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Larry Wall

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What is the sound of Perl? Is it not the sound of a wall that people have stopped banging their heads against?
--
Usenet article <1992Aug26.184221.29627@netlabs.com> (1992)

 
Larry Wall

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Attention involves seeing and hearing. We hear not only with our ears but also we are sensitive to the tones, the voice, to the implication of words, to hear without interference, to capture instantly the depth of a sound. Sound plays an extraordinary part in our lives: the sound of thunder, a flute playing in the distance, the unheard sound of the universe; the sound of silence, the sound of one’s own heart beating; the sound of a bird and the noise of a man walking on the pavement; the waterfall. The universe is filled with sound. This sound has its own silence; all living things are involved in this sound of silence. To be attentive is to hear this silence and move with it.

 
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You don't have to make comedian sound like a venereal disease. He's a comedian. He's gonorrhea. [...] And variety show? You make me sound like some kind of buffoon, just flapping my arms to crazy sound effects. [Montage of sound effects from Mad Money plays.] Yeah! Like that guy! Whoever he is.

 
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It's more like giving people a taste of what the tour will be like. It's getting people to hear the music to a different sound ... We remixed some of the songs so they sound totally different. It's really energetic.

 
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Sound is defined as the result of a succession of regular and periodic vibrations. Noise is instead caused by motions that are irregular, as much in time as in intensity. 'A musical sensation,' says Helmholtz 'appears to the ear as a perfectly stable, uniform, and invariable sound.' But the quality of continuity that sound has with respect to noise, which seems instead fragmentary and irregular, is not an element sufficient to make a sharp distinction betweens sound and noise. We know that the production of sound requires not only that a body vibrate regularly but also thta these vibrations persist in the auditory nerve until the following vibration has arrived, so that the periodic vibrations blend to form a continous musical sound. At least sixteen vibrations per second are needed for this. Now, if I succeed in producing a noise with this speed. I will get a sound made up of the totality of so many noises--or better, noise whose successive repetitions will be sufficiently rapid to give a sensation of continuity like that of sound.

 
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Every now and then, when you're onstage, you hear the best sound a player can hear. It's a sound you can't get in movies or in television. It is the sound of a wonderful, deep silence that means you've hit them where they live.

 
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