That musical time is a way of like creating a rhythm within the piece. And it was an amazing experience for me to see how when lines, directional lines, went through forms -- how forms, if moved to fit within the ratio, to hit the points. Like in other words, if an arm flies out, it goes to the point. Suddenly there's this like visual kind of connection between the forms, and it fits like, clicks like pieces of a puzzle, right into place…

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "That musical time is a way of like creating a rhythm within the piece. And it was an amazing experience for me to see how when lines, directional lines, went through forms -- how forms, if moved to fit within the ratio, to hit the points. Like in other words, if an arm flies out, it goes to the point. Suddenly there's this like visual kind of connection between the forms, and it fits like, clicks like pieces of a puzzle, right into place…" in the context of "On using Siqueiros' concept of the musical ratio in her work in “Interview: ARCHIVES OF AMERICAN ART SMITHSONIAN INSTITUTION - ORAL HISTORY INTERVIEW WITH JUDITH BACA IN VENICE, CALIFORNIA (AUGUST 5 & 6, 1986; INTERVIEWER: AMALIA MESA BAINS)" to mean that wisdom is timeless.