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[Regarding indeterminacy]"...I think this interest had to do with his interest in painting. He used to put sheets of graph paper on the wall, and work on them like paintings. Slowly his notation would accumulate, and from time to time he'd stand back to look at the overall design. For him it had less to do with belief in chance: it was more function than anything else. He would talk about different weights of sound - and that was simply the easiest way to express them. Pitches didn't really matter, as there were so many other controls, and he used chance without its interfering with expression. What Cage admired in him and what they had most in common was heroism - trusting in performers, despite the risk that they might destroy the thing completely. Unless the performer committed himself to the pieces, they could be horrible, and it was their very dangerousness which made them so beautiful. Cage's were beautiful in the same way, just because you never knew what would come next." - Christian Wolff, Composer and Pianist
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Quoted from a conversation with Victor Schonfield, director of "Music now" in London, published in Music and Musicians, London, May 1969. [Cues, pp66-68]

 

Morton Feldman

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"...We met in 1950, through John Cage, when I was sixteen and he in his early twenties. We were all doing work that was clearly different, newly different - from one another, but joined by our delight in each other's work (and by John Cage's organizing the concerts of it and a few musicians, David Tudor centrally, playing it), and by its difference from any other we knew. I still find mysterious his way of putting the music together, or rather of erasing any traces of a sense of its having been put together: it's just there. How does he do it? He's the only composer I know whose work seems made in a way that cannot be accounted for, explained, by any other means than the impossible one of becoming that composer oneself. He talked wonderfully, sharply, outrageously, but that wasn't quite his music. One thinks of the disparity of his large, strong presence and the delicate, hypersoft music, but in fact he too was, among other things, full of tenderness and the music is, among other things, as tough as nails." - Christian Wolff, Composer and Pianist

 

Morton Feldman

 

They lay back, well fed and comfortable in the flower-scented night, and listened to Mary tell her story.
She began just before she first met Lyra, telling them about the work she was doing at the Dark Matter Research group, and the funding crisis. How much time she’d had to spend asking for money, and how little time there’d been left for research!
But Lyra’s coming had changed everything, and so quickly: within a matter of days she’d left her world altogether.
"I did as you told me," she said. "I made a program — that’s a set of instructions — to let the Shadows talk to me through the computer. They told me what to do. They said they were angels, and — well…"
"If you were a scientist," said Will, "I don’t suppose that was a good thing for them to say. You might not have believed in angels."
"Ah, but I knew about them. I used to be a nun, you see. I thought physics could be done to the glory of God, till I saw there wasn’t any God at all and that physics was more interesting anyway. The Christian religion is a very powerful and convincing mistake, that’s all."

 

Philip Pullman

 

What is this thing called the existence? Is it all the things that we perceive it to be? Or is it something else? It's a gift. One of my favorite examples is the bird in the cage. You may think that you own the bird inside the cage, but you're wrong. You only own the cage. People think that they need to have a very fancy cage, that the more incredible the cage, the more incredible the bird will look. But the cage and the bird are really two different things. When the bird is gone, all that will be left is the cage.

 

Maharaji (Prem Rawat)

 

. The right to regulate the use of wealth in the public interest is universally admitted. Let us admit also the right to regulate the terms and conditions of labor, which is the chief element of wealth, directly in the interest of the common good. The fundamental thing to do for every man is to give him a chance to reach a place in which he will make the greatest possible contribution to the public welfare. Understand what I say there. Give him a chance, not push him up if he will not be pushed. Help any man who stumbles; if he lies down, it is a poor job to try to carry him; but if he is a worthy man, try your best to see that he gets a chance to show the worth that is in him.

 

Theodore Roosevelt

 

Think, for a moment, of a cheetah, a sleek, beautiful animal, one of the fastest on earth, which roams freely on the savannas of Africa. In its natural habitat, it is a magnificent animal, almost a work of art, unsurpassed in speedor grace by any other animal. Now, think of a cheetah that has been captured and thrown into a miserable cage in a zoo. It has lost its original grace and beauty, and is put on display for our amusement. We see only the broken spirit of the cheetah in the cage, not its original power and elegance. The cheetah can be compared to the laws of physics, which are beautiful in their natural setting. The natural habitat of the laws of physics is higher-dimensional space-time. However, we can only measure the laws of physics when they have been broken and placed on display in a cage, which is our three-dimensional laboratory. We can only see the cheetah when its grace and beauty have been stripped away.

 

Peter Freund