Actually I think Art lies in both directions - the broad strokes, big picture but on the other hand the minute examination of the apparently mundane. Seeing the whole world in a grain of sand, that kind of thing.

Being used to scientific terminology and theory it was always natural for me to push this stuff into songs.

I continue to believe, contrary to the given wisdom, that it's more interesting to have an album - or, indeed, an individual song - which has variety rather than homogeneity.

It costs so much to promote something these days that almost always safety is the preferred option, reference back to things which have been successful in the past. Also, people are simply not given the time to develop and find themselves and their audience as we were.

Actually I think Art lies in both directions - the broad strokes, big picture but on the other hand the minute examination of the apparently mundane. Seeing the whole world in a grain of sand, that kind of thing.

Seriously, these days I tend to shut up in terms of external analysis and DO try to let things speak for themselves, while still trying to get some depth into them.

So I, for one, didn't feel alienated by what happened in 77.

Marc Almond has done a couple of covers, a few people in Europa have done them. I own all the publishing. It's never really been addressed, as I haven't had the time to go out and tout the songs.

I had then and still retain an interest in science for its own sake and as a metaphor for our current lives.

The crucial question one comes back to is the examination; without that experience is meaningless. And I think it's true that society is becoming more and more passive, less and less fired up with enthusiasm, in many spheres.

The passage of time is a continuing thing. At 18, you're going to live forever, and you are definitely not at 52, so that is a recurring topic. I still think it's the main stuff.

I do flip between being chatty and argumentative - and being a psycho-loner werewolf.

I had a vision of myself as a novelist because that was where I could be serious. I couldn't with music.

I suppose, in a way, one could say I may be less interested in my career than the audience is. Not to mean that I'm disinterested in my career, but I don't see it in terms of one stepping stone or, 'Now I'm going to go into my blue phase,' or what have you.

I'm not sure that Jesuits ever produce faithful Catholics. Because they're too fierce. It is Sturm und Drang, and it is guilt - it is all that battlefield stuff.

If you're going to have a heart attack, mine was the kind to have. I'm thankful that it hasn't affected my output or my capacity to perform. And it has given me a lot to think and write about.

More people seem to know the Van der Graaf Generator material than my solo work - thanks, I suppose, to their parents' lingering vinyl collections.

My dictum has always been: 'This show is happening just here, just tonight, with these people who are in this hall, and nobody knows what's going to happen until it's done.'

My mother was from West Bromwich; my grandfather was Pakistani. I had an aunt who started trying to trace the family tree and stopped when she saw what turned up.

There's always a Van der Graaf audience that wants to hear the band's sound. And totally fair enough. Why not? It's a band. You like the band, you like the band.

To be honest, I don't know really what I do on stage.

Art teaches nothing, except the significance of life.

The principal rule of art is to please and to move. All the other rules were created to achieve this first one.

I grew up with art from the innocent age of ten - with art, but with no sense of identity.

One does not devote one's life in art to shock an audience.

The other great development has been in photography, but that too was influenced by Conceptual art.

My art became very public.

Riding a race bike is an art - a thing that you do because you feel something inside.

The idea is, if I can't heal from my art, then how can you heal?

But in the finished art of the song the use of words has no connection with the use of words in poetry.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

I don't believe in art. I believe in artists.

Art cannot be modern. Art is primordially eternal.

Without art, the crudeness of reality would make the world unbearable.

We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.

Where the spirit does not work with the hand, there is no art.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.

Art is an expression of who you are. Parts that I play are my sculptures.

There has always been quite a strong black and white art tradition in Australia, with quite a large contingent of cartoonists, given the size of the population.

There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.

A man who exposes himself when he is intoxicated, has not the art of getting drunk.

What motivates me in art is the ugly and beautiful nature of the truth. It has to be truthful and honest, even if it is ugly and grotesque.

A great thing happening now in art is that artists are using the figure, the body, clothing, life.

I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.

I always feel like the art's there and I just see it, so it's not really a lot of work.

I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.

And, moreover, it is art in its most general and comprehensive form that is here discussed, for the dialogue embraces everything connected with it, from its greatest object, the state, to its least, the embellishment of sensuous existence.

A blind man can make art if what is in his mind can be passed to another mind in some tangible form.