L.A. Paul Quotes

I think [H.P. Lovecraft] recognized what he was dealing with, he was dealing with demons. And he was dealing with creatures that're suffering. There's no way out of this suffering.

The whole theory of what Satan is, it's Lucifer, the highest of the seraphim, the bearer of God's light, who at a certain point comes to believe he is what is being revealed to him.

I mean, even New York isn't in any great shape anymore in relation to the rest of the world.

I think [H. P. Lovecraft] knew the whole gamut. He just didn't believe any of it! He probably liked to use the esoteric stuff because he knew it would tick people off and freak them out.

Any sort of working drawings are simply diagrams. Architecture encourages your imagination to work that way.

My father said he did have the mathematics of mind physics, or the physics of consciousness.

[My father] was always saying I'd end up like my grandfather. Okay. My grandfather was an architect, I'm an architect. It's true, certain characteristics are similar.

Anyway, my father became super-responsible. You know, he was the kind of person that absorbs all responsibility in the family, and then everybody else can act like a child in relation to him.

I think [Theosophical and Masonic books] wasn't that I was inspired so much. I was corroborated by them.

[Buckminster Fuller] could do four, five hours straight where some people would leave, eat, get a snooze and come back and he's still going. He was like a fireplug.

The tetrahedron was [ Buckminster Fuller's] big thing. He'd talk about it in the same way Plato talked about angles.

I started modeling myself on [ Buckminster Fuller], like with the hair. I reached an age where I sort of, kind of, looked like him a little bit, you know? I thought it was great.

The Mobius strip is only an analog for the reality of what it is.

[Buckminster Fuller] was quite a Newtonian in certain ways. But he was an excellent inventor and kept people on their toes.

[Buckminster Fuller] would pretend to be deaf at the right times.

[Buckminster Fuller] always liked to say that he got kicked out of Harvard three times. Mostly you only got kicked out once, but he kept coming back.

I really wanted to study with Bruce Goff [one of the masters of "organic architecture"] at the University of Oklahoma.

[Nikola Tesla and Leon Theremin] were European gentlemen, very well-mannered, all of the stuff you associate with living in Europe.

Carl Jung put [Orfeo Angelucci] in his last book [Flying Saucers: A Modern Myth of Things Seen in the Sky, Harcourt, Brace & World, 1959]. He said Orfeo had made up a new bible.

[Nikola Tesla] was thinking of parts actually moving, like exchanging positions in space through time. This would go over here, then that would go over there, and then something else would happen.

I thought George Adamski was actually a fraud. Looking at him, I found him repulsive. In other words, he didn't have the wide-eyed, innocent look that Orfeo Angelucci did.

I noticed things in my computer music that were getting old, and I started to figure out that this has to do with the way the listener interacts with music.

I think you'll find a significant number of people who decide not to enter competitions because their music just won't fit in that world.

I don't think there's something that you have to 'get' with my music. It tends toward the dramatic side rather than the narrative.

I don't think of my music as being about something.

I've been really fortunate to have Bridge Records interested in publishing my music for the past 25 years. Most of my music is available in their catalog.

It's very interesting for me to listen to music with my wife. She's not a musician but she very often makes comments about pieces in ways that are similar to what I'm thinking.

I came up in the '60s; that was a time when there was a revolution going on in music. Stravinsky had become a twelve-tone composer; even Aaron Copland was writing twelve-tone pieces at that time!

The experimentation that I do has a lot to do with tunes and pitches and ways that melodies are put together.

I think of myself as an experimentalist even though much of my music sounds logical and normal, in a sense.

It's always a thrill for me to see new versions of my pieces on YouTube.

I wrote a lot of software to do various kinds of special things, and I loved the idea of composing pieces in an electronic studio.

I never thought that I would write orchestra music, but in fact I did write a group of orchestra pieces.

When you have performers, there's the uniqueness of live performance and what performers do in concerts.

I think of myself as experimenting with different ways of structuring pieces. A lot of it has to do with the computer, of course.

I had been creating music on tape that was to be listened to as a recording, rather than through performance.

I found myself recycling ideas and I saw that I had to invent reasons to compose a piece rather than start from some exciting idea.

While perspective is a handy device to construct imagined spaces, it is not useful, and possibly detrimental, to sketching existing environments.

Reading newspapers in the state of Maine is like paying somebody to tell you lies.

The people we've known the longest are often the people we know the least.

I've never been disbarred, committed or convicted of moral turpitude, and the only time I was arrested, it was a case of mistaken identity...I didn't know the guy I hit was a cop.

When someone leaves an office, often there's a series of successors until you settle on one.

I start with voice, maybe a sentence. That sentence might embody an image, and I go from there. One sentence to the next. Sound drives the work these days - sound before description.

I think my methods are more suggestive than assertive. Check out those passages again and see what you think.

One way to be aware of it, to teach to yourself, is simply to read work aloud. I love reading the endings of books aloud when I start nearing the end.

The only thing I am interested in using mathematics for is to have a good time and to help others do the same.

I don't see how it's doing society any good to have so many members walking around with vague memories of algebraic formulas and geometric diagrams and clear memories of hating them.

Mathematicians enjoy thinking about the simplest possible things, and the simplest possible things are imaginary.

There are no rules for living, because you are unique. Find your truth in each moment and dare to live it. That is the way to freedom.

Acceptance and awareness are the keys to freedom.