Quotes about acoustics

A collection of quotes on the topic of acoustics, sound, soundness, space.

Quotes about acoustics

Auguste Comte photo

“Notwithstanding the eminent difficulties of the mathematical theory of sonorous vibrations, we owe to it such progress as has yet been made in acoustics. The formation of the differential equations proper to the phenomena is, independent of their integration, a very important acquisition, on account of the approximations which mathematical analysis allows between questions, otherwise heterogeneous, which lead to similar equations. This fundamental property, whose value we have so often to recognize, applies remarkably in the present case; and especially since the creation of mathematical thermology, whose principal equations are strongly analogous to those of vibratory motion. This means of investigation is all the more valuable on account of the difficulties in the way of direct inquiry into the phenomena of sound. We may decide the necessity of the atmospheric medium for the transmission of sonorous vibrations; and we may conceive of the possibility of determining by experiment the duration of the propagation, in the air, and then through other media; but the general laws of the vibrations of sonorous bodies escape immediate observation. We should know almost nothing of the whole case if the mathematical theory did not come in to connect the different phenomena of sound, enabling us to substitute for direct observation an equivalent examination of more favorable cases subjected to the same law. For instance, when the analysis of the problem of vibrating chords has shown us that, other things being equal, the number of oscillations is hi inverse proportion to the length of the chord, we see that the most rapid vibrations of a very short chord may be counted, since the law enables us to direct our attention to very slow vibrations. The same substitution is at our command in many cases in which it is less direct.”

Auguste Comte (1798–1857) French philosopher

Bk. 3, chap. 4; as cited in: Moritz (1914, 240)
System of positive polity (1852)

Ian McCulloch photo
Michel Bréal photo
Emil M. Cioran photo

“Music is everything. God himself is nothing more than an acoustic hallucination.”

Emil M. Cioran (1911–1995) Romanian philosopher and essayist

Tears and Saints (1937)

Vangelis photo

“On electronic music: "The source is electronic, but what you do with it is the same as with acoustic instruments. Sound is sound and vibration is vibration, whether from an electronic source or an acoustic instrument.”

Vangelis (1943) Greek composer of electronic, progressive, ambient, jazz, pop rock, and orchestral music

The way we use these sources is the key in order to define the required musical result. Without neglecting the acoustic conventional instruments, I spend a fair amount of time dealing with the electronic sources of sound. But please do not think computers! Computers are extremely helpful and amazing for a multitude of scientific areas, but for me, when it comes to creation, they are insufficient and slow. Therefore all of my efforts are to stay away from that beast".
2012

Julio Cortázar photo
Libba Bray photo
Halldór Laxness photo
Peter Greenaway photo
Eric Hobsbawm photo
Marshall McLuhan photo

“Speech structures the abyss of mental and acoustic space…it is a cosmic, invisible architecture of the human dark.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, Counterblast (1969), p. 13

Géza Révész photo

“Since I was a child, I’ve used my imagination to escape from life. At the same time, my imagination has plagued me with both reality-based anxieties as well as anxieties based entirely in the imagination, such as the fear of Hell I was taught to have by the Catholic Church. Paired with a talent for literary composition, a talent that it took me over ten years to refine, I became a writer of horror stories. To my mind, writing is the most important form of human expression, not only artistic writing but also philosophical writing, critical writing, etc. Art as such, especially programmatic music such as operas, seems trivial to me by comparison, however much pleasure we may get from it. Writing is the most effective way to express and confront the full range of the realities of life. I can honestly say that the primary stature I attach to writing is not self-serving. I’ve been captivated to some degree by all forms of creativity and expression—the visual arts, film, design of any sort, and especially music. In college I veered from literature to music for a few years, which is the main reason it took me six years to get an undergraduate degree in liberal arts. I’ve loved music for as long as I can remember. Since my instrument is the guitar, I know every form and style in its history and have written the classical, acoustic, and electric forms of this instrument. I think because I have had such a love and understanding of music do I realize, to my grief, its limitations. Writing is less limited in the consolations it offers to those who have lost a great deal in their lives. And it continues to console until practically everything in a person’s life has been lost. Words and what they express have the best chance of returning the baneful stare of life.”

Thomas Ligotti (1953) American horror author

Wonderbook Interview with Thomas Ligotti http://wonderbooknow.com/interviews/thomas-ligotti/

Marshall McLuhan photo

“Interdeterminacy was a figure-ground problem arising from incongruity between the visual bias of classical science and the new acoustic sensibilities.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 44

Avner Strauss photo

“The Blues is an acoustic tear.”

Avner Strauss (1954) Israeli musician

on his Album "Blues Haor Haganuz"

John Cage photo
Gloria Estefan photo
Marshall McLuhan photo

“Writing turned a spotlight on the high, dim Sierras of speech; writing was the visualization of acoustic space. It lit up the dark.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, Counterblast (1969), p. 14

Marshall McLuhan photo

“Medieval and ancient sensibility now dominates our time as acoustic and multisensory awareness displaces the merely visual.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 225

Ferdinand de Saussure photo
Marshall McLuhan photo

“The telegraph press mosaic is acoustic space as much as an electric circus.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

1970s, Culture Is Our Business (1970)

Marshall McLuhan photo

“Until writing was invented, we lived in acoustic space: boundless, directionless, horizonless, the dark of the mind, the world of emotion, primordial intuition, terror. Speech is a social chart of this bog.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Variant: Until writing was invented, we lived in acoustic space: boundless, directionless, horizonless, the dark of the mind, the world of emotion, primordial intuition, terror. Speech is a social chart of this bog. (p. 13)
Source: 1960s, Counterblast (1969), p. 13

Marshall McLuhan photo

“When Coleridge said that all men are born either Platonists or Aristotelians, he was saying that all men tend to be either acoustic or visual in their sensory bias.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 113

Marshall McLuhan photo

“Tactility is the space of the interval; acoustic space is spherical and resonant.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

1980s, Laws of Media: The New Science (with Eric McLuhan) (1988)

Alfred Binet photo

“When we attempt to understand the inmost nature of the outer world, we stand before it as before absolute darkness. There probably exists in nature, outside of ourselves, neither colour, odour, force, resistance, space, nor anything that we know as sensation. Light is produced by the excitement of the optic nerve, and it shines only in our brain; as to the excitement itself, there is nothing to prove that it is luminous; outside of us is profound darkness, or even worse, since darkness is the correlation of light. In the same way, all the sonorous excitements which assail us, the creakings of machines, the sounds of nature, the words and cries of our fellows are produced by excitements of our acoustic nerve; it is in our brain that noise is produced, outside there reigns a dead silence. The same may be said of all our other senses.

...In short, our nervous system, which enables us to communicate with objects, prevents us, on the other hand, from knowing their nature. It is an organ of relation with the outer world; it is also, for us, a cause of isolation. We never go outside ourselves. We are walled in. And all we can say of matter and of the outer world is, that it is revealed to us solely by the sensations it affords us, that it is the unknown cause of our sensations, the inaccessible excitant of our organs of the senses, and that the ideas we are able to form as to the nature and the properties of that excitant, are necessarily derived from our sensations, and are subjective to the same degree as those sensations themselves.”

Alfred Binet (1857–1911) French psychologist and inventor of the first usable intelligence test

Source: The Mind and the Brain, 1907, p. 25

Marshall McLuhan photo

“The unique innovation of the phonetic alphabet released the Greeks from the universal acoustic spill of tribal societies.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1990s and beyond, The Book of Probes : Marshall McLuhan (2011), p. 70

Carlo Carrà photo
Luigi Russolo photo
Frank Klepacki photo
Marshall McLuhan photo

“Acoustic space is totally discontinuous, like touch. It is a sphere without centers or margins.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

1970s, Culture Is Our Business (1970)

Marshall McLuhan photo

“To say that a body or its gravitational field 'bends in space' in its vicinity is the discuss visual space in acoustic terms.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 40

Marshall McLuhan photo

“The pre-atomist multisensory void was an animate, pulsating, and moving vibrant interval, neither container nor contained, acoustic space penetrated by tactility.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 34

Marshall McLuhan photo

“Cubism ('multi-locationalism') is one of the painterly forms of acoustic space.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 55

Albert Hofmann photo

“It was particularly remarkable how every acoustic perception, such as the sound of a door handle or a passing automobile, became transformed into optical perceptions. Every sound generated a vividly changing image, with its own consistent form and color.”

Albert Hofmann (1906–2008) Swiss chemist

Source: LSD : My Problem Child (1980), Ch. 1 : How LSD Originated
Context: Slowly I came back from a weird, unfamiliar world to reassuring everyday reality. The horror softened and gave way to a feeling of good fortune and gratitude, the more normal perceptions and thoughts returned, and I became more confident that the danger of insanity was conclusively past.
Now, little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes. Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux. It was particularly remarkable how every acoustic perception, such as the sound of a door handle or a passing automobile, became transformed into optical perceptions. Every sound generated a vividly changing image, with its own consistent form and color.

Luigi Russolo photo
Lucinda Williams photo

“I was always into different kinds of music but just by default, I was singing and playing acoustic guitar; I didn’t know how to dance or anything. So it would take some time, over a year, for me to kind of progress into the stuff that I ended up doing later, the more Southern soul, country-rock, whatever-you-want-to-call-it kind of thing.”

Lucinda Williams (1953) American rock, folk, blues, and country music singer, songwriter and musician

On her 1980 album Happy Woman Blues in “Lucinda Williams Looks Back on Every Album She’s Ever Made” https://www.spin.com/2016/02/lucinda-williams-ghosts-of-highway-20-car-wheels-on-a-gravel-road-interview/ in Spin (2016 Feb 25)