Quotes About Experimental

I came to NYU to study experimental theater. Shortly thereafter, I was featured in a 'Newsweek' article about the emerging downtown club scene, and, well, that was it for NYU. I was off and running.

One of the distinguishing features of anything that aspires to the name of science is the reproducibility of experimental results.

I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.

I came out of a sort of experimental background, and I didn't ever really expect - or even desire - a career as a feature filmmaker.

Alchemy is one of the good quote-unquote south-Asian experiences in that it has a wide variety of classical to experimental music.

The real reason why general relativity is widely accepted is because it made predictions that were borne out by experimental observations.

There are physicists, and there are string theorists. Of course the string theorists are physicists, but the string theorists in general will not attend lectures on experimental physics. They will not be terribly concerned about the results of experiments. They will talk to one another.

I think early on in my career, I was heavily inspired by bands like Throbbing Gristle and Test Dept, and films of David Lynch, for example, where the soundscape plays a very important role in the listening experience.

Science is a system of statements based on direct experience, and controlled by experimental verification. Verification in science is not, however, of single statements but of the entire system or a sub-system of such statements.

The use of vulnerable institutionalized children for exploratory procedures, investigative treatments, and experimental preventives was common in the 1920s.

Dave Stewart: In 1982, Annie and I went to Australia with the Tourists, but the band broke up and we ended up in a hotel in Wagga Wagga. I had a little black and yellow Wasp synthesizer and was making didgeridoo sounds. When Annie started singing along, we thought, 'Maybe we could make weird and experimental electronic music?' On the flight home, we split up as a couple but kept on with the music, carting the gear in a second-hand horsebox.

There are lots of young vital playwrights who are experimenting, and these are the plays that people who are interested in the theatre should see. They should go off Broadway. They should go to the cafe theatres and see the experiments that are being made.

I've always felt that all the music I've made is psychedelic, including Throbbing Gristle.

I had a great time investigating the pigments of different mutant fruit flies by following experimental protocols published in Scientific American, and I also remember making my own beetle collection when it was still acceptable to make such collections.

At the time, 'Oxygene' was considered a totally 'far out' concept... What was 'in' at the time was disco, hard-rock, and the early days of punk... and moreover, 'Oxygene' was instrumental. And I was French!

Swavey, it puts more than one genre of music together. That's the approach I have with all music I do.

'Alemaari' is an experimental cinema of sorts. If audiences don't understand it, the film will fall flat.

When I came to New York in 1949, there was already an entire fresh avant-garde film movement blooming in New York and California. It was a very, very exciting period!

I went to the Experimental Theater Wing at NYU and wrote and directed a small amount of stuff there.

When I got back from London, I started with a new voice teacher in the experimental wing, who trained me to have my own artistry as opposed to forcing a technique upon me.

I went to NYU Tisch for undergrad, and it was amazing. My life then was extremely experimental with acting. I did crazy theater where we would be rolling around on the floor. I would be playing grandmothers, and clowns, and all this crazy stuff. Then I would be doing Shakespeare eight hours a day.

Places like the National Theatre or Sheffield, these great engines of theatre, make us cutting edge because they can be experimental. They can do plays that nobody else can afford to do in ways nobody else can afford to do.

Third, we are able to look at the causal skein of mental illness and unravel it, either by longitudinal studies—the same people over time—or experimental studies, which would get rid of third variables.

Maybe every essay automatically is in some way experimental — less an outline traveling toward a foregone conclusion than an unmapped quest that has sprung from the word 'question'.