Medium Zitate

I have not built any theory. I have only tried to build up sensitive eyes, as my book says. And I have tried to achieve that by aiming at very distinct color relationships again – like how do they influence each other? Change each other in light and in intensity, in transparency, opacity? How do they change each other in all different directions? That we make all the students aware, through

experience, that color is the most relative medium in art, and that we never really see what we see. All neighboring means which occur every minute different, not only in changing light but also by our changing moods. And in the end, the study of color again is a study of ourselves.

Somebody will ask those of us who compose with the aid of computers: 'So you make all these decisions for the computer or the electronic medium but wouldn't you like to have a performer who makes certain other decisions?' Many composers don't mind collaborating with the performer with regards to decisions of tempo, or rhythm, or dynamics, or timbre, but ask them if they would allow the performer

to make decisions with regard to pitch and the answer will be 'Pitches you don't change.' Some of us feel the same way in regard to the other musical aspects that are traditionally considered secondary, but which we consider fundamental. As for the future of electronic music, it seems quite obvious to me that its unique resources guarantee its use, because it has shifted the boundaries of music

away from the limitations of the acoustical instrument, of the performer's coordinating capabilities, to the almost infinite limitations of the electronic instrument. The new limitations are the human ones of perception.

During those five years (of retirement), I traveled a lot and in some of the cities I visited, there was a kind of immediate recognition, whether it was Egypt or the Middle-East, or Russia or Africa. This kind of surprised me. It wasn't so much a reflection on me. It was a reflection on the Hindi film industry. People didn't know me by name, they knew me by my film name. They sang my songs when

they saw me on the street, and came up to me and called me Vijay, for instance. I felt that if there is so much recognition of this medium and this industry in totally non-traditional regions of the world, why is it that something is not being done to market this or to promote it at a much larger scale? This is when I thought of the idea of forming a corporation much like international

corporations worldwide to get a kind of professionalism and a kind of corporate attitude to the entertainment industry in this country and to be able to exploit it in all parts of the world. That was the attraction. That really brought me back again. Also, during my 30-year career, one of the accusations that used to come my way was that you've never invested back into the film industry. You've

invested in pharmaceuticals, in this and that. But you've never invested your money back into the industry. But here, I felt, was one activity that was very genuine. I really was putting money back to raise the standard of working in the industry