I consider myself a general practitioner. I do electronic things. I do toys and water things, mechanical stuff. I’m very, very flexible.
When you use any kind of internet-based capability, any kind of electronic capability, to cause damage to a private entity or a foreign nation or a foreign actor, these are potential acts of war.
There’s a lot of electronic surround-sound music, and I’ve done a lot of work where I write music for other people to move around a space.
The technology is good and it’s bad. You know what you’re dealing with out there musically, but my head stops at this electronic stuff. I don’t quite know what I’m dealing with out there yet.
Kids are plugged into some sort of electronic medium 44 hours per week.
The health-care sector certainly employs more people and more machines than it did. But there have been no great strides in service. In Western Europe, most primary-care practices now use electronic health records and offer after-hours care; in the United States, most don’t.
For my entire career, I have worked to bring electronic inventions to healthcare markets where there is a critical and urgent need.
What is very interesting when talking about electronic music is that – I would say that rock and roll is called the ethnic music born in America that invaded the world. Electronic music is certainly kind of ethnic music born in countries like Germany and France that has invaded the world.
I’ve always loved pop music. I’ve always loved indie, even electronic, even trap.
Some of the Junior Boys’ textures may be borrowed from synthpop but, formally, their songs would be impossible without twenty years of the rave discontinuum. And where synthpop was self-consciously European, the Junior Boys have pioneered an electronic Pop that speaks in a Canadian accent.
I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.
I watch ‘Electronic Boy’ faithfully every week – not because I like the show but because I’m interested in where the smartest T.V. producers and directors are going, what direction they are headed in.
I started with soul music and icons like Aretha Franklin and Etta James and then moved to R&B and artists such as Erykah Badu and Lauryn Hill. Electronic music came later on, when I was in high school and I was really influenced by artists like Skrillex and Major Lazer.
I’ve always appreciated having a wide music taste, despite making what a lot of people would call electronic music.
I priced my books at what I would want to spend on an electronic book.
It’s much easier to have a diversified career as an electronic musician than it is as a drummer. Nothing against drummers. If you’re a drummer, you just wait around for people to ask you to play drums. But if you have your own studio and can make music, you have the ability to approach music a lot differently.
I’ve got my own studio, and I’ve got four- to five-hundred unreleased tracks. I’ve got stuff that’s electronic, orchestral, jazz, I’ve got rock, I’ve got metal, you know, I don’t have polka.
‘Drive’ is definitely an inspiration because it was a film that was able to use what would normally be considered cheesy, kind of bold, electronic music choice and pull it off in a mainstream way.
I believe we should celebrate new possibilities of combining the printed codex with electronic technology… The information ecology is getting richer, not thinner.
In this electronic age we see ourselves being translated more and more into the form of information, moving toward the technological extension of consciousness.
I’ve created a bridge between European electronic culture and urban American culture, and I’ve worked with established brands.
The electronic music world is such a tight-knit community. We’re all hanging out at different festivals and such.
After my grunge phase, I started opening my horizons and listening to more electronic stuff. I got into Radiohead, specifically ‘Amnesiac’ – my brother gave me that album.
One aspect of the male that women find hard to understand is his obsession with electronic gadgets such as mobile phones, tiddly televisions, computers and combined answerphone-fax machines.
There was a naive quality in 1982 around technology and the start of video games. And that’s like the start of electronic music – there was this statement and, ideologically, these things to fight for.
Hopefully the music of the future will not be all electronic. There is a place for it if it is used sparingly.
What I see in the book is an exquisite form of technology: one that doesn’t require a power source and can be passed from hand to hand and lasts a lot longer than an electronic reader.
Turn the preparing of food into a communal affair by enlisting others to help with the chopping, grating, stirring, simmering, tasting and seasoning. When the cooking is finished, eat together round the table with the electronic gadgets switched off so you can savor the food and let the conversation flow.
I long ago lost track of the number of times the Obama administration has assured everyone that its vacuum-cleaner approach to electronic surveillance does not threaten the privacy or the rights of Americans.
‘Blackheart’ is purely falling into the electronic world and pushing the envelope.
The human brain must continue to frame the problems for the electronic machine to solve.
I was working in email in the early days in the late ’80s, and people weren’t using electronic communications at all in the way we take for granted today.
I dare suggest that the composer would do himself and his music an immediate and eventual service by total, resolute and voluntary withdrawal from this public world to one of private performance and electronic media.
Guitars, there was rock ‘n’ roll. Saxophone, jazz. Now we have the computer and there’s this electronic thing happening in music that is somewhat superhuman.
‘Infernal Affairs’ uses a vibrating terseness usually found in the writer and director Michael Mann’s work. Thematically, this film deploys the techniques Mr. Mann brought to bear on ‘Heat,’ right down to using a similar cold-blooded electronic score.
We live in a world of increasing dependence on electronic records and retrieval, unprecedented security and preservation concerns, and insufficient attention to civic and democratic education.
Yes, I was invited to make the sound environment at a booth of a huge electronic company, during the Hanover Industrial Fair in 1973. It was a job. Slightly good paid. But not as much as my producer then told the press.
Though I always experimented with electronic music in the past, I wasn’t invested in that sound. My heart has always been in folk. That’s my home.
Electronic books are junk.
We incorporate various electronic devices – the echo plugs and things like that. Actually, all we’re trying to do is make that sound musical. As opposed to just making sounds, we do musical things with them.
I do feel like there’s a level of ridiculousness going on in electronic music… It’s getting borderline absurd out there.
Research promoted by NARA within a major coalition of Federal and private sector research partners has at last demonstrated that an Electronic Records Archives can be built.
With cyberbullying, one press of a finger on an electronic device can shatter someone’s reputation and what they think is their entire life. It’s scary.
I first was introduced to really, I guess, underground electronic music when I was in middle school.
When I was at the Group for Musical Research, with this idea of discovering electronic music, I quickly realized that that it was a very interesting and exciting approach to music, but I also saw that it was very intellectual and quite dogmatic.
The United States, like any great power, is always going to have an intelligence operation, and some electronic surveillance is obligatory in the modern world.
I personally love electronic music specifically because it has the rhythm, the kick, the thump – it has energy.
We wanted to be like Radiohead. When they started experimenting with electronic music, it gave us the idea that it might be a cool idea to do.
People are rejecting the power of the elite, but individuals such as Snowden are doing so in a positive way, trying to change things for the better. He is a very intelligent man and obviously interested in electronic music.
Whether I’m writing solo stuff, electronic stuff, or material for Motley, I just write to write. I come up with it and put things in different piles.
For me, one of the downfalls of electronic music is that it can feel a little soulless or robotic.
The thing about places like Trinidad and Jamaica is that they can be very musically insular. There isn’t much space for kids making hip-hop, electronic music, or hybrid genres.
I want to continue to constantly put out great music, expand further and further with the live show and music that is attracting music fans from all over the place, not only for ravers or electronic heads.
To me, a book is a book, an electronic device is not, and love of books was the reason I started writing.
I want to make music that is completely electronic but doesn’t feel it.
A lot of electronic musicians probably wouldn’t be bothered making an album, which strategically makes total sense.
