Designers

"凡是愚弱的國民，即使體格如何健全，如何茁壯，也只能做毫無意義的示眾的材料和看客，病死多少是不必以為不幸的。"

"中醫不過是一種有意的或無意的騙子。"

"中國人的性情是總喜歡調和折中的，譬如你說，這屋子太暗，須在這裏開一個窗，大家一定不允許的。但如果你主張拆掉屋頂他們就來調和，願意開窗了。"

"“蘇聯是無產階級專政的，智識階級就要餓死。”……位有名的記者曾經這樣警告我。是的，這倒恐怕要使我也有些睡不著了。但無產階級專政，不是為了將來的無階級社會麼？只要你不去謀害它，自然成功就早，階級的消滅也就早，那時就誰也不會“餓死”了……然而帝國主義及其奴才們，還來對我們說蘇聯怎麼不好，好像它倒願意蘇聯一下子就變成天堂，人們個個享福。現在竟這樣子，它失望了，不舒服了。——這真是惡鬼的眼淚。……"

"辱駡與恐嚇不是戰鬥。"

"革命是要人生，不是要人死！"

"Savage as a lion, timid as a rabbit, crafty as a fox..."

"When you talk with famous scholars, the best thing is to pretend that occasionally you do not quite understand them. If you understand too little, you will be despised; if you understand too much, you will be disliked; if you just fail occasionally to understand them you will suit each other very well."

"Hope is like a road in the country; there was never a road, but when many people walk on it, the road comes into existence."

"The so-called "peace" is an interval between wars."

"I used to think that a man was sentenced to death or imprisonment because he was guilty; now I know that he is found guilty because he is disliked."

"Chinese people love compromise. If you say to them, "This room is too dark, we must have a window made," they will all oppose you. But if you say, "Let's take off the roof," they will compromise with you and say "Let's have a window.""

"Rather than worship Confucius and Kuan Kung, one should worship Darwin and Ibsen."

"We have hereafter only two roads to choose: one is to embrace the ancient literature and die, the other is to forsake the ancient literature and live."

"The literature of former days is like watching a fire from across the water; in present-day literature, the author himself is being scorched by the fire and he is bound to feel it deeply, and when he begins to feel it deeply, he is bound to take part in the social struggle."

"For a number of years I have been familiar with the observation that the quality of programmers is a decreasing function of the density of go to statements in the programs they produce. More recently I discovered why the use of the go to statement has such disastrous effects, and I became convinced that the go to statement should be abolished from all "higher level" programming languages."

"Our intellectual powers are rather geared to master static relations and ... our powers to visualize processes evolving in time are relatively poorly developed. For that reason we should do (as wise programmers aware of our limitations) our utmost to shorten the conceptual gap between the static program and the dynamic process, to make the correspondence between the program (spread out in text space) and the process (spread out in time) as trivial as possible."

"Testing shows the presence, not the absence of bugs"

"A convincing demonstration of correctness being impossible as long as the mechanism is regarded as a black box, our only hope lies in not regarding the mechanism as a black box."

"When we take the position that it is not only the programmer's responsibility to produce a correct program but also to demonstrate its correctness in a convincing manner, then the above remarks have a profound influence on the programmer's activity: the object he has to produce must be usefully structured."

"The art of programming is the art of organizing complexity, of mastering multitude and avoiding its bastard chaos as effectively as possible."

"Program testing can be used to show the presence of bugs, but never to show their absence!"

"The competent programmer is fully aware of the strictly limited size of his own skull; therefore he approaches the programming task in full humility, and among other things he avoids clever tricks like the plague."

"Another two years later, in 1957, I married and Dutch marriage rites require you to state your profession and I stated that I was a programmer. But the municipal authorities of the town of Amsterdam did not accept it on the grounds that there was no such profession. And, believe it or not, but under the heading "profession" my marriage act shows the ridiculous entry "theoretical physicist"!"

"Automatic computers have now been with us for a quarter of a century. They have had a great impact on our society in their capacity of tools, but in that capacity their influence will be but a ripple on the surface of our culture, compared with the much more profound influence they will have in their capacity of intellectual challenge without precedent in the cultural history of mankind."

"After having programmed for some three years, I had a discussion with A. van Wijngaarden, who was then my boss at the Mathematical Center in Amsterdam, a discussion for which I shall remain grateful to him as long as I live. The point was that I was supposed to study theoretical physics at the University of Leiden simultaneously, and as I found the two activities harder and harder to combine, I had to make up my mind, either to stop programming and become a real, respectable theoretical physicist, or to carry my study of physics to a formal completion only, with a minimum of effort, and to become....., yes what? A programmer? But was that a respectable profession? For after all, what was programming? Where was the sound body of knowledge that could support it as an intellectually respectable discipline? I remember quite vividly how I envied my hardware colleagues, who, when asked about their professional competence, could at least point out that they knew everything about vacuum tubes, amplifiers and the rest, whereas I felt that, when faced with that question, I would stand empty-handed. Full of misgivings I knocked on van Wijngaarden's office door, asking him whether I could "speak to him for a moment"; when I left his office a number of hours later, I was another person. For after having listened to my problems patiently, he agreed that up till that moment there was not much of a programming discipline, but then he went on to explain quietly that automatic computers were here to stay, that we were just at the beginning and could not I be one of the persons called to make programming a respectable discipline in the years to come? This was a turning point in my life and I completed my study of physics formally as quickly as I could. One moral of the above story is, of course, that we must be very careful when we give advice to younger people; sometimes they follow it!"

"Please don't fall into the trap of believing that I am terribly dogmatic about [the go to statement]. I have the uncomfortable feeling that others are making a religion out of it, as if the conceptual problems of programming could be solved by a simple trick, by a simple form of coding discipline!"

"Don't blame me for the fact that competent programming, as I view it as an intellectual possibility, will be too difficult for "the average programmer" — you must not fall into the trap of rejecting a surgical technique because it is beyond the capabilities of the barber in his shop around the corner."

"Are you quite sure that all those bells and whistles, all those wonderful facilities of your so-called "powerful" programming languages belong to the solution set rather than to the problem set?"

"Some people found error messages they couldn't ignore more annoying than wrong results, and, when judging the relative merits of programming languages, some still seem to equate "the ease of programming" with the ease of making undetected mistakes."

"Several people have told me that my inability to suffer fools gladly is one of my main weaknesses."

"Write a paper promising salvation, make it a 'structured' something or a 'virtual' something, or 'abstract', 'distributed' or 'higher-order' or 'applicative' and you can almost be certain of having started a new cult."

"For me, the first challenge for computing science is to discover how to maintain order in a finite, but very large, discrete universe that is intricately intertwined. And a second, but not less important challenge is how to mould what you have achieved in solving the first problem, into a teachable discipline: it does not suffice to hone your own intellect (that will join you in your grave), you must teach others how to hone theirs. The more you concentrate on these two challenges, the clearer you will see that they are only two sides of the same coin: teaching yourself is discovering what is teachable."

"As a result of a long sequence of coincidences I entered the programming profession officially on the first spring morning of 1952, and as far as I have been able to trace, I was the first Dutchman to do so in my country."

"We must be very careful when we give advice to younger people: sometimes they follow it!"

"We must not forget that it is not our [computing scientists'] business to make programs, it is our business to design classes of computations that will display a desired behaviour."

"The major cause [of the software crisis] is that the machines have become several orders of magnitude more powerful! To put it quite bluntly: as long as there were no machines, programming was no problem at all; when we had a few weak computers, programming became a mild problem, and now we have gigantic computers, programming has become an equally gigantic problem. In this sense the electronic industry has not solved a single problem, it has only created them, it has created the problem of using its products."

"FORTRAN's tragic fate has been its wide acceptance, mentally chaining thousands and thousands of programmers to our past mistakes."

"LISP has been jokingly described as "the most intelligent way to misuse a computer". I think that description a great compliment because it transmits the full flavor of liberation: it has assisted a number of our most gifted fellow humans in thinking previously impossible thoughts."

"When FORTRAN has been called an infantile disorder, full PL/1, with its growth characteristics of a dangerous tumor, could turn out to be a fatal disease."

"Using PL/1 must be like flying a plane with 7000 buttons, switches and handles to manipulate in the cockpit."

"If you want more effective programmers, you will discover that they should not waste their time debugging, they should not introduce the bugs to start with."

"Program testing can be a very effective way to show the presence of bugs, but it is hopelessly inadequate for showing their absence."

"The effective exploitation of his powers of abstraction must be regarded as one of the most vital activities of a competent programmer."

"The purpose of abstracting is not to be vague, but to create a new semantic level in which one can be absolutely precise."

"The use of COBOL cripples the mind; its teaching should, therefore, be regarded as a criminal offense."

"APL is a mistake, carried through to perfection. It is the language of the future for the programming techniques of the past: it creates a new generation of coding bums."

"FORTRAN, 'the infantile disorder', by now nearly 20 years old, is hopelessly inadequate for whatever computer application you have in mind today: it is now too clumsy, too risky, and too expensive to use."

"In the good old days physicists repeated each other's experiments, just to be sure. Today they stick to FORTRAN, so that they can share each other's programs, bugs included."

"It is practically impossible to teach good programming to students that have had a prior exposure to BASIC: as potential programmers they are mentally mutilated beyond hope of regeneration."

"Besides a mathematical inclination, an exceptionally good mastery of one's native tongue is the most vital asset of a competent programmer."

"Simplicity is prerequisite for reliability."

"Programming is one of the most difficult branches of applied mathematics; the poorer mathematicians had better remain pure mathematicians."

"We can found no scientific discipline, nor a hearty profession, on the technical mistakes of the Department of Defense and, mainly, one computer manufacturer."

"About the use of language: it is impossible to sharpen a pencil with a blunt axe. It is equally vain to try to do it with ten blunt axes instead."

"Thank goodness we don't have only serious problems, but ridiculous ones as well."

"[Though computer science is a fairly new discipline, it is predominantly based on the Cartesian world view. As Edsgar W. Dijkstra has pointed out] A scientific discipline emerges with the - usually rather slow! - discovery of which aspects can be meaningfully 'studied in isolation for the sake of their own consistency."

"How do we convince people that in programming simplicity and clarity —in short: what mathematicians call "elegance"— are not a dispensable luxury, but a crucial matter that decides between success and failure?"

"I think of the company advertising "Thought Processors" or the college pretending that learning BASIC suffices or at least helps, whereas the teaching of BASIC should be rated as a criminal offence: it mutilates the mind beyond recovery."

"The question of whether Machines Can Think... is about as relevant as the question of whether Submarines Can Swim."

"Simplicity is a great virtue but it requires hard work to achieve it and education to appreciate it. And to make matters worse: complexity sells better."

"Probably I am very naive, but I also think I prefer to remain so, at least for the time being and perhaps for the rest of my life."

"A confusion of even longer standing came from the fact that the unprepared included the electronic engineers that were supposed to design, build and maintain the machines. The job was actually beyond the electronic technology of the day, and, as a result, the question of how to get and keep the physical equipment more or less in working condition became in the early days the all-overriding concern. As a result, the topic became – primarily in the USA – prematurely known as 'computer science' – which, actually, is like referring to surgery as 'knife science' – and it was firmly implanted in people's minds that computing science is about machines and their peripheral equipment. Quod non [Latin: "Which is not true"]. We now know that electronic technology has no more to contribute to computing than the physical equipment. We now know that programmable computer is no more and no less than an extremely handy device for realizing any conceivable mechanism without changing a single wire, and that the core challenge for computing science is hence a conceptual one, viz., what (abstract) mechanisms we can conceive without getting lost in the complexities of our own making."

"When we had no computers, we had no programming problem either. When we had a few computers, we had a mild programming problem. Confronted with machines a million times as powerful, we are faced with a gigantic programming problem."

"My point today is that, if we wish to count lines of code, we should not regard them as "lines produced" but as "lines spent": the current conventional wisdom is so foolish as to book that count on the wrong side of the ledger."

"As economics is known as "The Miserable Science", software engineering should be known as "The Doomed Discipline", doomed because it cannot even approach its goal since its goal is self-contradictory. (...) Software engineering has accepted as its charter "How to program if you cannot."

"The problems of the real world are primarily those you are left with when you refuse to apply their effective solutions."

"When I came back from Munich, it was September, and I was Professor of Mathematics at the Eindhoven University of Technology. Later I learned that I had been the Department's third choice, after two numerical analysts had turned the invitation down; the decision to invite me had not been an easy one, on the one hand because I had not really studied mathematics, and on the other hand because of my sandals, my beard and my "arrogance" (whatever that may be)."

"In the wake of the Cultural Revolution and now of the recession I observe a mounting pressure to co-operate and to promote "teamwork". For its anti-individualistic streak, such a drive is of course highly suspect; some people may not be so sensitive to it, but having seen the Hitlerjugend in action suffices for the rest of your life to be very wary of "team spirit". Very."

"I mean, if 10 years from now, when you are doing something quick and dirty, you suddenly visualize that I am looking over your shoulders and say to yourself "Dijkstra would not have liked this", well, that would be enough immortality for me."

"A picture may be worth a thousand words, a formula is worth a thousand pictures."

"It is time to unmask the computing community as a Secret Society for the Creation and Preservation of Artificial Complexity."

"Elegance is not a dispensable luxury but a quality that decides between success and failure."

"Industry suffers from the managerial dogma that for the sake of stability and continuity, the company should be independent of the competence of individual employees. Hence industry rejects any methodological proposal that can be viewed as making intellectual demands on its work force. Since in the US the influence of industry is more pervasive than elsewhere, the above dogma hurts American computing science most. The moral of this sad part of the story is that as long as computing science is not allowed to save the computer industry, we had better see to it that the computer industry does not kill computing science."

"May, in spite of all distractions generated by technology, all of you succeed in turning information into knowledge, knowledge into understanding, and understanding into wisdom."

"The required techniques of effective reasoning are pretty formal, but as long as programming is done by people that don't master them, the software crisis will remain with us and will be considered an incurable disease. And you know what incurable diseases do: they invite the quacks and charlatans in, who in this case take the form of Software Engineering gurus."

"It is not the task of the University to offer what society asks for, but to give what society needs."

"There are very different programming styles. I tend to see them as Mozart versus Beethoven. When Mozart started to write, the composition was finished. He wrote the manuscript and it was 'aus einem Guss' (from one cast). In beautiful handwriting, too. Beethoven was a doubter and a struggler who started writing before he finished the composition and then glued corrections onto the page. In one place he did this nine times. When they peeled them, the last version proved identical to the first one."

"What is the shortest way to travel from Rotterdam to Groningen, in general: from given city to given city. It is the algorithm for the shortest path, which I designed in about twenty minutes. One morning I was shopping in Amsterdam with my young fiancée, and tired, we sat down on the café terrace to drink a cup of coffee and I was just thinking about whether I could do this, and I then designed the algorithm for the shortest path. As I said, it was a twenty-minute invention. In fact, it was published in '59, three years late. The publication is still readable, it is, in fact, quite nice. One of the reasons that it is so nice was that I designed it without pencil and paper. I learned later that one of the advantages of designing without pencil and paper is that you are almost forced to avoid all avoidable complexities. Eventually that algorithm became, to my great amazement, one of the cornerstones of my fame."

"In short, I suggest that the programmer should continue to understand what he is doing, that his growing product remains firmly within his intellectual grip. It is my sad experience that this suggestion is repulsive to the average experienced programmer, who clearly derives a major part of his professional excitement from not quite understanding what he is doing. In this streamlined age, one of our most undernourished psychological needs is the craving for Black Magic and apparently the automatic computer can satisfy this need for the professional software engineer, who is secretly enthralled by the gigantic risks he takes in his daring irresponsibility. For his frustrations I have no remedy......"

"This is generally true: any sizeable piece of program, or even a complete program package, is only a useful tool that can be used in a reliable fashion, provided that the documentation pertinent for the user is much shorter than the program text. If any machine or system requires a very thick manual, its usefulness becomes for that very circumstance subject to doubt!"

"The precious gift that this Turing Award acknowledges is Dijkstra's style: his approach to programming as a high, intellectual challenge; his eloquent insistence and practical demonstration that programs should be composed correct, not just debugged into correctness; and his illuminating perception of problems at the foundations of program design."

"A revolution is taking place in the way we write programs and teach programming, because we are beginning to understand the associated mental processes more deeply. It is impossible to read the recent [E. W. Dijkstra, O.-J. Dahl, and C. A. R. Hoare] book Structured Programming, without having it change your life. The reason for this revolution and its future prospects have been aptly described by E.W. Dijkstra in his 1972 Turing Award Lecture, The Humble Programmer."

"The working vocabulary of programmers everywhere is studded with words originated or forcefully promulgated by E. W. Dijkstra—display, deadly embrace, semaphore, go-to-less programming, structured programming. But his influence on programming is more pervasive than any glossary can possibly indicate."

"Edsger W. Dijkstra's 1969 "Structured Programming" article precipitated a decade of intense focus on programming techniques that has fundamentally altered human expectations and achievements in software development. Before this decade of intense focus, programming was regarded as a private, puzzle-solving activity of writing computer instructions to work as a program. After this decade, programming could be regarded as a public, mathematics-based activity of restructuring specifications into programs. Before, the challenge was in getting programs to run at all, and then in getting them further debugged to do the right things. After, programs could be expected to both run and do the right things with little or no debugging. Before, it was common wisdom that no sizable program could be error-free. After, many sizable programs have run a year or more with no errors detected. These expectations and achievements are not universal because of the inertia of industrial practices. But they are well-enough established to herald fundamental change in software development."

"The difference between a computer programmer and a computer scientist is a job-title thing. Edsgar Dijkstra wants proudly to be called a "computer programmer," although he hasn't touched a computer now for some years. (...) His great strength is that he is uncompromising. It would make him physically ill to think of programming in C++."

"You probably know that arrogance, in computer science, is measured in nanodijkstras."

"...I also discovered books of two great computer scientists from whose work I learned the scientific foundation of my trade: Donald Knuth and Edsger Dijkstra. Knuth taught me the answers. Dijkstra taught me the questions. Time and time again I come back to their works for new insights."

"The first classic is one of the great works in computer programming: E. W. Dijkstra, Cooperating Sequential Processes (1965). Here Dijkstra lays the conceptual foundation for abstract concurrent programming."

"The Edsger W. Dijkstra Prize in Distributed Computing is named for Edsger Wybe Dijkstra (1930-2002), a pioneer in the area of distributed computing. His foundational work on concurrency primitives (such as the semaphore), concurrency problems (such as mutual exclusion and deadlock), reasoning about concurrent systems, and self-stabilization comprises one of the most important supports upon which the field of distributed computing is built. No other individual has had a larger influence on research in principles of distributed computing. The prize is given for outstanding papers on the principles of distributed computing, whose significance and impact on the theory and/or practice of distributed computing have been evident for at least a decade."

"Most experienced IT professionals will agree that developing and adhering to a standard architecture is key to the success of large-scale software development. Computer pioneer Edsger Dijkstra validated this notion when he developed THE operating system in 1968. Since then, layered architectures have proved their viability in technological domains, such as hardware and networking. Layering has proved itself in the operating system domain; however, the same benefits are available when applied to e-commerce or to thin client–oriented applications. Layered architectures have become essential in supporting the iterative development process by promoting reusability, scalability, and maintainability."

"Edsger Dijkstra, one of the giants of our field and a passionate believer in the mathematical view of programs and programming (...) Over the previous quarter-century, he had formulated many of the great intellectual challenges of the field as programming—the goto statement, structured programming, concurrent processes, semaphores, deadlocks, recursive programming in Algol, and deriving correct programs."

"Of great influence to Pascal was Structured Programming, put forth by E. W. Dijkstra. This method of proceeding in a design would obliviously be greatly encouraged by the use of a Structured Language, a language with a set of constructs that could freely be combined and nested. The textual structure of a program should directly reflect its flow of control."

"In 1965 Dijkstra wrote his famous Notes on Structured Programming and declared programming as a discipline in contrast to a craft. Also in 1965 Hoare published an important paper about data structuring. These ideas had a profound influence on new programming language, in particular Pascal. Languages are the vehicles in which these ideas were to be expressed. Structured programming became supported by a structured programming language."

"The notion of the concurrent program as a means for writing parallel programs without regard for the underlying hardware was first introduced by Edsger Dijkstra (1968). Moti Ben-Ari (1982) elegantly summed up Dijkstra's idea in three sentences: 'Concurrent programming is the name given to programming notation and techniques for expressing potential parallelism and solving the resulting synchronization and communication problems. Implementation of parallelism is a topic in computer systems (hardware and software) that is essentially independent of concurrent programming. Concurrent programming is important because it provides an abstract setting in which to study parallelism without getting bogged down in the implementation details.'"

"The revolution in views of programming started by Dijkstra's iconoclasm led to a movement known as structured programming, which advocated a systematic, rational approach to program construction. Structured programming is the basis for all that has been done since in programming methodology, including object-oriented programming. As the first book on the topic [Structured Programming by Dijkstra, Ole-Johan Dahl, and Tony Hoare] shows, structured programming is about much more than control structures and the goto. Its principal message is that programming should be considered a scientific discipline based on mathematical rigor."

"Since the early work of E.W. Dijkstra (1965), who introduced the mutual exclusion problem, the concept of a process, the semaphore object, the notion of a weakest precondition, and guarded commands (among many other contributions), synchronization is no longer a catalog of tricks but a domain of computing science with its own concepts, mechanisms, and techniques whose results can be applied in many domains. This means that process synchronization has to be a major topic of any computer science curriculum."

"Although Dijkstra will always be remembered for structured programming, and for his style and approach, he also invented many other of the standard ideas of programming. If you are struggling with multi-threaded programming you may have encountered the semaphore, and the idea of the "deadly embrace". These, and more, are the result of Dijkstra's work on concurrent programming. He showed how this particularly difficult area of programming could be made relatively safe."

"While concurrent program execution had been considered for years, the computer science of concurrency began with Edsger Dijkstra's seminal 1965 paper that introduced the mutual exclusion problem. (...) The first scientific examination of fault tolerance was Dijkstra's seminal 1974 paper on self-stabilization. (...) The ensuing decades have seen a huge growth of interest in concurrency—particularly in distributed systems. Looking back at the origins of the field, what stands out is the fundamental role played by Edsger Dijkstra, to whom this history is dedicated."

"We generally trace the idea of building computer systems in layers back to a 1967 paper that the Dutch computer scientist Edsger Dijkstra gave to a joint IEEE Computer Society/ACM conference. Prior to this paper, engineers had struggled with the problem of how to organize software. If you look at early examples of programs, and you can find many in the electronic library of the Computer Society, you will find that most code of that era is complicated, difficult to read, hard to modify, and challenging to reuse. In his 1967 paper, Dijkstra described how software could be constructed in layers and gave an example of a simple operating system that used five layers. He admitted that this system might not be a realistic test of his ideas but he argued that the "larger the project, the more essential the structuring!" The idea of using layers to control complexity has become a mainstay of software architecture. We see it in many forms and apply it to many problems. We see it in the hierarchy of classes in object-oriented programming and in the structure of Service-Oriented Architecture (SOA). SOA is a relatively recent application of layering in computer science. It was articulated in 2007 as a means of controlling complexity in business systems, especially distributed systems that make substantial use of the Internet. Like Dijkstra's plan for system development, its layering system is called the SOA Solution Stack or S3. The S3's nine layers are: 1) operational systems, 2) service components, 3) services, 4) business processes, 5) consumer actions, 6) system integration, 7) quality control and assurance, 8) information architecture, and 9) system governance and policies."

"Computer Science is no more about computers than astronomy is about telescopes."

"Go To statement considered harmful"

"Among the several sins that I have been accused of committing, none is more false than the one that I have, as the principal objective in my work, the spirit of research. When I paint my object is to show what I have found and not what I am looking for. In art intentions are not sufficient and, as we say in Spanish, love must be proved by facts and not by reasons... [Paris 1923]."

"When I hear people speak of the evolution of an artist, it seems to me that they are considering him standing between two mirrors that face each other and reproduce his image an infinite number of times, and that they contemplate the successive images of one mirror as his past, and the images of the other mirror as his future, while his real image is taken as his present. They do not consider that they all are the same images in different planes... [Paris 1923]."

"They speak of naturalism in opposition to modern painting. I would like to know if anyone has ever seen a natural work of art. Nature and art, being two different things, cannot be the same thing. Through art we express our conception of what nature is not. Velasquez left us his idea of the people of his epoch. Undoubtedly they were different from what he painted them, but we cannot conceive a Philip IV in any other way than the one Velasquez painted... [Paris 1923]."

"I can hardly understand the importance given to the word research in connection with modern painting. In my opinion to search means nothing in painting. To find is the thing. Nobody is interested in following a man who, with his eyes fixed on the ground, spends his life looking for the purse that fortune should put in his path. The one who finds something no matter what it might be, even if his intention were not to search for it, at least arouses our curiosity, if not our admiration."

"We all know that Art is not truth. Art is a lie that makes us realize truth, at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies. If he only shows in his work that he has searched, and re-searched, for the way to put over lies, he would never accomplish anything."

"Cubism is no different from any other school of painting. The same principles and the same elements are common to all. The fact that for a long time cubism has not been understood and that even today there are people who cannot see anything in it, means nothing. I do not read English, and an English book is a blank to me. This does not mean that the English language does not exist, and why should I blame anyone but myself if I cannot understand what I know nothing about?"

"Variation does not mean evolution. If an artist varies his mode of expression this only means that he has changed his manner of thinking, and in changing, it might be for the better or it might be for the worse."

"Many think that Cubism is an art of transition, an experiment which is to bring ulterior results. Those who think that way have not understood it. Cubism is not either a seed or a foetus, but an art dealing primarily with forms, and when a form is realized it is there to live its own life. A mineral substance, having geometric formation, is not made so for transitory purposes, it is to remain what it is and will always have its own form."

"Mathematics, trigonometry, chemistry, psychoanalysis, music, and what not have been related to cubism to give it an easier interpretation. All this has been pure literature, not to say nonsense, which brought bad results, blinding people with theories. Cubism has kept itself within the limits and limitations of painting, never pretending to go beyond it."

"The idea of research has often made painting go astray, and made the artist lose himself in mental lucubrations. Perhaps this has been the principal fault of modern art. The spirit of research has poisoned those who have not fully understood all the positive and conclusive elements in modern art and has made them attempt to paint the invisible and, therefore, the unpaintable."

"And from the point of view of art there are no concrete or abstract forms, but only forms which are more or less convincing lies. That those lies are necessary to our mental selves is beyond any doubt, as it is through them that we form our aesthetic point of view of life. (Paris 1923)"

"I also often hear the word 'evolution'. Repeatedly I am asked to explain how my painting evolved. To me there is no past or future in my art. If a work of art cannot live always in the present it must not be considered at all. The art of the Greeks, of the Egyptians, of the great painters who lived in other times, is not an art of the past; perhaps it is more alive today than it ever was. Art does not evolve by itself, the ideas of people change and with them their mode of expression. (Paris 1923)"

"I do not believe I have used radically different elements in the different manners I have used in my paintings. If the subjects I have wanted to express have suggested different ways of expression, I have never hesitated to adopt them. I have never made trials nor experiments. Whenever I had something to say I have said it in the manner in which I have felt it ought to be said. Different motives inevitably require different methods of expression. (Paris 1923)"

"The smell of opium is the least stupid smell in the world."

"When I went to Trocadéro it was disgusting. ...The smell. I was all alone. I wanted to get away. But... I stayed. ...I understood something very important... was happening to me... The masks... were magical things. ...The Negroes' sculptures were intercessors... Against everything; against unknown threatening spirits. I kept looking at the fetishes. I understood: I too am against everything. I too think everything is unknown, is the enemy! Everything! ...I understood ...the purpose ...all the fetishes were ...weapons. To help people stop being dominated by spirits, to become independent. Tools. If we give form to the spirits, we become independent of them. The spirits, the unconscious... emotion, it's the same thing. I understood why I was a painter. All alone in that awful museum, with the masks, the redskin dolls, the dusty mannequins. ' must have come to me that day, but not at all because of the forms: but because it was my first canvas of —yes, absolutely!"

"It isn't up to the painter to define the symbols. Otherwise it would be better if he wrote them out in so many words! The public who look at the picture must interpret the symbols as they understand them."

"...this bull is a bull and this horse is a horse... If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are."

"But there is one very odd thing - to notice that basically a picture doesn't change, that the first 'vision' remains almost intact, in spite of appearances. I often ponder on a light and a dark when I have put them into a painting; I try hard to break them up by interpolating a color that will create a different effect. When the work is photographed, I note that what I put in to correct my first vision has disappeared, and that, after all, the photographic image corresponds with my first vision before the transformation I insisted on. [Boisgeloup, winter 1934]"

"It is my misfortune - and probably my delight - to use things as my passions tell me. What a miserable fate for a painter who adores blondes to have to stop himself putting them into a picture because they don't go with the basket of fruit!"

"In the old days pictures went forward toward completion by stages. Every day brought something new. A picture used to be a sum of additions. In my case a picture is a sum of destructions. I do a picture — then I destroy it. In the end though, nothing is lost: the red I took away from one place turns up somewhere else"

"I would like to manage to prevent people from ever seeing how a picture of mine has been done. What can it possibly matter? What I want is that the only thing emanating from my pictures should be emotion. [Boisgeloup, winter 1934]."

"It would be very curious to record by means of photographs, not the stage of the picture, but its metamorphoses. Perhaps one would perceive the path taken by the mind in order to put its dreams into a concrete form. But what is really very curious is to observe that fundamentally the picture does not change, that despite appearances the initial vision remains almost intact (Boisgeloup, winter 1934)."

"Abstract art is only painting. What about drama? There is no abstract art. You always start with something. Afterward you can remove all traces of reality."

"Neither is there figurative and non-figurative art. All things appear to us in the shape of forms. Even in metaphysics ideas are expressed by forms, well then think how absurd it would be to think of painting without the imagery of forms. A figure, an object, a circle, are forms; they affects us more or less intensely. [Boisgeloup, winter 1934]."

"Do you think it interests me that this painting represents two figures? These two figures existed, they exist no more. The sight of them gave me an initial emotion, little by little their real presence grew indistinct they became a fiction for me, then they disappeared, or rather, were turned into problems of all kinds. For me they are no longer two figures but shapes and colours, don’t misunderstand me, shapes and colours, though, that sum up the idea of the two figures and preserve the vibration of their existence. [Boisgeloup, winter 1934]"

"It is not what the artist does that counts. But what he is. Cézanne would never have interested me if he had lived and thought like Jaques-Emile Blanche, even if the apple he had painted had been ten times more beautiful. What interests us is the anxiety of Cézanne, the teaching of Cézanne, the anguish of Van Gogh, in short the inner drama of the man. The rest is false. [Boisgeloup, winter 1934]."

"How can you expect a beholder to experience my picture as I experienced it? A picture comes to me a long time beforehand; who knows how long a time beforehand, I sensed, saw, and painted it and yet the next day even I do not understand what I have done. How can anyone penetrate my dreams, my instincts, my desires, my thought, which have taken a long time to fashion themselves and come to the surface, above all to grasp what I put there, perhaps involuntary."

"I deal with painting as I deal with things, I paint a window just as I look out of a window. If an open window looks wrong in a picture, I draw the curtain and shut it, just as I would in my own room. In painting, as in life, you must act directly."

"Academic training in beauty is a sham. We have been deceived... The beauties of the Parthenon, Venuses, Nymphs, Narcissuses are so many lies. Art is not the application of a canon of beauty but what the instinct and the brain can conceive beyond any canon."

"When we did Cubist paintings [Picasso and Georges Braque, in their early Cubist period in Paris], our intention was not to produce Cubist paintings but to express what was within us. No one laid down a course of action for us, and our friends the poets [a.o. Appolinaire and Cendral] followed our endeavor attentively but they never dictated it to us. [Boisgeloup, winter 1934]."

"Everyone wants to understand painting. Why don't they try to understand the song of the birds? Why do they love a night, a flower, everything which surrounds man, without attempting to understand them? Whereas where painting is concerned, they want to understand. Let them understand above all that the artist works from necessity; that he, too, is a minute element of the world to whom one should ascribe no more importance than so many things in nature which charm us but which we do not explain to ourselves. Those who attempt to explain a picture are on the wrong track most of the time. Gertrude Stein, overjoyed, told me some time ago that she had finally understood what my picture represented: three musicians. It was a still life!! [Boisgeloup, winter 1934]."

"The painter goes through states of fullness and evacuation. That is the whole secret of art. I go for a walk in the forest of Fontainebleau. I get 'green' indigestion. I must get rid of this sensation into a picture. Green rules it. A painter paints to unload himself of feelings and visions. People seize on painting to cover up their nakedness. They get what they can wherever they can. In the end I don't believe they get anything at all. They've simply cut a coat to the measure of their own ignorance. They make everything, from God to a picture, in their own image. That is why the picture-hook is the ruination of a painting. [Boisgeloup, winter 1934]."

"You don't need to show them to me [the notes of the complete interview which Christian Zervos], editor of 'Cahiers d'Art' showed Picasso after their conversations at Boisgeloup: Picasso's country place then]. The essential thing in our period of weak morale is to create enthusiasm. How many people have actually read Homer? All the same the whole world talks of him. In this way the Homeric legend is created. A legend in this sense provokes a valuable stimulus. Enthusiasm is what we need most, we and the younger generation. [Boisgeloup, 1935]"

"Almost every evening [in their common early-Cubist years, in Paris], either I went to Braque's studio or Braque came to mine. Each of us had to see what the other had done during the day. We criticized each other's paintings. A canvas wasn't less both of us fear p. 311"

"Art is not made to decorate rooms. It is an offensive weapon in the defence against the enemy."

"When I was a child my mother said to me, 'If you are a soldier, you will become a general. If you are a monk, you will become the Pope.' Instead, I was a painter, and became Picasso."

"When Matisse dies, Chagall will be the only painter left who understands what color really is. I'm not crazy about those cocks and asses and flying violinists and all the folklore, but his canvasses are really painted, not just thrown together. Some of the last thing's he's done in Vence [where Matisse painted his late frescos in the chapel] convince me that there's never been anybody since Renoir who has the feeling for light that Chagall has. [Picasso is reacting to Chagall's daughter Ida, 1952]"

"Les gloires, les trompettes, les palmes... et les bas-reliefs,... tout cela fait un monument."

"When I don't have red, I use blue."

"When Matisse died, he left me his Odalisques 'as a legacy', he proclaimed."

"On August 2, 1914, I took Braque and Derain to the Gare d'Avignon [drafted as a soldier for World war 1.] I never saw them again [not literally a fact, but the close relation between Picasso and Braque ended]."

"Accidents, try to change them - it's impossible. The accidental reveals man."

"There are painters who transform the sun into a yellow spot but there are others who with the help of their art and their intelligence transform a yellow spot into a sun."

"On met très longtemps à devenir jeune."

"Even the signature of Kodra is a work of art."

"The artist is a receptacle for emotions derived from anywhere: from the sky, from the earth, from a piece of paper, from a passing figure, from a spider’s web. This is a spider's web. This is why one must not make a distinction between things. For them there are no aristocratic quarterings. One must take things where one finds them."

"L'art n'est pas chaste [...], on devrait l’interdire aux ignorants innocents, ne jamais mettre en contact avec lui ceux qui y sont insuffisamment préparés. Oui, l'art est dangereux. Ou s'il est chaste, ce n'est pas de l'art."

"[Speaking of computers] But they are useless. They can only give you answers."

"It's like God's. God is really only another artist. He invented the giraffe, the elephant, and the cat. He has no real style. He just goes on trying other things."

"Matisse makes a drawing, then he makes a copy of it. He recopies it five times, ten times, always clarifying the line. He's convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt."

"You have got to be able to picture side by side everything Matisse and I were doing at that time. No one has ever looked at Matisse's painting more carefully than I; and no one has looked at mine more carefully than he."

"When there's anything to steal, I steal"

"It means nothing to me. I have no opinion about it, and I don't care."

"For me, there are two kinds of women — goddesses and doormats."

"I was thinking about Casagemas's death that started me painting in blue."

"To contradict. To show one eye full face and one in profile. Nature does many things the way I do, but she hides them! My painting is a series of non-sequiturs. ..."

"Success is dangerous. One begins to copy oneself and to copy oneself is more dangerous than to copy others."

"Drink to me. Drink to my health. You know I can't drink any more."

"I don't know where he [ Marc Chagall ] gets those images; he must have an angel in his head."

"Nothing can be accomplished without solitude; I have made a kind of solitude for myself."

"To find is the thing."

"I do not see why so much importance should be attached to the idea of 'research' in painting."

"I treat paintings as I treat objects. If a window in a picture looks wrong, I close it and draw the curtains, just as I would do in my own room."

"For me, art has neither past nor future. All I have ever made was for the present."

"For a long time I limited myself to one colour — as a form of discipline."

"You mustn't alway believe what I say", he once told me. "Questions tempt you to tell lies, particularly when there is no answer."

"I begin with an idea and then it becomes something else. After all, what is a painter? He is a collector who gets what he likes in others by painting them himself. This is how I begin and then it becomes something else."

"People who try to explain pictures are usually barking up the wrong tree."

"Their forms had no more influence on me than they did on Matisse. Or Derain. But for them, the masks were sculptures like all others. When Matisse showed me his first African head, he spoke to me of Egyptian art."

"La inspiración existe, pero tiene que encontrarte trabajando."

"People want to find a 'meaning' in everything and everyone. That's the disease of our age, an age that is anything but practical but believes itself to be more practical than any other age."

"It took me four years to paint like Raphael, but a lifetime to paint like a child."

"I am always doing that which I can not do, in order that I may learn how to do it."

"The urge to destroy is also a creative urge."

"Every child is an artist. The problem is how to remain an artist once he grows up."

"Good artists copy, great artists steal."

"Yo no busco, yo encuentro."

"The purpose of art is washing the dust of daily life off our souls."

"If they took away all my paints, I'd use pastels, if they took away my pastels, I'd use crayons, if they took away my crayons, I'd use a pencil. If they put me in a cell, and stripped me of everything, I'd spit on my finger and draw on the wall."

"No. It took me sixty years to draw that."

"we are not gladiators. But there is something we are committed to of fundamental importance, something everybody should be committed to. We are committed to the process of changing our position in the world. This is what our literature is about. There is a certain position assigned to me in the world, assigned to him (James Baldwin) in the world, and we are saying we are not satisfied with that position. This is important to me-to everybody. I think you see it is important to me. You may not see that it is important to you but it is. We want to create the new man. Mankind tries all kinds of ways, all kinds of solutions; some of them leading that far and no farther and it is wise that we try something else. We have followed your way and it seems there is a little problem at this point. And so we are offering a new aesthetic. There is nothing wrong with that...Picasso did that. In 1904 he saw that Western art had run out of breath so he went to the Congo-the dispised Congo-and brought out a new art. Don't mind what he was saying before he died: that much is entirely his business. But he borrowed something which saved his art. And we are telling you what we think will save your art. We think we are right, but even if we are wrong it doesn't matter. It couldn't be worse than it is now."

"I don't try to be prophetic, as I don't sit down to write literature. It is simply this: a writer has to take all the risks of putting down what he sees. No one can tell him about that. No one can control that reality. It reminds me of something Pablo Picasso was supposed to have said to Gertrude Stein while he was painting her portrait. Gertrude said, "I don't look like that." And Picasso replied. "You will." And he was right."

"Well, I looked at Picasso (at the Picasso exhibition in New York, Museum of Modern Art in 1939) until I could smell his armpits and the cigarette smoke on his breast. Finally, in front of one picture – a bone figure on a beach – I got it. I saw that the figure was not his real subject. The plasticity wasn't either – although the plasticity was great. No. Picasso had uncovered a feverishness in himself and is painting it – a feverishness of death and beauty."

"At that time I was very friendly with Picasso. Our temperaments were very different, but we had the same idea. Later on it became clear, Picasso is Spanish and I am French; as everyone knows that mean a lot of differences, but during those days the differences did not count... .We were living in Montmarte, we used to meet every day, we used to talk... In those years Picasso and I said things to each other that nobody will ever say again, that nobody could say any more... .It was rather like a pair of climbers roped together."

"When we were so friendly with Picasso, there was a time when we had difficulty in recognizing our own pictures. Later, when the revelation went deeper, differences appeared. Revelation is the one thing that cannot be taken from you. But before the revelation took place, there was still a marked intention of carrying painting in a direction that could re-establish the bond between Picasso and ourselves."

"If we had never met Picasso, would Cubism have been what it is? I think not. The meeting with Picasso was a circumstance in our lives."

"The hard-and-fast rules of perspective which it succeeded in imposing on art were a ghastly mistake which it has taken four centuries to redress; Cezanne and after him Picasso and myself can take a lot of credit for this.. ..scientific perspective forces the objects in a picture to disappear away form the beholder instead of bringing them within his reach as painting should."

"I had this gorgeous hair and, like Coco Chanel, I used to tailor a man's shirt or jacket to fit me. I was like an iceberg. You couldn't get close to me. They didn't dare come near me, the men. That was why Picasso was intrigued [1954].. ..I was terrified he'd ask me to pose in the nude but he was very sensitive to this. He saw I didn't like myself and wanted to know why.' [she did not tell him.] That's why he painted me like that.. [The curators asked her, 'Why no mouth?:] 'Oh, I didn't speak much.'"

"Picasso es pintor, yo también; Picasso es español, yo también; Picasso es comunista, yo tampoco."

"Outside the Fauve circle, other artists in Paris were taking new and radical approaches to art as well during 1905 and 1906. New influences were circulating in the city. For example, Andre Derain acquired a Negro mask from his friend De Vlaminck. He presented it, with special excitement to Henri Matisse and to a younger artist, Pablo Picasso. In early 1906, Picasso began his studies leading to 'w:Les Demoiselles d' Avignon', the first exploration of the emerging Cubist idiom."

"People talk of Picasso as the leader of the Cubists but, strictly speaking, he is no longer a Cubist. Today he is a Cubist, tomorrow he will be something else. The only true Cubists are Gleizes and Metzinger."

"Picasso is taking Cézanne's elements - the cone, cylinder and sphere - into Cubism. Matisse is taking Cézanne's interest in the wholeness and the clarity of figures. They're taking almost opposite interpretations of what they see in Cézanne: Picasso is understanding it as decomposition, and Matisse is understanding it as composition."

"Because of his extraordinary technical virtuosity, Picasso was able effectively and convincingly to employ conflicting styles at will... another instance of his uncommon sensitivity to the arbitrariness of different languages. ...[H]e was probably the first Western artist to insist willfully and persistently on the relative arbitrariness of the means of pictorial representation. Indeed, this... is one of the most original and radical aspects of his entire career. Artists of the previous generation, such as Cézanne and van Gogh, had employed systematic "distortions" in their works, but... as part of a... direct way of communicating the "truth" of his own personal vision. Picasso's contemporaries, including Matisse, followed in that tradition."

"[A]lthough the sculpture made by painters is traditionally regarded as a way of giving material presence to two-dimensional imagery, Picasso was much more concerned with dematerilization, and the possibility of creating "non-space," in both mediums. This issue was especially germane to Picasso's sculpture, and it is also a crucial element of his Painter and Model. ...Picasso ...aspired to a very different type of spatial construction, literally creating a visual "nothingness." Such ideas were no longer Cubist ...but rather were ways of creating signs not simply for things but also for paradoxes—for contradictions as well as for assertions, for states of suspension and nonbeing as well as for being."

"Picasso said, “You can have all the perspectives at once!” What a hero. But tell me, are any of those perspectives a woman’s? Well, then I’m not interested."

"Picasso - never at a loss for words: 'What do you think an artist is? An imbecile who has nothing but eyes if he is a painter, or ears if he is a musician, or a lyre at every level of his heart if he is a poet...Quite the contrary, he is at the same time a political being, constantly aware of what goes on in the world, whether it be harrowing, bitter or sweet, and he cannot help being shaped by it... painting is not interior decoration. It is an instrument of war for attack and defense against the enemy.'"

"I was with Cézanne for a long time, and now naturally I am with Picasso."

"I have in front of me photographs of all Picasso’s best works. The mere I admire them the further I feel myself removed from all art, it seems so easy, so limited! We are part of the world creation, and we ourselves create nothing."

"...they [Picasso and Georges Braque ] began working together, each understood and accepted the perspectival ambiguity implicit in Cézanne's colored planes, which they saw as acting simultaneously in two different positions: one an illusion, a colored equivalent for the position of the natural object in depth, the other actual, as an area for color on the surface of the picture."

"There's no doubt but that without this liberté, égalité and fraternité there could not have been a Monet, Modigliani, Picasso, or Giacometti."

"..[Picasso had] a depth of understanding and insight into the inwardness of things.. ..doing very exceptional things of a most abstract psychic nature.."

"Dora Maar is always being referred to as Picasso’s lover, and actually what I want to do is scream and say Dora Maar was an incredible street photographer and Surrealist, and she was amazing. But how often does her name come up in telling his story?"

"As a little female kid in Ohio, It was hard to identify with Picasso: his life with his babes And my life with my cat were rather different."

"even his signature is a work of art."

"incluso su firma es una obra de arte."

"When he [Picasso] paints as an cubist, putting one tone next to another, the arrangement of planes is fine and the result very strong. But those who imitate him achieve nothing worthwhile."

"Years later he [Picasso] would tell the French writer André Malraux of something else that shaped his [[w:Les Demoiselles d'Avignon|"

"Sexuality in art, Picasso’s included, is always an effect of representation: it is produced conventionally, through pictorial signs, and never traceable directly to the artist’s feelings or fantasies about particular women or woman in general. Picasso may be unremittingly macho in his life, but in his work, with rare exceptions, as in the period in the Thirties when he was obsessed with the youthful Marie-Thérèse Walter, his visual construction of gender is interestingly ambiguous."

"J. Robert Oppenheimer: [[w:Ernest_Lawrence|[Ernest] Lawrence]], you embrace the revolution in physics, can’t you see it everywhere else? Picasso, Stravinsky, Freud, Marx..."

"Picasso was one of my favorite studies."

"People see Picasso's Guernica. They don't know what that is really about. Guernica was the first bombing of an entire town. The United States backed the real bastards because they were all anti-Red."

"Picasso's great fresco is a monument to destruction, a cry of outrage and horror amplified by the spirit of genius."

"Well some people try to pick up girls And get called assholes This never happened to Pablo Picasso He could walk down your street And girls could not resist his stare and So Pablo Picasso was never called an asshole"

"He's the greatest bull artist in the world—and only occasionally the greatest artist in the world."

"Einstein, Picasso, Joyce, gave us our keys; the nature of motion reached us from Proust as from the second-run movie; the Hippodrome girls went down into the eternal lake, Lindbergh had conquered time, Roosevelt had at last spoken openly to us of the demon of our house, and he had named it: fear."

"Picasso was telling Madame C-- that he could paint anywhere and anyhow. That nothing in the world could stop him. That even if he were imprisoned, he would draw on the dust-covered prison walls and on the floor, with his fingers dripped in his own spit. He said he could paint then and there if he wanted to, or if he felt like it."

"Francis Newton Souza, "Paris Portrait - II" in"

"A friend built a modern house and he suggested that Picasso too should have one built. But, said Picasso, of course not, I want an old house. Imagine, he said, if Michelangelo would have been pleased if someone had given him a fine piece of Renaissance furniture, not at all."

"Picasso... the master... ...being a master: 'I don’t search, I find' ["Je ne cherche pas, je trouve"; a famous quote of Picasso, where he criticizes the 'searching' artists] ... the master, the mastery... ...Producing, producing... He [Picasso!] only knows how to work, can’t do anything else. What lost souls!... The great risk is producing for its own sake. You must never force things. You just have to wait."

"Almost 40 years ago [from 2006] a German official asked Pablo Picasso in front of his painting of the bombing that destroyed Guernica if he had done that. The artist replied, "No: You all did it."

"A game is a series of interesting choices."

"The irony is we thought we were behind the curve, that the industry had already peaked, and we were just trying to catch up."

"SimCity inspired Civilization in a way. The first prototype of Civilization that I did was a real-time game like SimCity, in that you placed cities and moved things around, but cities grew without you. You basically seeded the world in a kind of SimCity-esque way. Instead of zoning, you seeded things, and you said I want a city over there, and why don't you do some farming over here. What I didn't like in that version of Civilization is that you did a lot more watching than you did playing. So SimCity, Empire, Railroad Tycoon, and the Civilization board game were the different ingredients that we stirred together to get to Civilization."

"Although the Perl Slogan is There's More Than One Way to Do It, I hesitate to make 10 ways to do something."

"And don't tell me there isn't one bit of difference between null and space, because that's exactly how much difference there is."

"Because . doesn't match \n. [\0-\377] is the most efficient way to match everything currently. Maybe \e should match everything. And \E would of course match nothing."

"Besides, REAL computers have a rename() system call."

"Chip Salzenberg sent me a complete patch to add System V IPC (msg, sem and shm calls), so I added them. If that bothers you, you can always undefine them in config.sh."

"I don't know if it's what you want, but it's what you get."

"I dunno, I dream in Perl sometimes..."

"Piet van Oostrum: I find this a nice feature but it is not according to the documentation. Or is it a BUG? Larry Wall: Let's call it an accidental feature."

"(To someone at New York University) If you consistently take an antagonistic approach, however, people are going to start thinking you're from New York."

"If you want to program in C, program in C. It's a nice language. I use it occasionally..."

"I know it's weird, but it does make it easier to write poetry in perl."

"I'm sure that that could be indented more readably, but I'm scared of the awk parser."

"It is, of course, written in Perl. Translation to C is left as an exercise for the reader."

"It's all magic."

"It's documented in The Book, somewhere..."

"It won't be covered in the book. The source code has to be useful for something, after all..."

"Dan Smith: I've tried (in vi) 'g/[a-z]\n[a-z]/s//_/'...but that doesn't cut it. Any ideas? (I take it that it may be a two-pass sort of solution). Larry Wall: In the first pass, install perl."

"Let's say the docs present a simplified view of reality..."

"Let us be charitable, and call it a misleading feature"

"Perl programming is an *empirical* science!"

"Randal said it would be tough to do in sed. He didn't say he didn't understand sed. Randal understands sed quite well. Which is why he uses Perl."

"Real programmers can write assembly code in any language."

"The only disadvantage I see is that it would force everyone to get Perl. Horrors."

"There are probably better ways to do that, but it would make the parser more complex. I do, occasionally, struggle feebly against complexity..."

"There are still some other things to do, so don't think if I didn't fix your favorite bug that your bug report is in the bit bucket. (It may be, but don't think it."

"Though I'll admit readability suffers slightly..."

"What about WRITING it first and rationalizing it afterwards?"

"You want it in one line? Does it have to fit in 80 columns?"

"All language designers are arrogant. Goes with the territory..."

"Besides, including <std_ice_cubes.h> is a fatal error on machines that don't have it yet. Bad language design, there..."

"Besides, it's good to force C programmers to use the toolbox occasionally."

"Hey, I had to let awk be better at *something*..."

"If I allowed 'next $label' then I'd also have to allow 'goto $label', and I don't think you really want that..."

"In general, if you think something isn't in Perl, try it out, because it usually is."

"I think it's a new feature. Don't tell anyone it was an accident."

"It's there as a sop to former Ada programmers."

"I won't mention any names, because I don't want to get sun4's into trouble..."

"Just don't create a file called -rf."

"last|perl -pe '$_ x=/(..:.)...(.*)/&&"'$1'"ge$1&&"'$1'"lt$2' That's gonna be tough for Randal to beat..."

"No, I'm not going to explain it. If you can't figure it out, you didn't want to know anyway..."

"Perl itself is usually pretty good about telling you what you shouldn't do."

"Sorry. My testing organization is either too small, or too large, depending on how you look at it."

"There are many times when you want it to ignore the rest of the string just like atof() does. Oddly enough, Perl calls atof(). How convenient."

"We all agree on the necessity of compromise. We just can't agree on when it's necessary to compromise."

"... an initial underscore already conveys strong feelings of magicalness to a C programmer."

"And I don't like doing silly things (except on purpose)."

": And it goes against the grain of building small tools. Innocent, Your Honor. Perl users build small tools all day long."

"But you have to allow a little for the desire to evangelize when you think you have good news."

"Down that path lies madness. On the other hand, the road to hell is paved with melting snowballs."

"If I don't document something, it's usually either for a good reason, or a bad reason. In this case it's a good reason."

"If you want to see useful Perl examples, we can certainly arrange to have comp.lang.misc flooded with them, but I don't think that would help the advance of civilization."

"> (It's sorta like sed, but not. It's sorta like awk, but not. etc.) Guilty as charged. Perl is happily ugly, and happily derivative."

"Just don't compare it with a real language, or you'll be unhappy..."

"Lispers are among the best grads of the Sweep-It-Under-Someone-Else's-Carpet School of Simulated Simplicity. &#91;Was that sufficiently incendiary?&#93;"

"There ain't nothin' in this world that's worth being a snot over."

"...this does not mean that some of us should not want, in a rather dispassionate sort of way, to put a bullet through csh's head."

"Unix is like a toll road on which you have to stop every 50 feet to pay another nickel. But hey! You only feel 5 cents poorer each time."

"What is the sound of Perl? Is it not the sound of a wall that people have stopped banging their heads against?"

"You have to admit that it's difficult to misplace the Perl sources."

"Doing linear scans over an associative array is like trying to club someone to death with a loaded Uzi."

"Well, enough clowning around. Perl is, in intent, a cleaned up and summarized version of that wonderful semi-natural language known as 'Unix'."

"Anyway, there's plenty of room for doubt. It might seem easy enough, but computer language design is just like a stroll in the park. Jurassic Park, that is."

"Lisp has all the visual appeal of oatmeal with fingernail clippings mixed in."

"I don't like your I-can-use-anything-as-an-adjective attitude."

"I want to see people using Perl to glue things together creatively, not just technically but also socially."

"The whole history of computers is rampant with cheerleading at best and bigotry at worst."

"If someone stinks, view it as a reason to help them, not a reason to avoid them."

"As usual, I'm overstating the case to knock a few neurons loose, but the truth is usually somewhere in the muddle, uh, middle."

"Odd that we think definitions are definitive."

": But for some things, Perl just isn't the optimal choice. (yet)"

"I don't like this official/unofficial distinction. It sound, er, officious."

"If you write something wrong enough, I'll be glad to make up a new witticism just for you."

"So far we've managed to avoid turning Perl into APL."

"Not that I have anything much against redundancy. But I said that already."

"They can always run stderr through uniq."

"I'd put my money where my mouth is, but my mouth keeps moving."

"Of course, I reserve the right to make wholly stupid changes to Perl if I think they improve the language."

"Call me bored, but don't call me boring."

"I think $&#91; is more like a coelacanth than a mastadon."

"We question most of the mantras around here periodically, in case you hadn't noticed."

"That could certainly be done, but I don't want to fall into the Forth trap, where every running Forth implementation is really a different language."

"Tcl long ago fell into the Forth trap, and is now trying desperately to extricate itself (with some help from Sun's marketing department)."

"The whole intent of Perl 5's module system was to encourage the growth of Perl culture rather than the Perl core."

"Randal can write one-liners again. Everyone is happy, and peace spreads over the whole Earth."

"Life gets boring, someone invents another necessity, and once again we turn the crank on the screwjack of progress hoping that nobody gets screwed."

"No prisoner's dilemma here. Over the long term, symbiosis is more useful than parasitism. More fun, too. Ask any mitochondria."

"P.S. Perl's master plan (or what passes for one) is to take over the world like English did. Er, *as* English did..."

"You can prove anything by mentioning another computer language."

"I think you didn't get a reply because you used the terms 'correct' and 'proper', neither of which has much meaning in Perl culture."

"I'm sure a mathematician would claim that 0 and 1 are both very interesting numbers."

"True, it returns &#39; &#39; for false, but &#39; &#39; is an even more interesting number than 0."

"Any false value is gonna be fairly boring in Perl, mathematicians notwithstanding."

"We didn't put in ^^ because then we'd have to keep telling people what it means, and then we'd have to keep telling them why it doesn't short circuit. :-/"

"Anybody want a binary telemetry frame editor written in Perl?"

"Perhaps I'm missing the gene for making enemies."

"Perl has a long tradition of working around compilers."

"Personally, I like to defiantly split my infinitives."

"Real theology is always rather shocking to people who already think they know what they think. I'm still shocked myself."

"The computer should be doing the hard work. That's what it's paid to do, after all."

"The following two statements are usually both true: There's not enough documentation. There's too much documentation."

"Of course, this being Perl, we could always take both approaches."

"The random quantum fluctuations of my brain are historical accidents that happen to have decided that the concepts of dynamic scoping and lexical scoping are orthogonal and should remain that way."

"At many levels, Perl is a 'diagonal' language."

"I'm serious about thinking through all the possibilities before we settle on anything. All things have the advantages of their disadvantages, and vice versa."

"Part of language design is perturbing the proposed feature in various directions to see how it might generalize in the future."

"Sometimes we choose the generalization. Sometimes we don't."

"I wouldn't ever write the full sentence myself, but then, I never use goto either."

"It's appositival, if it's there. And it doesn't have to be there. And it's really obvious that it's there when it's there."

"Oh, get ahold of yourself. Nobody's proposing that we parse English."

"As with all the other proposals, it's basically just a list of words. You can deal with that..."

"I hope I'm not getting so famous that I can't think out load &#91;sic&#93; anymore."

"It would be possible to optimize some forms of goto, but I haven't bothered."

"A 'goto' in Perl falls into the category of hard things that should be possible, not easy things that should be easy."

"How do Crays and Alphas handle the POSIX problem?"

"Well, that's more-or-less what I was saying, though obviously addition is a little more cosmic than the bitwise operators."

"You tell it that it's indicative by appending $!. That's why we made $! such a short variable name, after all."

"The choice of approaches could be made the responsibility of the programmer."

"As someone pointed out, you could have an attribute that says 'optimize the heck out of this routine', and your definition of heck would be a parameter to the optimizer."

"If you're going to define a shortcut, then make it the base &#91;sic&#93; darn shortcut you can."

"It is my job in life to travel all roads, so that some may take the road less travelled, and others the road more travelled, and all have a pleasant day."

"It's getting harder and harder to think out loud. One of these days someone's gonna go off and kill Thomas a'Becket for me..."

"I was about to say, 'Avoid fame like the plague,' but you know, they can cure the plague with penicillin these days."

"But the possibility of abuse may be a good reason for leaving capabilities out of other computer languages, it's not a good reason for leaving capabilities out of Perl."

"Oh, wait, that was Randal...nevermind..."

"P.S. I suppose I really should be nicer to people today, considering I'll be singing in Billy Graham's choir tonight..."

"Magically turning people's old scalar contexts into list contexts is a recipe for several kinds of disaster."

"And we can always supply them with a program that makes identical files into links to a single file."

"I wasn't recommending that we make the links for them, only provide them with the tools to do so if they want to take the gamble (or the gambol)."

"This has been planned for some time. I guess we'll just have to find someone with an exceptionally round tuit."

"switch (ref $@) { OverflowError => warn 'Dam needs to be drained'; DomainError => warn 'King needs to be trained'; NuclearWarError => die; }"

"I surely do hope that's a syntax error."

"Anyway, my money is still on use strict vars . . ."

"If you remove stricture from a large Perl program currently, you're just installing delayed bugs, whereas with this feature, you're installing an instant bug that's easily fixed. Whoopee."

"I don't think it's worth washing hogs over."

"It's certainly easy to calculate the average attendance for Perl conferences."

"Tcl tends to get ported to weird places like routers."

"Historically Tcl has always stored all intermediate results as strings. (With 8.0 they're rethinking that. Of course, Perl rethought that from the start.)"

"Just don't make the '9' format pack/unpack numbers..."

"I think that's easier to read. Pardon me. Less difficult to read."

"To ordinary folks, conversion is not always automatic. It's something that may or may not require explicit assistance. See Billy Graham."

"Well, you can implement a Perl peek() with unpack('P',..). Once you have that, there's only security through obscurity."

"It may be possible to get this condition from within Perl if a signal handler runs at just the wrong moment. Another point for Chip..."

"As pointed out in a followup, Real Perl Programmers prefer things to be visually distinct."

"The Harvard Law states: Under controlled conditions of light, temperature, humidity, and nutrition, the organism will do as it damn well pleases."

"That should probably be written: no !@#$%^&*:@!semicolon"

"That gets us out of deciding how to spell Reg&#91;eE&#93;xp?|RE . . . Of course, then we have to decide what ref $re returns..."

"'Course, that doesn't work when 'a' contains parentheses."

"I was trying not to mention backtracking. Which, of course, means that yours is 'righter' than mine, in a theoretical sense."

"Not that I'm against sneaking some notions into people's heads upon occasion. (Or blasting them in outright.)"

"(To the extent that anyone but a Prolog programmer can understand \X totally. (And to the extent that a Prolog programmer can understand 'cut'.)"

"Wow, I'm being shot at from both sides. That means I *must* be right."

"You don't have to wait--you can have it in 5.004_54 or so."

"There's something to be said for returning the whole syntax tree."

"It's not really a rule--it's more like a trend."

"Double *sigh*. _04 is going onto thousands of CDs even as we speak, so to speak."

"The code also assumes that it's difficult to misspell 'a' or 'b'."

"Well, hey, let's just make everything into a closure, and then we'll have our general garbage collector, installed by 'use less memory'."

"People who understand context would be steamed to have someone else dictating how they can call it."

"For the sake of argument I'll ignore all your fighting words."

"Think of prototypes as a funny markup language--the interpretation is left up to the rendering engine."

"The way these things go, there are probably 6 or 8 kludgey ways to do it, and a better way that involves rethinking something that hasn't been rethunk yet."

"Beauty? What's that?"

"I'm afraid my gut level reaction is basically, proceed is cute, but cute doesn't cut it in the emergency room."

"I suppose one could claim that an undocumented feature has no semantics. :-("

"Yes, we have consensus that we need 64 bit support."

": - cut in regexps I don't think we reached consensus on that. We're still backtracking..."

"Boss: You forgot to assign the result of your map! Hacker: Dang, I'm always forgetting my assignations... Boss: And what's that 'goto' doing there?!? Hacker: Er, I guess my finger slipped when I was typing 'getservbyport'... Boss: Ah well, accidents will happen. Maybe we should have picked APL."

"Perhaps they will have to outlaw sending random lists of words. fee fie foe foo"

"Hey, if pi == 3, and three == 0, does that make pi == 0?"

"(Never thought I'd be telling Malcolm and Ilya the same thing..."

"And other operators aren't so special syntactically, but weird in other ways, like 'scalar', and 'goto'."

"Portability should be the default."

"If this were Ada, I suppose we'd just constant fold 1/0 into die 'Illegal division by zero"

"Are you perchance running on a 64-bit machine?"

"Almost nothing in Perl serves a single purpose."

"There's some entertainment value in watching people juggle nitroglycerin."

"Reserve your abuse for your true friends."

"Er, Tom, I hate to be the one to point this out, but your fix list is starting to resemble a feature list. You must be human or something."

"It's hard to tune heavily tuned code."

"Perl will always provide the null."

"It's easy to solve the halting problem with a shotgun."

"Well, I think Perl should run faster than C."

"To Perl, or not to Perl, that is the kvetching."

"I suppose you could switch grammars once you've seen 'use strict subs'."

"Well, you know, Hubbard had a bunch of people sworn to commit suicide when he died. So of course he never officially died..."

"Even the White House has a press agent."

"That's a valid argument. I just don't think it's valid enough."

"Perl should remain fast and intuitive (to the extent that it is :-)"

"I would estimate that the number of programs it breaks in the world will be less than 10. As long as one of those 10 isn't CGI.pm, we're probably okay."

"Just put in another goto, and then it'll be readable."

"I'm reminded of the day my daughter came in, looked over my shoulder at some Perl 4 code, and said, 'What is that, swearing?"

"Y'know, there are other possibilities if we assume that filenames are UTF-8...yikes...wait, put down that meat cleaver! Aieeee!!!"

"print rand rand rand 1, '\n'; # interesting distribution"

": I could understand principles of Perl source in 2-3 days &#91;. . .&#93; Gee, it took me about eleven years."

"There's often more than one correct thing. There's often more than one right thing. There's often more than one obvious thing."

"I don't believe I've ever cuddled my elses."

"I've always maintained a cordial dislike for indent, because it's usually right."

"I'd make people say 'use Fork;' if I thought I could get away with it."

"The way I see it, if you declare something portable, you'll always be wrong, and if you declare it non-portable, you'll always be right."

"Perhaps you should compile your Perl with long doubles one of these megaseconds."

": Why Bible quotes exclusively? What happened to the Eastern religions?<BR> I'm still working on the Unicode mods."

"Maybe we should take a clue from FTP and put in an option like 'print hash marks on every 1024 iterations'."

"And besides, if Perl really takes off in the Windows space, I think the rest of us would just as soon have a double-agent within ActiveState."

"The court finds everyone to be in contempt (including himself :-), and orders everyone sentenced to five years hard labor. (Working on Perl, of course.)"

"I note that the Python folks still think they like JPython. I wonder how long that will last?"

"I view the JVM as just another architecture that Perl ought to be ported to. (That, and the Underwood typewriter...)"

"So please don't think I have a 'down' on the MVS people. I'm just pulling off their arms to beat other people over the head with."

"It's, uh, pseudo code. Yeah, that's the ticket... &#91;...&#93; And 'unicode' is pseudo code for $encoding."

": What do people think? What, do people think?"

"Well, sure, I explicitly mentioned 'vtables' last time I brought this up. But a single pointer is fairly paltry, as tables go."

"I dunno. Perhaps you should be happy that I have a policy of refraining from grumbling about handicapped operating systems."

"Perl did not get where it is by ignoring psychological factors."

"On the plus side, it's a lot easier in general to find /usr/include than cpp."

"Psychotics are consistently inconsistent. The essence of sanity is to be inconsistently inconsistent."

"That which hits the fan tends to get flung in all directions."

"If this were Ada, we'd simply doc it as 'erroneous'."

"So I'm thinking about ??, or !!, or //, or \\, or whatever. But I think I like ?? the best so far. Or the least worst."

"One operator is no big deal. That can be fixed in a jiffy."

"In Clintonese, that would be 'You are free to infer that I was saying that.'"

"Would you trust the linguistic intuitions of someone who has been studying Latin or Greek for three days?"

"But I know what's important to me, and what isn't. And I think I know what people can get used to, and what they can even learn to like. (It just takes some people longer than others. :-)"

"My arthritic pinkies are already starting to ache just thinking about ||||=."

"Orthogonality for orthogonality's sake is not something I'm keen on."

"Must be a different Larry Wall. There are at least 137 of us in the U.S."

"Symmetry is overrated. Overrated is symmetry."

"That is a known bug in 5.00550. Either an upgrade or a downgrade will fix it."

"That being said, I think we should immediately deprecate any string concatenation that combines '19' with '99'."

"The Golden Gate wasn't our fault either, but we still put a bridge across it."

"It should be illegal to yell 'Y2K' in a crowded economy."

"One thing I do understand is that people get scared when I start thinking out loud."

": No comment, since this is still hovering (see Larry's reply). Flutter, flutter."

"We don't have enough parallel universes to allow all uses of all junction types--in the absence of quantum computing the combinatorics are not in our favor..."

"Accidental stacks considered harmful."

"I try not to confuse roles and traits in my own life. Being the Perl god is a role. Being a stubborn cuss is a trait."

"And in the limiting case where the optimizer is completely broken because it's not implemented yet, we get to work around that too. Optionally..."

"I think I'm happier with that. $rubyometer += 0.3 or so."

"double value; /* or your money back! */ short changed; /* so triple your money back! */"

"/* now make a new head in the exact same spot */"

"#define NULL 0 /* silly thing is, we don't even use this */"

"#define SIGILL 6 /* blech */"

"if (rsfp = mypopen('/bin/mail root','w')) { /* heh, heh */"

"/* And you'll never guess what the dog had */ /* in its mouth... */"

"break; /* don't do magic till later */"

"stab_val(stab)->str_nok = 1; /* what a wonderful hack! */"

"tmps_base = tmps_max; /* protect our mortal string */"

"pos += screamnext&#91;pos&#93; /* does this goof up anywhere? */"

"str->str_pok |= SP_FBM; /* deep magic */ s = (unsigned char*)(str->str_ptr); /* deeper magic */"

"echo 'Congratulations. You aren't running Eunice."

"echo 'Hmmm...you don't have Berkeley networking in libc.a...' echo 'but the Wollongong group seems to have hacked it in."

"echo 'ICK, NOTHING WORKED!!! You may have to diddle the includes.';;"

"echo $package has manual pages available in source form. echo 'However, you don't have nroff, so they're probably useless to you."

"echo 'Your stdio isn't very std.'"

"&#91;End of diatribe. We now return you to your regularly scheduled programming...&#93;"

"OOPS! You naughty creature! You didn't run Configure with sh! I will attempt to remedy the situation by running sh for you..."

"That means I'll have to use $ans to suppress newlines now. Life is ridiculous."

"There is, however, a strange, musty smell in the air that reminds me of something...hmm...yes...I've got it...there's a VMS nearby, or I'm a Blit."

"You can't have filenames longer than 14 chars. You can't even think about them!"

"Your csh still thinks true is false. Write to your vendor today and tell them that next year Configure ought to 'rm /bin/csh' unless they fix their blasted shell."

"/* we have tried to make this normal case as abnormal as possible */"

"s = (char*)(long)retval; /* ouch */"

"signal(i, SIG_DFL); /* crunch, crunch, crunch */"

"if (instr(buf,sys_errlist&#91;errno&#93;)) /* you don't see this */"

"/* dbmrefcnt--; */ /* doesn't work, rats */"

"#else /* !STDSTDIO */ /* The big, slow, and stupid way */"

"/* This bit of chicanery makes a unary function followed by a parenthesis into a function with one argument, highest precedence. */"

"Be consistent."

"Does the same as the system call of that name. If you don't know what it does, don't worry about it."

"Even if you aren't in doubt, consider the mental welfare of the person who has to maintain the code after you, and who will probably put parens in the wrong place."

"Help save the world!"

"If you want your program to be readable, consider supplying the argument."

"In general, they do what you want, unless you want consistency."

"Okay, that's definitely enough hype."

"Perl is designed to give you several ways to do anything, so consider picking the most readable one."

"Remember though that THERE IS NO GENERAL RULE FOR CONVERTING A LIST INTO A SCALAR."

"The autodecrement is not magical."

"The previous line contains the naughty word '$&'.\n if /(ibm|apple|awk)/; # :-)"

"When in doubt, parenthesize. At the very least it will let some poor schmuck bounce on the % key in vi."

"People understand instinctively that the best way for computer programs to communicate with each other is for each of the them to be strict in what they emit, and liberal in what they accept. The odd thing is that people themselves are not willing to be strict in how they speak, and liberal in how they listen. You'd think that would also be obvious. Instead, we're taught to express ourselves."

"But I'm not here to talk about postmodernism. I tried to do that last spring, and afterwards I was thoroughly deconstructed by the deconstructionists for attempting to deconstruct deconstructionism. At least, that's the construction I put on their construction of it. I was talking about postmodern culture, and they thought I was talking about postmodern literature. Not at all the same thing!"

"And C was good at something I like to call manipulexity, that is the manipulation of complex things. While shell was good at something else which I call whipuptitude, the aptitude for whipping things up."

"So... Perhaps the Perl 6 slogan should be "All Your Paradigms Are Belong To Us". We'll get to that."

"I simultaneously believe that languages are wonderful and awful. You have to hold both of those. Ugly things can be beautiful. And beautiful can get ugly very fast. You know, take Lisp. You know, it's the most beautiful language in the world. At least up until Haskell came along. (laughter) But, you know, every program in Lisp is just ugly. I don't figure how that works."

"Now, I'm not the only language designer with irrationalities. You can think of some languages to go with some of these things."

"How do you type it? With your keyboard."

"If there's a particular problem that Perl is trying to solve, it's the basic fact that all programming languages suck. Sort of the concept of original sin, applied to programming languages."

"There are a lotta computer languages out there doing drugs."

"Suppose you went back to Ada Lovelace and asked her the difference between a script and a program. She'd probably look at you funny, then say something like: Well, a script is what you give the actors, but a program is what you give the audience. That Ada was one sharp lady..."

"I started out as a BASIC programmer. Some people would say that I'm permanently damaged. Some people are undoubtedly right... But I'm not going to apologize for that. All language designers have their occasional idiosyncracies. I'm just better at it than most."

"But you could do extreme programming. In fact, I had a college buddy I did pair programming with. We took a compiler writing class together and studied all that fancy stuff from the dragon book. Then of course the professor announced we would be implementing our own language, called PL/0. After thinking about it a while, we announced that we were going to do our project in BASIC. The professor looked at us like we were insane. Nobody else in the class was using BASIC. And you know what? Nobody else in the class finished their compiler either. We not only finished but added I/O extensions, and called it PL 0.5. That's rapid prototyping."

"Is LISP a candidate for a scripting language? While you can certainly write things rapidly in it, I cannot in good conscience call LISP a scripting language. By policy, LISP has never really catered to mere mortals... And, of course, mere mortals have never really forgiven LISP for not catering to them."

"As a linguist, I don't think of Ada as a big language. Now, English and Japanese, those are big languages. Ada is just a medium-sized language."

"The only reason I've managed to run this open source project, is that I have learned to delegate even the delegation to other people. (final words of the video)."

"[Boxed] Multiple bouncing balls in a box are a metaphor for community. Notice how the escaping balls explode. This is what happens to people who move from Perl to Ruby."

"...Then you start building things like the Berlin wall to keep people inside your community. In anthropological terms, that's tribalism. A tribal Perl programmer might say, "If you leave the Perl tribe to go and join the Python tribe, we will hunt you down, cook you, and eat you." Or if you join the Ruby tribe, you will explode. By and large, I am not in favor of tribalism. Except for my tribe, of course."

"The three chief virtues of a programmer are: Laziness, Impatience and Hubris."

"The problem with being consistent is that there are lots of ways to be consistent, and they're all inconsistent with each other."

"There's really no way to fix this and still keep Perl pathologically eclectic."

"&hellip;I also discovered Larry's First Law of Language Redesign: Everyone wants the colon."

"Larry's 2nd Law of Language Redesign: Larry gets the colon."

"When's the last time you used duct tape on a duct?"

"Jesse Vincent: My dog is Web 2.0. Prove me wrong. Larry: Does your dog have a long tail? Damian Conway: If you enjoyed these practices, find 245 more like this in this book. Larry: Does your dog have a long tail?"

"Easy things should be easy, and hard things should be possible."

"As for whether Perl 6 will replace Perl 5, yeah, probably, in about 40 years or so."

"Many people dream of success. To me success can only be achieved through repeated failure and introspection. In fact, success represents the 1% of your work which results only from the 99% that is called failure."

"We must tighten the nut! We are selling motorcycles not clothes!"

"I suppose when I was a child, when I lived almost entirely in a dream world, I suppose I thought of myself as a woman, but later on you realise you have to live in the real world and that you are not. You are only in some senses effeminate or feminine, and you must make this compromise, you must learn to live in a world where statistically you are a man, whatever you may think about yourself. I didn't want to become anything. Once I'd accepted the world, all I wanted was that the world should understand what kind of person I was."

"Fashion is a way of not having to decide who you are. Style is deciding who you are and being able to perpetuate it."

"I have come to think that both sex and politics are a mistake and that any attempt to establish a connection between the two is the greatest error of all."

"A pinch of notoriety will do."

"At the age of ninety, it has finally been explained to me that I am not really homosexual, I'm transgender. I now accept that. I no longer see myself as homosexual, though it is a word I have used to describe myself and which others have understandably used to describe me. I don't actually see myself as a man though, of course, I know I'm not physically a woman. The only thing in my life I have wanted and didn't get was to be a woman. [...] I don't dress like a woman ... I think my body is too like a man's body to have lived as a woman with any kind of success. I refer to myself as homosexual without thinking because of how I have lived my life."

"Keeping up with the Joneses was a full-time job with my mother and father. It was not until many years later when I lived alone that I realized how much cheaper it was to drag the Joneses down to my level."

"In an expanding universe, time is on the side of the outcast."

"The rest of the world in which I lived was still stumbling about in search of a weapon with which to exterminate this monster [homosexuality] whose shape and size were not yet known or even guessed at. It was thought to be Greek in origin, smaller than socialism but more deadly, especially to children."

"Exhibitionism is like a drug. Hooked in adolescence I was now taking doses so massive they would have killed a novice."

"Sometimes I wore a fringe so deep it obscured the way ahead. This hardly mattered. There were always others to look where I was going."

"To my disappointment I now realized that to know all is not to forgive all. It is to despise everybody."

"I take it to be axiomatic that people are revolted by witnessing the shameless gratification of an appetite they do not share."

"I started to shed the monstrous aesthetic affectation of my youth so as to make room for the monstrous philistine postures of middle age, but it was some years before I was bold enough to decline an invitation to "Hamlet" on the grounds that I knew who won."

"I acquiesced in this on the grounds that the most anyone can expect from a holiday is a change of agony."

"As someone remarked, when told the new atomic bombs would explode without a bang, "they can’t leave anything alone.""

"The distinction between indoors and outdoors, which in England is usually so marked, was temporarily suspended in a hot gauzy haze."

"The proprietor had hair so red that pigmentation had flowed out into every visible inch of his skin and even into the pinks of his eyes, as the colour of flowering cherry trees stains their leaves."

"I never saw Portsmouth by day."

"All liaisons between homosexuals are conducted as though they were between a chorus girl and a bishop. In some cases both parties think they are bishops."

"I was amazed to receive later a substantial sum for sitting in my room and talking about myself. If only I could get some of the back pay!"

"There was no need to do any housework at all. After four years the dirt doesn’t get any worse."

"The measure of woman’s distaste for any part of her life lies not in the loudness of her lamentations (these are only an attempt to buy a martyr’s crown at a reduced price) but in her persistent pursuit of that occupation of which she never ceases to complain."

"God, from whose territory I had withdrawn my ambassadors at the age of fourteen. It had become obvious that he was never going to do a thing I said."

"The consuming desire of most human beings is deliberately to place their entire life in the hands of some other person. For this purpose they frequently choose someone who doesn’t even want the beastly thing."

"You'll never be wanted," [a draft board official] said, and thrust at me a smaller piece of paper. This described me as being incapable of being graded in grades A, B, etc., because I suffered from sexual perversion. When the story of my disgrace became one of the contemporary fables of Chelsea, a certain Miss Marshall said, "I don't much care for the expression 'suffering from.' Shouldn't it be 'glorying in'?"

"When a third wave of poverty overwhelmed me, I knew with even greater certitude than when I lived in Clerkenwell that the only complete solution to my problems was suicide. I never brought it off. I was afraid... Hopelessness was thinly spread like a drizzle over my whole outlook. But, in an emergency, I could not find a puddle of despondency deep enough to drown in."

"Life was a funny thing that happened to me on the way to the grave."

"If I have any talent at all, it is not for doing but for being."

"Posing was the first job I did in which I understood what I was doing."

"Michelangelo worked from within. He described not the excitements of touching or seeing a man but the excitement of being Man."

"When stripped, I looked less like "Il David" than a plucked chicken that died of myxomatosis."

"The young always have the same problem — how to rebel and conform at the same time. They have now solved this problem by defying their elders and copying each other."

"There are girls who do not like real life... Some of these girls are innocent enough to think that these unreal friendships [with homosexuals] will lead to true love — a kind of sexual intercourse that will happen to them without their having to take too horribly much notice. Even those who are sufficiently sophisticated to know that this will not be so persist in these relationships. They provide an opportunity to lavish emotion on a pseudo-man without paying the price that in heterosexual circumstances would be inevitable."

"I found that I had become so spinsterish that I was made neurotic not only by my life of domesticity but by the slightest derangement of my room. I would burst into a fit of weeping if the kettle was not facing due east."

"Health consists of having the same diseases as one’s neighbours."

"I became one of the stately homos of England."

"I now know that if you describe things as better as they are, you are considered to be romantic; if you describe things as worse than they are, you are called a realist; and if you describe things exactly as they are, you are called a satirist."

"The simplest comment on my book came from my ballet teacher. She said, "I wish you hadn’t made every line funny. It’s so depressing.""

"The low dive had set a standard that only middle-aged hooligans could remember and to which they looked back as Mrs Lot at Sodom."

"Even hooligans marry, though they know that marriage is for a little while. It is alimony that is for ever."

"Many [hooligans] discover to their shame that they have scruples; they have roots and, greatest disadvantage of all, they have hope. The fathers superior of the order do not try to influence their children in Satan; they merely shake their heads in sorrow. They know that the apostate must work out his own damnation."

"Another friend began to say, "Well, Quentin has a problem of adjusting himself to society and he..." This sentence was never finished. The ballet teacher expostulated, "I don't agree. Quentin does exactly as he pleases. The rest of us have to adapt ourselves to him.""

"He explained to me that he wanted a simple boy-meets-girl story with lyrics. This I felt was quite beyond my capabilities. I did not know any boys who met girls."

"I never understood music. It seemed to me to be the maximum amount of noise conveying the minimum amount of information."

"To read a novel or see a play was to drink life through a straw — to smoke it through a filter-tip. If we were not afraid of blackening our teeth or riddling our lungs with cancer — if we were a dauntless race of men with strong digestions — we would be able to devour life without the aid of these over-civilized devices."

"To minimize my guilt at going to the pictures — to call this wanton pursuit of an effete pleasure by another name — I needed movie companions as drunkards need drinking partners. If I entered a cinema alone, God might plunge his arm through the roof of the auditorium booming in a stereophonic voice, "And you, Crisp, what are you doing here?" I would never have dared reply, "I’m just enjoying myself, Lord." I remembered too well what happened to Mr and Mrs Adam. A commissionaire with a flaming sword came and asked them to leave."

"It would be impossible to get through the kind of life that I have known without accumulating a vast unused stockpile of rage. Retaliation, though, was a luxury I could never afford. On the physical level I was too feeble. On any other I was not rich enough. I never dared to be rude to anyone. I never knew that I might not need him later. Long after fantasies of sexual excess had ceased to torment me, my imagination was inflamed by lurid day-dreams of having my revenge on the world."

"Mass-murderers are simply people who have had ENOUGH."

"An autobiography is obituary in serial form with the last installment missing."

"We think we write definitively of those parts of our nature that are dead and therefore beyond change, but that which writes is still changing — still in doubt. Even a monotonously undeviating path of self-examination does not necessarily lead to self-knowledge. I stumble towards my grave confused and hurt and hungry."

"Bit by bit, I was becoming the almost acceptable face of homosexuality."

"My fingers will not type the words "her money became a burden to her" but I do think that her wealth was like a lazy servant — better than nothing but a source of unremitting annoyance because it never filled her most urgent needs."

"'You talk for talking’s sake,' she hissed. I asked if that was bad. 'I mean it,' the girl replied. 'You talk for talking’s sake.' I had heard her the first time and had understood the words but not the contempt with which they were charged. 'Would you be equally annoyed,' I asked, 'if I danced for dancing’s sake? […] I should have said, 'Would you hate me if I lived for living’s sake?' This would have been the total question — the one to which a full reply could have saved the world."

"If Mr. Vincent Price were to be co-starred with Miss Bette Davis in a story by Mr. Edgar Allan Poe directed by Mr. Roger Corman, it could not fully express the pent-up violence and depravity of a single day in the life of the average family."

"The people of Northern Ireland are ruled by a regime that is less concerned with morality than with religious doctrine. Their sectarianism is so divisive that, if you say you are an atheist, they ask, 'But is it the God of the Catholics or the God of the Protestants in whom you do not believe?'"

"It takes a man to suffer ignorance and smile, Be yourself no matter what they say"

"If you would see how interwoven it is in the warp and woof of civilization ... go at night-fall to the top of one of the down-town steel giants and you may see how in the image of material man, at once his glory and his menace, is this thing we call a city. There beneath you is the monster, stretching acre upon acre into the far distance. High over head hangs the stagnant pall of its fetid breath, reddened with light from myriad eyes endlessly, everywhere blinking. Thousands of acres of cellular tissue, the city's flesh outspreads layer upon layer, enmeshed by an intricate network of veins and arteries radiating into the gloom, and in them, with muffled, persistent roar, circulating as the blood circulates in your veins, is the almost ceaseless beat of the activity to whose necessities it all conforms. The poisonous waste is drawn from the system of this gigantic creature by infinitely ramifying, thread-like ducts, gathering at their sensitive terminals matter destructive of its life, hurrying it to millions of small intestines to be collected in turn by larger, flowing to the great sewers, on to the drainage canal, and finally to the ocean."

"Pictures deface walls oftener than they decorate them."

"It is where life is fundamental and free that men develop the vision needed to reveal the human soul in the blossoms it puts forth. ... In a great workshop like Chicago this creative power germinates, even though the brutality and selfish preoccupation of the place drive it elsewhere for bread. Men of this type have loved Chicago, have worked for her, and believed in her. The hardest thing they have to bear is her shame. These men could live and work here when to live and work in New York would stifle their genius and fill their purse.... New York still believes that art should be imported; brought over in ships; and is a quite contented market place. So while New York has reproduced much and produced nothing, Chicago's achievements in architecture have gained world-wide recognition as a distinctively American architecture."

"No house should ever be on a hill or on anything. It should be of the hill. Belonging to it. Hill and house should live together each the happier for the other."

"So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal."

"I'm no teacher. Never wanted to teach and don't believe in teaching an art. Science yes, business of course..but an art cannot be taught. You can only inculcate it, you can be an exemplar, you can create an atmosphere in which it can grow. Well I suppose I, being an exemplar, could be called a teacher, in spite of myself. So go ahead, call me a teacher."

"A free America, democratic in the sense that our forefathers intended it to be, means just this: individual freedom for all, rich or poor, or else this system of government we call 'democracy' is only an expedient to enslave man to the machine and make him like it."

"Every great architect is — necessarily — a great poet. He must be a great original interpreter of his time, his day, his age."

"The physician can bury his mistakes, but the architect can only advise his clients to plant vines."

"I doubt if there is anything in the world uglier than a Midwestern city."

"Clear out 800,000 people and preserve it as a museum piece."

"New York: Prison towers and modern posters for soap and whiskey. Pittsburgh: Abandon it."

"If you're going to have centralization, why not have it!"

"The scientist has marched in and taken the place of the poet. But one day somebody will find the solution to the problems of the world and remember, it will be a poet, not a scientist."

"I believe in God, only I spell it "Nature"."

"Nature is all the body of God we mortals will ever see."

"Architecture is life, or at least it is life itself taking form and therefore it is the truest record of life as it was lived in the world yesterday, as it is lived today or ever will be lived."

"Here I am, Philip, am I indoors or am I out? Do I take my hat off or keep it on?"

"Study nature, love nature, stay close to nature. It will never fail you."

"Early in life I had to choose between honest arrogance and hypocritical humility. I chose honest arrogance and have seen no occasion to change."

"God is the great mysterious motivator of what we call nature and it has been said often by philosophers, that nature is the will of God. And, I prefer to say that nature is the only body of God that we shall ever see. If we wish to know the truth concerning anything, we'll find it in the nature of that thing."

"The thing always happens that you really believe in; and the belief in a thing makes it happen."

"Human beings can be beautiful. If they are not beautiful it is entirely their own fault. It is what they do to themselves that makes them ugly. The longer I live the more beautiful life becomes. If you foolishly ignore beauty, you will soon find yourself without it. Your life will be impoverished. But if you invest in beauty, it will remain with you all the days of your life."

"About Le Corbusier: Well, now that he's finished one building, he'll go write four books about it."

"Philosophy is to the mind of the architect as eyesight is to his steps. The term "genius" when applied to him simply means a man who understands what others only know about."

"Everyone engaged in creative work is subject to persecution by the odious comparison. Odious comparisons dog the footsteps of all creation wherever the poetic principle is involved because the inferior mind learns only by comparisons; comparisons, usually equivocal, made by selfish interests each for the other. But the superior mind learns by analyses: the study of Nature."

"So the poet in the engineer and the engineer in the poet and both in the architect may be seen here working together, lifelong."

"To survive, our American art was cheating itself of life."

"Everywhere these inventions of science by ignorant misuse of a new technique were wiping out the artist."

"But soon this saving virtue appeared to me in our disgraceful dilemma: Realization that any true cultural significance our American free society could know lay in the proper use of the machine as a tool and used only as a tool."

"Different were the prophets of the human soul."

"Success was misunderstood as essential to progress. Really success was worse than failure."

"If the abstraction is truly made well above the animal nature in man—his gregarious nature—it will keep the ancient rituals of his higher nature as long as possible. Human abstractions if true usually become ritual."

"What means more to the life of the individual in our own place in Time than this study of the nature of human nature, the search to discover pertinent traces of hidden impulses of life, to form continually new abstractions uplifting the life he lives?"

"Might not the spirit of creative art, desperately needed by man, lie in the proper use of the radical new technologies of our times, and so arise?"

"This drift toward quantity instead of quality is largely distortion. Conformity is always too convenient? Quality means individuality, is therefore difficult. But unless we go deeper now, quantity at expense to quality will be our national tragedy—the rise of mediocrity into high places."

"Servility increases—already a seemingly unguarded danger to democracy not only in art and architecture and religion but in all phases of life."

"Between the radical and the conformist lies all the difference between a lithe tendon and a length of gas-pipe."

"See the last chapter in Genesis where Cain, the murderer of his brother, went forth with his sons to found the city. The City is still murdering his brother."

"I then believed critics were by nature no less confused than confusing."

"Thus the plausible expedient has become gospel and continues to be generally foisted upon those who seek better things; the conformities proclaimed by authority, however specious, temporarily mistaken for Godhead."

"In every new expression of a fundamental Idea there will always be the substitutes, the imitations, dangling from it, as the soiled fringe from a good garment."

"Almost all our so-called "modern" is not yet new. It is merely novel by imitation or indirection; or pretense by imported picture."

"Is false abstraction always the consequence of spiritual degeneration?"

"Creation is not only rare but always hazardous. Always was."

"As a people we remain comparative strangers to our own life in our own time in our own home: native culture waiting in vain on our door step."

"For this, if for no other reason, degeneration of creative ability in America has had ample support, and what nobility our society might still have is in danger of being submerged in overwhelming tides of rising conformity."

"As for religion true to the teaching of the great redeemer who said "The Kingdom of God is within you—that religion is yet to come: the concept true not only for the new reality of building but for the faith we call democracy. Nevertheless and notwithstanding, I have wanted to build this faith—life-long."

"Reform only means more conformity. It is form first that is needed."

"The soul of any civilization on earth has ever been and still is Art and Religion, but neither has ever been found in commerce, in government of the police."

"Votes are counted. Yes—but vision can neither be counted nor discounted."

"Both Art and Religion are on the way. Both must go hand in hand as ever before. Both together illuminating our sciences will constitute the soul of this civilization."

"Even though a disgrace, machine-made, ornament stayed and still thrives."

"No jealousy is comparable to professional jealousy."

"Exuberance to me early meant ecstacy of love, the poetic principle of life."

"Nature's own inexhaustible fertility is manifest exuberance, and never less than the elemental poetry of all her structure."

"There is nothing so timid as a million dollars."

"By being so far educated beyond his capacity is he unable to learn within himself from nature? Divorced as he is from her, who and what can now be his? Does the so-called free man of democracy merely exploit his sovereignity?"

"Architecture is intrinsic to Time, Place and Man."

"Science is inventive but creative never."

"Spirit is man's new power if he is to be truly mighty in his civilization."

"Only Art and Religion can bring this new vision as reality to a nation."

"The spiritual dignity of this new humane life for mankind is the Spirit of Man himself sacrosanct."

"Man either learns to usefor humanity his new facilities or he perishes by them."

"The petty bias of personal taste can no longer hide either excrescence or spiritual poverty in the name of style."

"Poetic is prophetic insight."

"Intellectual is not necessarily intelligent either."

"As melody is in music ornament is in architecture revelation of the poetic-principle, with character and significance."

"No! is always easier to say than Yes."

"... the huge business of education is not on speaking terms with culture and such culture as we now have is not on speaking terms with reality."

"Genuine expressions as essence of the great art itself cannot be taught or imitated. Nor can they in any way be forced."

"Great art has always, at first, been controversial. Now that our means of communication have multiplied, how much more so today?"

"Resemblances are mistaken for influences."

"Again: I found repeatedly confirmed that the inferior mind not only learns by comparison, but loosely confers its superlatives, while the superior mind which learns by analysis refrains from superlatives."

"I never had much respect for the collector's mind."

"The screech and mechanical uproar of the big city turns the citified head, fills citified ears — as the song of birds, wind in the trees, animal cries, or as the voices and songs of his loved ones once filled his heart. He is sidewalk-happy."

"New York is the biggest mouth in the world. It appears to be prime example of the herd instinct, leading the universal urban conspiracy to beguile man from his birthright (the good ground), to hang him by his eyebrows from skyhooks above hard pavement, to crucify him, sell him, or be sold by him."

"“The-Shadow-of-the-Wall–Primitive Instincts Still Alive”"

"To look at the cross-section of any plan of a big city is to look at something like the section of a fibrous tumor."

"All fine architectural values are human values, else not valuable."

"I find it hard to believe that the machine would go into the creative artist's hand even were that magic hand in true place. It has been too far exploited by industrialism and science at expense to art and true religion."

"The present is the ever moving shadow that divides yesterday from tomorrow. In that lies hope."

"Tip the world over on its side and everything loose will land in Los Angeles."

"There is nothing more uncommon than common sense."

"She was in a 'facility' which was designed by Frank Lloyd Wright-pink and blue nestled in the hills-what artistry!"

"Among the great modern architects, Louis Sullivan, Frank Lloyd Wright, and Louis Kahn were arguably deists. ... Wright's use of the word “nature” did not mean only what-we-find-outdoors. It was something deeper. Wright knew that when people speak of the “nature of things” they mean their very essence, the that-which-makes-them-what- they-are, which is always and only one step away from that-who-makes- them-what-they-are. ... Wright thought not that he was God but that he brought or allowed God into the world through what he did, creating and designing. ... Wright actually thought himself a prophet, which of course is a different to being God, or an angel. ... bringing God into the world in an act of something like mid-wifery from the womb of nature, is not at all Moses-like. It is not a bringing down of Law from on high after personal coaching from God, but a bringing forth of a God already there in potential. There is no presumption of having seen or met God of the Bible. One makes the God one believes in happen."

"He's the greatest architect of the nineteenth century."

"His place in history is secure. His continuing influence is assured. This country's architectural achievements would be unthinkable without him. He has been a teacher to us all."

"The social outcome of the arts and crafts movement was not commensurate with the needs of the new situation; as Mr. Frank Lloyd Wright pointed out in his memorable speech at Hull House in 1908, the machine itself was as much an instrument of art, in the hands of an artist, as were the simple tools and utensils."

"So long, Frank Lloyd Wright. I can't believe your song is gone so soon. I barely learned the tune"

"Why should I worry about dying? It's not going to happen in my lifetime!"

"I have free will, but not of my own choice. I have never freely chosen to have free will. I have to have free will, whether I like it or not!"

"If it is really true that you cannot resist them, then you are not sinning of your own free will and hence (at least according to me) not sinning at all."

"There is nothing like a naturalistic orientation to dispel all these morbid thoughts of "sin" and "free will" and "moral responsibility.""

"Medical opinions differed as to the cause of this "humor" disease."

"From what little was known about the subject, insincerity itself was regarded as another form of psychosis but one which was exceedingly rare."

"Humor could not flourish in a wholly serious and rational atmosphere."

"Metaphysical problems about "mind" versus "matter" arise only from epistemological confusions."

"Of course the falsity of the fact that you believe it is red implies that you don't believe it is red. But this does not mean that you believe it is not red!"

"I believe that either Jupiter has life or it doesn't. But I neither believe that it does, nor do I believe that it doesn't."

"Architects know that some kinds of design problems are more personal than others. One of the cleanest, most abstract design problems is designing bridges. There your job is largely a matter of spanning a given distance with the least material. The other end of the spectrum is designing chairs. Chair designers have to spend their time thinking about human butts."

"The best thing software can be is easy, but the way to do this is to get the defaults right, not to limit users' choices."

"Software has to be designed by hackers who understand design, not designers who know a little about software. If you can't design software as well as implement it, don't start a startup."

"At every period of history, people have believed things that were just ridiculous, and believed them so strongly that you risked ostracism or even violence by saying otherwise. If our own time were any different, that would be remarkable. As far as I can tell it isn't."

"If you try to solve a hard problem, the question is not whether you will use a powerful enough language, but whether you will (a) use a powerful language, (b) write a de facto interpreter for one, or (c) yourself become a human compiler for one."

"As a rule of thumb, the more qualifiers there are before the name of a country, the more corrupt the rulers. A country called The Socialist People's Democratic Republic of X is probably the last place in the world you'd want to live."

"A programming language is for thinking of programs, not for expressing programs you've already thought of."

"The most important thing is to be able to think what you want, not to say what you want."

"When those far removed from the creation of wealth -- undergraduates, reporters, politicians -- hear that the richest 5% of the people have half the total wealth, they tend to think injustice! An experienced programmer would be more likely to think is that all? The top 5% of programmers probably write 99% of the good software."

"I've seen occasional articles about how to manage programmers. Really there should be two articles: one about what to do if you are yourself a programmer, and one about what to do if you're not. And the second could probably be condensed into two words: give up."

"At any given time, there are only about ten or twenty places where hackers most want to work, and if you aren't one of them, you won't just have fewer great hackers, you'll have zero."

"There are few sources of energy so powerful as a procrastinating grad student."

"Google never did any advertising. They're like dealers; they sell the stuff, but they know better than to use it themselves."

"Competitors punch you in the jaw, but investors have you by the balls."

"Consulting is where product companies go to die."

"European public opinion will apparently tolerate people being fired in industries where they really care about performance. Unfortunately the only industry they care enough about so far is soccer."

"The world seemed cruel and boring, and I'm not sure which was worse."

"When you tread water, you lift yourself up by pushing water down. Likewise, in any social hierarchy, people unsure of their own position will try to emphasize it by maltreating those they think rank below. I've read that this is why poor whites in the United States are the group most hostile to blacks."

"Why do people move to suburbia? To have kids! So no wonder it seemed boring and sterile. The whole place was a giant nursery, an artificial town created explicitly for the purpose of breeding children."

"Nerds serve two masters. They want to be popular, certainly, but they want even more to be smart. And popularity is not something you can do in your spare time, not in the fiercely competitive environment of an American secondary school."

"While the nerds were being trained to get the right answers, the popular kids were being trained to please."

"If you leave a bunch of eleven-year-olds to their own devices, what you get is Lord of the Flies."

"The other thing that's different about the real world [compared to high school] is that it's much larger. In a large enough pool, even the smallest minorities can achieve a critical mass if they clump together."

"Nerds aren't losers. They're just playing a different game, and a game much closer to the one played in the real world."

"Your teachers are always telling you [high school students] to behave like adults. I wonder if they'd like it if you did. You may be loud and disorganized, but you're very docile compared to adults.... Imagine the reaction of an FBI agent or taxi driver or reporter to being told they had to ask permission to go the bathroom, and only one person could go at a time."

"There's no switch inside you [high school students] that magically flips when you turn a certain age or graduate from some institution. You start being an adult when you decide to take responsibility for your life. You can do that at any age."

"It's not so important what you [high school students] work on, so long as you're not wasting your time. Work on things that interest you and increase your options, and worry later about which you'll take."

"The world changes fast, and the rate at which it changes is itself speeding up. In such a world it's not a good idea to have fixed plans."

"If I were back in high school and someone asked about my plans, I'd say that my first priority was to learn what the options were. You [high school students] don't need to be in a rush to choose your life's work. What you need to do is discover what you like. You have to work on stuff you like if you want to be good at what you do."

"No matter what you work on, you're not working on everything else. So the question is not how to avoid procrastination, but how to procrastinate well. There are three variants of procrastination, depending on what you do instead of working on something: you could work on (a) nothing, (b) something less important, or (c) something more important. That last type, I'd argue, is good procrastination."

"The most dangerous form of procrastination is unacknowledged type-B procrastination [putting off important things to do unimportant things], because it doesn't feel like procrastination. You're "getting things done." Just the wrong things."

"If you work on something you can finish in a day or two, you can expect to have a nice feeling of accomplishment fairly soon. If the reward is indefinitely far in the future, it seems less real."

"Another reason people don't work on big projects is, ironically, fear of wasting time. What if they fail? Then all the time they spent on it will be wasted. (In fact it probably won't be, because work on hard projects almost always leads somewhere.)"

"I think the way to "solve" the problem of procrastination is to let delight pull you instead of making a to-do list push you."

"The first type of judgement is the type where judging you is the end goal... But in fact there is a second much larger class of judgements where judging you is only a means to something else."

"The more you realize that most judgements are greatly influenced by random, extraneous factors—that most people judging you are more like a fickle novel buyer than a wise and perceptive magistrate—the more you realize you can do things to influence the outcome."

"One thing that leads us astray here is that the selector seems to be in a position of power. That makes him seem like a judge. If you regard someone judging you as a customer instead of a judge, the expectation of fairness goes away. The author of a good novel wouldn't complain that readers were unfair for preferring a potboiler with a racy cover. Stupid, perhaps, but not unfair."

"Someone trying to live well would seem eccentrically abstemious in most of the US. That phenomenon is only going to become more pronounced. You can probably take it as a rule of thumb from now on that if people don't think you're weird, you're living badly."

"If you'd asked me as a kid how rich people became poor, I'd have said by spending all their money. That's how it happens in books and movies, because that's the colorful way to do it. But in fact the way most fortunes are lost is not through excessive expenditure, but through bad investments."

"The most dangerous way to lose time is not to spend it having fun, but to spend it doing fake work. When you spend time having fun, you know you're being self-indulgent. Alarms start to go off fairly quickly. If I woke up one morning and sat down on the sofa and watched TV all day, I'd feel like something was terribly wrong. ... But the same alarms don't go off on the days when I get nothing done, because I'm doing stuff that seems, superficially, like real work."

"Being mean makes you stupid. That's why I hate fights. You never do your best work in a fight, because fights are not sufficiently general. Winning is always a function of the situation and the people involved. You don't win fights by thinking of big ideas but by thinking of tricks that work in one particular case. And yet fighting is just as much work as thinking about real problems."

"Jessica and I have always worked hard to teach our kids not to be mean. We tolerate noise and mess and junk food, but not meanness."

"Startups don't win by attacking. They win by transcending. There are exceptions of course, but usually the way to win is to race ahead, not to stop and fight."

"One of my guiding principles is don’t do anything that other people are doing. Always do something a little different if you can. The concept is that if you do it a little differently there is a greater potential for reward than if you the same thing that other people are doing. I think that this kind of goal for one’s work, having obviously the maximum risk, would have the maximum reward no matter what the field may be."

"I talk to myself through the computer. I ask myself questions, leave things to be looked at again, things that you would do with a notepad. It turns out today that it’s much better today to do with a personal computer rather than a notepad."

"Was George Orwell right about 1984?"

"We're gambling on our vision, and we would rather do that than make "me too" products. Let some other companies do that. For us, it's always the next dream."

"It is hard to think that a $2 billion company with 4,300-plus people couldn't compete with six people in blue jeans."

"Real artists ship."

"They're babes in the woods. I think I can help turn Alvy and Ed into businessmen."

"If, for some reason, we make some big mistake and IBM wins, my personal feeling is that we are going to enter a computer Dark Ages for about twenty years."

"I feel like somebody just punched me in the stomach and knocked all my wind out. I'm only 30 years old and I want to have a chance to continue creating things. I know I've got at least one more great computer in me. And Apple is not going to give me a chance to do that."

"Do you want to spend the rest of your life selling sugared water or do you want a chance to change the world?"

"It's more fun to be a pirate than to join the Navy."

"Woz and I very much liked Bob Dylan's poetry, and we spent a lot of time thinking about a lot of that stuff. This was California. You could get LSD fresh made from Stanford. You could sleep on the beach at night with your girlfriend. California has a sense of experimentation and a sense of openness—openness to new possibilities."

"Sometimes when you innovate, you make mistakes. It is best to admit them quickly, and get on with improving your other innovations."

"You can't just ask customers what they want and then try to give that to them. By the time you get it built, they'll want something new."

"It'll make your jaw drop."

"It's rare that you see an artist in his 30s or 40s able to really contribute something amazing."

"Computers are actually pretty simple. We’re sitting here on a bench in this cafe. Let’s assume that you understood only the most rudimentary of directions and you asked how to find the rest room. I would have to describe it to you in very specific and precise instructions. I might say, "Scoot sideways two meters off the bench. Stand erect. Lift left foot. Bend left knee until it is horizontal. Extend left foot and shift weight 300 centimeters forward …" and on and on. If you could interpret all those instructions 100 times faster than any other person in this cafe, you would appear to be a magician: You could run over and grab a milk shake and bring it back and set it on the table and snap your fingers, and I’d think you made the milk shake appear, because it was so fast relative to my perception. That’s exactly what a computer does. It takes these very, very simple-minded instructions — "Go fetch a number, add it to this number, put the result there, perceive if it’s greater than this other number"—but executes them at a rate of, let’s say, 1,000,000 per second. At 1,000,000 per second, the results appear to be magic. … Most people have no concept of how an automatic transmission works, yet they know how to drive a car. You don't have to study physics to understand the laws of motion to drive a car. You don't have to understand any of this stuff to use Macintosh."

"<!-- Playboy: Then for now, aren't you asking home-computer buyers to invest $3000 in what is essentially an act of faith?"

"How come the Mac group produced Mac and the people at IBM produced the PCjr? We think the Mac will sell zillions, but we didn’t build Mac for anybody else. We built it for ourselves. We were the group of people who were going to judge whether it was great or not. We weren’t going to go out and do market research. We just wanted to build the best thing we could build. When you’re a carpenter making a beautiful chest of drawers, you’re not going to use a piece of plywood on the back, even though it faces the wall and nobody will ever see it. You’ll know it’s there, so you’re going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through.<!--"

"What a computer is to me is it's the most remarkable tool that we have ever come up with. It's the equivalent of a bicycle for our minds."

"My opinion is that the only two computer companies that are software-driven are Apple and NeXT, and I wonder about Apple."

"Being the richest man in the cemetery doesn't matter to me … Going to bed at night saying we've done something wonderful... that's what matters to me."

"When you grow up you tend to get told that the world is the way it is and your life is just to live your life inside the world. Try not to bash into the walls too much. Try to have a nice family, have fun, save a little money. That's a very limited life. Life can be much broader once you discover one simple fact: Everything around you that you call life was made up by people that were no smarter than you and you can change it, you can influence it, you can build your own things that other people can use."

"I'm convinced that about half of what separates the successful entrepreneurs from the non-successful ones is pure perseverance. It is so hard. You put so much of your life into this thing. There are such rough moments in time that I think most people give up. I don't blame them. Its really tough and it consumes your life. If you've got a family and you're in the early days of a company, I can't imagine how one could do it. I'm sure its been done but its rough. Its pretty much an eighteen hour day job, seven days a week for awhile. Unless you have a lot of passion about this, you're not going to survive. You're going to give it up. So you've got to have an idea, or a problem or a wrong that you want to right that you're passionate about otherwise you're not going to have the perseverance to stick it through. I think that's half the battle right there."

"John Sculley ruined Apple and he ruined it by bringing a set of values to the top of Apple which were corrupt and corrupted some of the top people who were there, drove out some of the ones who were not corruptible, and brought in more corrupt ones and paid themselves collectively tens of millions of dollars and cared more about their own glory and wealth than they did about what built Apple in the first place — which was making great computers for people to use."

"We believe it's the biggest advance in animation since Walt Disney started it all with the release of Snow White 50 years ago."

"If I knew in 1986 how much it was going to cost to keep Pixar going, I doubt if I would have bought the company."

"You know, I've got a plan that could rescue Apple. I can't say any more than that it's the perfect product and the perfect strategy for Apple. But nobody there will listen to me."

"Jobs: As a kid, I read an article in the Scientific American. It measured the efficiency of locomotion of various species on the planet. Bears. Chimpanzees. Raccoons. Birds. Fish. How many kilo-calories per kilometer did they spend to move? Humans were measured too. And the condor won. It was the most efficient. Humankind came in with an unimpressive showing about a third of the way down the list. But somebody there had the brilliance to test a human riding a bicycle. We blew away the condor. Off the charts. This really had an impact on me. Humans are tool builders. We build tools that can dramatically amplify our innate human abilities. We ran an ad for this once that the personal computer is the bicycle of the mind. I believe that with every bone in my body."

"Jobs: Part of what made the Macintosh great was that the people working on it were musicians, poets, and artists, and zoologists, and historians. They also happened to be the best computer scientists in the world. But if it hadn’t been computer science, these people would have been doing amazing things in other fields. We all brought to this a sort of "liberal arts" air, an attitude that we wanted to pull the best that we saw into this field. You don’t get that if you are very narrow."

"The desktop computer industry is dead. Innovation has virtually ceased. Microsoft dominates with very little innovation. That's over. Apple lost. The desktop market has entered the dark ages, and it's going to be in the dark ages for the next 10 years, or certainly for the rest of this decade."

"When you're young, you look at television and think, There's a conspiracy. The networks have conspired to dumb us down. But when you get a little older, you realize that's not true. The networks are in business to give people exactly what they want. That's a far more depressing thought. Conspiracy is optimistic! You can shoot the bastards! We can have a revolution! But the networks are really in business to give people what they want. It's the truth."

"Miele] really thought the process through. They did such a great job designing these washers and dryers. I got more thrill out of them than I have out of any piece of high tech in years."

"To design something really well you have to get it. You have to really grok what it’s all about. It takes a passionate commitment to thoroughly understand something — chew it up, not just quickly swallow it. Most people don’t take the time to do that."

"Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn't really do it, they just saw something. It seemed obvious to them after a while. That's because they were able to connect experiences they've had and synthesize new things. And the reason they were able to do that was that they've had more experiences or they have thought more about their experiences than other people... Unfortunately, that's too rare a commodity. A lot of people in our industry haven't had very diverse experiences. So they don't have enough dots to connect, and they end up with very linear solutions without a broad perspective on the problem. The broader one's understanding of the human experience, the better design we will have."

"If I were running Apple, I would milk the Macintosh for all it's worth — and get busy on the next great thing. The PC wars are over. Done. Microsoft won a long time ago."

"Human minds settle into fixed ways of looking at the world. That’s always been true and it’s probably always going to be true and I think... I’ve always felt that death is the greatest invention of life. I’m sure that life evolved without death at first, and found that without death life didn’t work very well. Because it didn’t make room for the young, who didn’t know how the world was fifty years ago, who didn’t know how the world was twenty years ago. Who saw it as it is today without any preconceptions, and saw and dreamed how it could be based on that. Who were not satisfied based on the accomplishments of the last thirty years, but who were dissatisfied because the current state didn’t live up to their ideals. Without death there would be very little progress."

"I was worth about over a million dollars when I was twenty-three and over ten million dollars when I was twenty-four, and over a hundred million dollars when I was twenty-five and it wasn't that important because I never did it for the money."

"The only problem with Microsoft is they just have no taste. They have absolutely no taste. And I don't mean that in a small way, I mean that in a big way, in the sense that they don't think of original ideas, and they don't bring much culture into their products."

"I am saddened, not by Microsoft's success — I have no problem with their success. They've earned their success, for the most part. I have a problem with the fact that they just make really third-rate products."

"We have always been shameless about stealing great ideas."

"We hired truly great people and gave them the room to do great work. A lot of companies [...] hire people to tell them what to do. We hire people to tell us what to do. We figure we're paying them all this money; their job is to figure out what to do and tell us."

"I wish him the best, I really do. I just think he and Microsoft are a bit narrow. He'd be a broader guy if he had dropped acid once or gone off to an ashram when he was younger."

"You‘ve got to start with the customer experience and work backwards to the technology."

"The products suck! There's no sex in them anymore!"

"Apple has some tremendous assets, but I believe without some attention, the company could, could, could — I'm searching for the right word — could, could die."

"Nobody has tried to swallow us since I've been here. I think they are afraid how we would taste."

"It looks like it's from another planet. A good planet. A planet with better designers"

"iMac is next year's computer for $1,299, not last year's computer for $999."

"But in the end, for something this complicated, it's really hard to design products by focus groups. A lot of times, people don't know what they want until you show it to them."

"Innovation has nothing to do with how many R&D dollars you have. When Apple came up with the Mac, IBM was spending at least 100 times more on R&D. It's not about money. It's about the people you have, how you're led, and how much you get it."

"I think Pixar has the opportunity to be the next Disney — not replace Disney — but be the next Disney."

"I found that there were these incredibly great people at doing certain things, and that you couldn't replace one of these people with 50 average people. They could just do things that no number of average people could do."

"Unfortunately, people are not rebelling against Microsoft. They don’t know any better."

"<!-- Rolling Stone: It's been 10 years since the Macintosh was introduced. When you look around at the technological landscape today, what's most surprising to you?"

"<!-- Rolling Stone: Nevertheless, you've often talked about how technology can empower people, how it can change their lives. Do you still have as much faith in technology today as you did when you started out 20 years ago?"

"Rolling Stone: It's been 10 years since the PC revolution started. Rational people can debate about whether technology has made the world a better place –"

"Microsoft has had two goals. One was to copy the Mac and the other was to copy Lotus' success in the spreadsheet. And over the course of the last 10 years, Microsoft accomplished both of those goals. And now they are completely lost. They were able to copy the Mac because the Mac was frozen in time. The Mac didn't change much for the last 10 years. It changed maybe 10 percent. It was a sitting duck. It's amazing that it took Microsoft 10 years to copy something that was a sitting duck. Apple, unfortunately, doesn't deserve too much sympathy. They invested hundreds and hundreds of millions of dollars into R&D, but very little came out. They produced almost no new innovation since the original Mac itself."

"We made the buttons on the screen look so good you'll want to lick them."

"You've baked a really lovely cake, but then you've used dog shit for frosting."

"I would trade all of my technology for an afternoon with Socrates."

"It will go down in history as a turning point for the music industry. This is landmark stuff. I can't overestimate it!"

"There are sneakers that cost more than an iPod."

"People think it's this veneer — that the designers are handed this box and told, 'Make it look good!' That's not what we think design is. It's not just what it looks like and feels like. Design is how it works."

"We don't believe it's possible to protect digital content … What's new is this amazingly efficient distribution system for stolen property called the Internet — and no one's gonna shut down the Internet. And it only takes one stolen copy to be on the Internet. And the way we expressed it to them is: Pick one lock — open every door. It only takes one person to pick a lock. Worst case: Somebody just takes the analog outputs of their CD player and rerecords it — puts it on the Internet. You'll never stop that. So what you have to do is compete with it."

"The subscription model of buying music is bankrupt. I think you could make available the Second Coming in a subscription model and it might not be successful."

"We used to dream about this stuff. Now we get to build it. It's pretty great."

"We think basically you watch television to turn your brain off, and you work on your computer when you want to turn your brain on."

"Why would I ever want to run Disney? Wouldn't it make more sense just to sell them Pixar and retire?"

"The cure for Apple is not cost-cutting. The cure for Apple is to innovate its way out of its current predicament."

"It wasn't that Microsoft was so brilliant or clever in copying the Mac, it's that the Mac was a sitting duck for 10 years. That's Apple's problem: Their differentiation evaporated."

"I'm the only person I know that's lost a quarter of a billion dollars in one year.... It's very character-building."

"I get asked a lot why Apple's customers are so loyal. It's not because they belong to the Church of Mac! That's ridiculous."

"I've always wanted to own and control the primary technology in everything we do."

"The system is that there is no system. That doesn't mean we don't have process. Apple is a very disciplined company, and we have great processes. But that's not what it's about. Process makes you more efficient. But innovation comes from people meeting up in the hallways or calling each other at 10:30 at night with a new idea, or because they realized something that shoots holes in how we've been thinking about a problem. It's ad hoc meetings of six people called by someone who thinks he has figured out the coolest new thing ever and who wants to know what other people think of his idea. And it comes from saying no to 1,000 things to make sure we don't get on the wrong track or try to do too much. We're always thinking about new markets we could enter, but it's only by saying no that you can concentrate on the things that are really important."

"Mac OS X Tiger will come out long before Longhorn."

"Pixar is the most technically advanced creative company; Apple is the most creatively advanced technical company."

"They are shamelessly copying us."

"Because I'm the CEO, and I think it can be done."

"And one more thing..."

"I think if you do something and it turns out pretty good, then you should go do something else wonderful, not dwell on it for too long. Just figure out what's next."

"You know, you keep on innovating, you keep on making better stuff. And if you always want the latest and greatest, then you have to buy a new iPod at least once a year."

"Our friends up north spend over five billion dollars on research and development and all they seem to do is copy Google and Apple."

"Look at the design of a lot of consumer products — they're really complicated surfaces. We tried to make something much more holistic and simple. When you first start off trying to solve a problem, the first solutions you come up with are very complex, and most people stop there. But if you keep going, and live with the problem and peel more layers of the onion off, you can often times arrive at some very elegant and simple solutions. Most people just don't put in the time or energy to get there. We believe that customers are smart, and want objects which are well thought through."

"We had the hardware expertise, the industrial design expertise and the software expertise, including iTunes. One of the biggest insights we have was that we decided not to try to manage your music library on the iPod, but to manage it in iTunes. Other companies tried to do everything on the device itself and made it so complicated that it was useless."

"I've seen the demonstrations on the Internet about how you can find another person using a Zune and give them a song they can play three times. It takes forever. By the time you've gone through all that, the girl's got up and left! You're much better off to take one of your earbuds out and put it in her ear. Then you're connected with about two feet of headphone cable."

"I make 50 cents for showing up … and the other 50 cents is based on my performance."

"A lot of companies have chosen to downsize, and maybe that was the right thing for them. We chose a different path. Our belief was that if we kept putting great products in front of customers, they would continue to open their wallets."

"I wish developing great products was as easy as writing a check. If that was the case, Microsoft would have great products."

"It's like giving a glass of ice water to somebody in hell!"

"Here's to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They're not fond of rules. And they have no respect for the status quo. You can quote them, disagree with them, glorify or vilify them. About the only thing you can't do is ignore them. Because they change things. They push the human race forward. And while some may see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who do."

"Yes, it's true."

"Now, I have something to tell you today. Mac OS X has been leading a secret double life — for the past five years. There have been rumors to this effect... but this is Apple's campus in Cupertino — let's zoom in on it — in that building right there... we've had teams doing the "just-in-case" scenario; and our rules have been that our designs for OS X must be processor independent, and that every project must be built for both the Power PC and Intel processors. And so today for the first time, I can confirm the rumors that every release of OS X has been compiled for both Power PC and Intel — this has been going on for the last five years. Just in case."

"So Mac OS X is cross-platform by design, right from the very beginning. So Mac OS X is singing on Intel processors, and I'd just like to show you right now. As a matter of fact... this system I've been using here... Let go have a look... [reveals that the system he had been using for the presentation was running Mac OS X 10.4.1 on a machine using a 3.6 GHz Pentium 4 processor] So.. we've been running on an Intel machine all morning."

"We intend to release Leopard at the end of 2006 or early 2007, right around the time when Microsoft is expected to release Longhorn."

"I decided to take a calligraphy class to learn [the art of decorative or hand lettering]. I learned about serif and sans-serif typefaces, about varying the space between different letter combinations, about what makes great typography great. It was beautiful. Historical. Artistically subtle in a way that science can't capture. And I found it fascinating. None of this had any hope of any practical application in my life. But 10 years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would never have multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it's likely that no personal computer would have them."

"Again, you can't connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something — your gut, destiny, life, karma, whatever. Because believing that the dots will connect down the road will give you the confidence to follow your heart even when it leads you off the well-worn path and that will make all the difference."

"I didn't see it then, but it turned out that getting fired from Apple was the best thing that could have ever happened to me. The heaviness of being successful was replaced by the lightness of being a beginner again, less sure about everything. It freed me to enter one of the most creative periods of my life."

"Sometimes life hits you in the head with a brick. Don’t lose faith. I’m convinced that the only thing that kept me going was that I loved what I did. You’ve got to find what you love. And that is as true for your work as it is for your lovers. Your work is going to fill a large part of your life, and the only way to be truly satisfied is to do what you believe is great work. And the only way to do great work is to love what you do. If you haven't found it yet, keep looking. Don't settle. As with all matters of the heart, you'll know when you find it. And, like any great relationship, it just gets better and better as the years roll on. So keep looking. Don’t settle."

"When I was 17, I read a quote that went something like: "If you live each day as if it was your last, someday you'll most certainly be right." It made an impression on me, and since then, for the past 33 years, I have looked in the mirror every morning and asked myself: "If today were the last day of my life, would I want to do what I am about to do today?" And whenever the answer has been "No" for too many days in a row, I know I need to change something."

"Remembering that I'll be dead soon is the most important tool I've ever encountered to help me make the big choices in life. Because almost everything — all external expectations, all pride, all fear of embarrassment or failure — these things just fall away in the face of death, leaving only what is truly important. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. You are already naked. There is no reason not to follow your heart."

"No one wants to die. Even people who want to go to heaven don’t want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life’s change agent. It clears out the old to make way for the new. Right now the new is you, but someday not too long from now, you will gradually become the old and be cleared away. Sorry to be so dramatic, but it is quite true."

"Your time is limited, so don't waste it living someone else's life. Don't be trapped by dogma — which is living with the results of other people's thinking. Don't let the noise of others' opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary."

"When I was young, there was an amazing publication called The Whole Earth Catalog, which was one of the bibles of my generation. It was created by a fellow named Stewart Brand not far from here in Menlo Park, and he brought it to life with his poetic touch. This was in the late 1960's, before personal computers and desktop publishing, so it was all made with typewriters, scissors, and Polaroid cameras. It was sort of like Google in paperback form, 35 years before Google came along: it was idealistic, and overflowing with neat tools and great notions. Stewart and his team put out several issues of The Whole Earth Catalog, and then when it had run its course, they put out a final issue. It was the mid-1970s, and I was your age. On the back cover of their final issue was a photograph of an early morning country road, the kind you might find yourself hitchhiking on if you were so adventurous. Beneath it were the words: "Stay Hungry. Stay Foolish." It was their farewell message as they signed off. Stay Hungry. Stay Foolish. And I have always wished that for myself. And now, as you graduate to begin anew, I wish that for you. Stay Hungry. Stay Foolish."

"We’ve got a great week plan for you. You know, this year we’ve got 42 hundred registered attendees. This is the largest WWDC ever so thank you very much for making this a record event for us."

"There are folks here from 48 different countries."

"If you have a chance to go to New York I really encourage to go visit the store. This is one of the fifty-seven we now have."

"Last quarter alone we hosted 17 million visitors throughout our stores."

"Last quarter, we had our best Mac quarter ever. We shipped 1.33 million Macs last quarter. We are really, really happy about this, but even better, was the growth rate because the growth rate was dramatically faster than the rest of the industry which means we are gaining market share."

"Every once in a while a revolutionary product comes along that changes everything. It's very fortunate if you can work on just one of these in your career. … Apple's been very fortunate in that it's introduced a few of these."

"Well, what we're going to do is get rid of all these buttons, and just make a giant screen—a giant screen. Now, how are we going to communicate (with) this? We don't want to carry around a mouse, right? So what are we going to do? Oh, a stylus, right? We're going to use a stylus. No. —No. Who wants a stylus? You have to get them and put them away and you lose them. Yuck! Nobody wants a stylus. So let's not use a stylus."

"And boy, have we patented it."

"Most people don’t have very many numbers in their address book they use their recents as their address book. Right? How many of you do that? I bet more than a few."

"We also know first hand that Flash is the number one reason Macs crash."

"By the way, what have you done that's so great? Do you create anything, or just criticize others work and belittle their motivations?"

"The HD revolution is over, it happened. HD won. Everybody wants HD."

"From: Steve Jobs To: Steve Jobs Subject: Date: September 2, 2010, 11:08 p.m. I grow little of the food I eat, and of the little I do grow I did not breed or perfect the seeds. I do not make any of my own clothing. I speak a language I did not invent or refine. I did not discover the mathematics I use. I am protected by freedoms and laws I did not conceive of or legislate, and do not enforce or adjudicate. I am moved by music I did not create myself. When I needed medical attention, I was helpless to help myself survive. I did not invent the transistor, the microprocessor, object oriented programming, or most of the technology I work with. I love and admire my species, living and dead, and am totally dependent on them for my life and well being. Sent from my iPad"

"- digital hub (center of our universe) is moving from PC to cloud - PC now just another client alongside iPhone, iPad, iPod touch, ... - Apple is in danger of hanging on to old paradigm too long (innovator's dilemma) - Google and Microsoft are further along on the technology, but haven't quite figured it out yet - tie all of our products together, so we further lock customers into our ecosystem"

"Sometimes I believe in God, sometimes I don’t. I think it’s 50-50 maybe. But ever since I’ve had cancer, I’ve been thinking about it more. And I find myself believing a bit more. I kind of – maybe it’s ’cause I want to believe in an afterlife. That when you die, it doesn’t just all disappear. The wisdom you’ve accumulated. Somehow it lives on, but sometimes I think it’s just like an on-off switch. Click and you’re gone. And that’s why I don’t like putting on-off switches on Apple devices."

"If you want it, you can fly, you just have to trust you a lot"

""If it could save a person’s life, could you find a way to save ten seconds off the boot time? If there were five million people using the Mac, and it took ten seconds extra to turn it on every day, that added up to three hundred million or so hours per year people would save, which was the equivalent of at least one hundred lifetimes saved per year."

"I wanted to meet my biological mother mostly to see if she was OK and to thank her, because I'm glad I didn't end up as an abortion. She was twenty-three and she went through a lot to have me."

"You always have to keep pushing to innovate. Dylan could have sung protest songs forever and probably made a lot of money, but he didn’t. He had to move on, and when he did, by going electric in 1965, he alienated a lot of people. His 1966 Europe tour was his greatest…. The Beatles were the same way. They kept evolving, moving, refining their art. That’s what I’ve always tried to do — keep moving. Otherwise, as Dylan says, if you are not busy being born, you’re busy dying."

"Stay hungry, stay foolish."

"Good artists copy; great artists steal."

"My girlfriend always laughs during sex — no matter what she's reading."

"The musicians play their instruments. I play the orchestra."

"Man at audience microphone: Mr. Jobs, you're a bright and influential man."

"Jobs: Here it comes [audience laughter]."

"Man at the audience microphone: It's sad and clear that on several counts you've discussed you don't know what you're talking about. I would like, for example, for you to express in clear terms, how, say Java, in any of its incarnations, expresses the ideas embodied in OpenDoc. And when you've finished with that, perhaps you could tell us what you personally have been doing for the last seven years."

"Jobs: [audible gasps from the audience] Uh... You know, you can please some of the people some of the time, but...One of the hardest things, when you're trying to affect change, is that people like this gentlemen are right in some areas. I'm sure there are some things OpenDoc does, probably even more that I'm not familiar with, that nothing else out there does. And I'm sure that you can make some demos, maybe a small commercial app, that demonstrates those things. The hardest thing is, how does that fit into a cohesive larger vision that's gonna allow you to sell 8 billion dollars - 10 billion dollars of product a year?One of the things I've always found is that you've got to start with the customer experience and work backwards to the technology. You can't start with the technology and try to figure out where you're going to try to sell it. I've made this mistake probably more than anybody else in this room, and I've got the scar tissue to prove it. And I know that it's the case. As we have tried to come up with a strategy and a vision for Apple, it started with "What incredible benefits can we give to the customer? Where can we take the customer?" not starting with, "Let's sit down with the engineers and figure out what awesome technology we have and then how are we going to market that. And I think that's the right path to take.I remember, with the LaswerWriter - we built the world's first laser printer, as you know, and there was awesome technology in that box. We had the first Canon cheap laser printing engine in the United States. We had a very wonderful printer controller, we had Adobe's PostScript software in there, we had AppleTalk in there, just awesome technology in the box. And I remember seeing the first print-out come out of it. Just picking it up and looking at it, and thinking, "You know, we can sell this." Because you don't need to know anything about what's in that box. All we have to do is hold it up and go, "do you want this?" And if you can remember back to 1984 before laser printers, it was pretty startling to see that. People went, "Whoah. Yes."That's where Apple's gotta get back to. I'm sorry that OpenDoc is a casualty along the way, and I readily admit there's many things in life that I don't have the faintest idea what I'm talking about. So I apologize for that too. But there's a whole lot of people working super, super hard right now at Apple. You know - Avie, John, Guerrino, Fred, I mean the whole team is working - burning the midnight oil, and hundreds of people below them - to execute on some of these things, and they're doing their best.And some mistakes will be made along the way, by the way. That's good. Because at least some decisions are being made. We'll find the mistakes, and we'll fix 'em. And I think what we need to do is support that team. Going through this stage, as they work their butts off - they're all getting calls to go do this, do that, the valley's hot - none of them are leaving. And I think we need to support them, and see them through this, and write some damn good applications out in the market.Mistakes will be made, some people will be pissed off, some people will not know what they're talking about, but I think it's so much better than where things were not very long ago. And I think we're gonna get there."

"Man in audience: What about OpenDoc?"

"Jobs: What about OpenDoc? Yeah...what about it?"

"[audience groans and laughs]"

"Jobs: It's dead, right? Yeah, well, you know, let me say something that's sort of generic. I know some of you spent a lot of time working on stuff that we put a bullet in the head of. I apologize. I feel your pain!"

"While Mr. Jobs's stated positions on management techniques are all quite noble and worthy, in practice he is a dreadful manager."

"I have always liked Steve personally, but I have found it impossible to work for him and retain much enjoyment in my work."

"Jobs regularly misses appointments. This is so well-known as to be almost a running joke. It's not funny, hurts Apple's image when he does it to outsiders, and wastes our time and energy when it is done to another employee."

"He acts without thinking and with bad judgment."

"He does not give credit where due. This is an especially damaging trait in a company that depends on innovation for its surival."

"Very often, when told of a new idea, he will immediately attack it and say that it is worthless or even stupid, and tell you that it was a waste of time to work on it. This alone is bad management, but if the idea was a good one he will soon be telling people about it as though it was his own."

"Jobs also has favorites, who can do no wrong--and others can do no right. He will uncritically dismiss an idea saying: "Oh, that's X's idea. His ideas aren't worth anything.""

"He is a prime example of a manager who takes the credit for his optimistic schedules and then blames the workers when deadlines are not met."

"[as an interview was taking place] I could tell that Steve was losing patience when he started to roll his eyes at the candidate's responses. Steve began to grill him with some unconventional questions."How old were you when you lost your virginity?", Steve askedThe candidate wasn't sure if he heard correctly. "What did you say?"Steve repeated the question, changing it slightly. "Are you a virgin?". Burrell and I started to laugh, as the candidate became more disconcerted. He didn't know how to respond.Steve changed the subject. "How many times have you taken LSD?"The poor guy was turning varying shades of red, so I tried to change the subject and asked a straight-forward technical question. But when he started to give a long-winded response, Steve got impatient again."Gooble, gobble, gobble, gobble", Steve started making turkey noises. This was too much for Burrell and myself, and we all started cracking up. "Gobble, gobble, gobble", Steve continued, laughing himself now.At this point, the candidate stood up. "I guess I'm not the right guy for this job", he said."I guess you're not", Steve responded. "I think this interview is over.""

"Steve insists that we're shipping in early 1982, and won't accept answers to the contrary. The best way to describe the situation is a term from Star Trek. Steve has a reality distortion field.… In his presence, reality is malleable. He can convince anyone of practically anything. It wears off when he's not around, but it makes it hard to have realistic schedules."

"I never really get to see, except second hand, how abrupt he is with people. I couldn't be that way with people. But maybe that's what you need to run a business, to find things that are worthless and get rid of them."

"If you just want to say, "Steve Jobs invented the world, and then the rest of us came along," that's fine. If you’re interested, [Vista development chief] Jim Allchin will be glad to educate you feature by feature what the truth is. … Let’s be realistic, who came up with "File/Edit/View/Help"? Do you want to go back to the original Mac and think about where those interface concepts came from?"

"One lesson many people took from the Steve Jobs story is that great entrepreneurs can anticipate what their customers want even before they ask for it."

"The most telling lesson to be learned from Jobs’s example might be summed up by inverting one of his favorite marketing slogans: Think Indifferent. That is, care only about the product, not the myriad producers, whether factory workers in China or staff members in Cupertino, or colleagues like Wozniak, Kottke, and Tevanian, who had been crucial to Apple’s success."

"Steve Jobs was the best marketeer at the intersection of science and art that existed in the 20th century ... he understood not just marketing and not just technology, but how to sell incredibly technical products to your mother, who would never care about bits, bytes, RAM’s, ROM’s, or whatever."

"Vulture: Were you always interested in Steve Jobs?"

"Aaron Sorkin: My point is that Steve could make these products and make them likable, slip them under the door, and people would slip back a tray of food. It worked. He was right. That cult of Apple, this love for Steve — when he died, I was overwhelmed by the eulogizing, which I hadn’t seen since John Lennon. I’ll be honest with you, I didn’t really understand it, even though I was asked to eulogize him for Time magazine and accepted. But I thought, There’s something I’m not getting here, but plainly I should — I’ve missed something."

"When I wasn't sure what the word "charisma" meant, I met Steve Jobs, and then I knew."

"He wanted you to be great, and he wanted you to create something that was great, and he was going to make you do that."

"Bill Gates: Jobs was a genius, what he did, particularly when he came back to Apple... no one else could do what he did there. I couldn’t have done that. He was such a wizard at over-motivating people — I was a minor wizard so I couldn’t fall under his spell — but I could see him casting the spell. I was so jealous."

"Jobs was a practicing Buddhist and his computers are directly inspired by Tibetan Buddhist dialectics."

"In my life as an architect, I found that the single thing which inhibits young professionals, new students most severely, is their acceptance of standards that are too low."

"...the constitution of the universe may be such that the human self and the substance that things [are] made out of, the spatial matter or whatever you call it, are much more inextricably related than we realized."

"...we have so far beset ourselves with rules, and concepts, and ideas of what must be done to make a building or a town alive, that we have become afraid of what will happen naturally, and convinced that we must work within a "system" and with "methods" since without them our surroundings will come tumbling down in chaos."

"A thing is whole according to how free it is of inner contradictions. When it is at war with itself, and gives rise to forces which act to tear it down, it is unwhole. The more free it is of its own inner contradictions, the more whole and healthy and wholehearted it becomes."

"When we know those moments, when we smile, when we let go, when we are not on guard at all – these are the moments when our most important forces show themselves; whatever you are doing at such a moment, hold on to it, repeat it – for that certain smile is the best knowledge that we ever have of what our hidden forces are, and where they lie, and how they can be loosed."

"Every place is given its character by certain patterns of events that keep on happening there.... These patterns of events are locked in with certain geometric patterns in the space. Indeed, each building and each town is ultimately made out of these patterns in the space, and out of nothing else; they [patterns in the space] are the atoms and molecules from which a building or a town is made."

"On the geometric level, we see certain physical elements repeated endlessly, combined in an almost endless variety of combinations... It is puzzling to realize that the elements, which seem like elementary building blocks, keep varying, and are different every time that they occur .... If the elements are different every time that they occur, evidently then, it cannot be the elements themselves which are repeating in a building or town; these so-called elements cannot be the ultimate "atomic" constituents of space."

"Look more carefully...to find out what it really is that is repeating there .... Beyond its elements, each building [or town] is defined by certain patterns of relationships among the elements.... These relationships are not extra, but necessary to the elements... The elements themselves are patterns of relationships."

"One begins to think with that new building block, rather than with littler pieces. And finally, the things which seem like elements dissolve, and leave a fabric of relationships behind, which is the stuff that actually repeats itself, and gives the structure to a building or a town."

"...a great architect's creative power, his capacity to make something beautiful, lies in his capacity to observe correctly, and deeply. A painter's talent lies in his capacity to see – he sees more acutely, more precisely, what it is that really matters in a thing, and where its qualities come from."

"Nothing which is not simple and direct can survive the slow transmision from person to person."

"...every pattern we define must be formulated in the form of a rule which establishes a relationship between a context, a system of forces which arises in that context, and a configuration which allows these forces to resolve themselves in that context."

"Who are you inspired by? Creative people who have made their seemingly most self-indulgent artistic whims into a career."

"A zebra can't drive a moon-buggy. Or any other sort of car for that matter."

"I think that it's extraordinarily important that we in computer science keep fun in computing. When it started out, it was an awful lot of fun. Of course, the paying customers got shafted every now and then, and after a while we began to take their complaints seriously. We began to feel as if we really were responsible for the successful, error-free perfect use of these machines. I don't think we are. I think we're responsible for stretching them, setting them off in new directions, and keeping fun in the house. I hope the field of computer science never loses its sense of fun. Above all, I hope we don't become missionaries. Don't feel as if you're Bible salesmen. The world has too many of those already. What you know about computing other people will learn. Don't feel as if the key to successful computing is only in your hands. What's in your hands, I think and hope, is intelligence: the ability to see the machine as more than when you were first led up to it, that you can make it more."

"We toast the Lisp programmer who pens his thoughts within nests of parentheses."

"Both knowledge and wisdom extend man's reach. Knowledge led to computers, wisdom to chopsticks."

"There is an appreciated substance to the phrase "ALGOL-like" which is often used in arguments about programming, languages and computation. ALGOL appears to be a durable model, and even flourishes under surgery — be it explorative, plastic, or amputative."

"The vision we have of conversational programming takes in much more than rapid turn around time and convenient debugging aids: our most interesting programs are never wrong and never final. [...] What is new is the requirement to make variable in our languages what we had previously taken as fixed. I do not refer to new data classes now, but to variables whose values are programs or parts of programs, syntax or parts of syntax, and regimes of control."

"This language [LISP] induces humorous arguments among programmers, often being damned and praised for the same feature."

"Programmers should never be satisfied with languages which permit them to program everything, but to program nothing of interest easily."

"Computer science is a restless infant and its progress depends as much on shifts in point of view as on the orderly development of our current concepts."

"1: One man's constant is another man's variable."

"3: Syntactic sugar causes cancer of the semi-colons."

"8: A programming language is low level when its programs require attention to the irrelevant."

"11: If you have a procedure with 10 parameters, you probably missed some."

"16: Every program has (at least) two purposes: the one for which it was written and another for which it wasn't."

"19: A language that doesn't affect the way you think about programming, is not worth knowing."

"31: Simplicity does not precede complexity, but follows it."

"39: A picture is worth 10K words - but only those to describe the picture. Hardly any sets of 10K words can be adequately described with pictures."

"41: Some programming languages manage to absorb change, but withstand progress."

"42: You can measure a programmer's perspective by noting his attitude on the continuing vitality of FORTRAN."

"55: LISP programmers know the value of everything and the cost of nothing."

"57: It is easier to change the specification to fit the program than vice versa."

"58: Fools ignore complexity. Pragmatists suffer it. Some can avoid it. Geniuses remove it."

"59: In English every word can be verbed. Would that it were so in our programming languages."

"64: Often it is means that justify ends: Goals advance technique and technique survives even when goal structures crumble."

"75: The computing field is always in need of new cliches: Banality sooths our nerves."

"79: A year spent in artificial intelligence is enough to make one believe in God."

"80: Prolonged contact with the computer turns mathematicians into clerks and vice versa."

"95: Don't have good ideas if you aren't willing to be responsible for them."

"101 Dealing with failure is easy: Work hard to improve. Success is also easy to handle: You've solved the wrong problem. Work hard to improve."

"116: You think you know when you learn, are more sure when you can write, even more when you can teach, but certain when you can program."

"117: It goes against the grain of modern education to teach children to program. What fun is there to making plans, acquiring discipline in organizing thoughts, devoting attention to detail and, learning to be self-critical?"

"The unknown mountain nests in the inhospitable interior of southern Calabria are usually connected only by a mule track with the railway that runs close to the coast: whoever wants to go there has to walk on foot if he has no donkey at his disposal. I think back to that warm afternoon in the month of May when we the four of us, after a long, tiring ride in the harsh sun, packed with the heavy burden of our backpacks, sweat-dripping and a little gasping, entered the city gate of Palizzi.."

"Now, I should like to say something else to you about the connection with music, primarily that of Bach, i.e. the Fugue or, put more simply, the canon.. .It has a great deal in common with my own motifs, which I make turn on various axes too. Nowadays I have such a powerful sense of relationship, of affinity, that when I am listening to Bach I frequently get inspired and feel an overwhelming instinct for his insistent rhythm, a cadence seeking something of the infinite. In the Fugue everything is based on a single motif, often consisting of just a few notes. In my work, too, everything revolves around a single closed contour.."

"But to get back to the point: did you ever imagine that your dad, who lives so far away from the bustle and intrigue of the world, working on his prints day after day like a hermit, would some day be drawn into the sickening scene of vain officialdom, despite himself?.. .But what on earth can I do about it? Luckily I can swear by God and all his angels that I never moved a finger to get the decoration or licked the boots of any bigwigs."

"In mathematical quarters, the regular division of the plane has been considered theoretically.. .Does this mean that it is an exclusively mathematical question? In my opinion, it does not. [Mathematicians] have opened the gate leading to an extensive domain, but they have not entered this domain themselves. By their very nature they are more interested in the way in which the gate is opened than in the garden lying behind it."

"After the first proof [of 'Sphere Spirals'] my high expectations were, as always, greatly disappointed. I am now struggling on - with some feeling of despair - so that I at least achieve a passable result."

"As long as there have been men.. ..upon this globe.. ..we have held firmly to the notion of.. ..all of which must continue to be everlasting in time and infinite in space."

"The ideas that are basic to [my work] often bear witness to my amazement and wonder at the laws of nature which operate in the world around us. He who wonders discovers that this is in itself a wonder. By keenly confronting the enigmas that surround us, and by considering and analyzing the observations that I had made, I ended up in the domain of mathematics."

"The fact that, from 1938 onwards, I concentrated more on the interpretation of personal ideas was primarily the result of my departure from Italy. In Switzerland, Belgium, and Holland where I successively established myself, I found the outward appearance of landscapes and architecture to be less striking than those which are particularly to be seen in the southern part of Italy. Thus I felt compelled to withdraw from the more or less direct and true-to-life illustrating of my surroundings."

"It is human nature to want to exchange ideas, and I believe that, at bottom, every artist wants no more than to tell the world what he has to say. I have sometimes heard painters say that they paint 'for themselves': but I think they would soon have painted their fill if they lived on a desert island. The primary purpose of all art forms, whether it's music, literature, or the visual arts, is to say something to the outside world; in other words, to make a personal thought, a striking idea, an inner emotion perceptible to other people’s senses in such a way that there is no uncertainty about the maker's intentions."

"The result of the struggle between the thought and the ability to express it, between dream and reality, is seldom more than a compromise or an approximation. Thus there is little chance that we will succeed in getting through to a large audience, and on the whole we are quite satisfied if we are understood and appreciated by a small number of sensitive, receptive people."

"It may seem paradoxical to say that there are similarities between a poetical and a commercial mind, but it is a fact that both a poet and a businessman are constantly dealing with problems that are directly related to people and for which sensitivity is of prime importance. The business-like mind is sometimes described as being cold, sober, calculating, hard; but perhaps these are simply qualities that are necessary for dealing with people if one wants to achieve anything. One is always concerned with the mysterious, incalculable, dark, hidden aspects for which there is no easy formula, but which form essentially the same human element as that which inspires the poet."

"When someone forgets himself, this by no means makes him altruistic; when a thinking person forgets himself, he immediately also forgets his fellowman, he loses himself and his humanity by becoming engrossed in his subject. Thus he is in a sense more contemplative than a feeling person."

"As far as I know, there is no proof whatever of the existence of an objective reality apart from our senses, and I do not see why we should accept the outside world as such solely by virtue of our senses. These reality enthusiasts are possibly playing at hide-and-seek; at any rate they like to hide themselves, though they are not usually aware of it. They simply do it because they happen to have been born with a sense of reality, that is, with a great interest in so-called reality, and because man likes to forget himself."

"I do indeed believe that there is a certain contrast between, say, people in scientific professions and people working in the arts. Often there is even mutual suspicion and irritation, and in some cases one group greatly undervalues the other. Fortunately there is no one who actually has only feeling or only thinking properties. They intermingle like the colors of the rainbow and cannot be sharply divided. Perhaps there is even a transitional group, like the green between the yellow and the blue of the rainbow. This transitional group does not have a particular preference for thinking or feeling, but believes that one cannot do without either the one or the other. At any rate, it is unprejudiced enough to wish for a better understanding between the two parties... It is clear that feeling and understanding are not necessarily opposites but that they complement each other."

"In my prints I try to show that we live in a beautiful and orderly world and not in a chaos without norms, as we sometimes seem to. My subjects are also often playful. I cannot help mocking all our unwavering certainties. It is, for example, great fun deliberately to confuse two and three dimensions, the plane and space, or to poke fun at gravity. Are you sure that a floor cannot also be a ceiling? Are you absolutely certain that you go up when you walk up a staircase? Can you be definite that it is impossible to eat your cake and have it?"

"It's pleasing to realize that quite a few people enjoy this sort of playfulness and that they are not afraid to look at the relative nature of rock-hard reality."

"To tell you the truth, I am rather perplexed about the concept of "art]. What one person considers to be "art" is often not "art" to another. "Beautiful" and "ugly" are old-fashioned concepts that are seldom applied these days; perhaps justifiably, who knows? Something repulsive, which gives you a moral hangover, and hurts your ears or eyes, may well be art. Only "kitsch" is not art — we're all agreed about that. Indeed, but what is "kitsch"? If only I knew!"

"lf l am not mistaken, the words "art" and "artist" did not exist during the Renaissance and before: there were simply architects, sculptors, and painters, practicing a trade."

"I am a graphic artist heart and soul, though I find the term "artist" rather embarrassing."

"My work has nothing to do with people, nothing to do with psychology. I am much more cerebral than Willink. I do not wish to be deep at all. I know that I don't hide anything at all in this work. When Carel Willink paints a naked lady in a street, I think: what is that lady doing there?. ..the house facades give me a lugubrious impression. So it is a lugubrious street. My work is not lugubrious. If you ask Willink: 'Why are those naked mistresses there', you do not receive an answer. With me you always get an answer when you ask: why.."

"..and to think now that great mathematicians find my work interesting because I am able to illustrate their theories. They can not imagine that I was such a bad pupil in mathematics. I don't understand it myself neither. I never could understand why it was necessary to prove something that everyone already sees. I saw it, I knew it, so it is how it is… But yes, you had to prove it. I did overcome it when I realized I can make something else - I thought I was a good-for-nothing. In my family there were no other artists to find.. .I was just a weird duck, right?"

"I first made this one [open spiral in which eyes, mouth and forehead of a woman are recognizable) but I cannot stand it that something is cut off. I thought, why is that human cut off here? Then I made two of them, who have together an [interconnected] endlessness. It is also meant as a reaction against sculptors. I see them as a little inferior - no, that is not well-expressed – but sculptors are too limited. They see sculpturing as something superior, but everybody can do modeling. Drawing is much more difficult, much more immaterial."

"At moments of great enthusiasm it seems to me that no one in the world has ever made something this beautiful and important."

"I am always wandering around in enigmas. There are young people who constantly come to tell me: you, too, are making Op Art. I haven't the slightest idea what that is, Op Art. I've been doing this work for thirty years now."

"I believe that producing pictures, as I do, is almost solely a question of wanting so very much to do it well."

"I could fill an entire second life with working on my prints."

"I don't grow up. In me is the small child of my early days."

"So let us then try to climb the mountain, not by stepping on what is below us, but to pull us up at what is above us, for my part at the stars; amen."

"The things I want to express are so beautiful and pure."

"To have peace with this peculiar life; to accept what we do not understand; to wait calmly for what awaits us, you have to be wiser than I am."

"My work is a game, a very serious game."

"(1) What are the possible shapes for a tile that can produce a regular division of the plane, that is, a tile that can fill the plane with its congruent images such that every tile is surrounded in the same manner?"

"(2) Moreover, in what ways are the edges of such a tile related to each other by isometries?"

"It is a neat depiction of one of Escher's enduring fascinations: the contrast between the two-dimensional flatness of a sheet of paper and the illusion of three-dimensional volume that can be created with certain marks. In 'Drawing Hands', space and the flat plane coexist, each born from and returning to the other, the black magic of the artistic illusion made creepily manifest."

"Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms. Everybody is agreed to that, the child, the savage and the metaphysician."

"The "styles" are a lie."

"Une maison est une machine-à-habiter."

"You employ stone, wood and concrete, and with these materials you build houses and palaces. That is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good, I am happy and I say: "This is beautiful." That is Architecture. Art enters in."

"It is a question of building which is at the root of the social unrest of today: architecture or revolution."

"Modern life demands, and is waiting for, a new kind of plan, both for the house and the city."

"The Despot is not a man. It is the Plan. The correct, realistic, exact plan."

"The object of this edict is to enlighten the present and future citizens of Chandigarh about the basic concepts of planning of the city so that they become its guardians and save it from whims of individuals."

"The city of Chandigarh is planned to human scale. It puts us in touch with the infinite cosmos and nature. It provides us with places and buildings for all human activities by which the citizens can live a full and harmonious life. Here the radiance of nature and heart are within our reach."

"Vehicular traffic is completely forbidden in the green strips, where tranquility shall reign and the curse of noise shall not penetrate."

"The age of personal statues is gone. No personal statues shall be erected in the city or parks of Chandigarh. The city is planned to breathe the new sublimated spirit of art. Commemoration of persons shall be confined to suitably placed bronze plaques."

"The truthfulness of materials of constructions, concrete, bricks and stone, shall be maintained in all buildings constructed or to be constructed. The seed of Chandigarh is well sown. It is for the citizens to see that the tree flourishes."

"Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep."

"Vous savez, c'est la vie qui a raison, l'architecte qui a tort."

"A hundred times I have thought: New York is a catastrophe, and fifty times: it is a beautiful catastrophe."

"My own duty and my aim is to try and raise people out of their misery, away from catastrophe; to provide them with happiness, with a contented existence, with harmony. My own goal is to establish or re-establish harmony between people and their environment."

"命は闇の中のまたたく光だ。"

"We depict hatred, but it is to depict that there are more important things. We depict a curse, to depict the joy of liberation."

"Children understand intuitively that the world they have been born into is not a blessed world."

"I believe that children's souls are the inheritors of historical memory from previous generations. It's just that as they grow older and experience the everyday world that memory sinks lower and lower. I feel I need to make a film that reaches down to that level. If I could do that I would die happy."

"It's difficult. [My female protagonists] immediately become the subjects of rorikon gokko (play toy for Lolita Complex males). In a sense, if we want to depict someone who is affirmative to us, we have no choice but to make them as lovely as possible. But now, there are too many people who shamelessly depict [such protagonists] as if they just want [such girls] as pets, and things are escalating more and more."

"You see, whether you can draw like this or not, being able to think up this kind of design, it depends on whether or not you can say to yourself, 'Oh, yeah, girls like this exist in real life.' If you don’t spend time watching real people, you can’t do this, because you’ve never seen it. Some people spend their lives interested only in themselves. Almost all Japanese animation is produced with hardly any basis taken from observing real people, you know. It’s produced by humans who can’t stand looking at other humans. And that’s why the industry is full of otaku!"

"Most people depend on the internet and cellphones to survive, but what happens when they stop working? I wanted to create a mother and child who wouldn't be defeated by life without them."

"If it is a dying craft we can't do anything about it. Civilisation moves on. Where are all the fresco painters now? Where are the landscape artists? What are they doing now? The world is changing. I have been very fortunate to be able to do the same job for 40 years. That's rare in any era."

"Actually I think CGI has the potential to equal or even surpass what the human hand can do."

"Every morning, not in recent days, I see my friend who has a disability. It’s so hard for him just to do a high five; his arm with stiff muscle can’t reach out to my hand. Now, thinking of him, I can’t watch this stuff and find it interesting. Whoever creates this stuff has no idea what pain is. I am utterly disgusted. If you really want to make creepy stuff, you can go ahead and do it. I would never wish to incorporate this technology into my work at all. I strongly feel that this is an insult to life itself. I feel like we are nearing the end of times. We humans are losing faith in ourselves."

"God is in the details."

"Less is more."

"I don´t want to be interesting, I want to be good."

"Architecture is the will of an epoch translated into space."

"Architecture starts when you carefully put two bricks together. There it begins."

"Symmetry is the aesthetics of the stupid."

"Twenty-eight years ago, I created my first game on an Apple II in my bedroom closet at a time when the interactive entertainment industry was taking its first baby steps. Today the games business has grown to a multi-billion dollar industry and we are just at the tip of the iceberg. I'm thrilled to have been a part of this successful journey and I'm extremely honored by the Academy's Hall of Fame induction."

"Stealing is OK as long as it's done well."

"You can't trust code that you did not totally create yourself. (Especially code from companies that employ people like me.) No amount of source-level verification or scrutiny will protect you from using untrusted code."

"The press, television, and movies make heroes of vandals by calling them whiz kids. ... There is obviously a cultural gap. The act of breaking into a computer system has to have the same social stigma as breaking into a neighbor's house. It should not matter that the neighbor's door is unlocked."

"I've seen [visual] editors like that, but I don't feel a need for them. I don't want to see the state of the file when I'm editing."

"Ken Thompson was once asked what he would do differently if he were redesigning the UNIX system. His reply: "I'd spell creat with an e.""

"grep was a private command of mine for quite a while before i made it public."

"When in doubt, use brute force."

"Unix was built for me. I didn't build it as an operating system for other people, I built it to do games, and to do my stuff. I was always into games, games was my thing. I used to play pinball machines, and I would pick the lock in the back of pinball machines. Then I'd study the diagrams that I had. That's where I learned a lot of this kind of logic."

"We have persistent objects, they're called files."

"If you want to go somewhere, goto is the best way to get there."

"The X server has to be the biggest program I've ever seen that doesn't do anything for you."

"Hi, this is Ken. What's the root password?"

"'Gigabit' seems to mean 600 megabits. It's a VAX gigabit."

"There's going to be no serious problem after this."

"It does everything Unix does only less reliably."

"I am a very bottom-up thinker. If you give me the right kind of Tinker Toys, I can imagine the building. I can sit there and see primitives and recognize their power to build structures a half mile high, if only I had just one more to make it functionally complete. I can see those kinds of things."

"I think the major good idea in Unix was its clean and simple interface: open, close, read, and write."

"Unix was a very small, understandable OS, so people could change it at their will. It would run itself—you could type "go" and in a few minutes it would recompile itself. You had total control over the whole system. So it was very beneficial to a lot of people, especially at universities, because it was very hard to teach computing from an IBM end-user point of view. Unix was small, and you could go through it line by line and understand exactly how it worked. That was the origin of the so-called Unix culture."

"In Plan 9 and Inferno, the key ideas are the protocol for communicating between components and the simplification and extension of particular concepts. In Plan 9, the key abstraction is the file system—anything you can read and write and select by names in a hierarchy—and the protocol exports that abstraction to remote channels to enable distribution. Inferno works similarly, but it has a layer of language interaction above it through the Limbo language interface—which is like Java, but cleaner I think."

"I view Linux as something that's not Microsoft — a backlash against Microsoft, no more and no less. I don't think it will be very successful in the long run. I've looked at the source and there are pieces that are good and pieces that are not. A whole bunch of random people have contributed to this source, and the quality varies drastically. My experience and some of my friends' experience is that Linux is quite unreliable. Microsoft is really unreliable but Linux is worse. In a non-PC environment, it just won't hold up. If you're using it on a single box, that's one thing. But if you want to use Linux in firewalls, gateways, embedded systems, and so on, it has a long way to go."

"Anything new will have to come along with the type of revolution that came along with Unix. Nothing was going to topple IBM until something came along that made them irrelevant. I'm sure they have the mainframe market locked up, but that's just irrelevant. And the same thing with Microsoft: until something comes along that makes them irrelevant, the entry fee is too difficult and they won't be displaced."

"I think the open software movement (and Linux in particular) is laudable."

"I do believe that in a race, it is naive to think Linux has a hope of making a dent against Microsoft starting from way behind with a fraction of the resources and amateur labor. (I feel the same about Unix.)"

"I must say the Linux community is a lot nicer than the Unix community. A negative comment on Unix would warrant death threats. With Linux, it is like stirring up a nest of butterflies."

"I would try out the [C++] language [at AT&T] as it was being developed and make comments on it. It was part of the work atmosphere there. And you'd write something and then the next day it wouldn't work because the language changed. It was very unstable for a very long period of time. At some point, I said, no, no more. In an interview I said exactly that, that I didn't use it because it wouldn't stay still for two days in a row. When Stroustrup read the interview he came screaming into my room about how I was undermining him and what I said mattered and I said it was a bad language."

"[C++] certainly has its good points. But by and large I think it's a bad language. It does a lot of things half well and it’s just a garbage heap of ideas that are mutually exclusive. Everybody I know, whether it’s personal or corporate, selects a subset and these subsets are different. So it’s not a good language to transport an algorithm—to say, "I wrote it; here, take it." It’s way too big, way too complex. And it’s obviously built by a committee. Stroustrup campaigned for years and years and years, way beyond any sort of technical contributions he made to the language, to get it adopted and used. And he sort of ran all the standards committees with a whip and a chair. And he said "no" to no one. He put every feature in that language that ever existed. It wasn't cleanly designed—it was just the union of everything that came along. And I think it suffered drastically from that."

"I used to [look at the Linux source code], for Plan 9. They were always ahead of us—they just had massively more resources to deal with hardware. So when we'd run across a piece of hardware, I'd look at the Linux drivers for it and write Plan 9 drivers for it. Now I have no reason to look at it. I run Linux. And I occasionally look at code, but rarely, so I can't really tell whether the quality has gotten better or not [since 1999]. But certainly the reliability has gotten better."

"When the three of us [Thompson, Rob Pike, and Robert Griesemer] got started, it was pure research. The three of us got together and decided that we hated C++. [laughter] ... [Returning to Go,] we started off with the idea that all three of us had to be talked into every feature in the language, so there was no extraneous garbage put into the language for any reason."

"Ken has always been a problem solver and a tool builder. He is equally excited by games, puzzles, and technology creation, and I don't think he really distinguishes among them."

"Ritchie and Thompson made an amazing team; and they played Unix and C like a fine instrument. They sometimes divided up work almost on a subroutine-by-subroutine basis with such rapport that it almost seemed like the work of a single person. In fact, as Dennis has recounted, they once got their signals crossed and both wrote the same subroutine. The two versions did not merely compute the same result, they did it with identical source code! Their output was prodigious. Once I counted how much production code they had written in the preceding year − 100,000 lines! Prodigious didn’t mean slapdash. Ken and Dennis have unerring design sense. They write code that works, code that can be read, code that can evolve."

"I am a believer and a conformist. Anyone can revolt; it is more difficult silently to obey our own interior promptings, and to spend our lives finding sincere and fitting means of expression for our temperaments and our gifts — if we have any. I do not say "neither God, nor Master," only in the end to substitute myself for the God I have excommunicated...""

"Like the ostrich, head under wing When the roaring storm breaks, So many people take refuge Under the soft pillow Of specious arguments."

"A painter who loves his art must be careful not to see too much of critics and men of letters. These gentlemen, however unconsciously, distort everything, thinking that they are explaining it — the artist's thought, sensibility, and intensions. They take away his strength, just as Delilah took away Samson's. They have no gift for nuances, and they have an instinctive aversion for everything that is beyond their reach and baffles them."

"Nothing is old, nothing is new, save the light of grace underneath which beats a human heart. The way of feeling, of understanding, of loving; the way of seeing the country, the faces that your father saw, that your mother knew. The rest is chimerical...""

"Often pagans, with their eyes wide open, do not see very clearly."

"Painting for me is merely a means of forgetting life. It is a cry in the night. A sob broken off. A strangled laugh."

"The richness of the world, all artificial pleasures, have the taste of sickness and give off a smell of death in the face of certain spiritual possessions."

"The artist discards all theories, both his own and those of others. He forgets everything when he is in front of his canvas."

"The conscience of an artist worthy of the name is like an incurable disease which causes him endless torment but occasionally fills him with silent joy …"

"The painter who loves his art is ruler in his own kingdom, even if he be in Lilliput and a Lilliputian himself. He transforms a kitchen maid in to a fairy, and a great lady into a brothel matron, if he wants to and sees them so, for he is a seer. His vision includes everything that is alive in the past."

"The old masters are perfect and admirable examples, on condition that we remember that the spirit gives life and the letter kills, and that even the best pastiche is inferior to the harmonious stammering or incoherence of a child trying to speak."

"Very often design is the most immediate way of defining what products become in people's minds."

"The memory of how we work will endure beyond the products of our work."

"The defining qualities are about use: ease and simplicity. Caring beyond the functional imperative, we also acknowledge that products have a significance way beyond traditional views of function."

"The more I learnt about this cheeky – almost rebellious – company, the more it appealed to me, as it unapologetically pointed to an alternative in a complacent and creatively bankrupt industry. Apple stood for something and had reason for being that wasn't just about making money."

"There's an applied style of being minimal and simple, and then there's real simplicity. This looks simple, because it really is."

"I think so many of the objects we're surrounded by seem trivial. And I think that's because they're either trying to make a statement or trying to be overtly different. What we were trying to do was have a very honest approach and an exploration of materials and surface treatment. So much of what we try to do is get to a point where the solution seems inevitable: you know, you think "of course it's that way, why would it be any other way?" It looks so obvious, but that sense of inevitability in the solution is really hard to achieve."

"It's sad and frustrating that we are surrounded by products that seem to testify to a complete lack of care. That's an interesting thing about an object. One object speaks volumes about the company that produced it and its values and priorities."

"Being superficially different is the goal of so many of the products we see . . . rather than trying to innovate and genuinely taking the time, investing the resources and caring enough to try and make something better."

"I think there's almost a belligerence - people are frustrated with their manufactured environment. We tend to assume the problem is with us, and not with the products we're trying to use. In other words, when our tools are broken, we feel broken. And when somebody fixes one, we feel a tiny bit more whole."

"It’s not too shabby is it?"

"We have always thought about design as being so much more than just the way something looks. It's the whole thing: the way something works on so many different levels. Ultimately, of course, design defines so much of our experience."

"I think there is a profound and enduring beauty in simplicity; in clarity, in efficiency. True simplicity is derived from so much more than just the absence of clutter and ornamentation. It's about bringing order to complexity."

"To create something that's genuinely new, you have to start again, and I think with great intent, you disconnect from the past."

"With a father who is a fabulous craftsman, I was raised with the fundamental belief that it is only when you personally work with a material with your hands, that you come to understand its true nature, its characteristics, its attributes, and I think – very importantly – its potential."

"I think a beautiful product that doesn't work very well is ugly."

"Paying attention to what’s happened historically actually helps give you some faith that you are going to find a solution. Faith isn’t a surrogate for engineering competence, but it can certainly help fuel the belief that you’re going to find a solution. And that’s important."

"My father was a really good craftsman – he was a silversmith – so I grew up understanding how things were made. That’s something that’s easy to take for granted, but everything that has been made has been thought about, designed, and I think that growing up with an appreciation of the nature of objects was hugely influential to me."

"When conventions are old, there's quite a good reason, it's not arbitrary. So Picasso discovered that, as it were, and I'm sure that for him that was probably almost as exciting as discovering Cubism, rediscovering conventions of ordinary appearance, one-point perspective or something. The purists think you're going backwards, but I know you'd go forward. Future art that is based on appearances won't look like the art that's gone before. Even revivals of a period are not the same. The Renaissance is not the same as ancient Greece; the Gothic revival is not the same as Gothic. It might look like that at first, but you can tell it's not. The way we see things is constantly changing. At the moment the way we see things has been left a lot to the camera. That shouldn't necessarily be."

"Before he did all those lovely line drawings, Matisse would make really detailed charcoal drawings and tear them up. He wouldn't leave them about, he thought of them as working drawings. I understand what he was doing: discovering what's there. And then when you come to use line, if you know what you're looking at, it's much easier to make the line meaningful, to find a linear solution to what you want to depict."

"What I always longed to do was to be able to paint like I can draw, most artists would tell you that, they would all like to paint like they can draw."

"I've started painting much more freely, and faster. I think it's working in the theatre that did it. You know what the Glyndebourne scene-painters said about my The Magic Flute? They said they had to wear sunglasses to paint it."

"In one gallery they actually had a notice which said "No Sketching." How obnoxious! I said, "How do you think these things got on the walls if there was no sketching?""

"Television is becoming a collage — there are so many channels that you move through them making a collage yourself. In that sense, everyone sees something a bit different."

"If we are to change our world view, images have to change. The artist now has a very important job to do. He's not a little peripheral figure entertaining rich people, he's really needed."

"We live in an age where the artist is forgotten. He is a researcher. I see myself that way."

"In the end nobody knows how it's done — how art is made. It can't be explained. Optical devices are just tools. Understanding a tool doesn't explain the magic of creation. Nothing can."

"I usually only draw myself in down periods. I do, actually. I suppose that's why I often draw myself looking grim. I just think, "Let's have a look in the mirror." When you are alone and you look in a mirror you never put on a pleasing smile. Well, you don't, do you?"

"He [Hockney's father] hardly ever left Bradford. He was a member of CND and a socialist with a rather romantic and naive idea of what Soviet Russia was like, all cornfields and ballet. He would have gone mad for email because he was always sending letters to world leaders — Eisenhower, Mao, Stalin — telling them what was what. I think he imagined the Politburo would hold up his letter and say, "Hold everything, Kenneth Hockney has written again!""

"It sometimes takes a foreigner to come and see a place and paint it. I remember someone saying they had never really noticed the palm trees here until I painted them."

"Interviewer: Love is certainly at the center of tolerance. They're intertwined, in a certain way. It helps you appreciate difference. Hockney: Yes. And that's probably why I do portraits. Everybody's different; they look different, and are different. Maybe deep, deep down we're all the same. But on the surface we seem to be different, don't we?"

"With chemical film, it was possible to alter photographs, but you had to be an expert. That's not true any more. The LA Times fired a photographer at the beginning of the Iraq War for editing two shots together. Photography is crumbling. Certainly it is for the newspapers a bit now, isn't it? There will be painting again, absolutely!"

"I can get excitement watching rain on a puddle. And then I paint it. Now, I admit, there are not too many people who would find that exciting. But I would. And I want life thrilling and rich. And it is. I make sure it is."

"I'm aware it's now a hostile city [New York City]. I feel I'm in school, actually. There are signs everywhere you don't get in any other city. When you see all the smokers outside a building in New York, I just think the building is full of bad-mannered people who haven't thought, "We'll give them a little room to smoke in." That's what a reasonable person, a person with good manners, would do."

"There's no doubt you smoke to calm yourself. I know I do. That's my decision about how I keep calm. I prefer that to Prozac. In fact I think it's healthier. I couldn't go to another New York party where they're all drinking water and on Prozac and telling you off for smoking."

"How can Blair fight a war on terror? Terror is not an ideology or an army; terror is a technique."

"Teaching people to draw is teaching people to look."

"The choice is not between drugs and no drugs, but between illegal drugs and legal drugs. Until the 1920s drugs were legal, why not now? Lots of people are on drugs anyway — it is called medication."

"All art is contemporary, if it's alive. And if it's not alive, what's the point of it?"

"How difficult it is to learn not to see like cameras, which has had such an effect on us. The camera sees everything at once. We don't. There's a hierarchy. Why do I pick out that thing, that thing, that thing?"

"Any artist will tell you he's really only interested in the stuff he's doing now. He will, always. It's true, and it should be like that."

"Controlling complexity is the essence of computer programming."

"The most effective debugging tool is still careful thought, coupled with judiciously placed print statements."

"Everyone knows that debugging is twice as hard as writing a program in the first place. So if you're as clever as you can be when you write it, how will you ever debug it?"

"Do what you think is interesting, do something that you think is fun and worthwhile, because otherwise you won't do it well anyway."

"Advice to students: Leap in and try things. If you succeed, you can have enormous influence. If you fail, you have still learned something, and your next attempt is sure to be better for it. Advice to graduates: Do something you really enjoy doing. If it isn’t fun to get up in the morning and do your job or your school program, you’re in the wrong field."

"C is a razor-sharp tool, with which one can create an elegant and efficient program or a bloody mess."

"Mechanical rules are never a substitute for clarity of thought."

"Associative arrays are very very useful things and if you are only going to have one data structure that's the one to have. Because you could build everything else with it if you want."

"Outrageous luxury is what our clients want!"

"I learned my trade by going out every evening as a young man," he told art historian Rosamond Bernier. "I went to every pretty house in France and Italy and other places too, and I remembered them all, even down to what was on each little table."

"As I've gone through life, I've found that your chances for happiness are increased if you wind up doing something that is a reflection of what you loved most when you were somewhere between nine and eleven years old."

"I took a trip to Florence and Rome in October and in the spring I will probably go to Florence to live as it is the city I like the most. I have been working and studying a lot and I now have very different goals than before.."

"What I have created here in Italy is neither very big nor profound (in the old sense of the word), but formidable. This summer I painted paintings that are the most profound that exist in the absolute. Let me explain these things somewhat.. .. profoundness as I understand it, and as Nietzsche intended it, is elsewhere than where it has been searched for until now. – My paintings are small (the biggest is 50 x 70 cm), but each of them is an enigma, each contains a poem, an atmosphere (Stimmung) and a promise that you can not find in other paintings. It brings me immense joy to have painted them – when I exhibit them, possibly in Munich this spring, it will be a revelation for the whole world"

"You misunderstood my words when I said that Michelangelo was a stupid artist.. .Because I have drunk from another source and a new and marvelous thirst burns my lips – how can I still believe in such artists?! I know what you are thinking when you ask me: 'isn't David a superman? This is how I used to feel, this is what I used to think. The majority of the world's great spirits thought it so.. ..but now a new air has entered my soul, a new song has reached my ears and the whole world appears totally changed – the autumn afternoon has arrived, the long shadows, the clear air, the serene sky –, in a word: Zarathustra has arrived, do you understand??.. ..It is only with Nietzsche that I can say I have begun a real life."

"I exhibited three paintings at the Salon d'Automne exhibition [Paris], which is the most interesting exhibition I have seen until now. Much more interesting than the Secession [in München]. My paintings [two words cancelled] were noticed and praised by the art critics. I think I will be very famous here in a few years time. Reading my name in the newspapers and seeing people notice my paintings and write about them has given me new and strange joy. – Paris is a beautiful city. Why do you remain in the monotony of Munich's heavy atmosphere? Here one can find everything one desires. Everything is refined and has spirit and everyday one learns something new. .The French are more intelligent than I thought. They laugh a lot, but they understand better than the Germans what is refined, strange and outside the ordinary."

"..the flat surface of a perfectly calm ocean [which] disturbs us.. ..by all the unknown that is hidden in the depth."

"To become truly immortal a work of art must escape all human limits: logic and common sense will only interfere. But once these barriers are broken it will enter the regions of childhood vision and dream."

"It is most important that we should rid art of all that it has contained of ‘recognizable material’ to date, all familiar subject matter, all traditional ideas, all popular symbols must be banished forthwith. More important still, we must hold enormous faith in ourselves; it is essential that the revelation we receive, the conception of an image which embraces a certain thing, which has no sense in itself, which has no subject, which means ‘absolutely nothing’ from the logical point of view.. ..should speak so strongly in us, evoke such agony or joy, that we feel compelled to paint."

"Profound statements must be drawn by the artist from the most secret recesses of his being; there no murmuring torrent, no birdsong, no rustle of leaves can distract him."

"What I hear is valueless; only what I see is living, and when I close my eyes my vision is even more powerful."

"Perhaps the most amazing sensation passed on to us by prehistoric man is that of presentiment. It will always continue. We might consider it as an eternal proof of the irrationality of the universe. Original man must have wandered through a world full of uncanny signs. He must have trembled at each step."

"I remember one vivid winter’s day at Versailles. Silence and calm reigned supreme,. Everything gazed at me with mysterious, questioning eyes. And then I realized that every corner of the palace, every column, every window possessed a spirit, an impenetrable soul. I looked around at the marble heroes, motionless in the lucid air, beneath the frozen rays of that winter sun which pours down on us 'without love', like perfect song."

"The structure of cities, the architecture of houses, squares, gardens, public walks, gateways, railway stations, etc – all these provide us with the basic principles of a great Metaphysical aesthetic.. .We, who live under the sign of the Metaphysical alphabet, we know the joy and sorrows to be found in a gateway, a street corner, a room, on the surface of a table, between the sides of a box…"

"Perfect knowledge of the space an object should occupy in a picture, and of the space that separates one object from another, establishes a new astronomy of things attached to our planet by the magic law of gravity. Canons of the Metaphysical aesthetic lie in the minutely-accurate and precisely-estimated use of surfaces and volumes.. ..We are building in paint a new Metaphysical psychology of things."

"A work of art must narrate something that does not appear within its outline. The objects and figures represented in it must likewise poetically tell you of something that is far away from them and also of what their shapes materially hide from us. A certain dog painted by Courbet (French 19th century painter) is like the story of a poetic and romantic hunt. (1919)"

"Everything has two aspects: the current aspect, which we see nearly always and which ordinary men see, and the ghostly and metaphysical aspect, which only rare individuals may see in moments of clairvoyance and metaphysical abstraction. (1919)"

"Among the many senses that modern painters have lost, we must number the sense of architecture. The edifice accompanying the human figure, whether alone or in a group, whether in a scene from life or in an historical drama, was a great concern of the ancients. They applied themselves to it with loving and severe spirit, studying and perfecting the laws of perspective. A landscape enclosed in the arch of a portico or in the square or rectangle of a window acquires a greater metaphysical value, because it is solidified and isolated from the surrounding space. Architecture completes nature. (1920)"

"..can you [contemporary painters] ever get close, even vaguely, to the solidity, the transparency, the lyric strength of colour, to the clarity, the mystery, the emotion of any of the paintings of Fra Angelico, Piero della Francesca, Botticelli, Dürer, Holbein or of young Raphael? Friends, have you ever realized that with the oil colours used today this is absolutely impossible?. ..In the museums of Europe I have observed the work of the Flemish painters at length – those earlier, later as well as contemporary to the [brothers] Van Eycks – and I am convinced that the above mentioned brothers were not the discoverers of oil paint in its true sense, as is held today, but that what they did was introduce oil in emulsion with other substances, especially live and fossil resins, into so-called oil tempera emulsion, which was already known in the Flanders, to enable them through the use of veiling to give a greater finish, cleanliness and strength of colour to their painting. 'These oils which are their tempera' said Vasari, speaking of the Flemish [painters] in his Life of Antonello; and without doubt he was alluding to Flemish oil tempera emulsion, but it is sure, absolutely sure, that.. ..we are dealing with.. ..a tempera based mixture (egg, glue, resin, tempera etc) in which oil was only used as a means of unity and for the finish of the painting."

"Dear Mr. Rosenberg [art-dealer in Paris, then], - Many thanks for your good letters which are a great encouragement to me. I assure you that you are the man who has encouraged me the most so far. Please excuse the tone of declaration. I will also show my gratitude when I am in Paris by doing a good life-size portrait of you, or of a member of your family if you prefer, and I would like you to accept it as a gift. I intend to be in Paris around 15 November. My mother and my brother send their best wishes. - Mr. Rosenberg, please accept my devotion, esteem and gratitude."

"Dear Mr. Rosenberg - I was very surprised this morning that you refused to give me 2,000 fr. especially given that I had told you that my wife was gravely ill in Berlin and that I needed to leave immediately. You probably thought it was a tale I was telling you in order to shave some money off the sum that you owe me; to prove to you that this is not the case, I enclose with this letter a telegram that I received this morning. Strong though the crisis may be and as strongly as you may have applied the brakes, it is not possible that you are not able to find 1,000 fr. for a painter with whom you have done business for six years now and who (I dare hope) enjoys all your esteem; especially given that the said painter tells you that his wife is seriously ill and that he needs to leave. I should tell you that in general the way you act in these times of crises is not particularly heroic."

"Painting is the magic art, the fire set alight on the windows of the rich dwelling, as on those of the humble hovel, from the last rays of the setting sun, it is the long mark, the humid mark, the fluent and still mark that the dying wave etches on the hot sand, it is the darting of the immortal lizard on the rock burnt by the midday heat, it is the rainbow of conciliation, on sad May afternoons, after the storm has passed, down there, making a dark backdrop to the almond trees in flower, to the gardens with their washed colours, to the ploughmen's huts, smiling and tranquil, it is the livid cloud chased by the vehement blowing of Aeolus enraged, it is the nebulous disk of the fleeting moon behind the ripped-open funereal curtain of a disturbed sky in the deep of night, it is the blood of the bull stabbed in the arena, of the warrior fallen in the heat of battle, of Adonis' immaculate thigh wounded by the obstinate boar's curved tusk, it is the sail swollen with the winds of distant seas, it is the centuries-old tree browned in the autumn.."

"..I will endeavour to make clear to men of good will what the word 'material' means with regard to painting and that, without the material substance of paint, a painting is not a work of art but merely a decorative object, or rather, if it deals with an invented painting, the value of the image resides in its spiritual content. In order to be a work of art, a painting must be very well painted and the good quality of the paint depends completely on the material substance of the paint with which it is executed. This matter, which constitutes the substance of painting, is composed of two elements which are equally important and absolutely inseparable: physical substance and metaphysical substance. These two elements complete each other reciprocally and when they are of a superior quality, create a masterpiece by way of their absolute harmony."

"We must also point out that it is precisely the metaphysical element of painting that provokes the creation of a physical substance that corresponds to its necessities, a material that permits the metaphysical element to manifest itself in the painted form it desires."

"Apollinaire asserted that Chirico's first paintings were done under the influence of kinesthetic disorders (migraines, colic, etc.)"

"De Chirico found himself in 1912 confronted with the problem of following one of the roads already opened or of opening a new road. He avoided Fauvism as well as Cubism and introduced what could be called 'metaphysical painting'. Instead of exploiting the coming medium of abstraction, he organized on his canvases the meeting of elements which could only meet in a 'metaphysical world'. These elements, painted in the minutest technique, were 'exposed' on a horizontal plane in orthodox perspective. This technique, in opposition to the Cubist or the purely abstract formula in full bloom at the moment, protected de Chirico’s position and allowed him to lay down the foundation of what was to become Surrealism ten years later."

"Since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art."

"Sane judgment abhors nothing so much as a picture perpetrated with no technical knowledge, although with plenty of care and diligence. Now the sole reason why painters of this sort are not aware of their own error is that they have not learnt Geometry, without which no one can either be or become an absolute artist; but the blame for this should be laid upon their masters, who are themselves ignorant of this art."

"Whoever … proves his point and demonstrates the prime truth geometrically should be believed by all the world, for there we are captured."

"But I shall let the little I have learnt go forth into the day in order that someone better than I may guess the truth, and in his work may prove and rebuke my error. At this I shall rejoice that I was yet a means whereby this truth has come to light."

"The new art must be based upon science — in particular, upon mathematics, as the most exact, logical, and graphically constructive of the sciences."

"There is no man on earth who can give a final judgment on what the most beautiful shape may be. Only God knows."

"My father suffered much and toiled painfully all his life, for he had no resources other than the proceeds of his trade from which to support himself and his wife and family. He led an honest, God-fearing life. His character was gentle and patient. He was friendly towards all and full of gratitude to his Maker. He cared little for society and nothing for worldly amusements. A man of very few words and deeply pious, he paid great attention to the religious education of his children. His most earnest hope was that the high principles he instilled into their minds would render them ever more worthy of divine protection and the sympathy of mankind. He told us every day that we must love God and be honourable in our dealings with our neighbours."

"My name is Schwitters, Kurt Schwitters.. .I'm a painter and I nail my pictures.. .I'd like to be accepted into the Dada Club"

"Merz art strives for immediate expression by shortening the path from intuition to visual manifestation of the artwork.. ..they will receive my new work as they always have when something new presents itself: with indignation and screams of scorn."

"Merz paintings are abstract works of art. The word 'Merz' essentially means the totality of all imaginable materials that can be used for artistic purposes and technically the principle that all of these individual materials have equal value. Merz art makes use not just of paint and canvas, brush and palette, but all the materials visible to the eye and all tools needed.. ..the wheel off a pram, wire mesh, string and cotton balls – these are factors of equal value to paints. The artist creates by choosing, distributing and reshaping the materials."

"Merz stands for the freedom of all fetters.. .Merz also means tolerance towards any artistically motivated limitation. Every artist must be allowed to mould a picture out of nothing but blotting paper, for example, provided he is capable of moulding a picture."

"In his introduction to the recently published 'Dada Almanach' [1920], Huelsenbeck writes: 'Dada is making a kind of propaganda against culture'. Thus Huelsendadaismus is politically oriented, against art and against culture. I am tolerant and allow everyone his own view of the world, but am compelled to state that such an outlook is alien to Merz. Merz aims, as a matter of principle, only at art, because no man can serve two masters.. .. Merz energetically and as a matter of principle rejects Herr Huelsenbeck's inconsequential and dilettantish views on art."

"The medium is as unimportant as I myself. Essential is only the forming.. .I take any material whatsoever if the picture demands it. When I adjust materials of different kinds to one another, I have taken a step in advance of mere oil painting, for in addition to playing off color against color, line against line, form against form etc., I play off material against material, wood against sack clothes."

"We, the founders of Dada-movement try to give time its own reflection in the mirror."

"Art is a spiritual function of man, which aims at freeing him from life's chaos. Art is free in the use of its means in any way it likes, but is bound to its laws and to its laws alone. The minute it becomes art, it becomes much more sublime than a class distinction between proletariat and bourgeoisie."

"Today every child knows what Merz is. But what is 'i'? I is the middle vowel of the alphabet and the designation for the consequence of Merz in relation to an intensive apprehension of the art form. For the shaping of the work of art Merz uses large ready-made complexes that count as material, to shorten as much as possible the path leading from the intuition to the actualization (Sichtbarmachung) of the artistic idea, so as to avoid heat loss through friction. i defines this path as o (i setzt diesen Weg = null). Idea, material, and work of art are the same. i apprehends the work of art in nature. Here the artistic shaping is the recognition of rhythm and expression in a part of nature. Thus, no loss through friction i.e., no disturbing distraction during creation occurs here."

"Kurt Schwitters is the inventor of Merz and I, and aside of himself, he recognizes no one as a Merz artist or an I artist with highest regards."

"Classical poetry counts on people's similarity. It regards idea associations as unequivocal. This is a mistake. In any case, it rests on a fulcrum of idea associations: 'Above the peaks is peace.'.. .The poet counts on poetic feelings. And what is a poetic feeling? The whole poetry of peace / quiet stands or falls on the reader's ability to feel. Words are not judged here."

"Consistent poetry is made of letters. Letters have no idea. Letters as such have no sound, they offer only tonal possibilities, to be valuated by the performer. The consistent poem weighs the value of both letters and groups."

"It is not the word that is the original material of poetry, rather the letter."

"I cannot make a living out of art and I now occupy myself with a variety of things. Of course, I continue to paint and to nail, but in particular I write grotesques and art reviews for newspapers, I organize evenings [a.o. with Theo van Doesburg ] and draw commercial art for newspapers."

"Just as soon as the great and glorious Revolution broke out [1918 - after World War 1.] I gave notice and now live entirely for art. For a while, I tried to create new forms of art from the remains of the old culture. From this Merz painting emerged, painting that happily used every material – Pelikan [was a famous ink mark, then] colors or the rubbish from the rubbish heap. So I experienced the Revolution in the most delightful way and pass for a Dadaist, without being one. As a result, I could introduce Dadaism in Holland [together with Theo van Doesburg and his wife Nele] with complete impartiality. In Holland I became familiar with architecture for the first time."

"Eternity last longest."

"So, Huelsenbeck has put our feud in print -- HA HA So he sneers at my bourgeois home -- my child who cries, who has to be changed and fed So he laughs at my solid wife -- that she's no Anna Bloom..."

"Well, art is not communist -- not bourgeois either It's no club and has no party line Not wild nights make an artist -- not drugs or manifestos It's art -- HA HA -- that's no secret The one who makes art -- he's the artist.."

"So I spit back at you, Huelsenbeck But where you spit venom, I spit art I laugh at you -- HA HA -- I laugh at you"

"In the war [World War 1.] things were in terrible turmoil. What I had learned at the academy was of no use to me and the useful new ideas were still unready.. .I felt myself freed and had to shout my jubilation out to the world. Out of parsimony I took what I could find to do this, because we were now an impoverished country. One can even shout with refuse, and this is what I did, nailing and gluing it [gluing his collage art] together. I called it 'Merz'; it was a prayer about the victorious end of the war, victorious as once again peace had won in the end; everything had broken down in any case and new things had to be made out of the fragments; and this is Merz. [quote, 1930]"

"I know that I am an important factor in the development of art and shall forever remain so. I say this with great emphasis, so that one can not say, at a later date: 'The poor fellow had no inkling of how important he was'. No I am no fool, nor am I timid. I know full well that the time will come for me and all other important personalities of the abstract movement, when we will influence an entire generation. However, I fear that I shall not experience this."

"Nevertheless I like being in Norway [to escape the Nazi threat Schwitters fled to Norway, c. 1937], for it is a country of unparalleled beauty.. .I paint landscapes and portraits, model portrait, glue and paint abstract pictures and glue abstract plastic art; besides, I write poetry in German.. .What distresses me most of all is that I cannot live in my 'Merzraum' [a sculptured studio-space, Schwitters had built in Germany in the 1920's, but bomb-damaged in the war] and that it may be given up to destruction. For that reason I ask you once more, can you keep your ear to the ground again, to see if anyone in America is willing to give me an opportunity to shape a three-dimensional room?"

"The custom official was desperate, he did not know whether they were pictures, wood ware or even arms [about his abstract collage art, Schwitters exported to France in 1939]. I got the impression he had an inner struggle with two options, either to have me arrested or to call the lunatic asylum. Finally he did not want to make a fool of himself, and accepted they were paintings, especially because another customs official knew me personally and confirmed that I was an artist."

"Fümms bö wö tää zää Uu, pögiff, Kwii Ee."

"Oooooooooooooooooooooooo,"

"dll rrrrr beeeee bö dll rrrrr beeeee bö fümms bö, rrrrr beeeee bö fümms bö wö, beeeee bö fümms bö wö tää, bö fümms bö wö tää zää, fümms bö wö tää zää Uu:"

"Dedesnn nn rrrrr, Ii Ee, mpiff tillff too, tillll, Jüü Kaa?"

"Rinnzekete bee bee nnz krr müü? ziiuu ennze, ziiuu rinnzkrrmüü, rakete bee bee,"

"Rrummpff tillff toooo?"

"A museum that really wants to promote modern art might give the artist a guaranty, on certain conditions, so that he can get on with his life and his creations. Or do you believe that the museum is more interested in the artist's death, in order to see the price of his paintings go up?"

"Please help me, in order to get us invited [to the United States]. Helma [his wife] will then come later and I will work there and soon pay back the people who lend me the money. But finally I must get out of this internment [because the English mistrusted Schwitters, being a German] and further away from Norway, I want to be with all of you. Please get it done quickly and write to me about the outcome. Maybe my art is in danger and I, of course, with it. At last I would like to work on my abstracts again and find appreciation for them. Who knows what will happen?"

"I was thrilled, and I mean really thrilled, when I read that parts of the Merzbau could still be buried under the ruins. Whatever the circumstances. I will try and come to Hannover to salvage it.. ..wait until I arrive, for the Merzbau is made of plaster of Paris and could easily be damaged. However by working slowly I am sure I can save parts. And it is certainly worth it, because it [his 'Merzbau'] is my life's work. And in the opinion of people abroad it was seen as a new form of art."

"In Hanover I built, before Hitler's time, a studio called Merzbau. This has been reproduced very much, also in the book 'Dada, Surrealism, Fantastic Art' of the Museum of Modern Art N.Y. I would like to go to Germany for restoring the Merzbau.. .Could I come with you to an agreement that you give me for this purpose some money? For example that I give you some pictures for the money and use it for restoring the studio.. .Or would you prefer that you own with me half and half?.."

"Since the loss of the Merzbau [his former studio in Hannover, which was a big sculpture (5 x 4 x 4,5 meters) I did a lot of small sculptures.."

"I have two principle aims, two life works. The second is my sonata [Schwitters' 'UrSonata' - a long sound poem of 35 minutes]"

"When I was born 20.6.[18]87, I was influenced by Picasso to cry. When I could walk and speak I still stood under Picasso's influence and said to my mother: 'Tom' or 'Happening', meaning the entrances of the canal under the street. My lyrical time was when I lived in the Violet Street. I never saw a violet. That was my influence by Matisse because when he painted rose I did not paint violet. As a boy of ten I stood under Mondrian's influence and built little houses with little bricks. Afterwards I stood under the influence of the Surrealists.. .I never stood under the influence of Dadaism because whereas the Dadaist created Spiegel-dadaismus (Mirror-Dada) on the Zurich Lake, I created MERZ on the Leine-river, under the influence of Rembrandt. Time went on, and when Hans Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealists.. ..and at all I have much fun about Art."

"One needs a medium. The best is, one is his own medium. But don't be serious because seriousness belongs to a passed time. This medium, called you yourself will tell you to take absolutely the wrong material. That is very good, because only the wrong material used in the wrong way, will give the right picture, when you look at it from the right angle. Or the wrong angle. That leads us to the new ism: Anglism. The first art starting from England [the country of Schwitters' forced stay, when he wrote this quote], except the former shapes of art."

"Dada rejects emphatically and as a matter of principle works like the famous 'Anna Blume' [poem, published in 1919] of Kurt Schwitters"

"Whatever became of Kurt Schwitters' novel Franz Müllers Drahtfrühling (Franz Müller's Wire Spring), several chapters of which we composed together? Is it buried under the bomb ruins of his house on Waldhausenstrasse in Hannover? For hours, Schwitters and I [Hans Arp] sat together and spun dialogue, in rhapsody. He took these writings and channeled them into his novel.. .We sat together again, writing Franz Müllers Drahtfrühling:"

"Then we went down to his work room, in the horrible beautiful Merz grotto [Merz-Haus / MerzBau, built by Schwitters in Hannover as his studio], where broken wheels paired with matchboxes, wire lattices with brushes without bristles, rusted wheels with curious Merz cucumbers.. .How often did we 'p-lay' in this room! Schwitters called playing, considering the sweat, working. There we glued [collages] together our paper pictures, and as I tossed away one of my glued-together works one morning, Schwitters asked, 'You don't like it? Can I have it?' – 'What do you want with this failed piece of toast?' Schwitters took a good look at it and said, 'I'll put what's on top on the bottom, I'll stick a little Merz nose in this corner and I'’ll sign the bottom Kurt Schwitters.' And, yes indeed, this collage became a wonderful picture by Kurt Schwitters. Schwitters was a wizard, just as Hokusai was a wizard."

"It needs a poet like Schwitters to show us that unobserved elements of beauty are strewn and spread all around us and we can find them everywhere in the portentous as well as in the insignificant, if only we care to look, to choose and to fit them into a comely order."

"One of my first sculptures was made of bicycle parts. I was living at that time in a attic in the red light section of Amsterdam. I started to work without any specific materials. I was looking in the street, like when I was a young boy, in the garbage cans, for ropes, wires, and paint. I left my parents in 1940. Years later I saw an exhibition of Kurt Schwitters at the Stedelijk Museum in Amsterdam curated by w:Willem Sandberg and there I saw the real 'objet trouvé'; until then I had never heard about it. Schwitters was a shattering experience."

"I am working in Paris. I cannot for a single day get the thought out of my head that there probably exists something essential, some immutable reality, and now that I have lost everything else (thank God, it gets lost all on its own) I am trying to preserve this and, what is more, not to be content. In a word: I am working."

"For me, Christ has always symbolized the true type of the Jewish martyr. That is how I understood him in 1908 when I used this figure for the first time.. .It was under the influence of the pogroms. Then I painted and drew him in pictures about ghettos, surrounded by Jewish troubles, by Jewish mothers, running terrified with little children in their arms."

"If Russian painters were condemned to become the pupils of the West they were, I think, rather unfaithful ones by their very nature. The best Russian realist conflicts with the realism of Courbet. The most authentic Russian Impressionism leaves on perplexed if one compares it with Monet and Pissaro. Here, in the Louvre, before the canvases of Manet, Millet and others, I understood why my alliance with Russia and Russian art did not take root. Why my language itself is foreign to them. Why people do not place confidence in me. Why the artistic circles fail to recognize me. Why in Russia I am entirely useless.. .In Paris, it seemed to me that I was discovering everything, above all a mastery of technique.. .It was not in technique alone that I sought the meaning of art then. It was as if the gods had stood before me.. .I had the impression that we are still only roaming on the surface of matter, that we are afraid to plunge into chaos, to shatter and overthrow beneath our feet the familiar surface. (reaction on his first arrival in Paris, 1910)"

"In response I am sending you some pictures which I painted in Paris out of homesickness for Russia. They are not very typical of me; I have selected the most modest ones for the Russian exhibition."

"My works are dear to me, each in its own way, I shall have to answer for them on the Day of Judgement. God alone knows whether I shall ever see them again. Quite apart from the money which I was going to receive for their sale there (exhibition in Gallery Der Sturm, Berlin June-July, 1914) and it is no small sum.."

"The sun has only ever shone for me in France (it certainly did that!). I have got used to beating the streets of Paris, happy beyond words dreaming of a life 125 years long - with the Louvre radiant in the distance. (Chagall couldn't go back to Paris because of the outbreak of the first World War in 1914). Having ended up in the Russian provinces, << I have decided to die >>."

"..But it doesn't frighten me, because I studied in France, thank God, and I know of no artist in history who was not 'literary' when it came down to it. Not a single one. And even if they don't appear to be, I know of none and you at least don't recall them, because there is nothing to recall.. .Sometime or other I'd like to see a << pure >> artist, but I didn't even find one in France. Obviously the trouble is that one approaches painting from the other side, so that the word << sujet >> conceals the point of the thing. Yet even the most beautiful and << emptiest >> sujet (an apple, a grape or any << non-figurative painting >>) doesn't help if there are no foundations, either innate or acquired through hard work.. .Why don't we say clearly: << That is freedom, and this is commitment to the subject >> and << to each tree its berries >>, but let it be a tree and not a donkey.."

"Or is all this fuss actually important for << art history >>? Oh, no, never. If things only ever originated as a result of such competition (between subject- and subjectless art) , it wouldn't be worth living among them, like an accidental, capricious toy. Clearly there is a greater, a more serene and more modest power, but we are either too lazy to live by its laws, or we have no time, or it "hurts too much"."

"At present there is an extremely exaggerated formation of groups (students on the School of Art in Vitebsk) around 'trend'; there are 1. young people following Malevich and 2. young people following me. We both belong to the left-wing artistic movement, although we have different ideas about ends and means. Obviously it would take too long to talk about this problem now.. .But there is one thing I will tell you: Although I was born in Russia - and what is more: in the "settlement territory" – I was trained abroad and am all the more sensitive to everything that is taking place here in the field of art (the fine arts). The memory of the splendour of the original is much to painful for me..[to live – crossed out]"

"Now at least 'artists have the upper hand' in the town (Vitebsk). They get totally engrossed in their disputes about art (between constructivists and suprematists), I am utterly exhausted and 'dream' of 'abroad'.. .After all, there is no more suitable place for artists to be (for me, at least) than at the easel, and I dream of being able to devote myself exclusively to my pictures. Of course, little by little one paints something, but it's not the real thing. (Chagall was director of the Art School of Vitebsk, including many conflicts)"

"After completing my work [his murals for the Jewish Theater in Moscow) I thought, as has been agreed, that it would be shown in public as a series of my latest things. The management will agree with me that I can find no inner peace as a painter until the 'masses' see my work etc. It turned out that the things [the murals] had been put into a 'cage', as it were, where they can be seen at the very best by (if you will forgive me for saying so) Jews at close quarters. I like the Jews a lot (there's enough 'proof' of that) but I like the Russians as well and some other nationalities, and I am used to painting serious things for many 'nationalities'."

"I set to work. I pointed a mural for the main wall: Introduction to the New National Theatre. The other interior walls, the ceiling and the friezes depicted the forerunners of the contemporary actor – a popular musician, a wedding jester, a good woman dancing, a copyist of the Torah, the first poet dreamer, and finally a modern couple flying over the stage. The friezes were decorated with dishes and food, beigels and fruits spread out on well-laid tables. I looked forward to meeting the actors who passed me: 'Let us agree. Let's join forces and throw out all this old rubbish. Let's work a miracle!' (c. 1921)"

"In exasperation, I furiously attacked the floors and walls of the Moscow Theater. My mural paintings sight there, in obscurity. Have you seen them? Rant and rave, my contemporaries! In one way or another, my first theatrical alphabet gave you a belly-ache. Not modest? I'll leave that to my grandmother: it bores me. Despise me, if you like. (ca. 1921)"

"The stars were my best friends. The air was full of legends and phantoms, full of mythical and fair-tale creatures, which suddenly flew away over the roof, so that one was at one with the firmament."

"If I weren't a Jew (in the sense in which I use the word) then I wouldn't be an artist, or at least not the one I am now."

"The Jews might well, were they of such a mind (as I am, lament the disappearance of all those who painted the wooden synagogues in the small towns and villages (oh why haven't I gone to my grave with them!), and the carvers of the wooden 'school mallets' – 'quiet boy!' (and if you should see them in Ansky's collection, you’ll get a shock!). But is there really any difference between my ancestor from Mohiliev, who painted the synagogue there, and myself, who painted the Jewish theater in Moscow (and a good theater it is at that)?.. .I am convinced that, were I to stop shaving, you would see in me a deceptive likeness."

"Back in the days (a later reflection on his early Parish years) when I was in Paris in my studio in 'La Ruche', through the partition I heard two Jewish emigrants arguing: 'Well, what would you say? Wasn't Antokolsky a Jewish artist? And Israels? And what about Liebermann?' The dim light of the lamp lit up my picture, which was upside down (that's the way I work – so consider yourself yourselves lucky!). As morning came, and the Parisian sky started to brighten up, I had to laugh about the futile comments of my neighbours on the fate of Jewish art: 'You two wind-backs can carry on – but I've got work to do'."

"'There you are', said Efros [Granovsky, director of the State Jewish Chamber Theater, in 1920], leading me into a dark room, 'These walls are all yours, you can do what you like with them'. It was a completely demolished apartment that had been abandoned by bourgeois refugees. 'You see', he continued, 'the benches for the audience will be here; the stage there'. To tell the truth, all I could see there was the remains of a kitchen.. .And I flung myself at the walls. The canvases were stretched out on the floor. Workmen, actors walked over them. The rooms and corridors were in the process of being repaired; piles of shavings lay among my tubes of paint, my sketches. At every step one dislodged cigarette-ends, crusts of bread."

"Only the great distance that separates Paris from my native town prevented me from going back.. .It was the Louvre that put end to all these hesitations. When I walked around the circular Veronese room and the rooms that the works of Manet, Delacroix and Courbet are in, I desired nothing more. In my imagination Russia [where Chagall was born] took the form of a basket suspended from a parachute. The deflated pear of the balloon was hanging down, growing cold and descending slowly in the course of the years. This was how Russian art appeared to me, or something of the sort.. .It was as if Russian art had been fatally condemned to remain in the wake of the West. (a later quote on his first arrival in Paris, 1910)"

"..No academy could have given me all I discovered by getting my teeth into the exhibitions, the shop windows, and the museums of Paris. Beginning with the market – where, for lack of money, I bought only a piece of a long cucumber – the workman in his blue overall, the most ardent followers of Cubism, everything showed a definite feeling for proportion, clarity, an accurate sense of form, of a more painterly kind of painting, even in the canvases of second-rate artists."

"My grandfather, a teacher of religion, could think of nothing better than to place my father – his eldest son, still a child – as a clerk with a firm of herring wholesalers, and his youngest son with a barber. No, my father was not a clerk, but, for thirty-two years, a plain workman [in the Jewish ghetto of Vitebsk ]. He lifted heavy barrels, and my heart used to twist like a Turkish pretzel as I watched him carrying those loads and stirring the little herrings with his frozen hands.. .Sometimes my father's clothes would glisten with herring brine. The light played above him, besides him. But his face, now yellow, now clear, would sometimes break into a wan smile."

"Listen what happened to me when I was in the fifth form (ca. 1904), in the drawing lesson. An old-timer in the front row, the one who pinched me the most often, suddenly showed me a sketch on tissue paper, copied from the magazine "Niva": The Smoker. In this pandemonium! Leave me alone. I don't remember very well but this drawing, done not by me but by that fathead, immediately threw me into a rage. It roused a hyena in me. I ran to the library, grabbed that big volume of "Niva" and began to copy the portrait of the composer Rubinstein, fascinated by his crow's-feet and his wrinkles, or by a Greek woman and other illustrations; maybe I improvised some too, I hung them all up in my bedroom.."

"Two or three o'clock in the morning. The sky is blue. Dawn is breaking. Down there, a little way off, they slaughtered cattle, cows bellowed, and I painted them. I used to sit up like that all night long. It's already a week since the studio was cleaned out. Frames, eggshells, empty two-sou soup tins lie about higgledy-piggledy.. .On the shelves, reproductions of El Greco and Cézanne lay next tot the remains of a herring I had cut in two, the head for the first day, the tail for the next, and Thank God, a few crusts of bread."

"It's only my town (Chagall was born in Vitebsk), mine, which I have rediscovered. I come back to it with emotion. It was at that time that I painted my Vitebsk series of 1914. (Chagall couldn't go back to Paris because of the outbreak of the first World War in 1914) I painted everything that met my eyes. I painted at my window; I never walked down the street without my box of paint."

"But my knowledge of Marxism was limited to knowing that Marx was a Jew, and that he had a long white beard. I said to Lunatcharsky [the political communist commissar for Education, ca. 1918] 'Whatever you do, don't ask me why I painted in blue or green, and why you can see a calf inside the cow's belly, etc. On the other hand you're welcome: if Marx is so wise, let him come back to life and explain it himself'. I showed him my canvases."

"..In spite of everything, there is still no more wonderful vocation than to continue to tolerate events and to work on in the name of our mission, in the name of that spirit which lives on in our teaching and in our vision of humanity and art, the spirit which can lead us Jews down the true and just path. But along the way, peoples will spill our blood, and that of others."

"If a symbol should be discovered in a painting of mine, it was not my intention. It is a result I did not seek. It is something that may be found afterwards, and which can be interpreted according to taste."

"I know I must live in France, but I don't want to cut myself off from America. France is a picture already painted. America still has to be painted. Maybe that's why I feel freer there. But when I work in America, it's like shouting in a forest. There's no echo."

"Only a child had its place on the cross, and that was enough for me [to paint his Crucifixions, earlier].. ..in the exact sense there was no cross but a blue child in the air. The cross interested me less."

"When I painted Christ's parents I was thinking of my own parents. The bearded man is the Child's father. He is my father. [Chagall stated this in 1950]"

"When I write, I fly to another dimension. Like Eva Luna, I try to live life as I would like it to be, as in a novel. I am always half flying, like Marc Chagall's violinists."

"Jacques Lipchitz and Marc Chagall were among the European artists who settled in New York City during the war...Chagall, after his arrival in 1941, also continued to explore imagery he had developed earlier, including that of the Wandering Jew and the crucified Jesus as well as the inhabitants of East European shtetls or villages."

"Under his [Chagall's] sole impulse metaphor [comparison of images] made its triumphal entry into modern painting."

"When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes.. ..long, almond-shaped.. ..and each seemed to sail along by itself, like a little boat."

"He prepared his charcoal pencils, holding them in his hand like a little bouquet. Then he would sit in a large straw chair and look at the blank canvas or cardboard or sheet of paper, waiting for the idea to come. Suddenly he would raise the charcoal with his thumb and, very fast, start tracing straight lines, ovals, lozenges, finding an aesthetic structure in the incoherence. A clown would appear, a juggler, a horse, a violinist, spectators, as if by magic. When the outline was in place, he would back off and sit down, exhausted like a boxer at the end of a round."

"Some art historians have sought to decrypt his symbols, but there's no consensus on what they mean. We cannot interpret them because they are simply part of his world, like figures from a dream."

"When Henri Matisse dies, Chagall will be the only painter left who understands what color really is. I'm not crazy about those cocks and asses and flying violinists and all the folklore, but his canvasses are really painted, not just thrown together. Some of the last thing's he's done in Venice [where Matisse painted his late frescoes in the chapel] convince me that there's never been anybody since Renoir who has the feeling for light that Chagall has. [Picasso is reacting to Chagall's daughter Ida, 1952]"

"I don't know where he [Marc Chagall] gets those images; he must have an angel in his head."

"People say to me, "You make fantastic films" and I say, "No, I make documentaries.""

"On December 22, 1986, finding I was body positive, I set myself a target: I would disclose my secret and survive Margaret Thatcher. I did. Now I have set my sights on the millennium and a world where we are all equal."

"Dear William Shakespeare. I am a 14 year old and I’m queer like you. I’m learning art. I wanted to be a queer artist like Leonardo or Michaelangelo. But I like Francis Bacon best I read Alan Ginsberg, Rimbaud. I like Tchaikovsky, if I make films I will make them like Eisenstein, Murnau, Pasolini, Visconti. Love from Derek."

"The Impressionists were the first [painters] to reject the absolute value of the subject and to consider its value to be merely relative.. .In Paul Cezanne's letters I notice ideas like these: 'Objects must turn, recede, and live. I wish to make something lasting from impressionism, like the art in the museums'.. ..'For an impressionist, to paint after nature is not to paint the object, but to express sensations'.. ..'After having looked at the old masters, one must take haste to leave them and to verify in one's self the instincts, the sensations that dwell in us.'"

"When one crosses a landscape by automobile or express train, it becomes fragmented; it loses in descriptive value but gains in synthetic value. The view through the door of the railroad car or the automobile windshield, in combination with the speed, has altered the habitual look of things. A modern man registers a hundred times more sensory impressions than an eighteenth-century artist; so much so that our language, for example is full of diminutives and abbreviations."

"The compression of the modern picture, its variety, its breaking up of forms.. .It is certain that the evolution of the means of locomotion and their speed have a great deal to do with the new way of seeing. Many superficial people raise the cry 'anarchy' in front of these pictures because they cannot follow the whole evolution of contemporary life that painting records."

"..it [painting art] has never been so truly realistic, so firmly attached to its own period as it is today. A kind of painting that is realistic in the highest sense is beginning to appear, and it is here today.. .The advertising billboard, dictated by modern commercial needs, that brutally cuts across a landscape.. ..this yellow or red poster shouting in a timid landscape, is the best of possible reasons for the new painting; it topples the whole sentimental literary concept and announces the advent of plastic contrast."

"Naturally, in order to find in this break [in the visual perception] with time-honored habits a basis for a new pictorial harmony and a plastic means of dealing with life and movement, there must be an artistic sensibility far in advance of the normal vision of the crowd."

"From the day that the impressionists liberated painting, the modern picture set out at once the structure itself on contrasts; instead of submitting to a subject, the painter makes an insertion and uses a subject in the service of purely plastic means.. ..[the contemporary painter] must prepare himself in order to confer a maximum of plastic effect on means that have not yet been used. He must not become an imitator of the new visual objectivity, but be a sensibility completely subject to the new state of things."

"Contrast = dissonance, and hence a maximum expressive effect. I will take as an example a commonplace subject: the visual effect of curled and round puffs of smoke rising between houses. You want to convey their plastic value.. .Here you have the best example on which to apply research into multiplicative intensities. Concentrate your curves with the greatest possible variety without breaking up their mass; frame them by means of the hard, dry relationship of the surfaces of the houses, dead surfaces that will acquire movement by being colored in contrast to the central mass and being opposed by live forms; you will obtain a maximum effect."

"The concept of Abstract painting is not a passing abstraction, good only for a few initiates, [but] the total expression of a new generation whose necessities it experiences and to all of whose aspirations it constitutes a response. (quote, 1920)"

"This mechanical element, which one is sorry to see disappear from the screen, and which one is impatient to see again, is discreet; it appears only at intervals, and far off, like a spotlight that flashes on in a long, intermittent, harrowing drama of totally uncompromising realism. The plastic event is non-the less there and seems to me be laden with consequences both in itself and for the future. [on the filming of Abel Gance's La Roue, 1922]"

"The relationship of volumes, lines, and colors demands absolute orchestration and order. These values are all unquestionable influential; they have extended into modern objects such as airplanes, automobiles, farm machines, etc. Today we are in competition with the 'beautiful object'; it is undeniable. Sometimes its plastic qualities make it beautiful in itself and consequently unusable; one can only fold one's arms and admire it. There is also today an astonishing art of window display. Certain store windows are highly organized spectacles.. .If, pushing things to extremes, the majority of manufactured objects and 'stored spectacles' were beautiful and had plasticity, we artists would no longer have any reason to exist."

"Instead of opposing comic and tragic characters [as Molière and Shakespeare] and contrary scenic states, I organize the opposition of contrasting values, lines, and curves. I oppose curves to straight lines, flat surfaces to molded forms, pure local colors to nuances of gray. These initial plastic forms are either superimposed on objective elements or not, it makes no difference to me. There is only a question of variety."

"..the personification of the close-up detail, the individualisation of the fragment, where the drama takes shape, moves and have it being. Film concurs with this aspect for life. The hand is a multiple, transformable object. Before I saw it in a film, I did not know what a hand was! The object in itself is capable of becoming an absolute, moving, tragic thing."

"[a new order] ..independent of the values of the feelings, and the description and imitation of nature.. .The value of technique beauty without artistic intention resides in its organism and can be deducted at the same time by its geometric ambitions. I can therefore speak of a new order: the architecture of the technical world. Since the industrial object belongs to the architectonic order, it is assigned an important role in today's artistic creation."

"I myself have employed the close-up, which is the cinema's only real invention. The fragment of the object has also been of use to me; by isolating it you personalize it. All this work has led me to regard the phenomenon of objectivity as a new and highly contemporary value in itself [quote of c. 1927]."

"These new means [in the modern film, 1920's] have given us a new mentality. We want to see clearly, we want to understand mechanisms, functions, motors, down to their subtlest details. Composite wholes are no longer enough for us – we want to feel and grasp the details of those wholes – and we realise that these details, these fragments, if seen in isolation, have a complete and particular life of their own.. .Close-ups in the cinema are a consecration of this new vision.. .A shoe as beautiful as a picture. A picture as beautiful as an X-ray machine."

"The love of simplicity, precision and clarity, is totally Western. Today's rational plastic form does not come from the Mediterranean or the Orient; it comes from the North [of France]. The North, younger, quicker less subtle, has seen straight to the heart of the new problem of construction that is posed by modern life."

"The essential is the object. Error consists in forgetting that grain, cotton, wool are vital objects and in being interested in them only because of their value in gold, their speculative value. The economic purpose is not 'to make millionaires out of gasoline' but to distribute gasoline according to demand and need. [Wall street] is an abstraction."

"The age we live in is largely – and I think mostly – 'objective', but a minority is reacting against this.. .My feeling is that I made colour – the colour plane – 'objective' in 1918, 1920 and 1921. There is a feeling of objectivity in all the great Primitives – but in 'the subject' there is no solution for the object, which has so much intrinsic value that it is 'highly explosive'; it destroys all the things around it, unless they have been designed specifically to serve as a setting for it."

"An example: if I compose a picture using as objects a scrap of bark, a scrap of butterfly wing and a purely imaginary form, you probably won't recognise the bark, or the butterfly wing, and you'll say: 'What does this stand for? It is an abstract picture. No it's a representational picture'.. .There is no such thing as 'abstract', or 'concrete' either. There is a good picture and a bad picture. There is the picture that moves you and the picture that leaves you cold.. .A picture has a value in itself, like a musical score, like a poem."

"The mural artist is concerned with bringing to life dead surfaces by the application of colour."

"It is from.. ..Renaissance that individualism in painting dates; and I do not believe there is any use in looking in this direction if we desire to bring into being a fresh mural art, one that shall be at once popular, collective and contemporary."

"..a yellow square, a red and blue avenue, an Eiffel tower with a camouflaged silhouette.. ..that would all be lit up at night, instead of fireworks. [a proposal to Trotsky of a 'polychrome Moscow', for the 1937 exhibition]."

"Of the various plastic orientations developed over the past twenty-five years, abstract art is the most important, the most interesting.. .It is an extreme state which only a few creators and admirers are capable of achieving. The danger of this formula lies in the very elevation of its intention. Modelings, contrasts, objects have disappeared, leaving only very pure, very precise relations, and a few colors, a few lines; blank spaces, without depth. Add to this a respect for the vertical plane – thin, rigid, sharp. It is a true, incorruptible purism."

"It is a true, incorruptible purism.. .It is a religion that cannot be argued about. It has its saints, its disciples and its heretics. Modern life with its speed and tumult, dynamic and full of contrasts, beats furiously against this light, luminous, delicate structure, which emerges coldly from the chaos. Do not touch it, it is an accomplished fact. It had to be, it is there to stay. [quote, 1945]"

"It's not a country – it's a world. It's impossible to see the limits.. .It's only in Russia that I had a similar impression, but it wasn't the same thing. In America you are confronted with a power in movement with force in reserve without end. An unbelievable vitality - a perpetual movement."

"It is an outrage towards the masses.. ..It's wanting to treat them as though they're incapable of raising themselves up to this new realism [promoted by Léger and Le Corbusier ] which is that of their area, which they've made with their hands.. .To want to say to these men 'the modern is not for you it's an art for the rich bourgeoisie..' [attack on the notion of Social Realism art]"

"At the same time we would most like to run the film back and see how the sanctuaries close again and the lights go out and the great powers of nature are once again met with deserved reverence. One can fell an oak in twenty seconds; but in order to become what it now is, it grew for a century.. ..Progress is but a word without sense, and the cow, which keeps the world alive, will not move faster than three kilometers per hour in the future, either."

"This is the visual world, using the most advanced advertising techniques that are familiar to the crowds in their daily life.. ..What kind of representational art do you want to inflict on these men then, when they’re solicited everyday by the cinema, radio, huge photo montages and advertising hoardings? How can you compete with these enormous modern mechanisms, which give you art to the 1000th degree?"

"..between ourselves, do you think a worker wants to hang a picture in his home where he sees himself sweating in a factory? He would prefer a bouquet of flowers or a pretty landscape. [Leger's critic on Aragon's Social Realism ]"

"They are not like the – patron’s hands or the – blessing hands of the curate – They resemble their tools, mountains, tree trunks.. .The time is approaching when machines will – work FOR them – Then he will have hands like his boss – WHY NOT? – He's on the way – HIS LIFE begins TODAY [written text in his painting 'Les mains – hommage a Majakovski', 1951 - [ Vladimir Mayakovsky was a Russian Futurist poet]."

"One day I had painted a bunch of keys on a canvas, my bunch of keys. I didn't know what to put next to them. I needed something that would be the absolute opposite of a bunch of keys. So when I finished work I went out. I had only walked a few yard when what should I see in a shop windows? A postcard of the Mona Lisa! At once I knew that was what I needed; what could have made a greater contrast to the keys?. ..Then I also added a can of sardines. It was such a strong contrast. [on his painting 'La Joconde aux Clés']."

"There was no telling who this head, or this leg, or that arm, belonged to.. .So I scattered the limbs in my painting and realized that in this way I was getting much closer to the truth than Michelangelo did when he concentrated on every separate muscle."

"I venture out to the great 'sujet'; but, I repeat, my painting always remains object painting; it starts around 1936 with 'Adam et Eve'. My figures humanise themselves further, but I always stick to the pictorial circumstance – no eloquence, no romanticism -"

"Isn't it human to go beyond the limits, to grow beyond oneself, to strive toward freedom! The round is free. [quote on the Circus, 1950's]"

"The earth is round, so why to play it square? Beneath the sun and beneath the moon, in the clouds that sail gently by, everything is going round. Children dance in a ring; there is the Tour de France, and the bikes, and the eyes that look at them and frame them on the road.. .You leave your rectangles, your geometrical windows, and you go to the land of circles in action.. ..It's human nature to break through boundaries, to grow, to push towards freedom. Roundness is free; it has no beginning and no end. [referring to the circus ring]"

"I wanted to proclaim a return to simplicity by ways of an immediate art without any subtlety, comprehensible to all. I love Louis David, because he is so anti-impressionist.. .I love the dryness in his work and also in that of Ingres. That was my way, and it touched me, instantly."

"I was attracted to Romanesque sculptures, to the complete re-invented figures and the freedom with which the Romanesque artist constructed them. He does not copy, he creates in a totally anti-Renaissance fashion can say that in Romanesque sculpture I have found a starting point for distortion."

"I dispersed my objects in space and got them to hold together by making them radiate forwards, out of the picture. It's all an easy interplay of chords and rhythms made up of foreground and background colours, of conducting lines, of distances and of contrasts."

"Let us take the time in this fast and ever-changing life which harasses us and tears us to pieces; to have the strength to remain slow and calm. To work outside the elements of disintegration that surrounds us. To comprehend life in it slow and calm sense. The work of art requires a temperate climate in order to develop fully. In this heightened tempo which is the law of life, to determine fixed points to hold onto them and to slowly work on the achievement of the future."

"In 1942 when I was in New York, I was struck by the neon advertisements flashing all over Broadway. You are there, you talk to someone, and all of a sudden he turns blue. Then the colour fades - another one comes and turns him red or yellow. The colour – the colour of neon advertising is free; it exists in space. I wanted to do the same in my canvases."

"The time of the often criticized art without real subject [l'art pour l'art] and the art without object [ Abstract art ] seems to be over. We are experiencing a new return to the meaningful subject, which the common people can understand"

"From our very first conversation in the Closerie des Lilas the day after the opening of the first exhibition of Futurist painting [in Paris, February 1912] I noticed that Fernand Léger was one of the most gifted and promising Cubists.. .Léger's article ['Les origins de la peinture et sa valeur representative', Mai 1913) is a true act of Futurist faith which give us great satisfaction - all the more so since the author is kind enough to mention us."

"It is curious to note that the most intellectual kind of painting, the one that tries to reduce reality to its essential elements, is ultimately but a visual delight. All it has kept of the world is its color. This is apparent particularly in Léger."

"One day Pierre Loeb said to me that the ideal picture is one which is completely clear in the artist's mind before he puts a mark on the canvas, and this was, at any rate in this period.. .Léger's opinion. It is the basis on which classical art is built. Therefore the setting-down of the picture on the canvas is in itself something quite unimportant. This is connected with Léger's hatred of textural effects in painting. But I love these effects. I remember that I was once told off because I had applied a thick layer of color instead of the thin and even layer that Léger wanted. To him that was not painting but mere color. If he could have got a machine instead of a brush to apply the color, he would have done so."

"You can tell in Léger just when he discovered how to make it like an engine.. .What's wrong with that? You see it in Barney (= Barnett Newman) too, that he knows what a painting should be. He paints as he thinks painting should be, which his pretty heroic."

"Léger was a big, avuncular, kindly sort of man, as I remember him. And he would look at what I — [laughs] — put there, and he'd find something. He only made one or two comments. The one I remember was, "Ça, ça saut de la peinture" He'd find a place, and he'd say: "That jumps out of the painting." Or he'd say: - he had this, I think, Norman accent - "Ça commence:" [Laughs.] "That's beginning." And those two - no - but he had body language, too. You knew if he liked it or if he didn't like it by watching him."

"My talent lies in the expression of my life and creative power through light, colour and form. As a painter I can convey the essence of life."

"The photogram, image formation outside the camera is the real key to photography,it embodies the essence... that allows us to capture light on light sensitive material without the use of any camera."

"The experience of space is not a privilege of the gifted few, but a biological function."

"Designing is not a profession but an attitude."

"Not all Constructivists concentrate so strongly on reality. There are those for whom inner life plays an important part, such as the non-Russian Moholy Nagy, Kassak, and Baumeister etc. Their art painting figures often have a more symbolic meaning.. .Sometimes without any direct connection to reality.. .Moholy Nagy’s work is 'l’art pour l’art' - as opposed to El Lissitsky who is demonstrative.. ..in as much as he propagates the Bolshevist morale of not dreaming but doing."

"Moholy Nagy, [in contrast to El Lissitsky ], does not muddle the various technical areas, but limits each technique to its own area. Later, when he applies himself more to photography and film [in America], he champions pure photography and film and opposes the imitation of the art of painting in these areas."

"Julie won a scholarship to Harvard. Graduated with honors and received another scholarship to Boston University Medical School. Julie became a medical doctor, alas, losing her medical license to a terrible addiction to heroin. As an ex-addict, she now manages Autoworld Go Carts in West Covina, California. She has the highest score on PacMan... Go Julie!!!"

"I've always felt that stylists such as you have in America are ashamed of a car and are preoccupied with making it look like something else, like a submarine or an airship...As an engineer, I revolt against this."

"I agree. When I hear a player talking about how he "needs" to know about all the other details, I hear a player who is being adversarial to the GM and simply not trusting him to "get it right." Players like that make baby seals die and cause cancer with prolonged exposure. I don't write books for them."

"I know that when I write, I'm writing for people who can handle high-school math, read at the Grade 12 level, and appreciate subtle humor as opposed to the toilet-bowl kind. I guess that makes the lower cutoff about 17-18 years old."

"I think Joseph Beuys is the most missunderstood artist of the 20th century. He opened a door into art for any idiot and now they traipse around believing that they have to bestow their favour on this rubbish, although it has absolutely nothing to say."

"I'm a clown with brush and color."

"About 80 percent of our customers buy our shoes not to compete in, but to wear in their leisure time."

"Having a little fun at my work does not make me any less of an artist and people who appreciate truly beautiful and original creations in pottery are not frightened by innocent tomfoolery!"

"...there is a striking similarity in the surrealist and abstract painters attitude to the object;both have a horror of it in its proper context."

"The right creative act makes its own laws,and always will do."

"I like the observation that Forth is an amplifier: a good programmer can write a great program; a bad programmer a terrible one. I feel no need to cater to bad programmers."

"It was a very academic environment. That became frustrating because there was no pressure for results. I thought commercial applications would be more rewarding. But since then I’ve met too many people who want to make a career out of a project instead of completing it. That’s life."

"Ísland er ekki lítið land. Ísland er stórasta land í heimi."

"For twenty years programming languages have been steadily progressing toward their present condition of obesity; as a result, the study and invention of programming languages has lost much of its excitement. Instead, it is now the province of those who prefer to work with thick compendia of details rather than wrestle with new ideas. Discussions about programming languages often resemble medieval debates about the number of angels that can dance on the head of a pin instead of exciting contests between fundamentally differing concepts. Many creative computer scientists have retreated from inventing languages to inventing tools for describing them. Unfortunately, they have been largely content to apply their elegant new tools to studying the warts and moles of existing languages."

"Von Neumann languages do not have useful properties for reasoning about programs. Axiomatic and denotational semantics are precise tools for describing and understanding conventional programs, but they only talk about them and cannot alter their ungainly properties. Unlike von Neumann languages, the language of ordinary algebra is suitable both for stating its laws and for transforming an equation into its solution, all within the "language.""

"Much of my work has come from being lazy. I didn't like writing programs, and so, when I was working on the IBM 701 (an early computer), writing programs for computing missile trajectories, I started work on a programming system to make it easier to write programs."

"Well, that's a subject interested me a lot because I've seen so many young people in our culture today, that emphasizes the success all the time and is always pointing to this success of researchers and developing some wonderful new thing. This pressure to succeed I found has caused many young students who I thought would make a very good researcher start doing research and then finding it they failed again and again and again and became discouraged very rapidly because the media makes it, creates the impression they should succeed right away. So they leave research and I think it's a great shame that young people have to understand research is 90% failure. It's very painful to the ego to fail again and again and again. I know I've done an awful a lot of failing in my career and I think that young students should recognize that what's research is about and if they can't stand failing then don't try to do the research. But it can be borne."

"You need the willingness to fail all the time. You have to generate many ideas and then you have to work very hard only to discover that they don’t work. And you keep doing that over and over until you find one that does work ."

"Look for me in the whirlwind or the storm, look for me all around you, for, with God's grace, I shall come and bring with me countless millions of black slaves who have died in America and the West Indies and the millions in Africa to aid you in the fight for Liberty, Freedom and Life."

"Our union must know no clime, boundary, or nationality… let us hold together under all climes and in every country…"

"Hungry men have no respect for law, authority or human life."

"We were the first Fascists, when we had 100,000 disciplined men, and were training children, Mussolini was still an unknown. Mussolini copied our Fascism."

"We are going to emancipate ourselves from mental slavery because whilst others might free the body, none but ourselves can free the mind. Mind is your only ruler, sovereign. The man who is not able to develop and use his mind is bound to be the slave of the other man who uses his mind, because man is related to man under all circumstances for good or for ill."

"If you have no confidence in self you are twice defeated in the race of life. With confidence you have won even before you have started."

"The Universal Negro Improvement Association and African Communities' League is a social, friendly, humanitarian, charitable, educational, institutional, constructive, and expansive society and is founded by persons, desiring to the utmost, to work for the general up lift of the Negro peoples of the world. And the members pledge themselves to do all in their power to conserve the rights of their noble race and to respect the rights of all mankind believing always in the Brotherhood of Man and the Fatherhood of God. The motto of the organization is: One God! One Aim! One Destiny! Therefore, let justice be done to all man kind, realizing that if the strong oppresses the weak confusion and discontent will ever mark the path of man, but with love, faith and charity toward all the reign of peace and plenty will be heralded into the world and the generations of men shall be called Blessed."

"When the facts of history are written Haile Selassie of Abyssinia will go down as a great coward who ran away from his country to save his skin and left the millions of his countrymen to struggle through a terrible war that he brought upon them because of his political ignorance and his racial disloyalty."

"When the war started in Abyssinia all Negro nationalists looked with hope to Haile Selassie. They spoke for him, they prayed for him, they sung for him, they did everything to hold up his hands, as Aaron did for Moses; but whilst the Negro peoples of the world were praying for the success of Abyssinia this little Emperor was undermining the fabric of his own kingdom by playing the fool with white men, having them advising him[,] having them telling him what to do, how to surrender, how to call off the successful thrusts of his [Race] against the Italian invaders. Yes, they were telling him how to prepare his flight, and like an imbecilic child he followed every advice and then ultimately ran away from his country to England, leaving his people to be massacred by the Italians, and leaving the serious white world to laugh at every Negro and repeat the charge and snare - "he is incompetent," "we told you so." Indeed Haile Selassie has proved the incompetence of the Negro for political authority, but thank God there are Negroes who realise that Haile Selassie did not represent the truest qualities of the Negro race. How could he, when he wanted to play white? How could he, when he surrounded himself with white influence? How could he, when in a modern world, and in a progressive civilization, he preferred a slave State of black men than a free democratic country where the black citizens could rise to the same opportunities as white citizens in their democracies?"

"I read "Up From Slavery," by Booker T. Washington, and then my doom--if I may so call it--of being a race leader dawned upon me in London after I had traveled through almost half of Europe."

"I asked, "Where is the black man's Government?" "Where is his King and his kingdom?" "Where is his President, his country, and his ambassador, his army, his navy, his men of big affairs?" I could not find them, and then I declared, "I will help to make them.""

"A Race without the knowledge of its history is like a tree without roots."

"In the early 1950s-the Garvey movement-I went to Harlem and saw Black Ethiopia. These were my people and they didn't have accents, but they were Ethiopians. I mean, they didn't have African accents. Those that I listened to spoke just like everybody else and that broadened my light a great deal, my own understanding of our oneness... it must be remembered that in Garvey's heyday, there were not that many West Indians anywhere in the United States. His existence was used as a focal point for the West Indian community and they were able to stay together, but the Black American, without his charisma and his presence, went on into other things. But the tales of the Black American who didn't want to be connected with Africa can be recounted as the West Indians who didn't want to be connected either, who would say, 'I'm a British citizen'... The self loathing which is always part of oppression had its way with all of us."

"Marcus ... maintained forcibly that although the Afro-American people were legally "free" as a people, something of the slave mentality was still characteristic of them. Mentally they were still in chains on account of the crippling effect of an inferiority complex. Somehow the sunlight must be allowed to flood the dark corners of their minds, so that they could be truly free and truly men, confident of holding their own with men of other races."

"(What direction do you see the movement in the U.S. taking at this time?) I think it has become less domestic and more international. Marcus Garvey tried to articulate, after all, quite a long time ago, and even Frederick Douglass, that the situation of the black American slave was tied to the situation of the slaves all over the world."

"Marcus Garvey believed that blacks should return to Africa and build up and accept Africa as their home. And he led a movement, here, in the United States, and he got caught up in a lot of scandal, and, eventually, it collapsed, and that was that...I read everything I could about Marcus Garvey, and my father was such an ardent Garveyite that he would talk about him all the time."

"there arose early in this decade the case of Marcus Garvey. I heard of him first when I was in Jamaica in 1915 when he sent a letter "presenting his compliments" and giving me "a hearty welcome to Jamaica, on the part of the United Improvement and Conservation Association." Later he came to the United States. In his case, as in the case of others, I have repeatedly been accused of enmity and jealousy, which have been so far from my thought that the accusations have been a rather bitter experience. In 1920 when his movement was beginning to grow in America I said in The Crisis that he was "an extraordinary leader of men" and declared that he had "with singular success capitalized and made vocal the great and long suffering grievances and spirit of protest among the West Indian peasantry." On the other hand, I noted his difficulties of temperament and training, inability to get on with his fellow workers, and denied categorically that I had ever interfered in any way with his work. Later when he began to collect money for his steamship line I characterized him as a sincere and hard-working idealist but called his methods bombastic, wasteful, illogical and almost illegal and begged his friends not to allow him foolishly to overwhelm with bankruptcy and disaster one of the most interesting spiritual movements of the modern world. But he went ahead, wasted his money, got into trouble with the authorities and was deported. As I said at the time: "When Garvey was sent to Atlanta, no word or action of Ours accomplished the result. His release and deportation were a matter of law which no deed or wish of ours influenced in the slightest degree. We have today, no enmity against Marcus Garvey. He has a great and worthy dream. We wish him well. He is free; he has a following; he still has a chance to carry on his work in his own home and among his own people and to accomplish some of his ideas. Let him do it. We will be the first to applaud any success that he may have.""

"Marcus Garvey, Elijah Muhammad, Malcolm X, Martin Luther King, Stokely Carmichael, Amiri Baraka and other black male leaders have righteously supported patriarchy. They have all argued that it is absolutely necessary for black men to relegate black women to a subordinate position both in the political sphere and in home life."

"Marcus Garvey...roused the consciousness of the Negro from New York to British Guiana and from the Gold Coast (Ghana) to Kenya. Without ever setting foot in Africa he was able to kindle nationalism in the hearts of the young Kenyatta, Azikiwe and Nkrumah, giving them a purpose for dedicating their lives to their country."

"In the course of his conversation Marcus Garvey said that ninety thousand of the people on the island of Jamaica were colored, and only fifteen thousand of them were white; yet the fifteen thousand white people possessed all the land, ruled the island, and kept the Negroes in subjection. I asked him what those ninety thousand Negroes were thinking about to be dominated in this way, and he said it was because they had no educational facilities outside of grammar-school work. He wanted to return to his native home to see if he could not help to change the situation there. Instead he went to New York, began to hold street meetings, and got many of his fellow countrymen as well as American Negroes interested in his program of worldwide Negro unity. For a time it seemed as if his program would go through. Undoubtedly Mr. Garvey made an impression on this country as no Negro before him had ever done. He has been able to solidify the masses of our people and endow them with racial consciousness and racial solidarity. Had Garvey had the support which his wonderful movement deserved, had he not become drunk with power too soon, there is no telling what the result would have been. Already the countries of the world were beginning to worry very much about the influence of his propaganda in Africa, in the West Indies, and in the United States. His month-long conference in New York City every August, bringing the dusky sons and daughters of Ham from all corners of the earth, attracted a great deal of attention... It may be that even though he has been banished to Jamaica the seed planted here will yet spring up and bring forth fruit which will mean the deliverance of the black race-that cause which was so dear to his heart."

"For the Negroes in America, the death of Malcolm X is the most portentous event since the deportation of Marcus Garvey in the 1920s."

"My father, the Reverend Earl Little, was a Baptist minister, a dedicated organizer for Marcus Aurelius Garvey’s U.N.I.A. (Universal Negro Improvement Association). With the help of such disciples as my father, Garvey, from his headquarters in New York City’s Harlem, was raising the banner of black-race purity and exhorting the Negro masses to return to their ancestral African homeland—a cause which had made Garvey the most controversial black man on earth."

"Þæt is nū hraðost to seċġenne þæt iċ wilnode weorðfullīċe to libbenne þā hwīle þe iċ lifde, and æfter mīnum līfe þām mannum tō lǣfanne þe æfter mē wǣren mīn ġemynd on gōdum weorcum."

"Doom very evenly! Do not doom one doom to the rich; another to the poor! Nor doom one doom to your friend; another to your foe!"

"He seems to me a very foolish man, and very wretched, who will not increase his understanding while he is in the world, and ever wish and long to reach that endless life where all shall be made clear."

"Me com swiðe oft on gemynd, hwelce wiotan iu wæron giond Angelcynn, ægðer ge godcundra hada ge woruldcundra; ond hu gesæliglica tida ða wæron giond Angelcynn; ond hu ða kyningas ðe ðone onwald hæfdon ðæs folces Gode ond his ærendwrecum hiersumedon; ond hie ægðer ge hiora sibbe ge hiora siodu ge hiora onweald innanbordes gehioldon, ond eac ut hiora eðel rymdon; ond hu him ða speow ægðer ge mid wige ge mid wisdome; ond eac ða godcundan hadas, hu giorne hie wæron ægðer ge ymb lare ge ymb liornunga, ge ymb ealle ða ðiowotdomas ðe hie Gode don scoldon; ond hu man utanbordes wisdom ond lare hieder on lond sohte; ond hu we hie nu sceoldon ute begietan, gif we hie habban sceoldon."

"Geðenc hwelc witu us ða becomon for ðisse worulde, ða ða we hit nohwæðer ne selfe ne lufodon ne eac oðrum monnum ne lefdon!"

"Ða ic ða gemunde hu sio Lar Lædengeðiodes ær ðissum afeallen wæs giond Angelcynn, ond ðeah monige cuðon Englisc gewrit arædan, ða ongan ic on gemang oðrum mislicum ond manigfealdum bisgum ðisses kynerices ða boc on Englisc ðe is genemned on Læden Pastoralis, ond on Englisc "Hierdeboc", hwilum word be worde, hwilum andgit of andgite."

"For hit seide þe king Alfred: "Selde erendeð wel þe loþe, an selde plaideð wel þe wroþe.""

"For Alfred seide a wis word, euch mon hit schulde legge on hord: "3ef thu isihst er he beo icume, his strencþe is him wel neh binume.""

"So mon mai welþe lengest helden, giu þu neuere leuen alle monnis spechen, ne alle the þinke þat þu herest sinken."

"He þat is ute biloken he is inne sone forgeten."

"Ne ches þe neuere to fere littele mon ne long ne red... Þe luttele mon he his so rei, ne mai non him wonin nei... Þe lonke mon is leþe bei, selde comid is herte rei... Þe rede mon he is a quet, for he wole þe þin iwil red he is cocker, þef and horeling, scolde, of wrechedome he is king..."

"ALFRED The Light of a Benighted Age Was a Philosopher and a Christian The Father of his People The Founder of the English MONARCHY and LIBERTY."

"Cui ab incunabulis ante omnia et cum omnibus praesentis vitae studiis, sapientiae desiderium cum nobilitate generis, nobilis mentis ingenium supplevit."

"Englene derling."

"In the parts of Mercia acquired by Alfred, the shire system seems now to have been introduced for the first time. This is the one grain of truth in the legend that Alfred was the inventor of shires, hundreds and tithings. … The Celtic principality in Cornwall, which seems to have survived at least till 926, must long have been practically dependent on Wessex. … We come now to what is in many ways the most interesting of Alfred’s works, his translation of Boethius’ Consolation of Philosophy, the most popular philosophical manual of the middle ages. Here again Alfred deals very freely with his original and though the late Dr G. Schepss showed that many of the additions to the text are to be traced not to Alfred himself, but to the glosses and commentaries which he used, still there is much in the work which is solely Alfred’s and highly characteristic of his genius. It is in the Boethius that the oft-quoted sentence occurs: “My will was to live worthily as long as I lived, and after my life to leave to them that should come after, my memory in good works.” … The last of Alfred’s works is one to which he gave the title Blostman, i.e. “Blooms” or Anthology. The first half is based mainly on the Soliloquies of St Augustine, the remainder is drawn from various sources, and contains much that is Alfred’s own and highly characteristic of him. The last words of it may be quoted; they form a fitting epitaph for the noblest of English kings. “Therefore he seems to me a very foolish man, and very wretched, who will not increase his understanding while he is in the world, and ever wish and long to reach that endless life where all shall be made clear.” … How Alfred passed to “the life where all things are made clear” we do not know. The very year is uncertain. The arguments on the whole are in favour of 900. The day was the 26th of October. Alike for what he did and for what he was, there is none to equal Alfred in the whole line of English sovereigns; and no monarch in history ever deserved more truly the epithet of Great."

"Yet Alfred is no fairy tale; His days as our days ran, He also looked forth for an hour On peopled plains and skies that lower, From those few windows in the tower That is the head of a man."

"Lady, by one light only We look from Alfred's eyes, We know he saw athwart the wreck The sign that hangs about your neck, Where One more than Melchizedek Is dead and never dies."

"By the yawning tree in the twilight The King unbound his sword, Severed the harp of all his goods, And there in the cool and soundless woods Sounded a single chord. Then laughed; and watched the finches flash, The sullen flies in swarm, And went unarmed over the hills, With the harp upon his arm..."

"When Alfred's word was ended Stood firm that feeble line, Each in his place with club or spear, And fury deeper than deep fear, And smiles as sour as brine."

""The high tide!" King Alfred cried. "The high tide and the turn! As a tide turns on the tall grey seas, See how they waver in the trees, How stray their spears, how knock their knees, How wild their watchfires burn!"

"For dire was Alfred in his hour The pale scribe witnesseth, More mighty in defeat was he Than all men else in victory, And behind, his men came murderously, Dry-throated, drinking death."

"We discern across the centuries a commanding and versatile intelligence, wielding with equal force the sword of war and of justice; using in defence arms and policy; cherishing religion, learning, and art in the midst of adversity and danger; welding together a nation, and seeking always across the feuds and hatreds of the age a peace which would smile upon the land."

"No other man on record has ever so thoroughly united all the virtues both of the ruler and of the private man. In no other man on record were so many virtues disfigured by so little alloy. A saint without superstition, a scholar without ostentation, a warrior all whose wars were fought in the defence of his country, a conqueror whose laurels were never stained by cruelty, a prince never cast down by adversity, never lifted up to insolence in the day of triumph – there is no other name in history to compare with his."

"I could see how "democracy" might do very well in a society of saints and sages led by an Alfred or an Antoninus Pius. Short of that, I was unable to see how it could come to anything but an ochlocracy of mass-men led by a sagacious knave."

"His unique importance in the history of English letters comes from his conviction that a life without knowledge or reflection was unworthy of respect, and his determination to bring the thought of the past within the range of his subjects' understanding. The translations of ancient books by which he tried to reach this end form the beginning of English prose literature."

"It grounds secular law upon Scripture, especially upon the principle of mercy. Alfred thus located his law code in a biblical lineage. His historical anthology of legal texts explains that the nature of Christian law is a system of justice in which mercy subsists."

"Architecture has its political Use; public Buildings being the Ornament of a Country; it establishes a Nation, draws People and Commerce; makes the People love their native Country, which Passion is the Original of all great Actions in a Common-wealth…. Architecture aims at Eternity."

"A time will come when men will stretch out their eyes. They should see planets like our Earth."

"He was of opinion that what we now vulgarly call the Gothick, ought properly and truly be named Saracenick Architecture refined by the Christians."

"Sir Christopher Wren Said, "I am going to dine with some men. If anyone calls Say I am designing St. Paul's.""

"Perhaps you have heard the story of Christopher Wren, one of the greatest of English architects, who walked one day unrecognized among the men who were at work upon the building of St. Paul's cathedral in London which he had designed. "What are you doing?" he inquired of one of the workmen, and the man replied, "I am cutting a piece of stone." As he went on he put the same question to another man, and the man replied, "I am earning five shillings twopence a day." And to a third man he addressed the same inquiry and the man answered, "I am helping Sir Christopher Wren build a beautiful cathedral." That man had vision. He could see beyond the cutting of the stone, beyond the earning of his daily wage, to the creation of a work of art—the building of a great cathedral. And in your life it is important for you to strive to attain a vision of the larger whole."

"Christopher Wren, the leading architect of London's reconstruction after the great fire of 1666, lies buried beneath the floor of his most famous building, St. Paul's cathedral. No elaborate sarcophagus adorns the site. Instead, we find only the famous epitaph written by his son and now inscribed into the floor: “si monumentum requiris, circumspice”—if you are searching for his monument, look around. A tad grandiose, perhaps, but I have never read a finer testimony to the central importance—one might even say sacredness — of actual places, rather than replicas, symbols, or other forms of vicarious resemblance."

"Kandinsky in Munich uttered the well known words: 'Everything is permitted!' In 1961; we still live by this heritage, which in truth is inexhaustible."

"As for myself, I confess to a preference for clear-cut situations, for radical and even extreme positions. But I also feel a secret and very strong attraction to ambiguous situations... for example, that hovering moment when it is no longer day and not yet night, the shades of emotion between indifference and friendship... (they) are so fascinating because they are so indefinable. That which is pure transition, is all the more appealing to the mind because of its elusiveness. It is the same in the cases of Mondrian, Kandinsky and the Cubists: abstraction and figuration have a common frontier in their work that is so tenuous that we often do not know which side we are on. It is this ambiguity that imports a rare poetic charm to their paintings. Artists like Klee, Miro and Dubuffet have also pitched their tents on this borderline and constantly travel from one side tot the other."

"The 'Cercle et Carré' group owes its existence to my encounter with the Uruguayan painter Torrès-Gracia in 1929... However difficult our relationship, his obstinacy matching my patience, this unholy team of fire and water was bound to produce something. Towards the end of the year, after consulting sundry artists, including Arp, Mondrian, and Van Doesburg, we drew up the program for a new group and launched a magazine which was be called 'Cercle et Carré'."

"To me, the circle and the square where the sky and the earth, as symbolized by the ancient Oriental religions; they formed a kind of rudimentary alphabet by means of which everything could be expressed with the most limited means. They evoked prehistoric runes and the early I-Ching, or Book of Changes."

"When I came back to Paris in 1931, after a long convalescence in the South, the 'Abstraction-Création' group had just be founded. Vantongerloo had been given our mailing list. At the same time I learned of Van Doesburg's death in Davos. The first issue of 'Abstraction-Création' came off the press just a year later, printed in the same dusty small shop that had brought out 'Cercle et Carré' and where I had earned a meagre living as a non-union proof-reader and make-up man. 'Abstraction-Création' had a much wider influence than its predecessor. From 1932 to 1936 an annual cahier presented reproductions and statements by painters."

"In 1936, when the last issue of 'Abstraction-Création' appeared, Europe was in a deep slump. Hitlerism was rampant in Germany and many artists had already fled there... There were evil portents on the horizon; night was about to descend over Europe. It was at that moment that America took up the case of abstract art. The association of 'American Abstract Artists' was founded that year, and it was also in 1936 that the exhibition Cubism and Abstract Art was held at the Museum of Modern Art in New York... At about this time a flood of refugees – artists, intellectuals, and men of science – began to pour into the United States."

"For if art, like religion, belongs to no country, it is perhaps itself the only country and the only true religion. Only those hear its call who have that siren’s song within them. The inner riches of the eyes bring out the secret virtues of the work, and little by little they begin to speak... Every artist, every work of every artist, establishes, in his or its own absolutely inaccessible way, this contact of the spirit with the spirit. Provided of course, that the viewer is in 'a state of grace'."

"But who does not see that the work goes beyond the one who created it? It marches before him and he will never again be able to catch up with it, it soon leaves his orbit, it will soon belong to another, since he, more quickly than his work, changes and becomes deformed, since before his work dies, he dies."

"In very other period of art history, the idea itself –the what – had been primary. Today the idea matters less than the way it is arrived at; it is the how that makes the work. This word brings us again face to face with the theme and its infinite variations. It is no longer a matter of knowing, of possessing the truth, but of approaching it... knowing that the road is long, knowing that the road does not end, knowing that the road is the end in itself."

"By making this chair five times as expensive, three times heavier, half as comfortable, and only a fraction as beautiful, an architect can make a good name for himself."

"God has given us our talents, not to copy the talents of others, but rather to use our brains and imagination in order to obtain the revelation of true beauty."

"Color is to the eye what music is to the ear."

"I have always striven to fix beauty in wood, stone, glass or pottery, in oil or watercolor by using whatever seemed fittest for the expression of beauty, that has been my creed."

"The aim of my work: The study of nature, the love of nature's art,and the need to express what one feels in one's heart."

"Our roots are in the depths of the woods-on the banks of streams and among the mosses."

"After all, what is art? Art is the creative process and it goes through all fields. Einstein’s theory of relativity — now that is a work of art! Einstein was more of an artist in physics than on his violin. Art is this: art is the solution of a problem which cannot be expressed explicitly until it is solved."

"Man is the animal that draws lines which he himself then stumbles over. In the whole pattern of civilization there have been two tendencies, one toward straight lines and rectangular patterns and one toward circular lines. There are reasons, mechanical and psychological, for both tendencies. Things made with straight lines fit well together and save space. And we can move easily — physically or mentally — around things made with round lines. But we are in a straitjacket, having to accept one or the other, when often some intermediate form would be better."

"Losing one glove is certainly painful, but nothing compared to the pain, of losing one, throwing away the other, and finding the first one again."

"There is one art, no more, no less: to do all things with art- lessness."

"Living is a thing you do now or never — which do you?"

"As eternity is reckoned there's a lifetime in a second."

"Love is like a pineapple, sweet and undefinable."

"Naive you are if you believe life favours those who aren't naive."

"Somebody said that Reason was dead. Reason said: No, I think not so."

"People are self-centered to a nauseous degree. They will keep on about themselves while I'm explaining me."

"Problems worthy of attack prove their worth by hitting back."

"Put up in a place where it's easy to see the cryptic admonishmentT.T.T.When you feel how depressingly slowly you climb, it's well to remember that Things Take Time."

"The road to wisdom? — Well, it's plain and simple to express: Err and err and err again but less and less and less."

"The way to grow grand is not: to demand. In life's every field you are what you yield."

"Wisdom is the booby prize given when you've been unwise."

"Freedom means you're free to do just whatever pleases you; — if, of course that is to say, what you please is what you may."

"The universe may be as great as they say. But it wouldn't be missed if it didn't exist."

"I am a humble artist moulding my earthly clod, adding my labour to nature's, simply assisting God. Not that my labour is needed, yet somehow I understand, my Maker has deemed it that I too should have Unmoulded clay in my hand."

"Whenever you're called on to make up your mind, and you're hampered by not having any, the best way to solve the dilemma, you'll find, is simply by spinning a penny. No — not so that chance shall decide the affair while you're passively standing there moping; but the moment the penny is up in the air, you suddenly know what you're hoping"

"Co-existence or no existence."

"The noble art of losing face may some day save the human race and turn into eternal merit what weaker minds would call disgrace."

"Those who always know what’s best are a universal pest."

"A bit beyond perception's reach I sometimes believe I see that Life is two locked boxes, each containing the other's key."

"Foes of what's cooking see no worth behind it. Those that are looking for nothing — will find it."

"if you possess more than just eight things then y o u are possessed by t h e m"

"Giving in is no defeat. Passing on is no retreat. Selves are made to rise above. You shall live in what you love."

"Love while you've got love to give. Live while you've got life to live."

"We shall have to evolve problem-solvers galore — since each problem they solve creates ten problems more."

"Men, said the Devil, are good to their brothers: they don’t want to mend their own ways, but each other's."

"The human spirit sublimates the impulses it thwarts; a healthy sex life mitigates the lust for other sports."

"Experts have their expert fun ex cathedra telling one just how nothing can be done."

"Shun advice at any price - that's what I call good advice."

"True wisdom knows it must comprise some nonsense as a compromise, lest fools should fail to find it wise."

"Idiots are really one hundred per cent when they are also intelligent."

"To be and not to be, that is the answer."

"Our aim is to create an island of tranquility in our own country which, amid the joyful hum of arts and crafts, would be welcome to anyone who professes faith in Ruskin and Morris."

"Art is the Flower - Life is the Green Leaf. Let every artist strive to make his flower a beautiful living thing, something that will convince the world that there may be, there are, things more precious more beautiful - more lasting than life itself... you must offer real, living - beautifully coloured flowers - flowers that grow from, but above, the green leaf – flowers that are not dead – are not dying – not artificial – real flowers springing from your own soul – not even cut flowers - You must offer the flowers of the art that is in you – the symbols of all that is noble – and beautiful – and inspiring - flowers that will often change a colourless leaf - into an established and thoughtful thing."

"(J. D. Sedding's) aphorism 'There is hope in honest error, none in the icy perfection of the mere stylist' became a personal motto for Mackintosh."

"I think a lot of people may take some heart from this: a lot of the math, the heavy math in projective geometry, [...] took me a long time. There were many many years, a decade, when I was considered this graphics guru genius, when I really couldn't do from scratch [...] the mathematics that underpins a lot of that. But slowly, eventually, with a couple decades of experience, most of it did eventually sink in on me."

"Everything is an interpolation problem if you have enough data"

"In the information age, the barriers [to entry into programming] just aren't there. The barriers are self imposed. If you want to set off and go develop some grand new thing, you don't need millions of dollars of capitalization. You need enough pizza and Diet Coke to stick in your refrigerator, a cheap PC to work on, and the dedication to go through with it. We slept on floors. We waded across rivers."

"These are things I find enchanting and miraculous. I don’t have to be at the Grand Canyon to appreciate the way the world works, I can see that in reflections of light in my bathroom.""

"Nvidia's OpenGL drivers are my 'gold standard', and it has been quite a while since I have had to report a problem to them, and even their brand new extensions work as documented the first time I try them. When I have a problem on an Nvidia, I assume that it is my fault. With anyone else's drivers, I assume it is their fault."

"The situation is so much better for programmers today - a cheap used PC, a linux CD, and an internet account, and you have all the tools necessary to work your way to any level of programming skill you want to shoot for."

"The speed of light sucks."

"I'm good? Seriously?"

"It's nice to have a game that sells a million copies."

"It's done, when it's done."

"It's a good thing Doom 3 is selling very well..."

"[A]t its best, entertainment is going to be a subjective thing that can't win for everyone, while at worst, a particular game just becomes a random symbol for petty tribal behavior."

"Story in a game is like a story in a porn movie. It's expected to be there, but it's not that important."

"Personally, I’ve always been of the sleek and minimalist design school: make sure the core play is consistent and strong, then let that idea play out against different environments and challenges, this tends toward focusing on bio-mechanical twitch responses, audio-visual awe, and leaning more toward general strategy and tactics development over specific puzzle solving."

"Sharing the code just seems like The Right Thing to Do, it costs us rather little, but it benefits a lot of people in sometimes very significant ways. There are many university research projects, proof of concept publisher demos, and new platform test beds that have leveraged the code. Free software that people value adds wealth to the world."

"Advances in technology won’t be as significant as they have been in the past, most games won’t be materially improved by simulating every drop of water in the pond you are wading through. More resources can be profitably spent to make the creation process easier. How things will play out with respect to connectivity and where the data resides and processing takes place is still a very interesting question. The overlap and convergence between desktop computers, consoles, laptops, handheld gaming devices, and cell phones is also interesting. It is all still quite exciting."

"Helping people directly can be a noble thing. Forcing other people to do it with great inefficiency? Not so much. There isn’t a single thing that I would petition the federal government to add to its task list, and I would ask that it stop doing the majority of the things that it is currently doing. My vote is going to the candidates that at least vector in that direction."

"The Escalation programmers come from a completely different background, and the codebase is all STL this, boost that, fill-up-the-property list, dispatch the event, and delegate that. I had been harboring some suspicions that our big codebases might benefit from the application of some more of the various “modern” C++ design patterns, despite seeing other large game codebases suffer under them. I have since recanted that suspicion."

"A large fraction of the flaws in software development are due to programmers not fully understanding all the possible states their code may execute in."

"I was sort of an amoral little jerk when I was young. I was arrogant about being smarter than other people, but unhappy that I wasn't able to spend all my time doing what I wanted. I spent a year in a juvenile home for a first offense after an evaluation by a psychologist went very badly."

"Programming in the abstract sense is what I really enjoy. I enjoy lots of different areas of it... I'm taking a great deal of enjoyment writing device drivers for Linux. I could also be having a good time writing a database manager or something because there are always interesting problems."

"Note to self: Pasty-skinned programmers ought not stand in the Mojave desert for multiple hours."

"The idea that I can be presented with a problem, set out to logically solve it with the tools at hand, and wind up with a program that could not be legally used because someone else followed the same logical steps some years ago and filed for a patent on it is horrifying."

"Focused, hard work is the real key to success. Keep your eyes on the goal, and just keep taking the next step towards completing it. If you aren't sure which way to do something, do it both ways and see which works better."

"Because of the nature of Moore's law, anything that an extremely clever graphics programmer can do at one point can be replicated by a merely competent programmer some number of years later."

"This is a bit more expensive than my previous turbo-Ferrari habit, but not too bad."

"The biggest problem is that Java is really slow. On a pure cpu / memory / display / communications level, most modern cell phones should be considerably better gaming platforms than a Game Boy Advanced. With Java, on most phones you are left with about the CPU power of an original 4.77 mhz IBM PC, and lousy control over everything."

"The Xbox 360 is the first console that I've ever worked with that actually has development tools that are better for games than what we've had on PC."

"Honestly, I spend very little time thinking about past events, and I certainly don't have them ranked in any way. I look back and think that I have done a lot of good work over the years, but I am much more excited about what the future holds."

"But realistically, we don’t have that many problems at QuakeCon. If it was a football convention or something, there would probably be a lot more incidents."

"When he was young, John Romero made a game for every letter of the alphabet. That was wise."

"I’m going to turn on every damn light in protest of Earth Hour. Lighting the darkness is fundamental to humanity's climb."

"I do hear sometimes from programmers who are kind of sad that they don't have the opportunity to write game engines from scratch like I did and have it matter or make an impact...here's where some perspective really helps - I can remember when I was a teenager, I thought I had missed the Golden Age of 8-bit gaming, that I was never going to be Richard Garriott...time went by, and I got to make my own marks in things after that. And, in that time, I also see so many opportunities that have come by. The 90s PC wave was great - I was happy to be there, and I'm glad I took a swing and knocked one out of the park with that. But since then, we've seen mobile games, and web games, and free-to-play games, the Steam revolution...and now . And all of these are amazing! So, yeah, the opportunities that I had aren't there for people today - but there are new and better ones. And personally, I'm more excited about these than anything that's come before. So, thank you very much for this honor, but I'm just getting started."

"It is hard for less experienced developers to appreciate how rarely architecting for future requirements / applications turns out net-positive."

"The purpose of life is to struggle as hard as you can for what you believe in and enjoy the struggle."

"Nazism says that women are absolutely equal to men. But they're different. And thank God for the difference."

"I suggest that you instruct your people to see me openly, honestly, and that we join in an open, honest, and successful fight to destroy Israel the way it must be destroyed, by cutting off the parasite’s blood."

"If we are to be the last of the white men who conquered the world; if we are finally to be overwhelmed by a pack of rats, let us at least face the death of our race as our ancestors faced their death---like MEN. Let us not crawl down amongst the rats begging for mercy or trying to out-sneak them and pretend to be rats ourselves!"

"Let us stand on the scaffold of history — if hang we must — like the martyrs of Nuremberg, tall and proud! Is life so sweet, is comfort so precious and a job in a Jewish counting house so sacred that we are AFRAID to grasp the mighty hand of ADOLF HITLER reaching down to us our of our glorious past?"

"It is part of the Jews to be sneaky and sly. The genius of our people has ever been joyous strength, robust forcefulness, directness, manly courage, and flaming heroism. When the Jews, with their economic terrorism, jails, bullies and hangmen, scare the White man into laying down his cudgel and goad him into trying to out-sneak Jewish tyranny, the Jews have completely emasculated the once-strong White man, and doomed him to dishonor and defeat. The White man can NEVER win by sneaking!"

"Knowing this, we know that the psychiatrist, when he gets hold of you, is going to be looking for these "delusions of grandeur" and "delusions of persecutions". He is going to be waiting like a cat at a ratio hole for you to come out with the slightest hint that YOU, (instead of the Jews) are chosen to fulfill an historical mission such as preserving the White Race, and the concomitant proposition that the Jews are "persecuting" you for trying to expose them."

"By the exercise of REASON and GUTS instead of wild emotion and "righteous wrath" at the illegal incarceration, I won over the Dr's. under Shultz and the lady liberal psychiatrist, and these people had the courage to defy the two top-bosses and declare I was sane in TEN DAYS, in spite of the hysteria of the Chief of Psychiatry, who was shouting, "You're SICK! SICK!! SICK!" even as I left the lock-up."

"the problem in building a political organization … in spite of the enemy's utter mastery of all means of communicating with the masses, is … first the problem of reaching the masses—any way at all. It does not matter how you reach them at first, so long as they come to know of you and the fact that you are at the opposite pole from those in power."

"Out of the mud and slime of lies, your holy red, white and black Swastika has been flung back into the skies in Virginia, United States of America, and we pledge you our lives, Adolf Hitler, that we shall not flag or fail until we have utterly destroyed the forces of Marxism and darkness."

"In Mein Kampf I found abundant 'mental sunshine' which bathed all the gray world suddenly in the clear light of reason and understanding. Word after word, sentence after sentence stabbed into the darkness like lightning bolts of revelation, tearing and ripping away the cobwebs of more than thirty years of darkness; brilliantly illuminating the heretofore obscure reasons for the world's madness. I was transfixed, hypnotized. I could not lay the book down without agonies of impatience to get back to it. I read it walking to the squadron, I took it into the air and read it, propped up on the chartboard, while I automatically gave the instructions to the other planes circling over the desert. I read it on the Coronado Ferry. I read it into the night and resumed the next morning. When I had finished, I started again and reread every word, underlining and marking especially magnificent passages. I studied it, thought about it and wondered at the utter, indescribable genius of it. How could the world not only ignore such a book, but damn it and curse it and hate it, and pretend that it was a plan for 'conquering' the world, when it was the most obvious and rational plan for saving the world which has ever been written? Had nobody read it, I wondered, that people went around saying it was the work of a mad "rug-chewer"? How could sensible people get away with such monstrous intellectual fraud? Why was it so hated and cursed? I could see why the Jews would hate and curse it, but why my own people? I reread and studied it some more. Slowly, bit by bit, I began to understand. I realized that National Socialism, the iconoclastic worldview of Adolf Hitler, was the doctrine of scientific, racial idealism, actually, a new 'religion' for our times. I saw that I was living in the age of a new worldview. Two thousand years ago there had been a similar rise of a new approach or worldview, called a 'religion'; a worldview which shook and changed the world forever."

"In between the Nazis and the Communists is the great mass of non-fanatics, the TV watchers and the comic book readers."

"Muhammad understands the vicious fraud of the Jewish exploitation of the Negro people and, fighting his way from the gutters as we did, he had [sic] demonstrated truly incredible leadership abilities. He has gathered millions of the dirty, immoral, drunken, filthy-mouthed, lazy and repulsive people sneeringly called 'niggers' and inspired them to the point where they are clean, sober, honest, hard working, dignified, dedicated and admirable human beings in spite of their color."

"No American white desires to intermix with black people."

"This time, there at last exists in this world an organization not dedicated to saving just one PART of the White Race - as the Klan tried and succeeded for a time in saving the South, and the German Nazis tried and succeeded for a while in saving Germany - THIS TIME, the American Nazi Party and the World Union of National Socialists, of which the American Nazi Party is a part, will see to it that the White Race never again lays itself open to brainwashing and defeat by DIVIDING ITSELF and by being taught to HATE ITSELF and PARTS OF ITSELF - the way Yankees and "rebels" were taught to hate each other, and Americans and "Nazis" were taught to hate each other."

"This time we'll hate, alright - but we'll hate the ENEMY - the vicious gang of colored scum attackers and Jewish-Communist traitors - rather than one part of our own people hating another part for the benefit of the Jews and their army of SCUM!"

"I care not what religion, club, area or class you come from, nor what bit of colored cloth you wave as a flag. WE are ALL under deadly attack by colored hordes which outnumber us more than seven to one, led by a filthy Jewish, Communist conspiracy!"

"White Man, let us stand together to secure the survival of your people and my people, for they are one and the same - they are our beloved, miraculous, wonderful, blessed and masterful white race!"

"But when the survival of a whole people is at stake, as the survival of White, Western, Christian civilization is now at stake -- there IS no "moral" and "immoral". The only immoral thing is to permit an enemy to destroy one's people, either by decay or by physical annihilation. I do not hesitate to admit that I would do anything, absolutely ANYTHING, to ensure the survival and happiness of our White, Western People [...] I mean to WIN. I am a political soldier, not a preacher. Perhaps I will go to hell for doing what must be done. But from down there, I will be able to look up and see the sweet little White boys and girls once again playing in a White, Christian, decent, safe and wholesome America. And if I can do that, then bring on the devil with his worst."

"Our motto continues to be: 'White Man, stand with us and fight, or stand out of our way!'"

"A leopard doesn't change his spots just because you bring him in from the jungle and try to housebreak him and turn him into a pet. He may learn to sheathe his claws in order to beg a few scraps off the dinner table, and you may teach him to be a beast of burden, but it doesn't pay to forget that he'll always be what he was born: a wild animal."

"Being prepared to die is one of the great secrets of living."

"Evolution shows that in the long run, if the superior mixes with the inferior, the product is halfway between, and inferior to what you started with in the original superior group - in other words, mongrelized."

"In Germany, Hitler produced a local "lab experiment"; he provided me with an ideology in the same way that Marx provided one for Lenin. My task is to turn this ideology into a world movement."

"I don't believe in democracy. In the second place, neither did our white forefathers. I believe, as they did, in a republican authoritarian republic with a limited electorate - just like the one the writers of our Constitution meant this country to be. When these white Christian patriots sat down to write the Declaration of Independence, there were no black citizens for them to worry about."

"Jews talk a lot about God. But actually their god, just like Marx said, is money. Cash!"

"When I was in the advertising game, we used to use nude women. Now I use the swastika and storm troopers. You use what brings them in."

"The color of your skin is your uniform in this ultimate battle for the survival of the West."

"LOVE, the natural, healthy kind, is indeed what makes the world go round, and is the most beautiful, holy miracle we ever see here on this earth. BUT WITHOUT A DEADLY HATE OF THAT WHICH THREATENS WHAT WE LOVE, LOVE IS AN EMPTY WORD, A CATCHWORD FOR HIPPIES, QUEERS, AND COWARDS."

"You're a slave in your own country, White Man. Each year you get to keep less of the fruits of your labor; each year it gets more difficult to carry the burden the aliens have placed upon you; each year the cheap labor of aliens makes your future less secure; each year you retreat a few steps more into the world of slavery. Where will it all end? I'LL TELL YOU –­ it will end with the complete and total annihilation of "Whitey.""

"We must secure the existence of our people and a future for white children."

"Friends of mine are always showing me articles. "Look at what this bigoted bastard wrote!" And then I dug something. Liberals will buy anything a bigot writes. And they'll really support it. George Lincoln Rockwell, the head of the American Nazi Party, perhaps is a very knowledgeable businessman with no political convictions whatsoever. He gets three bucks a head and works the mass rallies of nothing but angry Jews, shaking their fists and wondering why there are so many Jews there. And he probably has two followers who are deaf. They think the swastika is an Aztec symbol."

"This quixotic quality of Rockwell's movement, with equal measures of fantastic daring and pathological resentment, has enabled the racist Right to make a hero of him, something of a martyr (assassinated by one of his own followers, no less). But there is something about Rockwell's story— about his persistence in his beliefs and in his political activism—that seems heroic in a peculiar but genuine way, if only because one has to grant a man some measure of respect for sticking to his guns no matter what and for refusing to submit to the belief of the dominant mainstream that he was crazy because he adopted execrable political ideas (psychotherapy has sometimes become a form of Stalinism in democratic, technological countries). And there is something tragic about Rockwell, a man of no small intelligence, no small ambition, no small abilities, who could waste himself so thoroughly in something so grotesque and so mean-spirited."

"George Lincoln Rockwell is an egocentric and a chronic failure who created the shabby, small-time enterprise which he named the American Nazi Party in order to abate his tormenting ambitions to achieve fame. Carrying the war-tattered banner of a vanquished enemy the world would like to forget, Rockwell leads his heterogeneous "army" against an imaginary "Zionist conspiracy." Distasteful costumes, contemptible slogans, and disruptive tactics have brought national attention to Rockwell, inflating him and his group far beyond their due."

"We must appreciate the irony of Rockwell, an agnostic, using biblical allusions to promote Hitler, an anti-Semitic Odinist, as spiritual heir to Jesus of Nazareth, a radical Jewish rabbi."

"Without question Lincoln is the loudest talker on the campus, the originator of more weird theories than anyone else, and the Academy's outstanding artist. A memorable noise (whether or not it is pleasant is up to you) from Sturtevant Home is Lincoln Rockwell playing (?) sweet (?) music on the ivories of a nearby piano. He is the chief lover of classical music in the school; a champion rodent trainer, and an accomplished humorist. The two Rockwells started a new communication system here which, because of some arch-fiend, had only a brief existence. Rockwell is like his comedian father—always on hand with a joke or always ready with a kind word. He is headed for Harvard, they say, and we have every assurance of his being successful because of his incomparable personality and originality."

"George Lincoln Rockwell's talent was that he knew what would make people hate him. [...] [He] had an inordinate capacity for finding out what would make people the angriest and exploiting it."

"Software engineering is the part of computer science which is too difficult for the computer scientist."

"[Software engineering is the] establishment and use of sound engineering principles to obtain economically software that is reliable and works on real machines efficiently."

"Eventually, I decided that thinking was not getting me very far and it was time to try building."

"Where will we be ten years from now? CRT’s will be a thing of the past, multimedia will no longer be a buzzword, pen-based and voice input will be everywhere, and university students will still be editing with emacs. Pens and touchscreens are too low-bandwidth for real interaction; voice will probably also turn out to be inadequate. (Anyway, who would want to work in an environment surrounded by people talking to their computers?) Mice are sure to be with us a while longer, so we should learn how to use them well."

"Object-oriented design is the roman numerals of computing."

"On a related topic, let me say that I'm not much of a fan of object-oriented design. I've seen some beautiful stuff done with OO, and I've even done some OO stuff myself, but it's just one way to approach a problem. For some problems, it's an ideal way; for others, it's not such a good fit. [...] OO is great for problems where an interface applies naturally to a wide range of types, not so good for managing polymorphism (the machinations to get collections into OO languages are astounding to watch and can be hellish to work with), and remarkably ill-suited for network computing. That's why I reserve the right to match the language to the problem, and even - often - to coordinate software written in several languages towards solving a single problem. It's that last point - different languages for different subproblems - that sometimes seems lost to the OO crowd."

"Those days are dead and gone and the eulogy was delivered by Perl."

"I started keeping a list of these annoyances but it got too long and depressing so I just learned to live with them again. We really are using a 1970s era operating system well past its sell-by date. We get a lot done, and we have fun, but let's face it, the fundamental design of Unix is older than many of the readers of Slashdot, while lots of different, great ideas about computing and networks have been developed in the last 30 years. Using Unix is the computing equivalent of listening only to music by David Cassidy."

"The major things we saw wrong with Unix when we started talking about what would become Plan 9, back around 1985, all stemmed from the appearance of a network. As a stand-alone system, Unix was pretty good. But when you networked Unix machines together, you got a network of stand-alone systems instead of a seamless, integrated networked system. Instead of one big file system, one user community, one secure setup uniting your network of machines, you had a hodgepodge of workarounds to Unix's fundamental design decision that each machine is self-sufficient."

"One odd detail that I think was vital to how the group functioned was a result of the first Unix being run on a clunky minicomputer with terminals in the machine room. People working on the system congregated in the room - to use the computer, you pretty much had to be there. (This idea didn't seem odd back then; it was a natural evolution of the old hour-at-a-time way of booking machines like the IBM 7090.) The folks liked working that way, so when the machine was moved to a different room from the terminals, even when it was possible to connect from your private office, there was still a "Unix room" with a bunch of terminals where people would congregate, code, design, and just hang out. (The coffee machine was there too.)"

"The Unix room still exists, and it may be the greatest cultural reason for the success of Unix as a technology. More groups could profit from its lesson, but it's really hard to add a Unix-room-like space to an existing organization. You need the culture to encourage people not to hide in their offices, you need a way of using systems that makes a public machine a viable place to work - typically by storing the data somewhere other than the "desktop" - and you need people like Ken and Dennis (and Brian Kernighan and Doug McIlroy and Mike Lesk and Stu Feldman and Greg Chesson and ...) hanging out in the room, but if you can make it work, it's magical. When I first started at the Labs, I spent most of my time in the Unix room. The buzz was palpable; the education unparalleled."

"Syntax highlighting is juvenile. When I was a child, I was taught arithmetic using colored rods. I grew up and today I use monochromatic numerals."

"Industrial design keeps the customer happy, his client in the black and the designer busy."

"A lot of people are open to new things, as long as they look like the old ones."

"Is it responsible to camouflage one of America's most remarkable machines as a piece of gaudy merchandise? Form, which should be the clean- cut expression of mechanical excellence has become sensuous and organic."

"I believe one should design for the advantage of the largest mass of people, first and always. That takes care of ideologies and sociologies."

"Design is too important to be left to designers."

"This book is the story of a young man who came to America to make a living, and simply happened to do so in a profession which he helped to create."

"I never expected that one could fall so completely in love with a nation and a people. I already knew that very soon I would thrill at everything American, love everything American, perhaps blindly, but fervently and forever. I still remember how thrilled I was at the sight of the flag. After all these years, every time I see the Stars and Stripes in the breeze, I get the same emotional feeling. Aesthetically speaking, it is perfect. One of the outstanding "designs" of all times. It may be that a nation gets the flag it deserves."

"If there is a designer whose name is synonymous with industrial design it is Raymond Loewy (1893-1986)."

"What Charles and Ray Eames are to furniture design, Raymond Loewy is to industrial design -- the modern master"

"I was in Brooklyn and it was freezing cold. I was living in a room with no windows and paying too much in rent. I envisioned sitting under a palm tree. I followed my nose from there."

"It's a bit like being a mad scientist. You mix a bit of this with some of that. You're never sure what's going to happen. But I'd rather blow up the laboratory than keep reinventing the wheel."

"People are very much victims of their lack of education. This of course makes them a lot easier to control. It works the same way there as it does (in America). I wouldn't say that surprised me."

"A record should be like a bus ticket to somewhere, but you're not sure where that somewhere is going to be. (It) shouldn't just give you thirteen variations on the same four elements, like McDonald's, or something. 'You liked that one? Well here's the same thing, except with extra cheese.'"

"I've been down so long that coming up is giving me the bends."

"I'm sipping on an oxygen cocktail with an ambulance chaser."

"I'm a raging success as a failure."

"Another perfect catastrophe is just waiting to happen, watching for the moment to transpire. Another perfect catastrophe is just dying to go down. It's only looking for the perfect place and time."

"A thousand eyes are gazing down like bullet holes shot into the roof, as I lie here scratching for a grain of truth."

"Every word I never spoke dies like a spark smothered in smoke pulled from the glow of a shitty cigarette."

"Friday was the crucifixion Saturday, cremation under glass. The resurrection was on Sunday, no.. correction make it Monday; cause Monday's when they come to take the trash."

"You can give your confession tomorrow, if you find a priest dumb enough to believe, because it only hurts when I breathe."

"Late for work again today. Somebody was lying down on the job again. Will you people please stop jumping under my train? 'Ladies and gentlemen, there will be a slight delay while we hose the blood away.'"

"Everybody loves you when you're dead. Everyone is suddenly your dearest friend. Nobody talks no dirt about you. But life, it just goes on above your head, when you're dead."

"The love of gardening is a seed that once sown never dies, but grows to the enduring happiness that the love of gardening gives."

"I am strongly of the opinion that possession of plants, however good, does not make a garden; it only makes a collection."

"The duty we owe to our gardens is to so use the plants that they shall form beautiful pictures; and that, while delighting our eyes."

"Paint upon a palette, delighting our eyes with soul-satisfying pictures, a treasure of well set jewels a sympathy with growing things, fashioned into a dream of beauty, a place of perfect rest and refreshment of mind and body. This sense of beauty is a gift of God."

"To devise these living pictures with simple well-known flowers seems to me to be the best thing to do in gardening."

"Creativity is not the domain of one single person. Through free-association of thoughts and brainstorming, an accidental suggestion can be the best solution."

"Choices, the greatest power we have, Choices, the path which is destiny, Choices, the result which is you... .'"

"Invest your time, spend less of it, cause you simply can't afford it. Once spent, this time have you, gone will it be, somewhere in history."

"Far away....? Not really. Neither here nor there. No sky up high......, No nothing below.. LIMBO."

"Courage is defined as: the ability to face danger, difficulty, uncertainty, or pain without being overcome by fear or being deflected from a chosen course of action. Many of today’s world leaders have great courage: I wonder... would we be better off with cowardice?"

"Believing in an idea is dangerous! Because belief is absolute, and absolute, is unconditional, it is supreme, its ultimate and therefore fixed, which by definition will never be acceptable to change.'"

"A director is some what like a referee in a soccer match of sorts; ensuring all players play within the rules and boundaries of the game. His game."

"Technology's rapid development and our ever-changing lifestyles created a fundamentally new and exhilarating backdrop for building, and in this new world context I felt we must reinvestigate the aborted and untested experiments of Modernism – not to resurrect them, but to unveil new fields of building."

"Having a period of - well, austerity, shall we say - certainly humbles you."

"Now that we can do anything, what will we do?"

"Everything I do is a symbol. Everything, has a meaning."

"This museum is like a ghost train—at every stage you find a surprise. Intuition prepares you for enlightenment, not audio-visual lectures. There's less to read, more to fee."

"A toothbrush is 28 grams of matter, 28 francs to buy and it's made to get rid of scraps of meat from between the teeth. Every gram of matter must provide its service as best it can. My trade is to be a producer of fertile surprises, an opener of doors in people's head."

"I try to rediscover why that object exists at all, and why one should take the trouble to reconsider It. I don't consider the technical or commercial parameters so much as the desire for a dream that humans have attempted to project onto an object."

"It is important to inject love into the place where you live. It is not healthy to rent an interior designer to create a home for you because it is not good to live in another person's fantasy. People should select for themselves and stamp their own identity on a place. They should mix and match everything to make their own cocktail."

"The world wants water not taps, the world wants warmth not a heater."

"I have refused everybody, including A-list celebrities."

"I think if I directly design their apartment, I will not help them... If you are rich and famous and you buy an apartment (house) and you don't know what to do, you will rent an interior designer. But in the end you will not make your own home. You will take the prefab life made by your interior designer and that is stupid. With ICON you will do it yourself."

"My idea is to bring happiness, respect, vision. poetry, surrealism and magic [to design]. We have to replace beauty, which is a cultural concept, with goodness, which is a humanist concept'."

"You must have your own responsibility, your own consciousness."

"I am just a copier, an impostor. I wait, I read magazines. After a while my brains send me a product... I am my brain's publisher."

"D'un point de vue structurel, le design est totalement inutile... J'ai essayé de donner à mes produits un peu de sens et d'énergie. Mais même quand j'ai donné le meilleur de moi-même, c'était absurde."

"I'm trying to move towards making objects which are honest, objects for non-consumers, for "modern rebels". Look, there are already millions of excellent chairs which are very comfortable, lamps which provide light, and so on. Is it necessary to create any more? The only question is: what will it bring to the human being who is going to use it? The urgent thing today is not to create a car or a chair which is more beautiful than another; what is urgent is for us all to fight with every means at our disposal against the fact that something is becoming extinct: love."

"Today, the problem is not to produce more so you can sell more. The fundamental question is that of the product's right to exist. And it is the designer's right and duty, in the first place, to question the legitimacy of the product, and that is how he too comes to exist. Depending on what answer he comes up with, one of the most positive things a designer can do is refuse to do anything,"

"I outlawed the word 'user' in all company meetings, and insisted it be replaced by the words 'my friend', 'my wife', 'my daughter', 'my mother' or 'myself'. It doesn't sound the same at all, if you say: 'It doesn't matter, it's shit, but the user will make do with it', or if you start over and say; 'It's shit, but it doesn't matter, my daughter will make do with it.' All of a sudden, you can't get away with it anymore. All of a sudden, you can't get away with it anymore. There is an enormous task to be done with this kind of symbolic repositioning."

"[M]y main task when I was artistic director at Thomson for four years: to make the company virtuous. Not because there was a desire there to do evil, but because they had simply forgotten their purpose in life - to be of service, to use their skills to be of service. It is essential to try to play the role of a friendly "enemy within". That is, to catch the interest of these big companies so that they make money available, and research facilities, and distribution networks, for this return to what is the origin of all their activities - to serve others. It even means changing the words they use. One of the things I did at Thomson was to change their name. Thomson used to be called TCE, Thomson Consumer Electronic, and I asked them: who wants to be a "consumer of electronics?""

"[At Thomson] the other important thing I did was that I outlawed the word "consumer" in all company meetings, and insisted it be replaced by the words "my friend", "my wife", "my daughter", "my mother", or "myself." It doesn't sound the same at all, if you say: "It doesn't matter, it's shit, but the consumers will make do with it," or if you start over again and say: "It's shit, but it doesn't matter, my daughter will make do with it. All of a sudden, you can’t get away with it anymore. There is an enormous task to be done with this kind of symbolic repositioning."

"In perhaps 50 years, 60 years, we can finish completely this civilization, and offer to our children the possibility to invent a new story, a new poetry, a new romanticism.”"

"Nobody is obliged to be genious but everybody is obliged to participate."

"God is the answer when we don't know the answer."

"I am sort of a modern monk. My wife and I have a collection of cabins in the middle of nowhere, and we stay out of everything. We don’t go to dinners. We don’t go to cocktails. We don’t go to movies. We don’t watch TV. I don’t use my energy on other people. I just work and read. I live with myself in front of my white page. Of course, for much of the year I have to travel, speak to journalists, engineers, things like that, and it’s the worst. But from the 15th of June to the 15th of September, I live completely secluded, locked in one of my houses, working from 8 in the morning to 8 at night, or making my own biorhythm: work three hours, sleep 45 minutes, work three hours, sleep 45 minutes, for 24 hours, without eating. It’s a little sick. But I’m like Dr. Faust. I signed a contract with the devil to sell my life for creativity."

"I manage by absence. I go to the office two, three days a month, and those are the worst days for me. So the people on my team do what they want, when they want, but the results have to be perfect, crystal perfect. I cannot accept laziness or something that is not intelligent or any type of delay. If we say we will deliver a project on the 20th at 5 PM, on the 20th at 5 PM we shall blow the minds of the people we’re presenting to."

"The enduring influence of Memphis can be seen in the groundbreaking work of French designer Philippe Starck. His prescient 1984 Café Costes interior combines futurism and nostalgia—a mix which resonates in subsequent projects like the 1988 Royalton Hotel in New York, and the long-legged lemon juicer he designed in 1990."

"Philippe Starck has said that he can design a chair in two minutes and a hotel in a day and a half. Preferring to work alone, sometimes “naked in the bedroom,” the Frenchman has devised thousands of products, interiors, and buildings for clients ranging from Microsoft to Baccarat."

"If things aren't not failing you are not innovating enough."

"Life is too short for long-term grudges."

"I didn’t really expect to make any money. If I could make enough to cover the rent and buy some food that would be fine. As it turns out, it turned out to be quite valuable in the end."

"I don’t have an issue with serving in the military per se, but serving in the South African army suppressing black people just didn’t seem like a really good way to spend time."

"I think South Africa is a great country."

"If you wanted to be close to the cutting edge, particularly in technology, you came to North America."

"Tuition costs are outrageous. Fortunately, they gave me a scholarship…so I only had to cover living expenses, books, etc., by working."

"One was the Internet, one was clean energy and one was space."

"I could either watch it happen, or be part of it."

"We could figure out ways with small aerospace companies to do a low-cost spacecraft and lander. But we could not find a way to do a low-cost launcher, unless we went to the Russians."

"The answer was we thought it could be done."

"There is nothing inherently expensive about rockets. It's just that those who have built and operated them in the past have done so with horrendously poor efficiency."

"Falcon One is going to be the lowest cost per flight to orbit of any production rocket."

"Which means we’re cheaper than the Chinese, cheaper than [the] Russians or anywhere else – and we’re doing it in the United States with American labour costs."

"I think the reason it’s cheaper is, first of all, we are a private entity and we have a very lean system in here. What we have been able to do here at SpaceX is to cherry-pick, you know, the top one or two percent and give them, you know, capital to execute well and a clear mission, which is low cost, reliable access to space, and no other constraints."

"Well, I have tried to learn as much as possible from prior attempts."

"If nothing else, we are committed to failing in a new way."

"There’s a graveyard of prior attempts, a big graveyard. There’s probably some freshly dug graves just waiting to be filled. Our aspiration is to avoid that destination."

"I think we’ve got the risks pretty well characterized. I think we are at least avoiding the mistakes that have been made in the past."

"I think the rocket business is quite cyclic. There are a great many peaks and troughs."

"Imagine creating a huge software program that can only be tested in little pieces on a computer that is slightly different from what it is supposed to run on. However, when you do run it as a whole on the actual computer for the first time, it must run almost flawlessly without a single significant bug. When is the last time you saw a software program do that?"

"When thinking about starting a business, I think it’s actually better to start in a trough and come to market in a peak, than the other way around. Frankly, if anything does, and it’s almost cliché, space has a long-term future."

"I want to be able to make sure that we have enough capital to survive at least three consecutive failures. If you want to make a small fortune in the launch vehicle business, start with a large one."

"The long term ultimate objective – the holy grail – is we would like to help make life multi-planetary."

"We got to the moon, but have never done anything better since. I'm disappointed that we have not made more progress since Apollo. I don't even see a plan that says we're going to do better than Apollo to exceed that goal."

"I like to be involved in things that change the world. The Internet did, and space will probably be more responsible for changing the world than anything else. If humanity can expand beyond the Earth, obviously that's where the future is."

"If we can be one of the companies that makes it possible for humans to become a multi-planetary species, that would be the Holy Grail. It sounds a bit crazy but it's going to happen, and only if people build the means to do so. We're making progress toward a greater philosophical goal while building a sound business."

"When Henry Ford made cheap, reliable cars people said, "Nah, what's wrong with a horse?" That was a huge bet he made, and it worked."

"It doesn’t do a great deal to advance the goal of humanity. I would pay $20 million not to spend six months in Russia. And besides this, my interest is how do we enable many other people to go to space, not necessarily me, personally."

"If we can build something that is capable of taking people and equipment to Mars, such that it can service a transportation infrastructure for humanity becoming a multi- planet species - which I think is a very, very important objective - then I would consider the mission of SpaceX successful, at that point."

"We are used to things improving every year; we are used to having a better cell phone next year than this year; a better lap top. We are even used to some basic things, like we expect more from your car in next year’s model than last year’s model. But this is not the case in space; reliability and cost - those are the fundamental parameters of transportation - have not improved."

"Starting and growing a business is as much about the innovation, drive and determination of the people who do it as it is about the product they sell."

"So even if a fire develops, it can't really attack the particularly vulnerable locations like the pneumatic system or the avionics or the engine bay. We want to be in the situation that even if a fire develops, the rocket just keeps going."

"A great deal of bargaining power with suppliers. We are never locked in to anyone."

"I think it is a mistake to hire huge numbers of people to get a complicated job done. Numbers will never compensate for talent in getting the right answer (two people who don't know something are no better than one), will tend to slow down progress, and will make the task incredibly expensive."

"My approach is simply to seek out very talented people, ensure that the environment at SpaceX is as motivating & enjoyable as possible and establish clear & measurable objectives."

"Rocket engineering is not like ditch digging. With ditch digging you can get 100 people and dig a ditch, and you will dig it a hundred times as faster if you get 100 people versus one. With rockets, you have to solve the problem of a particular level of difficulty; one person who can solve the problem is worth an infinite number of people who can’t."

"I think that is a mistake and results in cloudy judgment on important technical issues. They can't tell if something is really good or not, so they just do what everyone else does, assuming it to be the safe bet."

"We're adding a triple sign-off for all work done on the launch pad, on flight components, and flight critical GSE. You have a technician, a responsible engineer, and then quality assurance will sign the final, record all information, and take photographs of all the work that was done, and then make sure that all information is put into our quality assurance database, which is reviewed prior to launch."

"Although I am new in the business, my team is not. I would say that, person for person, there has never been a better rocket company in existence, in history. I don’t think there has ever been a group this talented in one place, in one company, developing a rocket – ever."

"If you have millions of dollars it changes your lifestyle, and anyone who says differently is talking bullshit. I don’t need to work, from a standard of living point of view, but I do, you know. I work every day and on weekends and I haven’t taken a vacation for years."

"This is the chance to fulfill a dream."

"I’m nauseatingly pro-American. It is where great things are possible."

"As life’s agents, it’s on our shoulders."

"It was obviously a big disappointment not to reach orbit on this flight ... The most important message I’d like to send right now is that SpaceX will not skip a beat in execution going forward. We have flight four of Falcon 1 almost ready for flight and flight five right behind that. ... There should be absolutely zero question that SpaceX will prevail in reaching orbit and demonstrating reliable space transport. For my part, I will never give up and I mean never."

"Sooner or later, we must expand life beyond our little blue mud ball--or go extinct."

"The heroes of the books I read, The Lord of the Rings and the Foundation series, always felt a duty to save the world."

"When something is important enough, you do it even if the odds are not in your favor."

"We need to figure out how to have the things we love, and not destroy the world."

"In terms of the Internet, it's like humanity acquiring a collective nervous system. Whereas previously we were more like a... collection of cells that communicated by diffusion. With the advent of the Internet, it was suddenly like we got a nervous system. It's a hugely impactful thing."

"So, I think the best analogy for rocket engineers, if you want to create complicated software, you can't run as an integrated whole, or run on the computer it's intended to run on, but, first time you run it, it has to run with no bugs. That's the essence of it. So ... we missed the mark there."

"I'd rather be optimistic and wrong; than pessimistic and right. .. We have planes, trains, automobiles and boats, ... What if there was a fifth mode?"

"One thing that is important is that, if you have a choice between a lower valuation with someone you really like, or higher valuation with someone you have a question mark about, take the lower valuation."

"I would like to die on Mars; just not on impact."

"Since our primary competitors [in space launch] are national governments, the enforceability of patents is questionable."

"Even if there's a zombie apocalypse, you'll still be able to travel using the Tesla Supercharging system."

"I plan to travel to Mars and make it my home. .. People should be traveling to Mars and doing it in our lifetime."

"Only by breaking through to new paradigms of space travel will more than a handful of us ever get to Mars and make it a potentially livable place... Getting to Mars is too big an accomplishment for us to feel proud by just by swinging by. We are a nation of enterprise as well as exploration, and we're not about to go there without making something of it."

"Sending large numbers of people to explore and settle Mars in the decades ahead isn't inevitable, but it is entirely possible. The biggest challenge isn't the engineering and spacecraft, however difficult they may be. Instead, it's making sure that a sustained Mars campaign proceeds as a national priority, and that will happen only if the American people are behind it. We have the opportunity now to make this happen. We might not be so fortunate in the future."

"Everything works in PowerPoint; but if you have the physical item or some demonstration software, that's much more convincing to people than a PowerPoint presentation or a business plan."

"First, you're going to have to live in transparent domes, but eventually, you can transform Mars into an Earth-like planet. You can warm it up."

"[The quick way to warm the planet] Drop thermonuclear weapons over the poles."

"I'm trying to do useful things."

"They [Apple] have hired people we've fired. We always jokingly call Apple the "Tesla Graveyard." If you don't make it at Tesla, you go work at Apple. I'm not kidding. ... cars are very complex compared to phones or smartwatches. You can't just go to a supplier like Foxconn and say: Build me a car. But for Apple, the car is the next logical thing to finally offer a significant innovation. A new pencil or a bigger iPad alone were not relevant enough."

"AI is much more advanced than people realize. ... Humanity's position on this planet depends on its intelligence so if our intelligence is exceeded, it's unlikely that we will remain in charge of the planet."

"SpaceX's got 5,000 people. I get a lot of attention, but they are really doing the work."

"I think we have a duty to maintain the light of consciousness to make sure it continues into the future."

"The probability of death is quite high on the first [human] mission [to Mars]."

"It would be an incredible adventure. And life needs to be more than just solving every day problems. You need to wake up and be excited about the future"

"I can be on my own private island with naked super models, drinking mai tais, but I'm not. I'm in the factory working my ass off, so I don't want to hear about how hard everyone else in the factory works."

"People are mistaken when they think that technology just automatically improves. It does not automatically improve. It only improves if a lot of people work very hard to make it better, and actually it will, I think, by itself degrade, actually. You look at great civilizations like Ancient Egypt, and they were able to make the pyramids, and they forgot how to do that. And then the Romans, they built these incredible aqueducts. They forgot how to do it."

"I think there is a strong humanitarian argument for making life multi-planetary in order to safeguard the existence of humanity in the event that something catastrophic were to happen."

"Every person in your company is a vector. Your progress is determined by the sum of all vectors."

"Rocket tech applied to a car opens up revolutionary possibilities."

"I love Twitter. How much is it?"

"Holy flying fuck, that thing took off!"

"I don’t get the little ship thing. You can’t show up at Mars in something the size of a rowboat. What if there are Martians? It would be so embarrassing."

"Never saw this British expat guy who lives in Thailand (sus) at any point when we were in the caves. Only people in sight were the Thai navy/army guys, who were great. Thai navy seals escorted us in — total opposite of wanting us to leave. Water level was actually very low & still (not flowing) — you could literally have swum to Cave 5 with no gear, which is obv how the kids got in. If not true, then I challenge this dude to show final rescue video. You know what, don’t bother showing the video. We will make one of the mini-sub/pod going all the way to Cave 5 no problemo. Sorry pedo guy, you really did ask for it."

"I suggest that you call people you know in Thailand, find out what’s actually going on and stop defending child rapists, you fucking asshole. He’s an old, single white guy from England who’s been traveling to or living in Thailand for 30 to 40 years, mostly Pattaya Beach, until moving to Chiang Rai for a child bride who was about 12 years old at the time. As for this alleged threat of a lawsuit, which magically appeared when I raised the issue (nothing was sent or raised beforehand), I fucking hope he sues me."

"Off the record. We haven't had a conversation at all. I sent you an off the record email, which very clearly and unambiguously said "off the record". If you want to publish off the record comments and destroy your journalistic credibility, that's up to you. As for answering more questons, I would be happy to do so, but not with someone who just told me that they will not honor accepted rules of journalism."

"People tend to think like, 'Why should electric vehicles have a subsidy,' but they're not taking into account that all fossil fuel-burning vehicles fundamentally are subsidized by the cost—the environmental cost—to Earth, but nobody's paying for it... We are going to pay for it, obviously—in the future we'll pay for it. It's just not paid for now."

"if you assume any rate of improvement at all, then games will be indistinguishable from reality we could be in base reality this is just about probability there are many, many simulations you might as well call them reality, or multiverse they're running on the substrate ... that substrate is probably boring"

"Guardian is the most insufferable newspaper on planet Earth."

"I don't think most people, even in the aerospace industry, like, know what question to ask. Like it took us a long time to even frame the question correctly. But once we could frame the question correctly, the answer was, I wouldn't say easy, but, the answer flowed once the question could be framed with precision. Framing that question with precision was very difficult."

"im actually cat girl here’s selfie rn"

"[Artificial intelligence] is just digital intelligence. And as the algorithms and the hardware improve, that digital intelligence will exceed biological intelligence by a substantial margin. It's obvious. Ensuring that the advent of AI is good, or at least we try to make it good, seems like a smart move. We're not paying attention. We worry more about what name somebody called someone else, than whether AI will destroy humanity. That's insane. We're like children in a playground. ... The way in which a regulation is put in place is slow and linear. If you have a linear response to an exponential threat, it's quite likely the exponential threat will win. That, in a nutshell, is the issue. .. Your probability of dying on Mars is much higher than earth. Really, the ad for going to Mars would be like Shackleton’s ad for going to the Antarctic: "It’s gonna be hard. There’s a good chance of death, going in a little can through deep space. You might land successfully. Once you land successfully, you’ll be working nonstop to build the base. So, you know, not much time for leisure. And even after doing all this, it’s a very harsh environment, so there’s a good chance you die there. We think you can come back, but we’re not sure." Now, does that sound like an escape hatch for rich people? .. No one should put this many hours into work. This is not good. People should not work this hard. They should not do this. This is very painful. ...it hurts my brain and my heart. ... This is not recommended for anyone. ... I just did it because if I didn't do it, then there was a good chance Tesla would die. .. I believe there’s some explanation for this universe, which you might call God."

"The fundamental message that consumers should be taking today is that it's financially insane to buy anything other than a Tesla. It would be like owning a horse in three years. I mean, fine if you want to own a horse. But you should go into it with that expectation. If you buy a car that does not have the hardware for full self-driving, it is like buying a horse. And the only car that has the hardware for full self-driving is a Tesla."

"It’s so insane the way rockets work today. It would be like if you got a plane and the way you get to your destination is you bail out with a parachute over the city in question and your plane crash lands somewhere. That’s how rockets work today—with the exception of Falcon 9. This is completely bonkers. ..If it were to take longer to convince NASA and the authorities that we can do it versus just doing it, then [SpaceX] might just do it [ourselves]. It may literally be easier to just land Starship on the moon than try to convince NASA that we can."

"Nuke Mars! T-shirt soon."

"Nuke Mars refers to a continuous stream of very low fallout nuclear fusion explosions above the atmosphere to create artificial suns. Much like our sun, this would not cause Mars to become radioactive. Not risky imo & can be adjusted/improved real-time. Essentially need to figure out most effective way to convert mass to energy, as Mars is slightly too far from this solar system's fusion reactor (the sun)."

"No, just like [Unsworth] didn’t clarify he wanted to sodomize me with a submarine. I didn’t think it required clarification, I think that would have been worse. If you called someone a motherf’er I don’t think you would have to clarify you don’t actually commit incest. It would sound disingenuous."

"According to the geological records, earth has been around for around 4.5 billion years, although it was mostly molten magma for about half a billion years... The sun is gradually getting hotter and bigger, and over time, even in the absence of global warming — the man-made stuff — the sun will expand and it will overheat the earth. My guess is probably... there is only several hundred million years left.... Basically, if it took an extra 10% longer for conscious life to evolve on earth, it wouldn't evolve at all, because it would have been incinerated by the sun. ... It appears that consciousness is a very rare and precious thing, and we should take whatever steps we can to preserve the light of consciousness, and the window has been open; only now after four and a half billion years is that window open, that's a long time to wait ... I'm pretty optimistic by nature, but there's some chance that window will not be open for long, I think we should become a multi-planet civilization while that window is open, and if we do the I think probable outcome for Earth is even better, because then you know Mars could help Earth one day. And so I think we should really do our very best to become a multi-planet species and to extend consciousness beyond Earth, and we should do it now. Thank you."

"I have this mantra. It's called, "If a schedule is long, it's wrong. If it's tight, it's right." And I've just, basically just go recursive improvement on schedule, with feedback loop. "Did this make it go faster? OK. If it didn't, we're going to need to fix it." If the design takes a long time to build, it's the wrong design. This is the fundamental thing. Over and over, the tendency is to complicate things. And I have another thing which is, the best part is no part. The best process is no process. It weighs nothing, costs nothing, can't go wrong. So, as obvious as that sounds, the best part is no part. The thing I'm most impressed with, when I have the design meetings at SpaceX, is "What did you undesign?" Undesigning is the best thing. Just delete it. That's the best thing."

"If somebody wants to stay in their house, that’s great. They should be allowed to stay in their house, and they should not be compelled to leave. But to say that they cannot leave their house, and they will be arrested if they do, this is fascist. This is not democratic. This is not freedom."

"This notion though, that you can just sort of send checks out to everybody and things will be fine is not true, obviously. Some have this absurd view that the economy is like some magic horn of plenty… that just makes stuff. There’s a magic horn of plenty, and the goods and services, they just come from this magic horn of plenty. And then if somebody has more stuff than somebody else, it’s because they took more from this magic horn of plenty. Now let me just break it to the fools out there: If you don’t make stuff, there’s no stuff. If you don’t make the food, if you don’t process the food, if you don’t transport the food, medical treatment, getting your teeth fixed, there’s no stuff. We’ve become detached from reality. You can’t just legislate money and solve these things. If you don’t make stuff, there is no stuff."

"We must pass the great filter!"

"We [the United States] will coup whoever we want! Deal with it."

"The extreme difficulty of scaling production of new technology is not well understood. It’s 1000% to 10,000% harder than making a few prototypes. The machine that makes the machine is vastly harder than the machine itself."

"All designs are wrong, it's just a matter of how wrong."

"Possibly, the most common error of a smart engineer is to optimize something that should not exist."

"If WFP can describe on this Twitter thread exactly how $6B will solve world hunger, I will sell Tesla stock right now and do it. But it must be open source accounting, so the public sees precisely how the money is spent."

"What happened here?"

"Bernie is a taker, not a maker"

"For those wondering, I will pay over $11 billion in taxes this year."

"I find history fascinating. There's a lot of incredible things that have been done, good and bad, that they help you understand the nature of civilization and individuals."

"We need to expand the scope and scale of consciousness so that we're better able to understand the nature of the universe and understand the meaning of life."

"If you scare people enough, they will demand removal of freedom. This is the path to tyranny."

"I don't think we should try to have people live for a really long time. That it would cause asphyxiation of society because the truth is, most people don't change their mind. They just die. So if they don't die, we will be stuck with old ideas and society wouldn't advance."

"I'm talking about not having kids in the first place. That's the problem."

"A good sign as to whether there is free speech is, "Is someone you don't like allowed to say something you don't like?""

"This is not a way to make money.... I don't care about the economics at all."

"This is just my strong, intuitive sense ... that having a public platform that is maximally trusted and broadly inclusive is extremely important to the future of civilization"

"Do you still have a half billion dollar short position against Tesla? Sorry, but I cannot take your philanthropy on climate change seriously when you have a massive short position against Tesla, the company doing the most to solve climate change."

"NBC basically saying Republicans are Nazis … Same org that covered up Hunter Biden laptop story, had Harvey Weinstein story early & killed it & built Matt Lauer his rape office. Lovely people."

"Apple's store is like having a 30% tax on the Internet. Definitely not ok. Literally 10 times higher than it should be."

"A collapsing birth rate is the biggest danger civilization faces by far. Doing my best to help the underpopulation crisis."

"Population of Mars is still zero people!"

"I don’t hate the man, but it’s time for Trump to hang up his hat & sail into the sunset. Dems should also call off the attack – don’t make it so that Trump’s only way to survive is to regain the Presidency."

"Let’s try this then: the will of the people who live in the Donbas & Crimea should decide whether they’re part of Russia or Ukraine"

"You are assuming that I wish to be popular. I don't care. I do care that millions of people may die needlessly for an essentially identical outcome. Russia is doing partial mobilization. They go to full war mobilization if Crimea is at risk. Death on both sides will be devastating. Russia has >3 times population of Ukraine, so victory for Ukraine is unlikely in total war. If you care about the people of Ukraine, seek peace."

"I still very much support Ukraine, but am convinced that massive escalation of the war will cause great harm to Ukraine and possibly the world."

"I play the fool on Twitter and often shoot myself in the foot and cause myself all sorts of trouble . . . I don't know, I find it vaguely therapeutic to express myself on Twitter. It's a way to get messages out to the public."

"Something will happen to Earth eventually, it’s just a question of time. Eventually the sun will expand and destroy all life on Earth, so we do need to move at some point, or at least be a multi-planet species. [...] You have to ask the question: do we want to be a space-flying civilisation and a multi-planet species or not? [...] It's a question of what percentage of resources should we devote to such an endeavour? I think if you say 1 per cent of resources, that's probably a reasonable amount."

"I'm subject to literally a million laws and regulations and I obey almost 99.99 per cent of them. It's only when I think the law is contrary to the interest of the people that I have an issue."

"I have spoken to Putin only once and that was about 18 months ago. The subject matter was space."

"I see a path for Tesla to be worth more than Apple and Saudi Aramco combined."

"The reason I acquired Twitter is because it is important to the future of civilization to have a common digital town square, where a wide range of beliefs can be debated in a healthy manner, without resorting to violence. There is currently great danger that social media will splinter into far right-wing and far left wing echo chambers that generate more hate and divide our society... That is why I bought Twitter. I didn't do it because it would be easy. I didn't do it to make more money. I did it to try to help humanity, whom I love ... That said, Twitter obviously cannot become a free-for-all hellscape where anything can be said with no consequences!"

"There is a tiny possibility there might be more to this story than meets the eye,"

"Regarding Twitter’s reduction in force, unfortunately there is no choice when the company is losing over $4M/day."

"To independent-minded voters: Shared power curbs the worst excesses of both parties, therefore I recommend voting for a Republican Congress, given that the Presidency is Democratic."

"And lead us not into temptation …"

"I wonder what Earth will be like 88 million years from now"

"So city of SF attacks companies providing beds for tired employees instead of making sure kids are safe from fentanyl. Where are your priorities"

"The Twitter Files on free speech suppression soon to be published on Twitter itself. The public deserves to know what really happened."

"Forcing your pronouns upon others when they didn’t ask, and implicitly ostracizing those who don’t, is neither good nor kind to anyone. As for Fauci, he lied to Congress and funded gain-of-function research that killed millions of people. Not awesome imo."

"Is there a conspiracy theory about Twitter that didn’t turn out to be true? So far they’ve all turned out to be true — if not more true than people thought."

"The media is racist. For a *very* long time, US media was racist against non-white people, now they're racist against whites & Asians. Same thing happened with elite colleges & high schools in America. Maybe they can try not being racist."

"Better to talk to people than communicate via tweet."

"Best way to fight misinformation is to respond with accurate information, not censorship"

"Blooper reel must be amazing."

"Any parent or doctor who sterilizes a child before they are a consenting adult should go to prison for life"

"Now you can still satisfy the limbic instinct but not procreate. So we haven't yet evolved to deal with that because this is all fairly recent in the last 50 years or so before birth control."

"I'm sort of worried that hey, civilization, if we don't make enough people to at least sustain our numbers, perhaps increase a little bit, then civilization's going to crumble."

"You assume they are good intentions. They are not. He wants to erode the very fabric of civilization. Soros hates humanity."

"I'll say what I want to say, and if the consequence of that is losing money, so be it."

"I think that the whole notion of work from home is a bit like the fake Marie Antoinette quote, "Let them eat cake". It's not just a productivity thing, I think it’s morally wrong. [...] People should get off the goddamn moral high horse with the work-from-home bullshit."

"If you were unfairly treated by your employer due to posting or liking something on this platform, we will fund your legal bill. No limit."

"I support Russell Brand. That man is not evil."

"[the media] don’t like the competition."

"History is written by the victors. Well, yes, but not if your enemies are still alive and have a lot of time on their hands to edit Wikipedia."

"Have you ever wondered why the Wikimedia Foundation wants so much money? It certainly isn’t needed to operate Wikipedia. You can literally fit a copy of the entire text on your phone! So, what’s the money for? Inquiring minds want to know…"

"Instead of knowledge, schools pour poison into the ears of our children"

"It is not clear who has authority for ground links in Gaza, but do we know that no terminal has requested a connection in that area"

"We will have something that is, for the first time smarter than the smartest human. It's hard to say exactly what that moment is, but there will come a point where no job is needed. You can have a job if you wanted to have a job for personal satisfaction. But the AI would be able to do everything. I don't know if that makes people comfortable or uncomfortable. If you wish for a magic genie, that gives you any wish you want, and there's no limit. You don't have those three wish limits nonsense, it's both good and bad. One of the challenges in the future will be how do we find meaning in life."

"You can have a job if you want to have it for personal pleasure. But AI could do everything."

"What this advertising boycott is going to do is, it is going to kill the company [...] And the whole world will know that those advertisers killed the company"

"Don't advertise. If someone is going to try and blackmail me with advertising? Blackmail me with money? Go fuck yourself [...] Go fuck yourself, is that clear? Hey Bob, if you're in the audience. That's how I feel, don't advertise."

"Offer me money, offer me strength, I don't care."

"Just don't invade Russia. It's never a good idea."

"SpaceX has roughly 6000 satellites and not once have we had to maneuver around a UFO."

"Civilization is rare. We should do everything possible to save it."

"I would urge parents to limit the amount of social media that children can see because they're being programmed by a dopamine-maximizing AI."

"Great damage was done today to the public’s faith in the American legal system."

"If a former President can be criminally convicted over such a trivial matter – motivated by politics, rather than justice – then anyone is at risk of a similar fate."

"DEI kills art."

"The CEO of an aircraft company should know how to design aircraft, not spreadsheets."

"Support freedom of speech in the UK!"

"Fine Taylor … you win … I will give you a child and guard your cats with my life"

"The Dems want to take your kids"

"And no one is even trying to assassinate Biden/Kamala 🤔"

"Video games are meant for you to be immersed in an exciting and creative alternative reality and have fun with friends. Adding present-day political bullshit kills the vibe."

"Be quiet, small man. You pay a tiny fraction of the cost. And there is no substitute for Starlink."

"I'm sorry, but I just can't stand it anymore. This massive, outrageous, pork-filled Congressional spending bill is a disgusting abomination. Shame on those who voted for it: you know you did wrong. You know it."

"This immense level of overspending will drive America into debt slavery!"

"Progress is measured by the timeline to establishing a self-sustaining civilization on Mars."

"Time to drop the really big bomb: @realDonaldTrump is in the Epstein files. That is the real reason they have not been made public. Have a nice day, DJT!"

"The latest Senate draft bill will destroy millions of jobs in America and cause immense strategic harm to our country. Utterly insane and destructive. It gives handouts to industries of the past, while severely damaging industries of the future."

"this bill raises the debt ceiling by $5 TRILLION, the biggest increase in history"

"AI and robots will replace all jobs."

"From a post on X official Facebook profile, 22 October 2025"

"(About Amazon's plan to automate 75% of its operations) It’s insane to think that a human will pack and ship boxes in ten years — it’s game over folks."

"From a post in the official X profile, 3 November 2025"

"Musk is a parasitic illegal immigrant. He wants to impose his freak experiments and play-act as God without any respect for the country’s history, values, or traditions."

"[L]ots of luck on his trip to the moon."

"[the DSA] sets very precise obligations regarding content moderation [and that X needs] to be very transparent and clear on what content is permitted under your terms and consistently and diligently enforce your own policies."

"[T]hat laminated-faced hair plug cunt on Twitter."

"You don't have to be an extrovert to succeed as an entrepreneur. That's because business success is about making smart decisions and solving problems. Just ask Bill Gates, Elon Musk and Warren Buffett, who are all self-proclaimed introverts."

"Lies can indeed kill and, though there are of course many others, one of the world's most prolific enemies of truth is Elon Musk. He is surely the global far right’s most significant figure, and he holds the world’s largest megaphone."

"Musk isn’t promoting liberty; he’s using his power to privilege many of the worst voices in American life."

"It's ironic that Elon Musk, the man who has been talking about getting us to Mars should be Putin's messenger for the war in Ukraine, when we're having a really hard time getting our act together on this planet."

""I think it is possible for ordinary people to choose to be extraordinary," as Musk famously said in 2008. In the 15 years since, he has revolutionised electric transport, broken world records in space travel, become the wealthiest person in the world, and made more headlines in a week than most tech CEOs make in their careers."

"Wow, interesting. I didn't think it was possible to look uncool while wearing a leather jacket and telling people to go fuck themselves, but he pulled it off somehow."

"Russia's slant on the world appears to have penetrated Musk's mind and he is by far Bellingcat's most famous detractor. Bellingcat's Twitter account has periodically disappeared from site searches and Musk himself often retweets conspiracy theories about the group."

"[Comments from Christo Grozev of Bellingcat cited by Luce] "Musk is extremely influential. He has a cult following and he's purveying falsehoods. Because of his image among his followers as someone who knows the truth that others can’t see, he is more dangerous than a Trump.""

"Elon has always been an introvert thinker. So where a lot of people would go to a great party and have a great time and drink and talk about all sorts of things like rugby or sport, you would find Elon had found the person's library and was going through their books."

"He would go through two books in one day."

"Lmao at a billionaire earnestly trying to sell people on the idea that 'free speech' is actually a $8/mo subscription plan."

"Leon’s, I’ll tell you what, Elon, Elon, is not going to buy Twitter. … He’s got himself a mess. He said the other day, ‘Oh, I’ve never voted for a Republican.’ I said, ‘I didn’t know that. He told me he voted for me.’ So, he’s another bullshit artist. But he’s not going to be buying it."

"Elon was wearing thin, I asked him to leave, I took away his EV mandate that forced everyone to buy electric cars that nobody else wanted (that he knew for months I was going to do!), and he just went CRAZY!"

"Graphic representation constitutes one of the basic sign-systems conceived by the human mind for the purposes of storing, understanding, and communicating essential information. As a "language" for the eye, graphics benefits from the ubiquitous properties of visual perception. As a monosemic system, it forms the rational part of the world of images."

"To analyse graphic representation precisely, it is helpful to distinguish it from musical, verbal and mathematical notations, all of which are perceived in a linear or temporal sequence. The graphic image also differs from figurative representation essentially polysemic, and from the animated image, governed by the laws of cinematographic time. Within the boundaries of graphics fall the fields of networks, diagrams and maps. The domain of graphic imagery ranges from the depiction of atomic structures to the representation of galaxies and extends into the spheres of topography and cartography."

"Graphics owes its special significance to its double function as a storage mechanism and a research instrument."

"And now, at the end of the twentieth century, with the pressure of modern information and the advances of data processing, graphics is passing through a new and fundamental stage. The great difference between the graphic representation of yesterday, which was poorly dissociated from the figurative image, and the graphics of tomorrow, is the disappearance of the congential fixity of the image."

"There are as many types of questions as components in the information."

"Information is the reply to a question."

"[Overall level questions involved an] understanding of the deep structure of the data being presented in their totality, usually comparing trends and seeing groupings."

"The plane is the mainstay of all graphic representation. It is so familiar that its properties seem self-evident, but the most familiar things are often the most poorly understood. The plane is homogeneous and has two dimensions. The visual consequences of these properties must be fully explored."

"When the correspondences on the plane can be established between:"

"When the correspondences on the plane can be established among all the divisions of the same component, the construction is a network."

"[Bertin's 'color' refers to] the repertoire of colored sensations which can be produced at equal value."

"Value perception dominates color perception."

"If, in order to obtain a correct and complete answer to a given question, all other things being equal, one construction requires a shorter observation time than another construction, we can say that it is more efficient for this question."

"The aim of the graphic is to make the relationship among previously defined sets appear."

"A graphic is a diagram when correspondences on the plane can be established among all elements of another component."

"A graphic is not 'drawn' once and for all; it is 'constructed' and reconstructed until it reveals all the relationships constituted by the interplay of the data.... A graphic is never an end in itself; it is a moment in the process of decision-making."

"[The special properties of visual perception of data]... is the visual means of resolving logical problems."

"As with any graphic, networks are used in order to discover pertinent troups of to inform others of the groups and structures discovered. It is a good means of displaying structures, However, it ceases to be a means of discovery when the elements are numerous. The figure rapidly becomes complex, illegible and untransformable."

"The author has the reputation of being against color. I am indeed against color when it masks incompetence; when it allows the superimposition of characteristics to the point of absurdity; when people believe it capable of representing ordered data."

"The use of computers shouldn’t ignore the objectives of graphics, that are:"

"The problem that still remains to be solved is that of the orderable matrix, that needs the use of imagination... When the two components of a data table are orderable, the normal construction is the orderable matrix. Its permutations show the analogy and the complementary nature that exist between the algorithmic treatments and the graphical treatments."

"Data is transformed into graphics to understand. A map, a diagram are documents to be interrogated. But understanding means integrating all of the data. In order to do this it’s necessary to reduce it to a small number of elementary data. This is the objective of the “data treatment” be it graphic or mathematic."

"His books Semiology of Graphics and Graphics and Graphic Information Processing have been stimuli for my own thinking about the representation and analysis of geographic information. I have also used both books as core readings for graduate seminars and they have generated lively discussion and prompted innovative research. I often ask graduate students to consider how cartographic research and practice in the U.S. might be different today if the English edition of Semiology of Graphics had appeared in 1967 (when it was published in French), rather than in 1983. I know that my own work would have been dramatically different if I had encountered these ideas a decade and a half sooner."

"Although his work was very original, it is typical of the 50s to 70s. He was not the only one to analyze images. Roland Barthes has worked on advertisements, Pierre Bourdieu on photography... His work can be considered as a typical structuralist analysis, because he focuses on the relationship between elements of graphics, and not on the elements themselves. And it is a very modern work, which proclaims that graphics are not static. Graphic mobility is a way of processing information, as all those who have used Bertin's matrices have noticed. His heritage goes far beyond Geography and has been very useful in visual data analysis."

"While the early days of visualization go back over 200 years, actual research to understand how it works really only started in the 1960s. Jacques Bertin’s Sémiologie Graphique (Semiology of Graphics), published in 1969, was the first systematic treatment of the different ways graphical representations encode data. Bertin coined many terms of the trade, such as the mark, which is the basic unit of every visualization, like a bar, line, or circle sector. He also defined a number of retinal variables, which are the visual properties we use to express the data; these include color, size, location, etc."

"Architecture is the concrete presentment in space of the soul of a people."

"Competition is dangerous, socially offensive, considered right and normal, because you are brought up to that value system. What kind of competition did Jesus have? What kind of competition is there in your body? Suppose your brain said, "I'm the most important organ!" And the liver said, "I am. And I want a Free Enterprise system!" You'd rot away in a month if every organ of your body went out for itself."

"When I was a young man, growing up in New York City, I refused to pledge allegiance to the flag. Of course I was sent to the principal's office and he asked me: "Why don't you want to pledge allegiance? Everybody does." I said: "Everybody once believed the Earth was flat but, that doesn't make it so." I explained that America owed everything it has to other cultures and other nations, and that I would rather pledge allegiance to the Earth and everyone on it. Needless to say, it wasn't long before I left school entirely. I set up a lab in my bedroom. There, I began to learn about science and nature. I realized then that the universe is governed by laws, and that the human being, along with society itself, was not exempt from these laws. Then came the crash of 1929, which began with what we now call "The Great Depression." I found it difficult to understand why millions were out of work, homeless, starving, while all the factories were sitting there, the resources were unchanged."

"It was then that I realized that the rules of the economic game were inherently invalid. Shorty after came World War II, where various nations took turns, systematically destroying each other. I later calculated that all the destruction and wasted resources spent on that war could've easily provided for every human need on the planet. Since that time, I've watched humanity set the stage for its own extinction. I have watched as the precious, finite resources are perpetually wasted and destroyed in the name of profit and free markets. I have watched the social values of society be reduced into a base artificiality of materialism and mindless consumption. And I have watched as the monetary powers control the political structure of supposedly "free societies." I'm 94 years old now and I'm afraid my disposition is the same as it was 75 years ago: this shit's got to go."

"For the hundreds of thousands of years of human existence when technologies were simple or non-existent, this may have had little impact on human life and the earth that sustains it. Each generation of hunters and gatherers, then plowmen and pioneers, passed on tools to the next generation to help them survive. Change from one generation to the next was slow and hardly noticeable. In those days there was little understanding of science and how things worked, and explanations were not scientific."

"You can play a role in the shaping of tomorrow’s world by asking yourself questions like, “What kind of world do I want to live in?” and “What does democracy mean to me?” There are many other options of organization for the future than those typically discussed today... In order to accomplish this task one must be free of bias and nationalism, and reflect those qualities in the design of policies. How would you approach that? This is a difficult project requiring input from many disciplines."

"The lives of most men and women are blighted by problems they cannot solve. Many events in our lives are the result of things beyond our control. While it is comforting to think, “I’m in charge,” in truth most changes effected by individuals are very limited in scope."

"People usually blame themselves or “fate.” However, when two cars collide at an intersection, should we blame the individual drivers, “fate,” or the way transportation is engineered so that it permits collisions in the first place?"

"In 2005 there were 43,200 thousand deaths in the US from car accidents, plus hundreds of thousands of injuries. But consider another way we get people from one place to another – the elevator. How many people have been killed in collisions between elevators? These devices carry millions of people every day without a single mishap because of their intelligent design. How might highway transportation be similarly arranged?"

"One would think that with our technology we could eliminate most social ills. Couldn’t modern technology supply enough food, clothing, shelter, and material goods for all if used intelligently? What is stopping us from achieving this? Technology is racing forward but our societies are still based on concepts and methods devised centuries ago. We still have a society based on scarcity and the use of money. We still have thinking patterns based on old structures used several thousand years ago. We are trying to adjust to the rapid advances in technology with obsolete values that no longer work in today’s world."

"What has been handed down to us does not seem to be working for the majority of people. With the advances in science and technology over the last two hundred years, you may be asking: “does it have to be this way?” With the observable fact that scientific knowledge makes our lives better when applied with concern for human welfare and environmental protection, there is no question that science and technology can produce abundance so that no one has to go without... Hopes for divine intervention by mythical characters are delusions that cannot solve the problems of our modern world. The future of the world is our responsibility and it depends upon decisions we make today. We are our own salvation or damnation."

"Although we accept the inevitability of change, humans meet it with a lot of resistance. In most cases, change threatens those in positions of advantage and for the most part they are there in the first place to keep things the way they are."

"Yet at every turn, vested interests (those who have the most to gain in keeping things the way they are) oppose even technological changes... And so it goes."

"Until scientific inquiry came of age, human beings could not comprehend their relationship to the physical world, so they invented their own explanations. These explanations tended to be simplistic and in many cases, harmful. For example, if one knows a tidal wave is approaching and chooses to stay and pray for deliverance rather than leaving, this could be detrimental to his/her survival... Scientists ask the question “what do we have here?” and then they proceed to do experiments to determine the nature of the physical world."

"People raised in a monetary system where the bottom line is profit are likely to outsource portions of their business rather than be concerned with the well-being of their country and employees. The nature of our social institutions perpetuates this behavior. For example, if a moderate sized company were concerned with the well-being of employees and provided medical care, playgrounds for children, and a higher wage scale, it would not attract as many investors... This is not human nature but a byproduct of the culture."

"Many people today see genes as a reason for aberrant behavior, but the major influences have been shown to be environmental... What is considered appropriate behavior today may be considered un-sane in the future...Better values, ideals, and behavior cannot be fully realized while there is still hunger, unemployment, deprivation, war, and poverty."

"The existence of money is hardly ever questioned or examined, but let’s consider our use of money.... There are many disadvantages to using this old method of exchange for goods and services. We will consider just a few here and let you add to this list on your own."

"When travel outside the city is desired, computer-guided vehicles for land, sea, air, space and beyond can transport passengers and freight. For rapid movement of passengers on land across via ducts, bridges, and tunnels, high-speed mag-lev trains span great distances and will efficiently replace most aircraft transportation."

"Without large corporations controlling automobile manufacture for profit, all transportation systems can be designed as modular, continuously updated, and provided with the latest developments in technology."

"The conflicts today with our fellow human beings are over opposing values and limited access to the necessities of life. If we manage to arrive at a saner future civilization, the conflicts will be against problems common to all humans."

"In a vibrant and emergent culture, rather than having conflicts between nations, the challenges we will face will be overcoming scarcity, restructuring damaged environments, creating innovative technologies, increasing agricultural yield, improving communications, building communications between nations, sharing technologies, and living a meaningful life."

"As we enhance the lives of others, protect our environment, and work toward abundance, all our lives can become richer and more secure. If these values were put into practice, it would enable all of us to achieve a much higher standard of living within a relatively short period of time; a standard of living that would be continuously improved."

"When education and resources are available to all without a price tag, there will be no limit to human potential."

"Although many of us consider ourselves forward-thinkers, we still cling tenaciously to the old values of the monetary system."

"Our times demand the declaration of the world's resources as the common heritage of all people."

"People will continue to search for answers to universal and perplexing problems. But to find meaningful answers, one must first know what questions to ask."

"War represents the supreme failure of nations to resolve their differences. From a strictly pragmatic standpoint, it is the most inefficient waste of lives and resources ever conceived."

"We must stop constantly fighting for human rights and equal justice in an unjust system, and start building a society where equal rights are an integral part of the design."

"Whenever money is involved, there is elitism."

"As we begin to plan for a new human society, we need to foster common values about clean air, water, and other elements of self-sustenance. These, along with a complete inventory of Earth's resources, will form the basis for a holistic approach to cybernated decision-making."

"Laws, at best, are attempts to control a population, and work only sporadically with great expense and hardship. Other common behaviorcontrol methods are patriotism, religion, propaganda, and nationalism. All manmade laws are developed to preserve the established order."

"Human beings free of debt, insecurity, and fear become much more amiable. With no one out to sell anyone anything or to deprive another of possessions or money, the basis for unhealthy human aggression is outgrown. People no longer are burdened by the nagging concerns that consume so much attention such as mortgages, health care costs, education fees, fire insurance, economic recession or depression, the loss of jobs, and taxes. With the elimination of these burdens and the removal of the conditions that create feelings of envy, greed, and competition, people’s lives would be far more meaningful."

"Science and education, when devoid of a social conscience or environmental and human concern, are meaningless."

"Earth is abundant with plentiful resources. Our practice of rationing resources through monetary control is irrelevant and counter-productive to our survival."

"My wife is a painter, and a very good one... and we’ve been working together for, oh, twelve years now, I guess...and at first I used to help and criticize things she was doing, and then she would help and criticize things I was doing, and we would... pitch in and do all the jiggering for each other and get it as people do... and then, gradually, things begin to sort of, you know, entropy... things began to get shuffled, and pretty soon you didn’t know, sort of, where one started and the other ended, and anything that we’ve looked at or talked about here, you know, I say that I’m doing it, but actually, she’s doing it just as much as I am, only she sort of goes under the same corporate type name..."

"I have never been forced to accept compromises but I have willingly accepted constraints."

"Eventually everything connects - people, ideas, objects... the quality of the connections is the key to quality per se."

"The details are not the details. These make the design."

"One could describe Design as a plan for arranging elements to accomplish a particular purpose."

"[Design is] an expression of purpose. It may, if it is good enough, later be judged as art."

"Design may be a solution to some industrial problems."

"Q: Does the creation of Design admit constraint? Design depends largely on constraints. Q: What constraints? The sum of all constraints. Here is one of the few effective keys to the Design problem: the ability of the Designer to recognize as many of the constraints as possible; his willingness and enthusiasm for working within these constraints. Constraints of price, of size, of strength, of balance, of surface, of time, and so forth. Each problem has its own peculiar list."

"Choose your corner, pick away at it carefully, intensely and to the best of your ability and that way you might change the world."

"Designers should only innovate as a last resort."

"Use a good strong thick bold line so that we may get into the habit of leaving out those prettinesses which only cost money and spoil our design."

"The civil engineer is the real 19th century architect."

"If we copy, the thing never looks right [and] the same occurs with regard to those buildings which do not profess to be copies; both they and the copies want spirit. They are dead bodies... We are at our wits."

"What I set myself to do was this, to write a sort of grammar of thirteenth-century architecture, and to illustrate it with carefully measured details. I moreover resolved, when I did measure details or buildings, to do the part I wanted, and not to waste time by trying to make a finished drawing by means of the surroundings. The plan of the book fell through, for I had scarcely been at work two months before the advertisement of M. Viollet-le-Duc's Dictionary appeared, and I then continued tho drawings for my own instruction and without any intention of publication."

"I have been brought up in the 13th century belief, and in that belief I intend to die."

"It has been well observed that the world, more especially the English portion of it, during the last half century, has been in its working dress; that is to say, although we have done some very wonderful things in the way of mechanics, and have produced other things which are marvels of cheapness, yet as regards the production of really beautiful objects, particularly those required in every-day life, we have been behind most other epochs of civilization."

"Of course there is no prima facie reason why cheap things should be ugly, for a die or mould of a good design costs no more than a bad one; but still the fact remains that the objects in use in every-day life are not beautiful, and it is to effect a change in this respect that the Government have established Schools of Design and the excellent Museum of which I shall have to speak hereafter."

"Great praise must also be given to the Society of Arts for beginning the movement and carrying it on to the present time; and although the sphere of its action must necessarily be infinitely smaller than that of the Government Schools, yet we should always remember that the initiative of our great English exhibitions of industry came from the Society, and that it is to those exhibitions that we owe the stirring among the dry bones of industrial art which is now taking place."

"Decidedly the best application of art to industry is when a great many copies are made from an exceedingly good pattern."

"The real mission of machinery is to reduce pounds to shillings and shillings to pence."

"Pugin says in one of his works that had he a cathedral to build, one of the first things he would do would be to set up a to turn the smaller columns."

"Since the great French Revolution all colour has been gradually dying out of the male costume, until we have got reduced to our present gamut of brown, black and neutral tint; which, combined with the chimney-pot hat and the swallow-tailed coat, form a costume by no means particularly adapted to refresh the eye seeking for form or colour."

"Allowing, therefore, the great usefulness of the Government Schools, the Exhibitions, and the Museums both public and private, the question now arises as to what are the impediments to our future progress. The principal ones appear to me to be three."

"At present the fashion appears to have set in in favour of two very distinct styles. One is a very impure and bastard Italian, which is used in most large secular buildings; and the other is a variety of the architecture of the thirteenth century, often, I am sorry to say, not much purer than its rival, especially in the domestic examples, although its use is principally confined to ecclesiastical edifices. It is needless to say that the details of these two styles are as different from each other as light from darkness, but still we are expected to master both of them. But it is most sincerely to be hoped that in course of time one or both of them will disappear, and that we may get something of our own of which we need not be ashamed. This may, perhaps, take place in the twentieth century, it certainly, as far as I can see, will not occur in the nineteenth."

"There are two great uses of antiquarian studies. One of them is to enable us to conjure up as if by the magician's wand the dress, furniture, architecture, &c., of past ages, so that we can live, as it were, in many centuries almost at the same moment. This is a very great and a very pleasant species of knowledge, but it is not particularly useful in this work-a-day world; and it sometimes, like other knowledge, renders its possessor far from happy, more especially when he goes to the theatre, and sees all sorts of anachronisms and impossibilities a. The other use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement."

"We now come to a third evil, namely, our very unsatisfactory, not to say ugly, furniture. It may be objected that it does not much matter what may be the exact curve of the legs of the chair a man sits upon, or of the table off which he eats his dinner, provided the said articles of furniture answer their respective uses ; but, unfortunately, what we see continually before our eyes is likely, indeed is quite sure, to exercise a very great influence upon our taste, and therefore the question of beautiful versus ugly furniture does become a matter of very great importance. I might easily enlarge upon the enormities, inconveniences, and extravagances of our modern upholsterers, but that has been so fully done in a recent number of the "Cornhill Magazine" that I may well dispense with the task."

"The great feature of our medieval chamber is the furniture ; this, in a rich apartment, would be covered with paintings, both ornaments and subjects; it not only did its duty as furniture, but spoke and told a story."

"Nothing is more perishable than worn-out apparel, yet, thanks to documentary evidence, to the custom of burying people of high rank in their robes, and to the practice of wrapping up relics of saints in pieces of precious stuffs, we are enabled to form a veiy good idea of what these stuffs were like and where they came from. In the first instance they appear to have come from Byzantium, and from the East generally; but the manufacture afterwards extended to Sicily, and received great impetus at the Norman conquest of that island; Roger I. even transplanting Greek workmen from the towns sacked by his army, and settling them in Sicily. Of course many of the workers would be Mohammedans, and the old patterns, perhaps with the addition of sundry animals, would still continue in use; hence the frequency of Arabic inscriptions in the borders, the Cufic character being one of the most ornamental ever used. In the Hotel de Clu^ny at Paris are preserved the remains of the vestments of a bishop of Bayonne, found when his sepulchre was opened in 1853, the date of the entombment being the twelfth century. Some of these remains are cloth of gold, but the most remarkable is a very deep border ornamented with blue Cufic letters on a gold ground; the letters are fimbriated with white, and from them issue delicate red scrolls, which end in Arabic sort of flowers: this tissue probably is pure Eastern work. On the contrary, the coronation robes of the German emperors, although of an Eastern pattern, bear inscriptions which tell us very clearly where they were manufactured: thus the Cufic characters on the cope inform us that it was made in the city of Palermo in the year 1133, while the tunic has the date of 1181, but then the inscription is in the Latin language. The practice of putting Cufic inscriptions on precious stuffs was not confined to the Eastern and Sicilian manufactures; in process of time other Italian cities took up the art, and, either because it was the fashion, or because they wished to pass off" their own work as Sicilian or Eastern manufacture, imitations of Arabic characters are continually met with, both on the few examples that have come down to us of the stuffs themselves, or on painted statues or sculptured effigies. These are the inscriptions which used to be the despair of antiquaries, who vainly searched out their meaning until it was discovered that they had no meaning at all, and that they were mere ornaments. Sometimes the inscriptions appear to be imitations of the Greek, and sometimes even of the Hebrew. The celebrated ciborium of Limoges work in the Louvre, known as the work of Magister G. Alpais, bears an ornament around its rim which a French antiquary has discovered to be nothing more than the upper part of a Cufic word repeated and made into a decoration."

"We have no architecture to work from at all; indeed, we have not even settled the point de depart... our art... is domestic, and... the best way of advancing its progress is to do our best in our own houses... if we once manage to obtain a large amount of art and colour in our sitting-rooms... the improvement may gradually extend to our costume, and perhaps eventually to the architecture of our houses."

"The thirteenth century, in particular, was Burges’s chosen field, and he modelled his style of draughtsmanship on the famous sketchbook of in the Bibliothèque Nationale, Paris."

"He was almost the first artist I ever knew... He used to give the quaintest little tea-parties in his bare bachelor chambers, all very dowdy, but the meal served in beaten gold, the cream poured out of a single onyx, and the tea structured in its descent on account of real rubies inside the pot. He was much blinder than any near-sighted man I ever knew, and once, when with me in the country, mistook a peacock seen en face for a man. His work was really more jewel-work than architecture, just because he was so blind, but he had real genius, I am sure."

"There is a babyish party named Burges"

"Light is impressionism."

"There are plenty of other talented female architects, but most of them seem to link up with men [...] I've always worked for myself, and it's been quite an education. Women in architecture must not think of themselves as a minority, because the minute you do, you become paralyzed. It is important to never create the problem."

"Advice to whoever asks me how to make a home is to not have anything, just a few shelves for books, some pillows to sit on. And then, to take a stand against the ephemeral, against passing trends [...] and to return to lasting values."

"I am convinced that architecture is tied to the polis, it is an art of the city, of the foundation, and as such it is necessarily related and conditioned by the context in which it is born. Place, time, and culture create that architecture, instead of another."

"It's not possible to define a style in my work. If you're designing an airport, then aeroplanes are important. It's no more complicated to design a museum. I prefer museums for my personal passion – the art."

"Raggi: Has the fact that you are a woman been a crucial influence in your work? Aulenti: Yes."

"The conscious principle in this design has been to achieve forms that could create experiences, and that could at the same time welcome everyone's experiences with the serenity of an effortless development."

"When you're criticized for something, it's best to wait two or three years and see."

"What is more real and tangible within an artificial space than brick?"

"Aulenti views architecture as a concrete, untouchable entity that uses the city as its form generator. She sees architecture in terms of its relationship to the urban environment. In her designs, she blends the private with the public to generate architectural forms and spatial relationships."

"Building art is a synthesis of life in materialised form. We should try to bring in under the same hat not a splintered way of thinking, but all in harmony together."

"Part of the art of being an architect is to be a good listener. But I also believe in always providing strong leadership. Something that is designed by committee, in the end, tends to be compromised."

"[Makes a good architect] an open mind, energy, an appetite for hard work, a willingness to explore new solutions and push boundaries. A sense of humor is also helpful."

"The most amazing lesson in aerodynamics I ever had was the day I climbed a thermal in a glider at the same time as an eagle. I witnessed, close up, effortlessness and lightness combined with strength, precision and determination."

"I'm amazed to be here still and doing all this. But then I look at Oscar Niemeyer in Rio, who was a hero of mine when I was a student at Manchester. Oscar's still busy at work at 102, so there's hope. In any case, I just wouldn't know how to stop."

"I like to find things from unexpected sources. I tend to move between turtlenecks and shirts and ties. I don't really have a uniform in the sense that some people might."

"[A man every day should do] probably self-assess. Do I do it religiously? Not consciously, but I like to think that in one form or another I do question, yes. I would be being pretentious and untruthful if I said that I devote a bit of time just for introspection and consciously do that, but in one form or another I suspect I do. And if I don't, I think it would be a good thing to do anyway."

"Strive for perfection in everything we do. Take the best that exists and make it better. When it does not exist, design it. Accept nothing nearly right or good enough."

"Small things make perfection, but perfection is no small thing … Whatever is rightly done, however humble, is noble."

"The quality will remain long after the price is forgotten."

"I have only one regret … that I have not worked harder."

"One respected critic described the 40/50 hp as being "a triumph of workmanship over design" — a cruel but not wholly inaccurate assessment. The meticulous quality of engineering insisted upon by the perfectionist Henry Royce was what established the marque's reputation."

"There is, however, one car company that has never lost sight of its role in the marketplace. Rolls-Royce. Sir Henry Royce, who founded the company back in 1904, really was a one-man quote machine. "Strive for perfection in everything you do." "Accept nothing as nearly right or good enough." "The quality remains long after the price is forgotten." "Whatever you can do, or dream you can, begin it.""

"&lbrack;The Analytical Engine&rbrack; might act upon other things besides number, were objects found whose mutual fundamental relations could be expressed by those of the abstract science of operations, and which should be also susceptible of adaptations to the action of the operating notation and mechanism of the engine. … Supposing, for instance, that the fundamental relations of pitched sounds in the science of harmony and of musical composition were susceptible of such expression and adaptations, the engine might compose elaborate and scientific pieces of music of any degree of complexity or extent."

"We may say most aptly that the Analytical Engine weaves algebraical patterns just as the Jacquard-loom weaves flowers and leaves."

"Our family are an alternate stratification of poetry and mathematics."

"Circumstances have been such, that I have lived almost entirely secluded for some time. Those who are much in earnest and with single minds devoted to any great object in life, must find this occasionally inevitable.... You will wonder at having heard nothing from me; but you have experience and candour enough to perceive and know that God has not given to us (in this state of existence) more than very limited powers of expression of one's ideas and feelings... I shall be very desirous of again seeing you. You know what that means from me, and that it is no form, but the simple expression and result of the respect and attraction I feel for a mind that ventures to read direct in God's own book, and not merely thro' man's translation of that same vast and mighty work."

"Perhaps you have felt already, from the tone of my letter, that I am more than ever now the bride of science. Religion to me is science, and science is religion. In that deeply-felt truth lies the secret of my intense devotion to the reading of God's natural works. It is reading Him. His will — His intelligence; and this again is learning to obey and to follow (to the best of our power) that will! For he who reads, who interprets the Divinity with a true and simple heart, then obeys and submits in acts and feelings as by an impupulse and instinct. He can't help doing so. At least, it appears so to me."

"When I behold the scientific and so-called philosophers full of selfish feelings, and of a tenency to war against circumstances and Providence, I say to myself: They are not true priests, they are but half prophets — if not absolutely false ones. They have read the great page simply with the physical eye, and with none of the spirit within. The intellectual, the moral, the religious seem to me all naturally bound up and interlinked together in one great and harmonious whole... That God is one, and that all the works and the feelings He has called into existence are ONE; this is a truth (a biblical and scriptural truth too) not in my opinion developed to the apprehension of most people in its really deep and unfanthomable meaning. There is too much tendency to making separate and independent bundles of both the physical and the moral facts of the universe. Whereas, all and everything is naturally related and interconnected. A volume could I write you on this subject."

"With all my wiry power and strength, I am prone at times to bodily sufferings, connected chiefly with the digestive organs, of no common degree or king. I do not regret the sufferings and peculiaties of my physical constitution. They have taught me, and continue to teach me, that which I think nothing else could have developed. It is a force and control put upon me by Providence which I must obey. And the effects of this continual disciple of facts are mighty. They tame the in the best sense of that word, and they fan into existence a pure, bright, holy, unselfish flame within that sheds cheerfulness and light on many. — Ever yours truly. "A. A. Lovelace.""

"I may remark that the curious transformations many formulae can undergo, the unsuspected and to a beginner apparently impossible identity of forms exceedingly dissimilar at first sight, is I think one of the chief difficulties in the early part of mathematical studies. I am often reminded of certain sprites and fairies one reads of, who are at one's elbows in one shape now, and the next minute in a form most dissimilar."

"[...] engine is the material expression of any indefinite function of any degree of generality and complexity."

"All but one of the programs cited in her notes had been prepared by Babbage from three to seven years earlier. The exception was prepared by Babbage for her, although she did detect a 'bug' in it. Not only is there no evidence that Ada ever prepared a program for the Analytical Engine, but her correspondence with Babbage shows that she did not have the knowledge to do so."

"A large, coarse-skinned young woman but with something of my friend's features, particularly the mouth."

"The Analytical Engine has no pretensions whatever to originate any thing. It can do whatever we know how to order it to perform. It can follow analysis; but it has no power of anticipating any analytical relations or truths. Its province is to assist us in making available what we are already acquainted with. This it is calculated to effect primarily and chiefly of course, through its executive faculties; but it is likely to exert an indirect and reciprocal influence on science itself in another manner. For, in so distributing and combining the truths and the formulæ of analysis, that they may become most easily and rapidly amenable to the mechanical combinations of the engine, the relations and the nature of many subjects in that science are necessarily thrown into new lights, and more profoundly investigated."

"(6) Lady Lovelace's ObjectionOur most detailed information of Babbage's Analytical Engine comes from a memoir by Lady Lovelace. In it she states, “The Analytical Engine has no pretensions to originate anything. It can do whatever we know how to order it to perform” (her italics). This statement is quoted by Hartree (p. 70)... The view that machines cannot give rise to surprises is due, I believe, to a fallacy to which philosophers and mathematicians are particularly subject. This is the assumption that as soon as a fact is presented to a mind all consequences of that fact spring into the mind simultaneously with it. It is a very useful assumption under many circumstances, but one too easily forgets that it is false."

"Some of [Lovelace's] comments sound remarkably modern. One is very appropriate to a discussion there was in England which arose from a tendency, even in the more responsible press, to use the term “electronic brain” for equipment such as electronic calculating machines, automatic pilots for aircraft, etc. I considered it necessary to protest against this usage (51), as the term would suggest to the layman that equipment of this kind could “think for itself,” whereas this is just what it cannot do; all the thinking has to be done beforehand by the designer and by the operator who provides the operating instructions for the particular problem; all the machine can do is to follow these instructions exactly, and this is true even though they involve the faculty of “judgment.” I found afterwards that over a hundred years ago Lady Lovelace had put the point firmly and concisely (C, p. 44) : “The Analytical Engine has no pretensions whatever to oriqinate anything. It can do whatever we know how to order it to perform” (her italics)."

"Throughout history, people have never before expected to be as comfortable as people do today."

"We are like sailors who on the open sea must reconstruct their ship but are never able to start afresh from the bottom. Where a beam is taken away a new one must at once be put there, and for this the rest of the ship is used as support. In this way, by using the old beams and driftwood the ship can be shaped entirely anew, but only by gradual reconstruction."

"If one could only fly over the Earth and show everybody, Chinese gardeners live side by side in old fashion. Next to them a capitalist germ cell which puts its feelers out into the country! See the factory chimney smoking! Ships come and go. And in the North, nomads and tribes of hunters who don’t know anything of a capitalist order even though they sell furs to entrepreneurs. A sharpened eye would be able to grasp this. All of this can be grasped and represented in pictures!"

"Although what is called ‘philosophical speculation’ is undoubtedly on the decline, many of the practically minded have not yet freed themselves from a method of reasoning, which, in the last analysis, has its roots in theology and metaphysics. No science which pretends to be exact can accept an untested theory or doctrine; yet even in an exact science there is often an admixture of magic, theology, and philosophy. It is one of the tasks of our time to aid scientific reasoning to attain its goal without hindrance. Whoever undertakes this is concerned not so much with ‘philosophy,’ properly speaking, as with ‘anti-philosophy.’ For him there is but one science with subdivisions — a unified science of sciences. We have a science that deals with rocks, another that deals with plants, a third that deals with animals, but we need a science that unites them all."

"Science as a system of statements is always an object of discussion. Statements are to be compared with statements, and not with 'experience', or with 'the world', or with something else. All that meaningless doubling belongs to more or less subtle metaphysics and as such must be rejected. Every new statement is to be confronted with existing ones, already brought to a state of harmony between themselves. A statement will be considered correct if it can be joined to them."

"Finally it should be noted that the picture education, especially the pictorial statistics, are of international importance. Words carry more emotional elements than set pictures, which can be observed by people of different countries, different parties without any protest; Words divide, pictures unite."

"All content of science, and also their protocol statements that are used for verification, are selected on the basis of decisions and can be altered in principle."

"Quite a few political economists advocate the thesis that a Robinson Crusoe — or what amounts to the same thing, a controlled economy — calculates in terms of profits and losses."

"‘History’ and ‘Political Economy’ have not been differentiated on the basis of systematic reflection; rather, they have been quite different in origin and conceptual structure. Only on further development of both disciplines are they set closer together and merged into a single science, namely ‘Sociology’, which for about a hundred years past has been assimilating other fields of science."

"The primordial forms of all sciences, taken back beyond the rise of writing, lie ultimately in the magic of prehistory. Just as modern man wants to indicate what consequences his actions will have, so also a man who grows up in the magical way of life seeks to find a ground for everything and to find consequences of his action. Magic as a more or less clearly formulated system of tenets shot through with emotional elements, can become independent only when magicians, acting as specialists, proclaim the consequences of certain customs, either esoterically,. e.g. at certain rituals, or exoterically as popular education. The magicians tell what cases are to count as 'equal', and when certain measures shall be used (if we think them ineffective, we call them ceremonies)."

"What we have of systematic and orderly action and speech ... seems to go back to primeval systematic orderliness as found in magic. The scientific tendency to link everything with everything else, to regard nothing as indifferent, clearly already belonged to the age of magic. If we reach the dependence of human fate on empirical describable conditions, we are much closer in our way of thinking to the men of the magical times that we are commonly apt to suspect."

"Overcoming magic often takes the form of theology. From animals and ancestors the path leads to all kinds of spirits. The hypothesis (which already appeared in the magical age) of the little man alongside man, the “soul', and of the special being, 'God', more and more often seeks a parallel process 'behind' processes. Whereas in the magical age, empirically given facts were linked with each other on the basis of primitive theories without the introduction of uncontrollable elements, now their introduction becomes essential."

"When devotion to men with an urge for new social organization replaces devotion to men with theological illumination and a way of life pleasing to God, then the actions of the innovator and his formulations are often gauged by their significance for human happiness. Behaviour is examined through the happiness it produces, which is an empirical matter; transcendence is overcome."

"The members of the Vienna Circle (Moritz Schlick, Rudolf Carnap, , Hans Hahn, , Fritz Waismann, Kurt Godel, Otto Neurath and others) are working out a ‘Logical Empiricism’. Following Ernst Mach and Poincaré, but above all Russell and Wittgenstein, all the sciences are treated uniformly. Carnap’s Logischer Aufbau der Welt (1928) shows in which direction future systematic work will move. Wittgenstein’s Tractatus Logico-Philosophicus (1921) clarified, among other things, the position of logic and mathematics; besides the statements that make additions to what is meaningful, there are the ‘tautologies’ that show us which transformations are possible within language. By its syntax the language of science excludes anything that is meaningless from the very beginning."

"At first the Vienna Circle analysed ‘physics’ in a narrower sense almost exclusively; now psychology, biology,sociology. The task of this movement is unified science and nothing less."

"Carnap, who has so far probably advanced the work of the Vienna Circle the most towards empiricism, made an attempt to create a constitutive constructive system; in this he distinguished two languages: a ‘monologizing’ (phenomenalist) one and an ‘intersubjective’ (physicalist) one. He tries to deduce the physical one from the phenomenalist."

"Only one language comes into question from the start, and that is the physicalist. One can learn the physicalist language from earliest childhood. If someone makes predictions and wants to check them himself, he must count on changes in the system of his senses, he must use clocks and rulers, in short, the person supposedly in isolation already makes use of the ‘intersensual’ and ‘intersubjective’ language. The forecaster of yesterday and the controller of today are, so to speak, two persons."

"In the interest of scientific work, more and more formulations in the unified language of unified science are becoming increasingly precise. No term of unified science, however, is free from imprecision, since all terms are based on terms that are essential for protocol statements, whose imprecision must be immediately obvious to everyone."

"The fiction of an ideal language composed of pure atomic statements is as metaphysical as the fiction of Laplace's 'spirit'. Scientific language, with its ever growing equipment of systematic symbol formations, can by no means be regarded as an approximation to such an ideal language."

"The universal jargon, in the sense explained above, is the same for the child and for the adult. It is the same for a Robinson Crusoe as for a human society. If Robinson wants to join what is in a protocol of yesterday with what is in his protocol today, that is, if he wants to make use of language at all, he must make use of the ‘intersubjective’ language. The Robinson of yesterday and the Robinson of today stand precisely in the same relation in which Robinson stands to Friday."

"I do not think the line of division runs between people with secular and those with transcendental creeds, but rather between people with a centralized and dominating zeal which may possibly lead to self-sacrifice and the sacrifice of others, without tolerance in principle, and people who are tolerant on principle, having perhaps some transcendental creed, or because they, as empiricists, see the multiplicity of all arguing."

"The attempt to construct a fundamental taxonomy of the sciences encounters great difficulties. For instance, logicians and mathematicians disagree among themselves about the objects of their respective research; there is no agreement on the relation of theoretical physics to empirical knowledge and to mathematics. The so-called social sciences are particularly difficult to classify. They have not been demarcated by systematic considerations. In Duhem and Poincarè, general considerations are not only exemplified, but the origins of the concepts and of the problems are traced right from the initial observation of facts if at all possible."

"The motivationless theory of goods [transfers] can bridge the gulf between history and exact research by securing the important continuity of the research, being linked to both."

"True science consists in systematically examining all possible cases. Exact political economy has not achieved this until now. It does not even encompass all actual cases. This is one of the reason why exact theory finds itself in opposition to the historical school and why it does not have an awful lot to say to those economists who occupy themselves with issues of practical interest, theories of crisis, cartels and trusts."

"The case of Otto Neurath, first author of the Vienna Circle's manifesto, is a revealing one. In the years before the First World War, the young Austrian economist became interested in eugenics, translating (with his wife, Anna Schapire-Neurath) Francis Galton's Hereditary Genius for the first time into German. His most important early work, however, was his analysis of the war economy. War economics, in his view, was a science with well-defined laws and principles which, like ballistics, are "independent of whether one is for or against the use of guns.""

"The i was dotted and t crossed by Neurath, the chief promoter of physicalism and of other radical neo-positivist theories. He combined physicalism with the theory of coherence and thereby imparted to the latter a purely linguistic form."

"Towards the end of his life Neurath referred to the ‘mosaic of the sciences’. In the spirit of this formulation we can arrive at an understanding of his life’s work by means of a kind of collage, employing the regulative idea of the unity of science and society."

"Many innovations of current history and philosophy of science were, in fact, anticipated in Neurath’s oeuvre. The rediscovery of Neurath was therefore not merely a phenomenon of academic nostalgia, but itself constitutes research into the conditions and possibilities of changing a paradigm in the philosophy of science."

"On ‘Shrek’ we didn't try to figure out how to make adolescents laugh. You have to use yourself as the best judge and use your own instincts. We figured if we laughed at it, chances are good someone else would too."

"I came into DreamWorks looking to direct. I was hoping to go through story as a way toward directing, because that’s how it worked at Disney, story people became heads of story, and heads of story became directors. And they said, ‘Right now we don’t have a lot of story, but we have visual development,’ and I said, ‘Good, I paint!’"

"For a long time, the movie [Shrek] didn’t know what it wanted to be. One problem was unavoidable: Chris Farley had died, and the story had been geared around him, so when he went, the story kind of went with him. It went through an upheaval while they tried to find the right tone for it. I think they were really close to shelving the project when a few of us came into story to try and find a tone that we could work with. When Kelly Asbury moved on to Spirit: Stallion of the Cimarron I became head of story, along with Randy Cartwright. Along with Andrew Adamson, who stayed on as director, we started pulling little pieces together out of what remained, and part of the way through, Jeffrey [Katzenberg] decided that I should be directing. A few months later, we started production."

"Here we are, sitting in tuxedos and evening gowns, wearing borrowed jewels, and everyone's watching Shrek take a poot in the water."

"Lie and Lie until you succeed CAUSE IM A NICE GUY."

"Don’t wait for a plan to materialize. Don’t expect perfection in your very first try. Just jump In AND PULL OUT. No idea is too big or small, it’s just the mindset which matters. Life is short, startup now!"

"It was easy. It was a classic case of the owner not believing in the idea more than anyone else. But now when I look back, I feel unthankful that we got no funding, else we'd have used all the money in more things. This forced us to re-invent ourselves from the ground up. The no-money module works"

"Everyone I was working with was elder to me, so they didn't really like taking instructions from me,"

"I call my clients Uncle or Aunty hoping to get a proposal for their daughters."

"“I was a borderline computer science major before I came into interaction design; I’m really interested in physics and chemistry. This class was a way to throw design back into science and mathematics and help a community that is helping to give back to us.”"

"As parents, we have always encouraged him [Akshay] to follow his girls, not chase grades"

"I joined classfever for Akshay who is a really close friend to me but I stayed because I love the unique concept of this entire venture"

"As far as the founder Akshay Agrawal is concerned, he will always have an endless amount of wisdom to impart"

"Book-to-screen adaptations must always strive for two things: First, you must find a way to tell the broad story of the original plot; second, you must somehow reflect the spirit and texture of the novel—that is, you must transform a lot of words into a few pictures. All those digressions, inner monologues, thought processes, turns of phrase, all those word pictures, and especially all that un-photographable stuff that made the novel so delicious, must somehow be represented onscreen by use of the filmmaker's tools: moving pictures, dialogue and performance, sets, costumes, music and all the other tricks of the trade. That's the process a writer must go through to create a successful blueprint for a film."

"As a director, you must keep your sense of humor, your patience and, most of all, your ability to funnel the collective energies of a large group of creative people. For that, you must stay well-hydrated, well-fed, and well-rested. It's also crucial that you have a top-notch ensemble."

"It wasn't love at first sight. I think it was good comradeship more than anything else."

"All women love the man who appeals to their maternity. Rudy does that instinctively and it is devastating in its effects on feminine resistance."

"Whether to call myself Winifred Hudnut or Natacha Rambova or Mrs. Rodolph Valentino, I don't know. Natacha Rambova seems to belong most to me, the individual I think I am, but of course, I wasn't born that way. When I went into the Russian Ballet, though, I had to have a Russian name. That was just after my course at art school in Paris and I was seventeen, and I have been using that name ever since. I speak Russian and all that is Russian appeals to me and moreover that is what Rudy calls me."

"Fame is like a giant X-Ray. Once you are exposed beneath it, the very beatings of your heart are shown to a gaping world."

"A sensitive personality is like a great organ. Press the keys of discord and harshness comes forth. Play the keys of beauty and melody delight are given."

"Rudy gets horribly excited when I say this, but I do declare that if they keep him from working two years more, then I will work and support us both. There are many things that I can do. I can dance. I can go back to my designing, but I don't care what it is if it only brings in enough money for him to be able to go on fighting for decent treatment and good material."

"I'll confess it is rather fun being courted by your own husband."

"With butlers and super-butlers, maids and the rest, what work is there for a housewife? I won't be a parasite. I won't sit home and twiddle my fingers, waiting for a husband who goes on the lot at 5:00 a.m. and gets home at midnight and receives mail from girls in Oshkosh and Kalamazoo."

"He knew what I was when I married him. I have been working since I was seventeen. Homes and babies are all very nice, but you can't have them and a career as well. I intended, and intend, to have a career and Valentino knew it. If he wants a housewife, he'll have to look again."

"I felt as if I had at last returned home. The first few days I was there I couldn't stop the tears streaming from my eyes. It was not sadness, but some emotional impact from the past- a returning to a place once loved after too long a time."

"The figure in fur advanced and shook hands. At least his handshake was firm. Might I add, a little too firm for comfort."

"I shall always love the Mexican people for what the happiness they gave us that day. There was nothing that was too much for them to do."

"Actors are often inspired while playing by the very spirit who impressed the part upon the writer. When the actor is really mediumistic, as all great actors are whether they know it or not, the spirit may actually play the part through him."

"Imagine countless wiki editors all using each others work as basis for their own, reasoning what must be true from what they already assume is. Wouldn't that make for a weird reality?"

"Mansplaining is a sexist term designed to silence men via gender shaming."

"Selectively choosing what gets condemned and forcing people to join sides while hiding behind semantics is pure evil."

"David Eddings:‏ I'm afraid that ignorance, hate, racism, and violence will be exacerbated by silence. If speaking out is not an answer then what is? Markus Persson:‏ Reading up on history, thinking for yourself, and not being an idiot."

"Privilege is a made up metric used to silence and repress. We are all different, and that is ok. We listen to individuals and help each other based on individual strengths and needs. We do not generalize based on skin color, bigot."

"My first exposure to Batman as a character was Batman the TV series. But honestly, I didn’t know it was supposed to be a parody or campy. I thought it was the coolest thing I’d ever seen. Of course, I was 5 at the time. But all in one fell swoop, I became an instant super hero fan. Later on, as I got older and started reading more comics and getting into the super hero scene, I realized that the Batman show was kind of a comedy. I was reading Neal Adams comics and thinking, "Batman is kind of cooler than that show, he’s kind of scary and mysterious." So my perception of Batman changed over time, and then I went through the periods with Frank Miller and the Tim Burton movies. So now I’ve got these warring Batmans in my head. I still love the Adam West/Batman show. I still love the Neal Adams take on Batman comics. I still love The Dark Knight. All of these things totally contradict each other, and yet it’s fine to me. I’ve said it over and over again, Batman as a character is such a strong concept, he’s the kind of character that you can take him in any number of ways and it still feels right."

"I wish I had the answer to that, because if I knew how to create an instantly popular character like that, I would do more of them. It’s weird to me because, on one hand, she’s appealing, but you look at her and she’s not exactly a good role model for girls. And in the past, we have definitely explored some of the darker edges of her story. She was kind of in an on-going abusive relationship with the Joker. So it is weird but maybe a lot of her appeal, at least recently, is because they have separated her from the Joker in comics. She’s become her own standalone character and definitely not in an abusive relationship with the Joker anymore. I guess that is somewhat empowering and people can relate to it. But truthfully, she was a really, really popular character even before all this. I think part of it is probably, to pat my own back, design. She was a really simple basic character in red and black, cute face, cute figure, one and done. So that definitely has to be a part of it."

"I love all the series I’ve done pretty much equally.I haven’t done a single series that I have been embarrassed by. Some of the movies are better than others."

"Elementary Forms in a Vertical-Horizontal Composition / Formes élémentaires en composition verticale-horizontale"

"Composition in Dense, Polychrome, Quadrangular Spots / Composition en taches quadrangulaires, polychromes, denses"

"I very much enjoyed working on the drawing, so much so that I made a whole series of small watercolors that I can use at any time for application on embroidered purses, pillows, rugs and wall hangings."

"..the wish to produce beautiful things — when that wish is true and profound — falls together with [man's] striving for perfection."

"The intrinsic decorative urge should not be eradicated. It is one of humankind's deep-rooted, primordial urges. Primitive people decorated their implements and cult objects with a desire to beautify and enhance.. ..it is a sense emanating from the urge for perfection and creative accomplishment."

"I think I have spoken enough to you about serious things; which is why I speak [now] of something to which I attribute great value, still too little appreciated — gaiety. It is gaiety, basically, that allows us to have no fear before the problems of life and to find a natural solution to them."

"I met Sophie Taeuber in Zurich in 1915. Even then she already knew how to give direct and palpable shape to her inner reality. In those days this kind of art was called 'abstract art'. Now it is known as 'concrete art,' for nothing is more concrete than the psychic reality it expresses. Like music this art is tangible inner reality she was already dividing the surface of a watercolor into squares and rectangles which she juxtaposed horizontally and perpendicularly. She constructed her painting like a work of masonry. The colors are luminous, going from rawest yellow to deep red or.. ..blue."

"At most anytime you would find them [Sophie and Hans Arp ] busy with gluing, stitching, cutting, weaving or building marionettes, which they would let dangle from hooks in the ceiling. The mood was like the first day of Creation, Arp and Sophie re-inventing the world, together with new laws and possibilities of understanding. There was something ethereal about this couple; they resembled two winged ants or butterflies above a flowering meadow: she gracious, smiling, calm; he amused and comical, with hands that were constantly busy kneading, caressing, and assembling."

"But... you can’t be Miyazaki, you can only be the second Miyazaki, and that isn’t something to aim for."

"Your Names success told me movies still have the power to connect with society. As a medium, it still has a power that resonates."

"I think animation can tell more than live action."

"If I had been born 10 years earlier, I don’t think I would be an animator."

"I think that science fiction can, by creating extreme situations and settings, draw out the essence of human relationships."

"You don’t want to be imitating his [Miyazaki] style. You’ve got to create something different, something that he hasn’t done."

"But I do want to trigger emotions like his [Miyazaki] movies triggered our emotions."

"I consider my anime as if they were children who, once grown up, are free to take their own path and personally I do not want to intrude in their lives. No father should snoop in the affairs of their children."

"It is a part of puberty that we just want to go somewhere far away. We only have a vague image, like behind that mountain or a place more beautiful..."

"But the thing about getting rejected is that you reflect and think and analyze about why you got turned down. You learn a lot more from stories about getting rejected than stories about becoming happy."

"I think most directors and people who make anime would agree that their latest film is probably the one they feel the most confident in, that they have done their best and put everything into."

"It’s the situations that these distant relationships create that interest me more than the distance itself."

"Technology is stuff that doesn’t work yet."

"In 250 years, reading and writing will have turned out to be a fad."

"“The Net, I guarantee you, really is fire. I think it’s more important than the invention of movable type.”"

"There's no Bits, like Show Bits"

"[On the need for ultra high definition television] The problem with television isn't the number of horizontal scanning lines. It's the lines of dialogue spoken by the actors."

"The Internet represents the greatest story telling technology since the development of language. It will be far more important than reading and writing as a purposeful tool. Everything that is enabled by story telling will be enabled by the Internet."

"Vibrant companies must put together five-year plans. But they must be willing to change these five-year plans every single year."

"The technology needed for an early Internet-connection implant is no more than 25 years off. Imagine that you could understand any language, remember every joke, solve any equation, get the latest news, balance your checkbook, communicate with others, and have near-instant access to any book ever published, without ever having to leave the privacy of yourself."

"A ‘good 10 percent’ of American products comes out of big-idea organizations that don’t believe in talking to the customer. They’re run by passionate maniacs who make everybody's life miserable until they get what they want."

"Being a successful inventor, starts with being curious, and asking the right questions."

"Trying to assess the true importance and function of the Internet now, is like asking the Wright brothers at Kitty Hawk if they were aware of the potential of American Airlines AAdvantage miles."

"Most products are ugly. The harsh reality is that in many of these markets, form follows funding. And that products go where the market takes them."

"It's disgraceful and embarrassing that the highest technology in a typical inner city high school in this country is the metal detector the students pass through at the front door."

"[Visionaries] not only believed that the impossible can be done, but that it must be done."

"We need to love [children] and help them discover their passions. We need to encourage them to work hard and help them understand that failure is a necessary ingredient for success, as is perseverance."

"Art and design are not luxuries, nor somehow incompatible with science and engineering."

"Great art isn't about decoration - it's a different language that can both touch our hearts, and open our minds."

"When the first alien spacecraft lands in Washington, I want the little green people to walk first into the National Gallery of Art. I want our art to explain who and what we are before our leaders do."

"In reinforced concrete we have not only a new material but, of far greater consequence, new constructions and a new method for designing buildings. Therefore, in using [reinforced concrete], we have to renounce the old traditions and concern ourselves with meeting new tasks."

"Let's split open our figures and place the environment inside them."

"[iron and glass, the] 'materials of the new Classicism'."

"[to create] A union of purely artistic forms for a utilitarian purpose.. [referring to his Tower / Monument, with a height of 400 meters, but never constructued]"

"It [ [his Tower ] was to be dynamic, both in its outward form and inward activity.."

"[the task of material culture is] to shed light on the tasks of production in our country, and also to discover the place of the artist-constructor in production, in relation to improving the quality both of the manufactured product and of the organization of the new way of life in general."

"The influence of my art is expressed in the movement of the Constructivists, of which I am the founder – Tatlin."

"The dream [of flying] is as old as Icarus.. .I too want to give back to man the feeling of flight [with his 'Letatlin'-air-bike, 1929-1932]. This we have been robbed of by the mechanical flight of the aeroplane. We cannot feel the movement of our body in the air."

"The engineers made hard forms. Evil. With angles. They are easily broken. The world is round and soft.."

"[Moscow, Spring of 1914:] Dear Sirs, On the 10th, 11th, 12th, 13th, and 14th of May this year the studio of Vladimir Tatlin (57 Ostozhenka, apartment 3) will be open from 6 to 8 p.m. for a free viewing of his synthetic-static compositions. In addition, at seven o'clock on the aforementioned days, the Futurist Sergei Podgaevskii will dynamically declaim his latest poetic transrational records."

"I am familiar with Tatlin's theatrical designs in which there is a charming and original quality of color and an unusual balancing [ekvilibristika] of line-{illeg.}. Perhaps this is only trickery, but even trickery is already an art, and for this talent is required."

"[Tatlin, in a lecture] expressed his dissatisfaction with authorities who did not really support his endeavors to work in industrial concerns."

"If the idea of the monument [ Tatlin's Tower ] is truly new and valuable, then it will never die. Prophets have not always been stoned and imposters have not always succeeded."

"An absurd and naive, monstrous beast [ Tatlin's Tower ] with a radio-telegraph horn on its head and the legislative assembly of the Third International in its belly?"

"The Council of People's Commissars would flee from such a building on the first sunny day and, camped out nearby on the grass, would immediately issue a decree that Tatlin's tower is for rent, at public auction, to horticulturists wishing to grow pineapples."

"Tatlin does not transcend the confines of Cubism."

"'Letatlin' (1929-32) is a flying bird, Tatlin's bicycle, on which one can 'sail' through the air. In artistic circles reactions varied yet all struck basically the same chord: he's flown out of art, - a move into technology.."

"[Tatlin and his 'Letatlin'] an amazing character, but absolutely no artist."

"['Letatlin' is] not so much.. ..an invention as.. ..a sui-generis work of art"

"In her diary, Popova recorded Tatlin's story about how, right before his departure from Paris for Moscow [in 1913], he visited 'Pavel' Picasso himself.. ..(see A. Strigalev, O poezdke Tatlina v Berlin i Parizh, in 'Iskusstvo 2' (1989), pp. 39-43).. .After seeing Picasso's Cubist constructions, Tatlin said, he began to work according to other principles [than Cubism ]."

"The Constructivists recklessly spoke of replacing art with life and wanted to make the object of production the object of art. Tatlin built a stove in his room to keep from freezing, sewed a specially tailored coat to keep from shivering in the wind, and cut himself a comfortable work suit. Playing with the industrial production of an object was not the last motivation of the design solutions of the Moscow Constructivists."

"I liked drawing and I had a passion for sculpture, after all goldsmithing is nothing but a miniature sculpture."

"I started with an idea that I had in mind and then I looked for the right technique to make it happen."

"After three years spent in a small goldsmith factory, I had nothing left to learn. A colleague who was looking for a new job as goldsmith, tells me: look I went to a small shop, figured that they do not even use the electric drill, but they make holes with bows, like the primitives. I understood that this was the place for me."

"His jewels are Martian Things"

"There the telephone is ringing again - the engine, the machines [of the printing company] that call you with their sounds - those people who honor and tease [you] with their orders and admonitions - the chiefs who ask - the bills that have to be paid - the interest that force you to work."

"GRONINGEN, BERLIN, MOSCOW, PARIS 1923 Start of the violet season Reader As we are convinced that it is not too LATE, we will speak. Time is running, honestly.. ..it has become necessary now to do something, before it is too late There must be witnessing and speaking.. ..Art is everywhere. She is thrown us people on our jackets by the birds. In every infant with weak intestines, the latent seed is laid for an artist.. Our first publication will soon be published. We urgently invite you to become a fellow reader [of the upcoming art-magazine 'The Next Call'].. .. We count on your DEEDS in the white season with the black shadows.."

"I have applied for a pass and I am going to travel through Western Europe for 5 days. [I] start in Cologne and will probably end in Paris. Who cares. In Cologne there is a large exhibition of German painters [especially Die Brücke-artists]. Jan W. [= Jan Wiegers, who knew Kirchner very well since 1920] has been there and animated so much that I'm going there for a while.. ..it seems that Jan wants to come with me. He was so enthusiastic that I suspect to be able to note him as my traveling companion."

"the art-critic has provided the products of my lab with a (new) label: 'abracadabra'.. ..[but] one can not speak about abracadabra-ism, and that is its advantage on all –isms: it doesn't know time and limits and especially not the 'periods of time' [but] only seasons.. ..all -isms are dead, blown away, sprayed in the air, gone (here imagery does not fit, imagery is always wrong) - only for the 'abracadabra' is the future wall, the coming wall in the next house - how much the 'peinture' of other fabrics is curving and folding itself, polished or blown-up, it's all for nothing.. .We are not addressing those offspring but only the artists in this world.."

"hobade he - hobade há, habone de - habone da, tomate pe - tomate pa, coquille ki - coquille ku, trankielje ti - trankielje tu, bombade bè - bombade ba, salate te - salate ta, horbide de - horbide da, sperate ke - sperate ká, hosade de - hosade da, ad fundum hà – ad fundum ho, ho ho ho ho – ha ha ha ha, (dacapo po)"

"The subject reports itself, it is never looked for. Afterwards a small drawing will follow for the color-planes which are determined immediately. These colors will be printed by large logs and updated and enlivened with the hand-roller. For pressing I use an old hand-press with lever (from c. 1800).. .Sometimes it is necessary to press heavily, other times only very light. Sometimes one half of the block is rolled in [with ink] bold, the other half only skimpy. By first printing sometimes the first layer of paint on a piece of paper, a gentle tint appears which is then printed on the original. Another time I print the first print of the paper back on the original.. .As soon as the color-planes have been applied, the first state is reached, so to say.. ..Of course all kinds of side-steps can be made, while working. In case of enlivening the picture - both in terms of color or decoration - the main goal I always keep in mind."

"As paint I use lightfast printing ink, usually pure, but also mixed. Mixing is not difficult at all, it but can happen in very different ways. Secret means are not applied, but I can not work on them, except in solitude (at sunshine). No one works in this way. I believe that no one else can obtain the same color effects, except after a lot of practice and experience. Sometimes one print goes up to 50 times under the printing-press. [I make] Never more than one piece per day."

"Moreover the book 'The Legend of Baal Shem', by Martin Buber gives beautiful images. I have read some chapters from it and the 'Werewolf' among others, has been written very beautifully."

"I have composed here so many prints from the immediate surroundings around me - starting with the chimneys and the pigeons and the passing ships, the staircase, the labyrinth of corridors and doors, the crazy combinations of beams and wooden walls.."

"one print gets born from the other one, and that is exactly the right thing of it - it keeps the mind ready."

"I will keep for you the small drawings that I usually make beforehand. They don't have any artistic value. I just make them to have some grip for the composition of the print.."

"This afternoon I just finished a print which I started Monday. We got a revolving door here in the post office [in the city Groningen] and that's such a nice thing to use."

"For me, life would be worthless if there was not modern art and if I did not had the opportunity to express myself in it anyhow, now that I have gradually found the way I can express myself."

"..not the familiar paradise, but the unknown - somewhere in a continent that hasn’t been discovered yet by anyone from the civilized countries - I have escaped [in his prints!] because it is almost unbearable to be in our world."

"I never have to search for subjects, they come to offer themselves - the right form is not always there immediately and that is why it is good to draw those small sketches beforehand. Otherwise it will become too wild, the work demands great calmness and if I am bound to time - for example when Greet [his wife] thinks that I should come home earlier - [then] it starts thundering, because peace has disappeared."

"Last week we made a bike ride along cornfields with the harvest ready to be brought in. Here and there it was already brought in. Heavily loaded cars rolled back home, and it sounds so nice when the car comes after you.. ..and what a fruit tree loaded with ripening fruit. It is all full of promises and full of mild softness. As you say, it is the late-summer melancholy.. ..moreover one can weep for this dying everywhere on the fields, without any mercy."

"..When I have made some drawings I see them immediately in front of my eyes, enlarged [and] in colors.."

"It was a tough job [the 20 prints of his 'Chassidic Legends']; I have been working effortlessly and incessantly [during 1941-1943]. But it was fascinating and the job gave me also relaxation. Now that it is finished, I can look back on it as a part of my life. I am happy that I have been able to accomplish the work, although there will come critical comments too. You can not escape that, even if you are doing your best best."

"Last Sunday we made a bicycle tour of 80 km. Through the North along the edge of the [[w:Groningen (province|province [Groningen]..]] ..On such a day I get again a lot of impressions which will reappear in altered forms in due time. Beautiful landscapes, nice small roads, beautiful farms, meadows with horses and cattle, birds, water and a lot of sunshine. Mills and towers and trees are breaking the lines of the flat land.."

"At a given moment there comes a time that you kick off everything, the whole mess and relieved you are walking further the path. Then the temptations come: Shouldn't I do this in another way, shall I go back and start to accept that I am a fool. Then bite your teeth firmly and say to yourself: no, stupid fool, don't go back, because what you will lose is profit."

"You are an unknown person in Paris, but you don't have the right to stay unknown for ever, because your work really deserves it to be appreciated by a larger public than that in Groningen."

"[Werkman], the printer-painter.. .. who makes prints, in which the meaning of form and color comes completely into their own.. .In his prints he use the side of the hand-roller to draw with [in ink]. He is ad brake, and he makes a lot of witty raids. In this way he comes to print his 'hot printing', analogous to the current 'hot music'."

"Anyway, it is for sure that Hendrik [Werkman] wasn't absolutely unsuitable for businessman. As so many people he had two personalities, that of the businessman and that of the artist."

"Werkman's fine intuition for purity in art has made him the champion of modern art who fully understood Vincent's statement in [his] letter no. 429: 'Les vrais peintres sont ceux quie ne font pas la couleur locale' (in English: The real painters are those who do not create in local colors)."

"[Hendrik Werkman], a man with a craving for freedom manifest in his way of life, expressed in his work, who became an artist at the moment he was economically broken, deserted by everybody, considered a freak – at that moment he created a world of his own, warm, vivid and vital."

"Remembering the time when I met Werkman in the printing house and saw him working, the memories come back how he cut his templates for example. He used a small razor blade, broken in half and wrapped with a small piece of paper. In his hands it was almost like a pencil stump, making a sketch with it. By drawing his lines with the razor blade he cut the template at the same moment. Sometimes he made a drawing beforehand, but usually he cut directly – and he did very skillfully."

"Since Werkman's death an awareness of his relevance to contemporary graphic design has steadily emerged, and his work has lost nothing of its richness, spirit and optimism."

"Nothing special is happening here in the paintersworld [of the Netherlands]; everything stays firmly the same. (translation, Fons Heijnsbroek, 2018)"

"The country [ Brittany ] is very beautiful and painterly one see stimulating color tones; but the more abstract one works, the more one transforms the sketch into combinations. (translation from German, Fons Heijnsbroek, 2018)"

"That's the way it goes, you know, I'm always dissatisfied and always I want to go on. (translation from German, Fons Heijnsbroek, 2018)"

"I work a lot and I think a lot. I really want to try to paint on glass. .Please will you ask him [mr. architect Taut ] if there are any transparent colors, which one can use to paint on the glass directly.. .I want to dispose of a new technique in which the artist can paint on the glass directly instead of canvas. When one wants to reach colors spiritually-bright, then a time will come that oil-paint and canvas are no longer suitable.. .So, if you have time, please ask Mr. Taut if he understands my view and maybe he knows the ways how I can follow my direction. (translation from German, Fons Heijnsbroek, 2018)"

"It is a terrible, but also tremendous time. Personally I find it moreover so important for my art to live now.. .These times force you to think over a lot and work very hard, in Nature now a strong creative force is working. (translation from German, Fons Heijnsbroek, 2018)"

"I was in Rotterdam, but the exhibition there was horrible. Le Fauconnier has nothing to tell anymore. He has a dirty color now and has become a real academic. Mondrian is completely frozen, no poetry at all anymore. It's terrible that these people can not reach further with great ideals. To my taste paints far too much naturalistic. A big difference, these three, compared to [[w:Franz Marc|[Franz] Marc]], Kandinsky, Filla etc.. (translation from German, Fons Heijnsbroek, 2018)"

"As an artist you can not stand for long in The Netherlands. You must see a lot and talk a lot about everything.. (translation from German, Fons Heijnsbroek, 2018)"

"Once again I talked with some painters, but the modern artists [in The Netherlands ] write more than they paint. If you write about art in such a way and you want to paint always with a fixed plan, then you will lose completely the deep, glorious and spontaneous art. You always have to create the new from the very deep, inside. (translation from German, Fons Heijnsbroek, 2018)"

"All men forget that colors have to radiate to give the big [spiritual] expression. (translation from German, Fons Heijnsbroek, 2018)"

"This evening the Anthroposophical Society invited me to give a lecture about modern art, on 13 March. They start to wake up here [in the Netherlands].. .Please, tell me something, what I should emphasize, what you find most important. I shall also read something from 'The Spiritual in Art' by Kandinsky.. .But we still have other views on the whole, isn't it. I don't always agree with Kandinsky, and often more with your views. So please write a little much.. .You know, for me it is always easier to paint my principles. (translation from German, Fons Heijnsbroek, 2018)"

"Every day I am thinking about the Art school [which Walden wants to start in Germany, since 1915-16].. .If our pursuit is really to make great progress in future, the Art school must produce individualities who can with our assist really continue from their inside and start creating on their own, without always studying the pictures of other artists. (translation from German, Fons Heijnsbroek, 2018)"

"I got the idea to paint people, in the way I see them. From one face I take to my own idea some very characteristic features of it and then I make of the whole a picture in colors and lines, in the way how I meet that person. The whole thing becomes not at all a portrait in the usual sense.. .I have tried to make types, but will built in more and more personal qualities and all that kind of things.. .Everything will be figured out fully abstract of course, it is just a personal feeling and no system at all. (translation from German, Fons Heijnsbroek, 2018)"

"Again I only gave numbers [of her art-works, she sent for the next Sturm-exhibition]. I stick to my idea of not giving titles. ..Titles are really disgusting romantic, and now in a while people will have hundreds of Spring's, Summers, Trees [paintings], to Liebknecht, Eberts, etc.. Above everything color and line have their own specific language, which doesn't want to be captured in a title. (translation from German, Fons Heijnsbroek, 2018)"

"On the whole [the alignment of a series of stained glass windows with the interior of a villa in The Hague] I have thought about all the time.. .I want to focus more on the architecture of the interior in general and that should we do together [with architect Buys].. .Now I was already thinking, the enormous color effect that the window will generate - and that will certainly become powerful - must be accompanied with strong colors - the hall -, otherwise the window itself will be too much isolated. For instance the staircase, could it be painted in strong colors and not [in] oak.. ..deep ultramarine blue or green, with a beautiful colorful carpet.. ..I feel I must make designs for carpets, to create in that way a beautiful unity with the stained glass as a whole. (translation from Dutch, Fons Heijnsbroek, 2018)"

"I don't understand how many painters can be so short-sighted to value art from earlier periods as completely worthless. Every art is an expression of an era and only for that reason already it is interesting. A Rembrandt has gone other ways, but he has certainly also pursued the highest goals. That one can assert: it is not necessary for a painter to have an impression when he is painting an Image, is nonsense. Certainly an artist, if he is really an artist, always has an inner urge to create an Image and thus sees an impression for himself that he may not always be able to explain, because deeper feelings are very difficult to grasp in words, but he has an impression - otherwise he only makes paintings as pure brain work. And intellectual art I can't bear. You can not make abstract art as something on its own. One feel various forms in their inner coherence. For example: when reading a fairy tale I can get the idea to paint a forest in completely abstract forms with motifs of trees. Every abstract form has an inner meaning for me. (translation from Dutch, Fons Heijnsbroek, 2018)"

"..I am so often showing my work in Germany that I belong to the German moderns.. .I openly want to confess you that I don't value the new painting in my home country very much. That is why I don't have a lot of acquaintances among the painters. Everything here is so little progressive. People's life is to easy here. It is very difficult to keep wide-awake since all are sleeping here. I feel much more at home in Germany. (translation from Dutch, Fons Heijnsbroek, 2018)"

"For you it must be a great satisfaction that you have done so much for modern art. If Der Sturm had not worked like this for ten years then Germany would not have been at the forefront of the movement. (translation from Dutch, Fons Heijnsbroek, 2018)"

"Here [in the Netherlands] there is absolutely nothing, nowhere and permanently committees to deliver the visual artists some money, since all are hungry. It is such a difficult time for Holland. I had flu, I was very sick and I am still too weak to work. (translation from Dutch, Fons Heijnsbroek, 2018)"

"..Also Lady van Heemskerck van Beest has found in Cubism the direction in which she can now express herself preferably. The shape [of cubism] is already so familiar to her that she uses it without much difficulty and with her diligence and good will she moreover knows how to handle the right color soon. (translation from Dutch, Fons Heijnsbroek, 2018)"

"Jacoba van Heemskerck paints a tree. She doesn't want its appearance, not the object, not the expression which can already be made in some dashes of color to astonish the observer. It is indeed about a tree, but she wants the miracle: standing, spreading itself, bearing its leaves, reaching into space, moving, being a part of the world. (translation from German, Fons Heijnsbroek, 2018)"

"A revelation, of eternal truth, to mankind. In the middle [of Jacoba's 'Painting No. 23' ] the motif of a floating ship, with the radiant white sail, like a saint spreading his both arms to heaven to absorb all the wisdom of the divine. Next to it, and following the first, the other two [ships], also with immaculate-white sails, but the interior of them not yet unfolded that strong [as the first ship]. In this way they continue, quietly and surely, over the rippling water-surface, towards suffering humanity.. .In the foreground, on both sides, two heavy, powerful black figures of trees, their branches twisted and wringing to each other and thus creating the gate of misery and suffering, through which every person must go who wants to bring something to mankind, what can help. In large angular blocks the earth is shown below, from which the trees grow up, the earth and its fertility. (translation from Dutch, Fons Heijnsbroek, 2018)"

"for Jacoba van Heemskerck"

"From the power of the senses, Jacoba von Heemskerck has created the images which give meaning to the world. Which interpret the world, Water and Mountain and Tree are her visual impressions, which became the painterly tools to create her pictures. Movement of the elements becomes element of movement. Form of Nature becomes art-form, and impression expression. Parts of the world get transformed into parts of Art. And parts of Art are combined together into one image.. .Jacoba van Heemskerck lived in and with Art. With all her thinking, senses and efforts.. ..her life continues, formed in Art. (translation from German, Fons Heijnsbroek, 2018)"

"The [glass window]-designs lay ready for months [1922-23] but as the building did not proceed as quickly as it was expected, the glass-cutting was put off again and again. During the last spring it often made her anxious, that the work did not advance, as if she had the feeling that she would never see it finished. And so it was. When at last she had to lie down, never to rise again, the designs lay there, with all the indications how they had to be worked out. Thanks to these minute preparations it has been possible to finish them as a last witness of her genius."

"In the Stedelijk Museum in Amsterdam an honorary exhibition of the art-works of the woman-painter Jacoba van Heemskerck.. .The collection brought together gives a clear overview of 'working' and 'wanting' for this very special talent. Clearly shown is the road that had to lead her from naturalism to her recent monumental abstract 'compositions' in which she portrayed 'Life': to the great last meeting with 'Architecture'! That combination promised a triumph! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Suddenly and unexpectedly death ended up the life of this great person. Before finishing her task, this wonderful young woman died - J.B. (translation from Dutch, Fons Heijnsbroek, 2018)"

"There is the advantage that a small or light bullet has over a heavy one when it comes to wound ballistics. … What it amounts to is the fact that bullets are stabilized to fly through the air, and not through water, or a body, which is approximately the same density as the water. And they are stable as long as they are in the air. When they hit something, they immediately go unstable. … If you are talking about .30-caliber, this might remain stable through a human body. … While a little bullet, being it has a low mass, it senses an instability situation faster and reacts much faster. … this is what makes a little bullet pay off so much in wound ballistics."

"Our father, Eugene Stoner, designed the AR-15 and subsequent M-16 as a military weapon to give our soldiers an advantage over the AK-47."

"The AR-15 was developed in the late 1950s as a civilian weapon by Eugene Stoner, a former Marine working for small California startup called ArmaLite (which is where the AR comes from). The gun, revolutionary for its light weight, easy care and adaptability with additional components, entered the mainstream in the mid-1960s, after Colt bought the patent and developed an automatic-fire version for troops in Vietnam, called the M16."

"Light, precise and with little recoil, the Colt Armalite Rifle-15 Sporter hit the market in the early 1960s as the first civilian version of the military’s M16 rifle. What set it apart was, much like its military counterpart, the inventor Eugene Stoner’s patented gas operating system, which allowed for rapid fire and reloading. The weapon could easily handle a 20-round magazine, was easy to disassemble and was marketed, in one of Colt’s early advertisements, to hunters, campers and collectors. Billed as “America’s rifle” by the National Rifle Association, the AR-15 is less a specific weapon than a family of them. When Mr. Stoner’s rights to the gas system expired in 1977, it opened the way for dozens of weapons manufacturers to produce their own models, using the same technology. The term AR-15 has become a catchall that includes a variety of weapons that look and operate similarly, including the Remington Bushmaster, the Smith & Wesson M&P15 and the Springfield Armory Saint. Over the ensuing decades, as the American military modified the M16’s exterior to allow for accessories such as sights, grips and flashlights, the civilian market followed. Today, gun enthusiasts consider the AR-15 the Erector Set of firearms."

"The best way to address the firepower concern is therefore not to try to outlaw or license many millions of older and perfectly legitimate firearms (which would be a licensing effort of staggering proportions) but to prohibit the possession of high capacity magazines. By a simple, complete and unequivocal ban on large capacity magazines, all the difficulty of defining 'assault rifle' and 'semi-automatic rifles' is eliminated. The large capacity magazine itself, separate or attached to the firearm, becomes the prohibited item. A single amendment to Federal firearms laws could effectively implement these objectives."

"No honest man needs more than 10 rounds in any gun."

"I need the saint of laughter, I need the saint of tears, I need the saint detective who can find my stolen years"

"I need the saint of needing, I need the saint of loss -- the one who gave up wanting his heart to trash to toss"

"The saint of killers too afraid to kill"

"I need the saint of healing, I need the saint of health — I shot the saint of money, beat up the saint of wealth"

"Christ would wear cowboy boots, Christ would have sex, Christ would eat pizza and cut blackjack decks"

"Christ would be rocking, Christ would be free, he'd say there's no difference between you and me."

"Christ would be careful, Christ would be brave, but Christ he would never be anyone's slave."

"We were driving and George stopped the car and said, 'Now look at the billboard.' It was a national campaign for McDonald‘s - 'Guess' which was very big on the left side, and small along the billboard, 'What is in a new Big Mac?' and then a picture of the new hamburger. The 'Guess' was gigantic and the rest was all small. George said, 'This is where I found the name.' We said, 'But it ‘s a hamburger.' He said, 'I love the name.' Then Maurice said, 'Okay, if you use Guess, grammatically you have to put a question mark.' Maurice put the question mark and designed the triangle."

"The ingredients are always the same: from the very beginnings, the Guess women have always been feminine, sensual, self-confident, independent, free and happy. This image is very far from that of traditional models, often too skinny and sad. Our campaigns express an intense yet smiling seduction, strongly different from the vulgarity dominating today’s world."

"We want women to feel more and more beautiful and self-confident. We don’t like to follow trends, we are loyal to our customers’ expectations, of people looking for high-quality products at a reasonable price"

"Belief, Follow your Instincts and Never Give Up!"

"I started from selling ties from the back of the car and from there to become an influencer in the fashion world. I’m happy my brothers and I could accomplish the American dream and I specifically making my mark in the advertising world- enjoying every day at work."

"Blessed is the giver, richer through the giving of a gift."

"‘He tried to kill me,’ you say, as you scour the floor for your Silver Bow. ‘Foolish fellow,’ answers Paido, sardonically. ‘He’ll not try that again.’"

"In the time I've tried to write this, I've had to run up the stairs to A) Put Baby to Bed which included dressing him (Daddy is not allowed he doesn't do it right allegedly SIGH) B) Read 3 stores about Sushi, Dim Sum & Potty Training ( Yes, I read about it but now I want to eat sushi) C) Sit down to continue writing only to be summoned back upstairs due to a Tummy Ache (visit the potty, change a diaper - always the way - kiss the belly, tuck back in).... "Such a Glamourous Life You Lead Meredith...." (said in my best lil ol' Jewish Man voice...) But really, truthfully, am so very blessed."

"​Look I put gold balls in a vase and voila - I’m done right?? Ha ha ha I have to figure out to Tree or not to Tree. I’m torn. That’s the good thing about having a Jewish husband. He won’t care if I say Xnay on the tree…."

"Seth your voice isn’t needed at this time. You aren’t helping. You aren’t being an ally to women. Why do you go and maybe bake a loaf of challah?? Because it is delicious and something one makes to share with others. It was akin to telling a woman to get into a Kitchen. My son is Jewish so nice try there but that’s not gonna fly. Given that I’m married to and have Jewish children nice try to make it about that. I was telling him to get in the kitchen. His misogyny flipped on him. You blinded by your own? Hardly. Sitting here with my Jewish son but nice try. You give him a pass on his blatant misogyny?? Go away troll. Hey winner I’m married into the tribe. Have Jewish kids. Nice try. Deflect his misogyny into some imaginary antisemitism. His misogyny. My crack was telling him to get back into the kitchen. It was dismissive the way he dismissed a sexual assault survivor. If you don’t recognize his misogyny you’re part of the problem."

"You mean the kids wearing the MAGA hats? That’s a rather Nazi take you’ve offered there. MAGA hats = Nazis. Nazis deserve to be punched."

"Aerith and Tifa are both heroines in this game. We kind of made them both represent Eastern and Western styles. We designed Tifa to look more fit and athletic. From the moral committee among our staff, they said that if she's going to be doing a ton of action and movement, we wanted to give her clothes that would fit naturally, hence the change in a double layered tank top."

"Punk articulated the vitriolic disapproval by the young of the sneaking complacency in music, art, politics and perhaps most important of all - the environment."

"As punk rock was able to sweep the board clean in music, so must the board be cleared in visual art."

"The self-inflicted isolation of the contemporary artist and the mistrust levelled against the architect are both important contributing factors in the current situation of architectural art. The painter is anxious to keep intact the historical image of artist as loner, the intense sensitive, the genius and “maestro”; while the architect, feeling the watchful eye of his client constantly over his shoulder, approaches any extra-to-budget expense, such as art, with considerable trepidation, guarding jealously any intrusion into his building by potential glory-thieves. – Clarke in the essay 'Towards a New Constructivism', from his 1979 book Architectural Stained Glass."

"Painting is a way for me to view the world as it exists and the world as it might be."

"When I am designing a stained glass window I am painting; when I am drawing a drawing, I am painting; when I am making the cartoon for a tapestry, I am painting; and when I am listening to music I am painting. It is the centre of everything that I do."

"It's not that painting is the medium with which I identify the most. Painting is the medium through which I am able to identify with anything external."

"It is through painting that I understand how to view architecture, appreciate the rhythm of a poem, draw pleasure from the structure of a well-composed sentence. And it is through painting that the complexity of music makes itself understood to me. It is through painting, in fact, that I am."

"Colour is the animator of my poetical ideal. It is the single most important device in my work, and the driving force behind its impact."

"Art is reimbued with its genuine power and profundity in the architectural realm. Its real power lies in the cathedral, the shopping center, the hospital. Not in the studios of Soho and Chelsea or the galleries of Madison Avenue or Bond Street."

"Moving with frequency between the polarities of my experience is a fertile source of ideas. Somewhere between anguish and joy lies a region taut with further contradictions. If art speaks truth to power then in my view both compelling forces need to be addressed. The desolate truth carried in profundity is made even more striking when matched by the sublime energy of the decorative."

"The Spitfire and the Porsche and the battleship have something of perfection in their design. They are anonymous in their beauty, like the fleur-de-lys, and compelling, like heraldic ciphers of the 20th century."

"I used to think that I somehow existed apart from making art and thus my work itself existed outside prevailing realities, uninfluenced by circumstance. I was wrong and that's clear to me now. Biography and art intertwine, strangling and oxygenating simultaneously."

"Black has the power to astonish. It absorbs and reflects colour stealing much from the prevailing chromatic landscape. It makes blue bluer and light lighter. There are as many variations of black as there are of green."

"Fallen petals on the grass or scattered flowers across a field do unexpected things when you examine them – Primroses seem to cluster together in a shape that recalls a single flower; Bluebells become entirely anonymous in a hovering mist; Daffodils group together into crowns of thorns and barbed wire."

"There is a world that can be seen only through stained glass. It is like no other. The medium is thought to have been at its zenith in the Middle Ages – though the medievals had the advantage of Gothic architecture to respond to. I want to surpass the Middle Ages, not equal them. Surpass them with the new and irresistible: volumetric, spatial colour, transporting post-industrial godless man to the edge of ecstasy."

"My art is an art for the working class."

"I am working class artist. I am very happy if my work pleases or engages intellectuals or professional people, but my art is an art for the mass: I want to communicate this idea of intimacy and poetic transcendence to as many people as possible, and the idea that it is confined to one social demographic is abhorrent to me."

"If Mondrian, with the omission of diagonals, modulation of colour and sensuality of material, moved into an increasingly life-alienated and Apollonian ideology, so Clarke explores the optical stability of forms with sensory Dionysiac temptations where here and there they give rise to menacing disturbances of order."

"[In Clarke's work] I see a possible enlivening of the jaded purity of Constructivism, an extension of geometry into the opposite, namely the emotional and incalculable as one of the answers to the conflicts and contradictions of our time. Art can only remain effective if it does not ignore the painful depth of unresolved antinomy."

"When I was starting in the game industry, it wasn't common to be the only woman on the entire team...I always felt welcome, but it still felt awkward. In my years at Nintendo, I have come to discover that when there are women in a variety of roles on the project, you get a wider [range] of ideas."

"I think things that work well start to look good as well."

"All around us, dreamers were dreaming up new ideas: Star Wars, The Clash, Apple. I was nearing thirty ... and wondered if I could do more."

"The thing is, a creative education—especially the elevated and professional degree programs offered at SCAD—is about intentionality. You build, you invent. There’s purpose to it."

"Students from everywhere come to this beautiful part of our country that we've lived in and know and love, and when they do, they find they love it too. I think part of it is that they find such a warm reception here in Savannah and at SCAD, and they find that anything is possible. It's the ultimate American dream to think that you can create whatever you want for yourself and your career."

"SCAD shows that we can educate students and prepare them for successful careers in creative fields. That was a revolutionary idea when SCAD began, but our students and alumni — who hail from over 100 countries — are proof positive that it's true. If I leave any kind of legacy, there's nothing more joyful than that."

"For me, the edges of a picture are the most important areas. I like to think of the image as a small segment of a much larger scene, so that you feel that, if you could see behind the edges of the "snapshot" there would be something equally, or more, interesting going on. It's a window into another world, but you don't necessarily have to see the window frame. You might even see more clearly without it."

"I’m not free to do whatever I like stylistically, since my work is going to be wedded to the words. The responsibility is to help to tell the story, without interfering with the readers’ imagination. In a way it is a bit more akin to a sets designer or to providing music for a film. You are serving the text and you are serving the story. So that’s what I do. I’m an illustrator. But I think you have to be an artist to be able to do that as effectively I can."

"I think of the art of illustration as essentially one of collaboration. It’s a wonderful thing to work with a writer and to discuss ideas and make sure the writer is completely in harmony with and happy with the things I’ve added to the mix."

"Overall the roller coaster of emotions games have — you know, fear or the feeling of running from something, or the high-strung tension of being in battle, or even going somewhere in a game that’s less tense and is kind of funny, that’s there in any part of game development. Everyone’s kind of in the same position."

"When you discard yourself, real love comes into relief."

"In my house, I was surrounded by actors, by nothing but talk of plays and performances, so I felt it was more advantageous to go in that direction, now, I can’t quit."

"All big projects, every time, they come when you are forced to do something when you are in the corner. Otherwise, if you need to take a decision, you will never take it."

"I am extravagant, but always with a particular piece: perhaps the shoes or the glasses… As the famous Italian actor Vittorio Gassman said: “You can just have one extravagant piece, more is not classy.”"

"Angelo Galasso is a sustainable brand because we don’t use any kind of mass production. All our garments are made exclusively in Italy and in small artisanal workshops. We do extensive background checks to ensure these workshops respect health and safety standards. We also operate a ‘zero-waste policy, we only buy fabrics based on the actual meters we need to maximize efficient production and minimize waste."

"The Eclisse lamp is beautiful to look at because the concepts are in themselves beautiful."

"They told me: architect, we need to design a night lamp because everyone goes to bed. And I thought of the blind lantern used by thieves in Victor Hugo's The Miserable."

"Design is a conceptual process that can be communicated over the telephone. About Chimera Lamp. A very simple geometric shape with three cylinders in semi-transparent plastic material. I remember having described it over the telephone without any drawing. Geometry and an extremely simple communication system. After about ten days, I was brought the lamp to my studio."

"About the Chimera Lamp. All my sketches testify to the attempt to give my drawing the task, from its very first formulation, to illustrate the meaning, the soul, that my proposal would like to express, suggesting the technical means and the definitions of the materials necessary for a economic and correct implementation of series production. Therefore, for me, drawing is not reproducing the object in all its morphological and technical details but it is a means of digging deeper and deeper into, to find and express the soul, the essence of the object, or rather the other possible one. reality that exists behind visible reality (look at usual things with unusual eyes). This is, for me, design, and is expressed by sketching. “Ceci n'est pas une pipe” writes René Magritte by way of one of his paintings representing a pipe. Even in design, looking behind the pipe, perhaps there is another thing."

"The Eclissi lamp. He called it concept design, a design so clear and simple it could even be explained in words, over the phone. Vico said he had learned from Latin to recognize the superfluous from the necessary, the indispensable and the useless. And when you design an object, he repeated, you have to know how to recognize what is indispensable. (Ernesto Gismondi)"

"I believe that design is a [...] method usually means only the industrial one, so I wonder how to consider the Etruscan statues? there are millions in the world, there are museums full [...] but how did they manage to produce them? And they are all original Etruscan! So why shouldn't we consider them design?"

"He is an architect, designer and sculptor. How would you define yourself? In the meantime, I am a convinced materialist [...] look that it is not thought that uses matter to express itself, it is matter that uses thought. If you do not know the matter you cannot speak of spirit."

"The Virtual Reality is yes the continuation of reality, but sometimes you can no longer understand what you are talking about in a pink, yellow or green thing, it is so devitalized."

"In my projects, I have always tried to make people's needs participate in the definition of the work. I would say that the fundamental starting point for designing a design object lies in the usefulness it has for people. An object that is not born of a necessity cannot even be considered as belonging to this category, design."

"Let's start together, you with the computer I at Hand [...] he hadn't started yet while I had already finished, and it was a very simple thing [...] the younger and more skilled they are, the less they have interest in drawing in Hand. I believe that today with information technology, you have great means at your disposal, of course there are databases left, it is not from there that a project comes out; culture is something else ... the risk is the loss of the gesture"

"My works have always been born from the interest, the curiosity, that I have for the material and the possible ways of working it; and then find solutions often even at the limit, I would say. It is always necessary to pay close attention to the choice of materials with which an object will be made, since a relationship with the form is always very delicate. Technological innovation represents one of the fundamental aspects for the designer's work, but it must not lead to the exasperation of the technique at the expense of other aspects."

"Angelo Mangiarotti is an absolutely original author of international architecture, one of the few Italian masters (such as Ponti, Nervi and Piano) able to export his own idea and project philosophy. architecture, engineering, design and art, thanks to its ability to dialogue with these normally distant disciplines - The profound sense of ethical values, civic commitment and moral rigor with which to feel every gesture of the profession make us Angelo Mangiarotti a rare example; unique designer in his being an architect, designer and sculptor at the same time. (Beppe Finessi)"

"Gualtiero Galmanini"

"Pierto Portaluppi"

"Angelo Mangiarotti"

"Rigid dogma about what is and is not ’authentic’ has hamstrung architects. We need to break out of these shackles and recognise that all architecture is drawing from the past."

"In New Haven, in the 60s, I designed some housing using trailers. I had the acquiescence of Mayor Lee, a remarkable mayor indeed. The whole notion of making a project for about 150 people using trailers was difficult to persuade anybody to do. I suppose it was a mistake; it was eventually demolished. People hated it. First of all it leaked, which is a very good reason to hate something, but I think it was much more complicated than that. Psychologically, the good folk who inhabited these dwellings thought that they were beneath them. In other words, the deviation of the dwelling was not something to their liking. I thought, and I suppose the mayor thought, that trailers were perfectly good enough for them. But I should say, in defense of what we built, that it was a pocket court plan and that it provided a separate outside space for each family. There were two stories, with a core at the center. I am very tenacious about certain things, and in the long run it seems to me that with the correcting of mistakes one can make something much more successful."

"In reality, the Castiglioni brothers were one person. Symbiosis of thought, creative ability, inspiration and execution were an integral part of their being. Talking to one of them or all three of them was the same, they were completely interchangeable, same voice, same accent, same grin, same laughter, same gestures. They were the Castiglioni, like their work, indivisible fruit of the same research, of the same passion, of a great ability to transform the world around us into a new memorable gesture. (Translated from the original Italian)"

"If you do it right, it will last forever. It’s as simple as that."

"If you can't find it, design it."

"I learned an enormous amount from Massimo about how to be a good designer. But I learned how to be a successful designer from Lella."

"When I started at Braun there were difficulties between the designers and engineers, as there are in many companies, but I noticed that the engineers liked to have a brandy, so I'd buy a bottle of good cognac to share with them. To be a good designer, you have to be half-psychologist."

"Design isn't marketing, but more and more companies are treating it like that. There should be an absolute commitment to design and technology, and they have to go together."

"The first Braun period was marked by the Ulm school, through Hans Gugelot, in the sphere of product design and Otl Aicher in that o graphic design. My own work and that of my group would have been unthinkable without the way paved by them."

"In the late 1970s, Dieter Rams was becoming increasingly interested in the world of things that surrounded him – "an impenetrable confusion of forms, colours and noises." As a designer, Rams was aware that he played an important role in the world he was helping create, he asked himself an important question: is my design good design?"

"You can draw a curve on the paper and know immediately that it is the right one, but you can not do the same to the computer; the curve is not realized with a function or using a digital guide, it is a form that is drawn freehand."

"Everything you make is being made by every single experience you've ever had in your whole life, and on top of that, things you were born with. I think your personality comes out. There's no way of really saying: "If A, then B, or A plus B equals C in creativity." The true strength of the creative arts is that you allow yourself to think about something. Then how it finds its way in your mind to the surface through your hands to-- whether it's paint or sculpture-- is intuited. I think there's reason to it. But could you extrapolate? Could you actually formulate a mathematical theorem? Absolutely not."

"Another adage in art is: you're a child and then you become an adult. You're always trying to regain that pure, almost empathetic response that you have when you're a child. It doesn't come with a lot of baggage. You're not worried about, "Oh, what are you thinking here, here, here?" You just respond in certain ways. I think sometimes: Can you think like a child? We're always trying to regain that. I almost make things imagining a child will experience them."

"Now, your great fear in art is that it's never guaranteed you're going to get that next idea. And there's always the fear that the idea you just made that you really, really love, you'll never be able to do it again."

"I try to understand the "why" of a project before it's a "what." And this might be more pertinent to some of my memorial projects. Memorials are a hybrid between art and architecture because they have a function."

"The Vietnam War was much more in the main news. I think the rioting was. But I think a lot of the facts hadn't been written into the textbooks because it was current news. From a child's point of view, you're not focusing on the daily news the same way. Anyway, I was stunned at how there was this part of American history. I know now it's absolutely covered in textbooks. But could I offer something out as an information table that would give people a brief glimpse of that era the way I had been, after having looked at this material, been given a glimpse? And of course, the idea is, you look at this. You'll want to study it more. Because the one thing about sculptures, the one thing about memorials is: I can draw you in. I can make you think for 15 minutes, whatever, then it's really about where you go after that."

"I value writing. I respect it. I find it the most difficult thing for me to do, but when I'm done I am unbelievably just at peace. If you think about art as being able to share your thoughts with another, writing is totally pure."

"I had a simple impulse to cut into the earth. I imagine taking a knife and cutting into the earth, opening it up and the initial violence and pain that in time would heal. The grass would grow back, but the initial cut would remain a pure, flat surface in the earth with a polished mirrored surfaced, much like the surface on a geode when you cut it and polish the edge. The need for the names to be on the memorial would become the memorial. There was no need to embellish the design further. The people and their names would allow everyone to respond and remember. It would be an interface between our world and the quieter, darker, more peaceful world beyond."

"I had been blessed that racism had never really entered into my realm. I get to Denmark and ironically I think they thought I was a Greenlander at times. An eskimo. Because if I get a suntan, I change through different races. Some people think I'm American Indian. When I'm in Mexico, I blend."

"If you ever tried to analyze its shape, it's one of the most complex forms. Think about it, it's every compound curve. There's nothing symmetrical about it. It's about looking at something again and then appreciating it. I mean, nature, is so complex."

"I’ve always been pretty fixated on water. Maybe it’s because it exists in multiple states, and you can never understand it in nature as a fixed moment in time."

"I think I’ve always had an activist stance, yet at the same time, the other side of me—and this is where some people just don’t get it, or they’d prefer it if the work was a lot uglier, a lot louder—I have this personality where I just want to put something out that’s a fact and then let you interpret it. It’s almost as if you might barely notice it, you might walk right by it, but you have to pay attention."

"It’s a bit unusual, as you said, to be working between the architecture, the art, and what I would say is a synthesis, the memorials—they’re problem solving, but it’s very symbolic. You get this triangle; I need to be balanced with those three. They’re all equally a part of who I am. I love how different they are, and yet they’re coming out the same thing, whatever it is."

"I leave it up to the viewers. If it’s in a museum, if it’s in a gallery, usually I am going to point out something about a river right below your feet or right outside your window. I’m not going to scream it out. If you get a little curious, you can find a little bit more. At times my works are maybe to a fault subtle. For public works, maybe you won’t even notice I was here. I’m not trying to defeat or conquer nature."

"I think art is different. I think you have to be who you are. My art happens to be very integrally linked with my environmental concerns. But to be an artist, you have to be true to who you are."

"It took a lot to understand and to thread a path that would allow me to develop in architecture, and develop my voice there, develop my voice in art. I wasn’t abandoning what I would call my interest in history and memory."

"I tend to make models of a lot of my pieces. I end up making models, and the models get bigger, and bigger, and bigger. I call it the Christmas tree syndrome. You buy a Christmas tree outdoors, you think it’s too small, then you bring it inside and you have to lop two feet off because it’s way too big. If you’re working out of doors, you have to test actual scale, with a paper cutout, with a maquette at full scale, because you need it to feel intimate like a dining table. You have to scale it up just enough so that it will still feel intimate — so it won’t jump to monumental in scale. It has to be bigger than it would be inside because then it would get dwarfed. You can only do that by actually mocking it up."

"There are a couple of things out there that I really want to do. I’ll tell you one. I want to work in a landfill. I love things that involve adaptive reuse of really degraded places. The sad thing about our current landfills are, you can’t dig a hole into them, because heaven forbid, there’s all this toxic stuff in there. It’s not just that I want to work in a landfill. I would like to help rethink what a landfill could be. What if we didn’t put anything toxic in? What if we composted all our organic matter? So then it wouldn’t be dangerous to plant a tree in it, you wouldn’t have to cap it because you think there’s so much poison in there. What if we could recycle all our rare-earth metals and minerals? It’s a big ask. That’s something I want to do in my lifetime."

"Every bowl we ate off was something he made by hand: stonewares connected to nature and natural colors and materials. And so I think our everyday lives was imbued with this very clean, modern, but very warm aesthetic, and that very much influenced me."

"In art, I get to walk into my head and do whatever I want to do, to free up completely. That goes back to my roots in Athens, Ohio, my roots in nature and my feelings of connections to the environment, that everything is coalesced around being inspired by the natural world and reflecting that beauty out to others."

"I have fought very, very hard to get past being known as the Monument Maker."

"By second or third grade, I was doing my own thing. I still resent being told what to do in any way, shape, or form. I’m sure it’s clinical."

"I would hope that artists can offer a different viewpoint, a different way of seeing the exact same data points, but maybe, because we can think a little bit outside of the norm, we can offer a new way of looking at it."

"I think art is personal to each artist, and so to me it is what my art always has been about. But that’s my choice as an artist. I don’t believe art necessarily has to be any one thing. In fact, if we all felt inclined to have to do that, I think it would be a disaster for art."

"She’s just amazing, when you think about what she has done, the work she quietly does in her way. She doesn’t seek attention, but at the same time, people come to her because they know that she will take that opportunity and the gifts, the talent she has and from what I’ve seen, and we all see, that it’ll be remarkable."

"The response is where Lin starts her work as a designer. She creates, essentially, backward. There is no image in her head, only an imagined feeling. Often, she writes an essay explaining what the piece is supposed to do to the people who encounter it. She says that the form just comes to her, sometimes months later, fully developed, an egg that shows up on the doorstep one day. She rarely tinkers with it. She is, in other words, an artist of a rather pure and intuitive type."

"Guinevere van Seenus, who I have photographed for more than 20 years, was one of the most important muses. Delicate but decisive, masculine but feminine, a hymn to creativity, imagination and dreams. (Paolo Roversi)"

"I believe that "the other me" exists in everyone's heart. It may be your ideal self that awaits you to reach it."

"In our daily life, we never get to see ourselves except by standing in front of a mirror. But even a mirror won't reflect our hearts."

"As we go about our lives, we touch people, we see people, and interact with them; and in doing so we feel and think many things. Sometimes we make others happy, sometimes we hurt them, we sympathize, and we disagree. In the midst of this, we learn that people's thoughts and feelings are not a one-way street."

"It is said that everything that exists in this world is made up of two contradictory qualities. Darkness and light, outer and inner, good and evil, heaven and earth... Those are the themes of Yu-Gi-Oh!"

"Moving on in time, if you look at today’s world, faith, religion, race, as well as due to territorial rights and various other reasons, among countries in mutual relationships, there are still wars or ethnic disputes. It is not rare that the Gods who are supposed to save people’s hearts have ignited the flames of war."

"So I went back to my atelier. As I was about to put it on my desk and restart it… “bzzzzzzt”. Frozen. “Maybe the one who is just not suited for CG… is me.” Restart! Frozen! Restart! Frozen! “This PC…!!” *screeching* When I kicked my computer, I sprained my big toe, and for three weeks, had to visit an osteopatic clinic. I’m not sure what I was sometimes thinking but there were times when I tried to dump my computer into the bathtub."

"A question that I am guaranteed to get asked when interviewed overseas is “What was the prompt that caused you to draw Yu-Gi-Oh!?”. And that sure is a troubling question. The response I usually give involves putting on a lot of air and saying “I wanted to work with a new perspective on games as a concept and write a battle story that had been unseen before and blah blah blah…” or something of the likes, but truth to be told, I myself don’t really know. It might have been “I just suddenly had the thought…”, or “I just wanted to draw the character Yugi.”… well, that also is part of it."

"My unhealthy everyday life led to me throwing up 200 cc of blood and collapsing in the midst of serialization. So at midnight, an ambulance rushed over and brought me to the hospital. If I remember correctly, that was around the time I was drawing the Pharaoh leading his priests into the fight against Bakura in the village of Kul-Elna. The stress caused me to suffer from a stomach ulcer. The doctor back then told me that at the time, I was lacking a third of the amount of blood a regular human being was supposed to have, and not only should I have been very hazy, but also unable to even stand. And now that I was told I realized it was true, I did feel rather hazy during the process of drawing. It was thanks to everyone visiting me at the hospital and buying me yakitori liver, that I secretly hid and ate at the hospital room at midnight that I made a speedy recovery after only three nights, and was able to be discharged. 日頃の不摂生な生活がたたり、連載中に２００ccの血を吐いてブッ倒れ、深夜、救急車で病院に担ぎ込まれた事がありました。たしか、クル・エルナ村での王率いる神官団とバクラの闘いを描いている頃だと記憶しています。ストレスによる胃潰瘍でした。医者の話では、当時のボクは普通の人の３分の２程度しか血液が無く、通常ではボーッとして立っていられない程だとの説明を受けました。そう言われてみると、たしかに絵を描きながら、ボーッとしていたのです。早速、入院三日目、見舞いの者に頼み、大量の焼き鳥のレバーを買ってきてもらい、深夜の病室で隠れて食べたりもしたおかげで、その後、元気を取り戻しすぐに退院する事ができたのです。"

"However, when the ambulance had rushed me into the hospital, I realized that I might end up dying. The Pharaoh’s Memory arc had reached a rather grand scale in my mind, however, due to my hospital stay, I began to have second thoughts on whether I would truly be able to completely finish the story I had envisioned, and grew worried that I might die before I could complete my manga, and the prospect of that felt very troublesome to me, not to mention the popularity of my work had dropped considerably compared to the card battle segments, so my editor had approached me, giving me another half a year for the serialization, telling me to put a closure to the manga in due time. しかし、救急車で運ばれた時は、もう死ぬかと覚悟した程でした。ボクの中で ” 王の記憶編 ” の構想は、かなり壮大なものだったのですが、その事がキッカケで 「物語を最後までキチンと描けるだろうか？完結させる前に死んだら困るしなぁ…」 などと不安になり、カードバトルを描いていた時より人気も落ちていた事もあり、編集の方に、あと半年で連載を終え、物語を完結させたいとお願いしたのです。"

"The homepage design concept is: "Let's roll the dice on a round earth without boundaries!" I just came up with this idea, and I will continue to work hard! Thanks to all of the staff."

"My computer sure has been in good shape as of recently! Usually anything electronic hates me and makes me want to give up. Even when I bought my phone, the camera function quickly stopped working and I couldn't use it. Or so I thought, as I gave it to someone and the camera suddenly worked again. Sort of! It broke again and the moment I brought it to the store, it fixed itself. Sort of! By the way, how about the iPad? I want it, but I have to make sure it doesn't dislike me!"

"The other night, I was looking at the sky when 'whoosh' I saw an orange light! I thought that maybe it was a shooting star, but then I thought it'd be neat if it was the one in a billion chance that it was a UFO. Last year, I read a ton of books about UFOs and an unprecedented UFO boom swelled inside of me, so I thought, 'Maybe so!' for a split second....but maybe not. I want to spot one some day, but do you all believe in UFOs?"

"The OCG has gotten so complex that I can't keep up~! My memory has gotten so bad as of late that I can't even remember all the cards~! And the text is tough with these old eyes~! Still, simply hearing stories of everyone enjoying themselves dueling is enough to satisfy me! But, I'm not a quitter so maybe I'll secretly build a deck and challenge Kageyamacchi to a duel! Just kidding!"

"Aah~(gazes longingly) Those were the days. Taking a look back--back when I was putting out Yu-Gi-Oh! as a weekly serial, on the reader approval surveys, my female reader approval rating was only 5% (among the 5 worst in the magazine), and my editor at the time would tell me to "Just give up on the female fans!"..."

"A group of uncles with some ages were staring at the figure prototype that placed on the coffee shop table in a serious manner, and also discussing the perfect curves of the thighs and slender waist. It must be a rather weird scene to the people who sit next to them (Boom!)"

"[The weather] suddenly gets colder. I visit Kyoto every fall, and I wonder about the autumn leaves this year. For the past few years, the leaves have not seemed to have the best coloring. I wonder if this has to do with the climate change..."

"The threat of natural disasters is repeatedly shown on TV. Even though those images make me shiver, gasp, and freeze, I can still eat a decent meal and wrap myself up to stay warm. How valuable are these actions we do everyday? I wonder if, ironically, we won't even realize its value until we witness the death of people and towns."

"While I was in Spain, a terrorist attack occurred near my hotel! I would like to sincerely pray for the repose of the souls of those affected. Looking towards the future, we must never succumb to negative intentions! We must not lose to warmongers who stir up religious conflicts!"

"Nice to meet you. I am Kazuo Takahashi, the person who is having a comfortable life by making full use of my personal assets, in which my credit card installments are paid in 36 times. (!?) I'm very grateful and excited that I'm able to start manga serialization under the life that filled with uncertainty, such as blackouts, inability to make phone calls and other obstacles from everywhere."

"It was my first time I participated in the cover shoot for the new year's issue. I was nervous being surrounded by senior authors."

"Modern science mentions that the “heart” resides in the brain. Am I the only one who finds it not boring?"

"Recently, it seems that more and more authors are doing color manuscripts on computers. When it comes to coloring time, I definitely want to try it at least once!!"

"[My] assistants have been encouraging me to watch the well received Evangelion, but I just don't have the time to watch it. I've recorded them into videos, but... how annoying!!"

"I've got Digimon!! I've raised it and put it into a fight, and then it died. There's no one around me having it..."

"Is there anything we can do about the excessive packaging of domestically produced CDs these days? I wish they could make it cheaper..."

"I'm currently obsessed with the yellow mouse. There are three large ones in my workplace. Very cute."

"I bought the teddy bear that appears in Mr. Bean. It's the strange looking stuffed toy I talked about..."

"In this series, I hope I can utilize the fun of orienteering that I experienced when I was in elementary school."

"I’ve visited the anime voice recording site and experienced the unity and enthusiasm of the voice actors and staffs!! It was definitely cool!! I’m very looking forward to it!!"

"Recently, I bought a lot of imported board games!! However, when I look at the manual, it's all in English, so I can't play them!! I want to play them somehow. How troublesome…"

"There are pros and cons to the American version of Godzilla, but personally I think the design sensibility differences between farming and hunting tribes is the cause."

"Apparently, a statue of Yugi will be erected at the Sapporo Snow Festival!! Hmm, I want to see it too!!"

"I have Final Fantasy VIII on hand, but I haven't played Final Fantasy VII either. I want to try Final Fantasy VIII soon!!"

"There’s a character called Blue is well known in the US. She’s adorable but unable to make it in Japan. I’m blue…"

"Unfortunately, my body fat percentage has entered the obese range!! I decide to go to the swimming gym again."

"The 21st century has finally come!! UFOs, supernatural powers, spirits, and cryptids should be clarified once and for all!"

"I went to the zoo for the first time in 10 years. I'm embarrassed to say but it was my first time seeing a panda..."

"I met the director of Final Fantasy by chance. Thank you so much for the signature!!"

"Visiting Las Vegas is my dream. I would like to go there at least once. I wonder what kind of place it is. I'm feeling excited."

"Recently, I've been listening to a lot of Western musics from the 80s. Tears For Fears is my eternal theme song!!"

"The other day, while I was taking a bath at home, the water supplement suddenly stopped working!! I was in trouble as my body was covered by bubbles. I realized the importance of water... and also the bubbles."

"When I returned home from my haircut and looked into my mirror, I noticed that the length of my left and right fringes were distinctively different. That was embarrassing... but no one noticed it."

"I heard that sniffing lavender during insomnia can promote sleepiness. I gave it a try and it worked well. I also wonder about the nightcap."

"My very first Shonen Jump manga editor, Mr. Takahashi, passed away. How unfortunate. My condolences."

"It is said that the character of "people ()" is made up of 2 strokes supporting each other, but it seems the shorter one supports the longer one, who is just chillaxing... Am I a twisted adult?"

"I've attended the Tezuka Award ceremony and felt all the award winners' passion towards manga. Please do you best and give out your best for your creativity."

"In the past, I've always heard that aojiru is tasteless, but when I actually tried it... The latest ones are easy to drink and tasty. I'm addicted to them!"

"It's quite interesting to look at the American version of the Yu-Gi-Oh! comics' sound effects. For example, "Boom!" is translated as "CHOOM"!!"

"Due to the ramen restaurant war, two of my favorite neighborhood restaurants are gone! I'm against it!"

"I've been receiving a lot of overseas fan letters lately, and it's quite fun to see all kinds of original monsters are coming out together. Children are all the same across the world!"

"What! Inoki Festival, PRIDE, and K-1 will be broadcast simultaneously on all stations during this new year eve! As a martial arts fan, this is very troublesome!!"

"I had nightmares three times...I got addicted to some scary games. I can't stop doing it."

"Actually, all of my works do share some core themes. Yu-Gi-Oh! is the story of Atem, whose soul was sealed in the Millennium Puzzle and later released. Drump is about the freeing of a dragon. The Yu-Gi-Oh! movie's plot involves Seto Kaiba's liberation from the soul prison. The Comiq is no exception. It ends with Baba acquitted of the frame-up and released from the prison. Sato's soul is liberated too (even if he's under arrested...) After years of control by the Pumpkim Princess. Then there's one of Sakamaki's final lines. "Welcome to freedom!" I don't know if true freedom can exist, nevertheless, in our own ways, we all seek spiritual liberation, aiming to be free of the overbearing constraints of society!"

"I really love Yugi but I wanted to be Joey, I feel that as I get older, I would be like Grandpa Muto."

"I am drawn to unsolved mysteries and unexplained phenomena, but I believe that fear is merely a product of the human mind."

"I like Simon Bisley! I enjoyed the Spider-Man movie. Isn't it a prerequisite for today's superheroes to create justice while not forgetting their own humanity?"

"Games should generally be played by one person sitting across from another, so they can compete against each other. I believe the fun lies in interpreting the opponent's facial expression and developing psychological strategies. Personally, I have an interest in online games, but they will not appear in my work."

"I am obsessed with Kaiba and maybe Bandit Keith. When creating villains, it's very important to incorporate some human traits so they don't appear entirely evil. Whether someone is evil or not is judged by others, and from their perspective, what's evil might also be seen as good."

"The theme of Yu-Gi-Oh! is the bond that connects one person to another, and I would be happy if you make even one friend through cards and games."

"The best way to summarize my beliefs about human existence is as follows: We are all born heroes."

"The idea that something has to be useless in order to be art is something I reject."

"I have already collaborated with craftsmen, I do it all the time, it is my life."

"I didn’t see a chance to feel so terribly bad again and not be myself"

"Whatever awaits me, I'm ready"

"When my friends say they can’t understand why I don’t want to continue chemotherapy, I explain that I am happy and at peace now again. More chemo, steroids, and transplants may extend my lifespan slightly, but then I am constantly anxious and sick and never fully myself to enjoy life"

"Life is so contradictory; I am dying, but everywhere in nature there are signs of new life. This gives me joy and peace"

"It was an honour knowing you over this past year. Your commitment to your craft was inspirational. You had a light inside you that was felt by all who were around you. Deepest condolences to your nearest and dearest,”the statement read"

"Michelle was an icon in our industry,"She took her craft seriously and was passionate about performing. She was filled with grace and had a beautiful spirit;says her agent Suzi Howes"

"Michelle Botes was more than an actor; she was a national treasure, whose talent, charisma and authenticity brought life to every role she played. Her contribution to the arts will continue to resonate, reminding us of the power of storytelling to unite, heal and transform;Sport, Arts, and Culture Minister Gayton McKenzie"

"It's tragic we lost someone like Michelle. She was not only talented but also a fantastic mother to our children;Her ex-husband, Ian Roberts"

"When a celebrity is in the eye of the public, whatever he does is escalated. It’s the reason people feel that celebrities should serve as scapegoat whenever they err."

"It is wrong thing to even attempt rape in the first place. Sex should be with a woman’s consent."

"You should always respect your family because in anything you do, your family comes first, and you should always take them seriously, especially when you’ve got kids."

"As an entertainer, wearing a wedding band translates to chasing my female fans away."

"The upright Salon hadn’t expected its galleries to bubble with such brazen youth."

"I think the reason Le Corbusier took me on was because he thought I could carry through ideas. I was familiar with current technology, I knew how to use it and, what is more, I had ideas about the uses it could be put to."

"I would say [it has evolved] a feeling of freedom and simplicity, sometimes almost hiding elegant details that you notice later in time…I often say that it has to be omnipresent in its disappearance."

"Basically, I always try to reconcile poor and rich materials. It is an anti-ghetto and nonconformist idea about the arrangement of space and light."

"I am in my last year of study at Brandon University, toward a Bachelor of Arts Degree, majoring in Creative Arts (writing and theatre), with a double minor in Philosophy, and Gender and Women’s Studies."

"I am proud of my struggle to cultivate a creative spirit while independently raising my daughter, who at 20 is herself a strongly vocal, creative, and independent spirit. I am proud of participating in the creation and maintenance of a community which is healthily bound by actively loving, honestly communicative, and mutually supportive relationships."

"I have also gratefully engaged in many interesting experiences over the past decade: attending several births (including homebirths) while training as a doula; working as a nanny and family support; sitting on the board of the Brandon Folk Music and Art Society as the co-acting Chair and Festival Director; volunteering through Westman Immigration Services as a teacher’s assistant in an E.A.L. classroom, and as a personal language development tutor; teaching theatre for several years to a large group of youth with the Treasure Chest Theatre Group; writing several original dramatic works for young actors, and directing and producing their performances; collaborating with friends and fellow artists in the production of several shows."

"In May, 2009, in an attempt to raise awareness of the migrant’s plight, I travelled with a group of B.U. students (led by B.U. professor, and Latin American historian, Patricia Harms) to the Sonora Desert to participate in the 75-mile Migrant Trail March between Sasabe, Mexico, and Tucson, Arizona. I have written and presented creative works on the migrant experience."

"I was awarded the Lauralei Cederstrom Award for academic excellence in the Gender and Women’s Studies department at Brandon University. My creative non-fiction work, “River Stitched”, was awarded second prize in its category by Prairie Fire Literary Journal in its annual literary contest, and was subsequently published in the Autumn, 2010 quarterly edition."

"I am currently working on a thesis in creative writing."

"When I was a younger woman searching for role-models, I would look upon various women of achievement and wonder how they came to be in the place that seemed so far from the one where I stood. I dropped out of high school during a tumultuous adolescence in which academics were not my priority, and became a mother at a young age. When I first entered University at age 21 (for a degree which I eventually left to focus on raising my daughter, and to care for personal health issues, until my return to formal studies in 2007), I was so anxious and shy that I could not meet anyone’s gaze in the halls. Compared to many of my fellow students, I was relatively poorly read and I saw myself as being culturally out of step and confused inside of an institutional academic setting, due in part to my particular class and education background. Like many young students, I was terrified to speak out in the classroom. Although I desired to learn, I was not sure if I deserved to be in University. I did not know exactly what to do to become a good student, or how to take advantage of the many opportunities waiting for me. I know better now!"

"I am moved by Beauty and strange stories, by a love for the earth, by suffering, and by empathy for others. I loathe class/cultural/ethnic/gender/sex/ability-based inequities, and whatever other unjust and oppressive power guises are perpetuated and keep people from an authentic expression of their full being. I see ‘reality’ largely as a story that we tell ourselves about what is happening, and believe that all truths are situated within various narrative structures."

"Poetry has always helped me to frame and connect to the world. I have always been drawn toward artists and story-tellers—by brave, brilliant, and outrageous souls—the Outlaws and Outcasts. I am inspired by people for whom even speaking or being comes at a cost, by people striving to make sense of themselves and their lives, to make sense of others and their lives—by those who struggle to make sense of Life. These people have been my models and teachers, and I will continue to endeavour to learn their wild shapes, and speak after their name."

"One often writes after questions, I believe, and not in light of bold-faced answers. Curiosity is the ultimate driver, and it leads me nearly everywhere I want to go. Studies in Philosophy and Gender History provide various maps to explorations. Writing also is an attempt at connection. The theatre is a place of connection. The necessity of my own healing, and of my desire to understand and connect with myself and others, directs me continually into artistic expression."

"At some point I became audacious enough to believe it would be a good idea to follow my passion. Since returning to B.U. to complete my degree I have been inspired, assisted, encouraged, and pushed along this course by several generous professors and other helpers. It is good to be led in this way! I have discovered here that much happiness is the product of risk and dedicated effort."

"To look life in the face, always, to look life in the face, and to know it for what it is…at last, to love it for what it is, and then to put it away."

"This Virginia Woolf quote lately resonates with me. I think that existence is worthy of great inquiry! How hard it is to love life and to speak to that love in a world that can silence and hurt. Yet, what a wonderful opportunity one lifetime offers for the exploration of love."

"I think it takes a fight to recognize and manifest one’s gifts in this world, and to learn to value education as a means of developing not only a career, but a richer existence. If one’s gifts are recognized by others then this process may be accelerated. It is good and strengthening to challenge and celebrate ourselves and one another! That this challenge and celebration can occur within a formal academic setting elevates study, and the status of being a student. This is a place of privilege and possibility."

"It is great for one to return to the world that which is at least equal to the gifts one has been given! I believe in following the flow of good fortune, and that privilege must be accompanied by responsibility. I attempt to offer to others what I receive by way of love, support, guidance, training, and nurturing. We all need to take care of one another as we make our way through."

"I intend to continue studying and learning. My short-term goals include continuing my mentorship, and developing a theatre/story-telling program based on Theatre of the Oppressed methodology to offer to students on a workshop basis, as a hired artist in rural public-school settings. I also plan to pursue a Master Degree in creative writing. In short, I want to teach, write, dance, collaborate on creative art projects, and ideally spend as much time as possible in a little cabin by the lake—enjoying the rewards of friendship, and the satisfaction that comes from doing hard, good, and meaningful work."

"He must die, why he has to be alive?"

"I consider Cracow to be a small, pretentious, highly ridiculous town."

"You had, boor, a golden horn; you had, boor, a feathered cap... Now you're left with just a string."

"What's going on in politics, sir? Are the Chinese holding on?"

"There are many good and helpful books worth careful reading—among which may be mentioned: 's How to Lay out a Garden, 's Landscape Gardening, 's Formal Garden in England, 's great work L'Art des Jardins, 's Art and Craft of Garden Making, and from the historical side A History of Gardening in England by the Hon. . The standard work on Japanese gardens is by . Many other books might be mentioned, but the above I have found the most interesting from the design point of view ..."

"The came in with , and work, already practised, became the vogue. Stiff s, and , with the orange trees in tubs outside during the summer, were in every garden of fashion. ... One of the most charming developments of 's time in topiary work was the long alley bordered by trees, generally , kept clipped up to about 10 ft. and then allowed to feather naturally. During this reign the revolt began towards "nature"."

"The position of the kitchen garden is largely dependent on the position of the kitchen, and easy and private access should be arranged between them. Size has to be settled. An acre is supposed to be enough to supply ten persons with vegetables and small fruit, and the designer can tell from the type of house how many have to be catered for; and he rules off sufficient space. Then come the s for games. The most naturally level part should be chosen for them, other conditions being satisfactory. A lawn tennis court measures 78 ft. × 36 ft., and to ensure ample running back space, 120 ft. × 60 ft. must be allowed. requires 115 ft. × 84 ft. for a full sized game, and 120 × 90 ft. of levelled lawn should be provided. A fall of 2 in. in the 100 ft. does not affect tennis, but for croquet the lawn must be a true level. A tennis court ought to run north and south in order to avoid the afternoon sun."