Designers

"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."

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

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

"It's all magic."

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

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

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

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

"(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."

"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."

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

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

"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."

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

"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."

"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."

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

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

"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."

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

"A game is a series of interesting choices."

"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."

"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."

"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."

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

"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."

"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."

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

"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"

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

"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 was one of my favorite studies."

"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..."

"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."

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

"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."

"incluso su firma es una obra de arte."

"even his signature is a work of art."

"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."

"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?"

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

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

"...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."

"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."

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

"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.'"

"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."

"[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."

"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."

"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."