All Quotes

"A gun is not just a bit of metal. There is a relationship between the person and the gun which develops and changes. It became something he (Hamilton) could show off, then an extension of himself."

"There's one thing for sure; you can't kill sixteen children in less than two minutes with a club, a knife or even a machete."

"I mean I'm a gun-owning pacifist, so there you go."

"I own guns. I think they're a good tool to have out in the country, and I should be able to protect my home and my family."

"I like my guns. Yeah, because it just makes me more comfortable."

"Primum est igitur ut apud nos valeant ea quae valere apud iudicem volumus, adficiamurque antequam adficere conemur."

"We must bear in mind, indeed, that the attention of the judge is not always so much on the alert as to dispel of itself the obscurity of our language, and to throw the light of his intellect on our darkness, but that he is often distracted by a multiplicity of other thoughts, which will prevent him from understanding us, unless what we say be so clear that its sense will strike his mind as the rays of the sun strike the eyes, even though his attention be not immediately fixed upon it."

"Quare non ut intellegere possit sed ne omnino possit non intellegere curandum."

"Falsa enim est querela, paucissimis hominibus vim percipiendi quae tradantur esse concessam, plerosque vero laborem ac tempora tarditate ingenii perdere. Nam contra plures reperias et faciles in excogitando et ad discendum promptos. Quippe id est homini naturale, ac sicut aves ad volatum, equi ad cursum, ad saevitiam ferae gignuntur, ita nobis propria est mentis agitatio atque sollertia."

"Writer X may sell 500,000 copies. All those 500,000 people may think, nice book. I liked it. I'll read the guy's next one. And 40,000 people may read a Phil Dick book, and be loud and vocal and persuasive about feeling the book had incredible impact on them intellectually and emotionally. The guy with the 500,000 will not be seen as a major writer and the guy with the 40,000 will. Because nobody's talking about the guy with the 500,000 readers."

""I'm getting awfully choosy in my science fiction reading at this point; I have read too much. It's not science fiction's fault, it's my fault. I've O.D.'d on it. I'm full up. I know all the plots. But there are some writers I can read without question and with pleasure and joy, like Vonda McIntyre. Or Gene Wolfe...And, with a kind of bitterness in my heart, I have to say that I think probably the best American science fiction writer alive is still Philip K. Dick, although he let me down really badly when he turned against abortion rights and women. He still is a superb artist, one of the best novelists we have got. My favorite is Martian Time Slip. This is a man who has never been recognized by any critic of any stature. He has never had a decent edition of any of his books. They come out in these ratty little paper backs with gaudy covers and go out of print again, but I tell you, he is one of the best we've got going."

"only snobbery or ignorance apologizes for liking science fiction anymore, with writers like Philip K. Dick and Gene Wolfe around…You could almost call The Lathe of Heaven, "Homage à Dick." I was openly, I trust, acknowledging the influence. My approach was like saying, "This is one great way to write a novel, invented by Philip K. Dick.""

"One of the American science fiction writers I admire most is Philip K. Dick, and Philip K. Dick's world involves immense tracts of pure insanity. It's a world which is always in danger of falling to pieces. It is an accurate picture of what is going on in a lot of people's heads and how the world actually does affect us—this weird, disjointed, unexpected world we're living in now. Well now, Phil Dick reflects that by using a sane, matter-of-fact prose to describe the completely insane things that happen in his novels. It is a way of mirroring reality. Peyton Place is a fine trivial example of non-realism. What reality is that reflecting? Nothing. A literary pseudo-reality where everybody goes to bed all the time with each other. It doesn't exist, you know; it has no relevance. It is escapism. Whereas serious science fiction is a modern literary device for handling this insane world we live in."

"What Franz Kafka was to the first half of the 20th century, Philip K. Dick is to the second half."

"Dick's fiction calls up our basic cultural assumptions, requires us to reexamine them, and points out the destructive destinations to which they are carrying us. The American Dream may have succeeded as a means of survival in the wilderness of early America; it allowed us to subdue that wilderness and build our holy cities of materialism. But now, the images in Dick's fiction declare, we live in a new kind of wilderness, a wasteland wilderness, because those cities and the culture that built them are in decay. We need a new American dream to overcome this wasteland."

"The worlds through which Philip Dick's characters move are subject to cancellation or revision without notice. Reality is approximately as dependable as a politician's promise."

"To call Philip K. Dick ... a science-fiction writer is to underscore the inadequacy of the label. ... It would be more accurate to call him one of the most valiant psychological explorers of the 20th century."

"Is it real? Does it matter?"

"Most music is metaphor, but Wolff is not. I am not metaphor either. Parable, maybe. Cage is sermon."

"Music can imply the infinite if enough things depart from the norm far enough. Strange "abnormal" events can lead to the feeling that anything can happen, and you have a music with no boundaries."

"The composer makes plans, music laughs."

"After all, Jews invented psychiatry to help other Jews become Gentiles."

"It appears to me that the subject of music, from Machaut to Boulez, has always been its construction. Melodies of 12-tone rows just don't happen. They must be constructed....To demonstrate any formal idea in music, whether structure or stricture, is a matter of construction, in which the methodology is the controlling metaphor of the composition...Only by 'unfixing' the elements traditionally used to construct a piece of music could the sounds exist in themselves--not as symbols, or memories which were memories of other music to begin with."

"...The tragedy of music is that it begins with perfection."

"To understand what music has to be, you have to live for music. Who's ready to do that?"

"To me, I took a militant attitude towards sounds. I wanted sounds to be a metaphor, that they could be as free as a human being might be free. That was my idea about sound. It still is, that they should breathe … not to be used for the vested interest of an idea. I feel that music should have no vested interests, that you shouldn't know how it's made, that you shouldn't know if there's a system, that you shouldn't know anything about it … except that it's some kind of life force that to some degree really changes your life … if you're into it."

"For years I said if I could only find a comfortable chair I would rival Mozart."

"My teacher Stefan Wolpe was a Marxist and he felt my music was too esoteric at the time. And he had his studio on a proletarian street, on Fourteenth Street and Sixth Avenue. . . . He was on the second floor and we were looking out the window, and he said, "What about the man on the street?" At that moment . . . Jackson Pollock was crossing the street."

"Do we have anything in music for example that really wipes everything out? That just cleans everything away?"

"Sound is all our dreams of music. Noise is music's dreams of us."

"If you don't have a friend who's a painter, you're in trouble."

"[Regarding indeterminacy]"...I think this interest had to do with his interest in painting. He used to put sheets of graph paper on the wall, and work on them like paintings. Slowly his notation would accumulate, and from time to time he'd stand back to look at the overall design. For him it had less to do with belief in chance: it was more function than anything else. He would talk about different weights of sound - and that was simply the easiest way to express them. Pitches didn't really matter, as there were so many other controls, and he used chance without its interfering with expression. What Cage admired in him and what they had most in common was heroism - trusting in performers, despite the risk that they might destroy the thing completely. Unless the performer committed himself to the pieces, they could be horrible, and it was their very dangerousness which made them so beautiful. Cage's were beautiful in the same way, just because you never knew what would come next." - Christian Wolff, Composer and Pianist"

""...We met in 1950, through John Cage, when I was sixteen and he in his early twenties. We were all doing work that was clearly different, newly different - from one another, but joined by our delight in each other's work (and by John Cage's organizing the concerts of it and a few musicians, David Tudor centrally, playing it), and by its difference from any other we knew. I still find mysterious his way of putting the music together, or rather of erasing any traces of a sense of its having been put together: it's just there. How does he do it? He's the only composer I know whose work seems made in a way that cannot be accounted for, explained, by any other means than the impossible one of becoming that composer oneself. He talked wonderfully, sharply, outrageously, but that wasn't quite his music. One thinks of the disparity of his large, strong presence and the delicate, hypersoft music, but in fact he too was, among other things, full of tenderness and the music is, among other things, as tough as nails." - Christian Wolff, Composer and Pianist"

""The web setting out as something which was universal, something which anybody could use, I felt was very important," he said. "It's no good having something which will run on any platform if, in fact, there is a proprietary hold on it." Berners-Lee eventually convinced CERN to release the World Wide Web into the public domain without any patents or fees. He has since attributed the runaway success of the web to that single decision."

"“Isn’t the internet wonderful?” she said. “Better than dragons any day.”"

"Caution: Do not mistake the Internet for an encyclopedia, and the search engine for a table of contents. The Internet is a sprawling databank that's about one-quarter wheat and three-quarters chaff."

"The index of a search engine can be thought of as analogous to the stars in sky. What we see has never existed, as the light has traveled different distances to reach our eye. Similarly, Web pages referenced in an index were also explored at different dates and they may not exist any more."

"Twenty years ago no one could have imagined the effects the Internet would have: entire relationships flourish, friendships prosper...there's a vast new intimacy and accidental poetry, not to mention the weirdest porn. The entire human experience seems to unveil itself like the surface of a new planet."

"Considering that the internet has greatly increased our access to unreliable information, and that bullshit still passes through more traditional channels such as newspapers, magazines, television, radio, and face-to-face conversations, it seems reasonable to suggest that people today are inundated with more bullshit now than ever before. The internet has ushered in the Age of Bullshit."

"Almost everything which you needed to know in your daily life was written down somewhere. And at the time, in the 1980s, it was almost certainly written down on a computer somewhere. It was very frustrating that people's effort in typing it in was not being used when, in fact, if it could only be tied together and made accessible, everything would be so much easier for everybody."

"When you go out there, the webpages you see are written by people. You're looking at a certain sub-set of the churning mass of humanity out there. So it's not that the web itself is an animal, but it's that society is this really exciting, decentralized thing, and the web, fortunately, is more or less able to echo it."

"DHCP was invented by a rabid gerbil on speed."

"We have too many cellphones. We've got too many Internets. We have got to get rid of those machines. We have too many machines now."

"Everything you put online is your professional face. ...whatever you want that to be."

"I hear there's rumors on the internets that we're going to have a draft. We're not going to have a draft, period."

"Direct democracy, made possible by the Internet, does not only relate to popular consultations, but to a new centrality of citizens in society. Current political and social organisations will be dismantled, and some will disappear. Representative democracy, by proxy, will lose its meaning. It is a cultural revolution rather than a technological one, which is why it is often misunderstood or trivialised."

"The Internet will become like air, as Nicholas Negroponte prophesied."

"There are some people who imagine that older adults don't know how to use the internet. My immediate reaction is, "I've got news for you, we invented it.""

"Article 13 of the EU Copyright Directive Threatens the Internet"

"The Internet is like a vault with a screen door on the back. I don't need hammers and bombs to get in when I can walk in through the door."