I'm a machine freak. I just love it when you can get a big ol' steel machine to do the most that it's capable of doing.
I find dictating in the mass media particularly good because you're writing for voice anyway; you're writing for people to say a line and, consequently, saying a line through a machine is quite a valid test for the validity of what you're saying.
Machine guns are taken through grit and determination.
The complicated engines manufactured by men demand, if one really wants to use them, much calm. Ever since our love for machines replaced the love we used to have for our fellow man, catastrophes proceed to increase.
If I buy a game on Steam and I'm running it on Windows, I can go to one of the Steam machines and already have the game. So you benefit as a developer; you benefit as a consumer in having the PC experience extended in the living room.
By the time of the Singularity, there won't be a distinction between humans and technology. This is not because humans will have become what we think of as machines today, but rather machines will have progressed to be like humans and beyond. Technology will be the metaphorical opposable thumb that enables our next step in evolution.
Seriously, if I switched on the TV and they were showing live footage of an army of fire-breathing pterodactyls machine-gunning people to death on the streets of London right outside my door, I'd be horrified, but not entirely surprised, nor any more scared than I already am. I'd probably just shrug and wait for them to smash the door down. We're so screwed, I don't even know what to worry about first.
It is a truism that the structure of a society is basically determined by its technology. Not in an absolute sense-there may be totally different cultures using identical tools-but the tools settle the possibilities; you can't have interstellar trade without spaceships. A race limited to a single planet, possessing a high knowledge of mechanics but with its basic machines of industry and war requiring a large capital investment, will inevitably tend toward collectivism under one name or another. Free enterprise needs elbow room.
I don't have any system. I dictate a lot, through a machine, and I also have a secretary. But I used to type just like everybody else.
Sometimes, when you do the music for a play, there are very clear boundaries as to what needs to be achieved. You're very much a little cog in a much bigger machine.
At home I don't really have any drum machines or anything like that, I just have a piano and a cassette machine, an old-fashioned one, an old relic which I've always used.
It's unlikely that machines would spontaneously decide they didn't like people, or that they had goals in opposition to those of human beings.
But it's clear to me that us slow-poke writers are a dying breed. It's amazing how thoroughly my young writing students have internalized the new machine rhythm, the rush many of my young writers are in to publish. The majority don't want to sit on a book for four, five years. The majority don't want to listen to the silence inside and outside for their artistic imprimatur. The majority want to publish fast, publish now.
No one has a clue how to build a conscious machine, at all. We have less clue about how to do that than we have about build a faster-than-light spaceship.
Software was the key element that would determine how useable and how broadly applicable the machine was.
The machines need to get faster. They need to get cheaper.
A lot of the lads have a bat for the nets, a bat for facing the bowling machine and a separate bat for the match. I'll just crack on with a bat until it breaks - then crack on with another one.
Legions of young hip-hop fans are as against this as hip-hop's most fierce critics. There is a huge underground movement within hip-hop circles that against these representation. You can hear this message on tons of lyrics and rap songs produced by independent emcees. But they are fighting against a well-oiled and well-financed machine.
It's just interesting to me that the physical enactment of that mind moving has gradually changed for you in the last few years. It made me wonder if the change was deliberate in any sense, or procedural, like when A.R. Ammons stuck an adding machine roll into his typewriter to squeeze his verses into shorter lines.
To go from the vision that we would all be free to express ourselves creatively because our material needs were being met, to this reality where nobody has money, people are unemployed, and the machines are harnessed by the lucky guys who Facebook or Google and we're supposed to be happy just to contribute content to their site.
So if there was a way that I knew something about my character's desires or the things that they were resisting because I was saving it for some grand epiphany moment for my readers, I just feel like that's when you can feel the machine at work in a story. That's when you can feel the writer pulling the strings of the puppet.
Our own GOP machine, the establishment, they who would assemble the political landscape, they're attacking their own front-runner.
It can be easy and comfortable on the set and you don't go anywhere, or it can be a stress machine and all of a sudden it's a hit.
One thing I loved about New Zealand was the indoor/outdoor lifestyle of the place. I remember going from Xboxing, jamming out on guitars and drum machines in my buddy's apartment, to a bike ride through the parks and up and down the streets all over the city, to the ocean, right into the water. I remember we were swimming outer ways and we got to a certain place where we wanted to see - or I wanted to see - how deep the water was.
Couture was only for rich people. Givenchy was for rich people. A bag cost 5,000 euro; a coat cost 10,000 euro. In the beginning, I couldn't react. I was just working like a machine, because I wanted to make the house happy.
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