“Burkard Schliessmann is a fiercely intellectual pianist. He’s intellectual in two senses. First, he approaches this music with a tremendous store of background knowledge - knowledge about the composers and their works, about their early receptions, about their critical writings, about their literary inspirations, and about the cultural milieu in which they found themselves. Second, he performs the music with a rigorous sense of the ways its details contribute to its form, both in terms of its overall architecture and in terms of its vertical structure.”

“We speak of the matter [of this science] in the sense of its being what the science is about. This is called by some the subject of the science, but more properly it should be called its object, just as we say of a virtue that what it is about is its object, not its subject. As for the object of the science in this sense, we have indicated above that this science is about the transcendentals. And it was shown to be about the highest causes. But there are various opinions about which of these ought to be considered its proper object or subject. Therefor, we inquire about the first. Is the proper subject of metaphysics being as being, as Avicenna claims, or God and the Intelligences, as the Commentator, Averroes, assumes.”
loquimur de materia "circa quam" est scientia, quae dicitur a quibusdam subiectum scientiae, uel magis proprie obiectum, sicut et illud circa quod est uirtus dicitur obiectum uirtutis proprie, non subiectum. De isto autem obiecto huius scientiae ostensum est prius quod haec scientia est circa transcendentia; ostensum est autem quod est circa altissimas causas. Quod autem istorum debeat poni proprium eius obiectum, uariae sunt opiniones. Ideo de hoc quaeritur primo utrum proprium subiectum metaphysicae sit ens in quantum ens (sicut posuit Auicenna) uel Deus et Intelligentiae (sicut posuit Commentator Auerroes.)

“Writing about music is like dancing about architecture.”

“Writing about music is like dancing about architecture.”

“I told about Vasyl to French composer Pierre Thilloy, my good acquaintance, and offered him to write a small piece. He creates music which is easy to listen to, and he agreed immediately and said he would like to visit the premiere.”

“I can respect the artistic aim of a composer if he arrives at the so-called modern idiom after an intense period of preparation…Such composers know what they are doing when they break a law; they know what to react against, because they have had experience in the classical forms and style. Having mastered the rules, they know which can be violated and which should be obeyed. But, I am sorry to say, I have found too often that young composers plunge into the writing of experimental music with their school lessons only half learned. Too much radical music is sheer sham, for this very reason: its composer sets about revolutionizing the laws of music before he learned them himself.”

“Crime is valuable feedback about what childhood in a society means, about its education, economics and culture—about whether this is a society that works or not.”

“I think the most important thing about music is the sense of escape.”

“To simplify somewhat, one may say that anthropology primarily offers two kinds of insight. First, its practitioners produce knowledge about the actual cultural variation in the world; studies may deal with, say, the role of caste and wealth in Indian village life, technology among highland people in New Guinea, religion in southern Africa, life on the Wall Street stock exchange, the political importance of kinship in the Middle East, or concepts about life and the cosmos in the Amazon basin. Although most anthropologists are specialists in one or two regions, it is necessary to be knowledgeable about global cultural variation, and about humanity as such, in order to be able to say anything interesting about one’s region, topic or people.
Second, anthropology offers methods and theoretical perspectives enabling the practitioner to explore, compare and understand these varied expressions of the human condition. In other words, the subject offers both things to think about and things to think with.
But anthropology is not just a toolbox; it is also a craft which teaches the novice how to obtain a certain kind of knowledge and what this knowledge might say something about.”

“In my vision, space-age objects, in the form of small computers, will cross these cultural barriers to enter the private worlds of children everywhere. They will do so not as mere physical objects. This book is about how computers can be carriers of powerful ideas and of the seeds of cultural change, how they can help people form new relationships with knowledge that cut across the traditional lines separating humanities from sciences and knowledge of the self from both of these. It is about using computers to challenge current beliefs about who can understand what and at what age. It is about using computers to question standard assumptions in developmental psychology and in the psychology of aptitudes and attitudes. It is about whether personal computers and the cultures in which they are used will continue to be the creatures of "engineers" alone or whether we can construct intellectual environments in which people who today think of themselves as "humanists" will feel part of, not alienated from, the process of constructing computational cultures.”