maybe violin or something like that. Or sax - I mean, I'm definitely having some sax. That's just what I love. It's going to be jazz-rock stuff. That's what I'm aiming for.

While I was writing the songs for 'Fuzz Universe,' I was immersing myself in Bulgarian Female Choir music, Baroque lute and violin pieces, Johnny Cash songs about trains, cows, mules, and mining coal, the Bee Gees, and Ronnie James Dio.

I was classically trained. But more than just the fact that I play violin, there's a lot of classical elements in the way I write, in the way I hear chords. A lot of times, I think of my songs as a symphony made out of electronics rather than instruments. And I love to do orchestral arrangements of my songs after they're done.