When people talk about the singularity, when people talk about superintelligent AI, they're not talking about sentience or consciousness. They're talking about superhuman ability to make high-quality decisions.
If you had a system that could read all the pages and understand the context, instead of just throwing back 26 million pages to answer your query, it could actually answer the question. You could ask a real question and get an answer as if you were talking to a person who read all those millions and billions of pages, understood them, and synthesized all that information.
I never, ever update Mark Twain. I don't modernize it. I let the audience update the material. When I go out on stage, I'm trying to make the audience believe they're looking at this guy who died 104 years ago and listening to him and saying to themselves, "Jesus, he could be talking about today." And that's the point.
My wife spoke perfect Italian and she was very beautiful and very suave Italian men were crowding around her, talking all the time and if I was to even understand what was going on, I had to learn the language fast.
People don't like talking about it, but if you're Spanish, you feel a weight.
When the audience begins to see the sunrise on that it's hard for them to turn away from it because they're listening to a man talking to them from over a century ago. And nothing has changed. So what are you going to do about that?
As a song writer when I first was aware of the Beatles and started, you couldn't avoid hearing it, not that I, I tried. And what, what struck me was not so much the songs or the part of the songs that, that seemed unique to me were, was more melodic at the beginning than, than the lyrics because they were still talking about, you know, I love you, I don't love you and I need you or don't need you.
Talking is always a good idea. There's no harm in keeping lines of communication open.
Most things that I think about not talking about, ultimately I decide to talk about, and I feel better.
The music industry was invented, like, 100 years ago. I'm talking about the goddess Matangi, who invented music 5,000 years ago. She was the only thing that inspired me.
I believe in second chances, but I don't believe in third or fourth chances. I love talking through things, and I always want to make things work, if I really love someone, but eventually, if they can't fix whatever is wrong, or if they've done something and then they continue to do it, they're probably not going to change for anybody. You can't change a person.
But my body was telling its story. I have read a lot of stuff about cancer. I needed this book. I wish I'd had this book when I had cancer. I wanted someone to be talking to me about "fart floors." I wanted somebody telling me what it was like to have a colostomy bag. I felt so alone. And if you're a person who's been traumatized by past abuse, it's so potentially re-traumatizing. You slip right into "oh my god, this is the only person this has happened to before" mentality: "I'm especially bad and I have especially bad cancer..."
I really believe that is helping people. I've been talking to oncologists about how we can re-frame and re-think the chemo process, so it becomes a much more spiritual, psychological journey. Where people really could burn away what needs to be burned away. It's happening anyway. Why not frame it in a psychological way where it can serve as a transformation?
I was a young feminist in the '70s. Feminism saved my life. It gave me a life. But I saw how so much of what people were saying was not matching up with what they were doing. For example, we were talking about sister solidarity, and women were putting each other down. We were talking about standing up for our rights, and women weren't leaving abusive relationships with men. There were just so many disconnects.
I don't have to change anything. I think that's the secret to comedy. You want to be universal and appeal to everyone. You want to put yourself in a position that no matter what you're talking about, everyone can relate to it and understand it, because it's an experience that everyone can go through. That's what I pattern my writing material and jokes after. I'm trying to maintain a level of realness that my fans can appreciate.
Austin - it's a stimulating center. In this conversation, the very first two questions were talking about my kind of wanderlust and my adventures. Some people at my time in life travel forever. I don't know whether it's the British or the Australians - whoever it is, you can kind of stagger into some sort of far-off bastion in the middle of nowhere, and you'll find someone from Britain or someone from Australia or maybe an American.
People will say that Canada, unlike America, was not birthed from violence. But I want to say, "What are you talking about?" It's just not true.
It's nice to think people might be talking about it after they've seen it. With some comedies it's a bit 'wham bam thank you ma'am', and then you just go for a pizza.
With "poets dead and gone" as Keats says in "Mermaid Tavern" they are alive and talking to us and us to them.
If I'm at somebody's house and they have magazines on the table and people are chatting, I feel almost a physical urge to start reading the magazines instead of talking to people.
Most of them were murderers. But when I went there to talk, they were the nicest people. I did a reading. I said, "Thank you," and then they said to me, "Could you talk some more?" And I said, "Why?" and they answered, "Most of us are in solitary confinement, so the moment you finish talking, they take us back to our cells. We like hanging out here together."
Particularly when I thought of myself as a Wallace Stevens acolyte, I wrote very difficult poetry and I was really guilty of not knowing what I was talking about. I was going for a kind of clever verbal effect. I was trying to sound linguistically or verbally interesting. I had a sense, I guess, from just reading a lot of poetry of how a poem would start and how it would end but really I didn't know what I was doing. It had very little connection to my life.
The WRITER of memoir gets incoming weirdness in very odd ways. I was recently talking to a memoir writer whose work just went meteoric - but some of the comments and communications and gestures she gets in the wake of that success are stunningly and atrociously over-personal, as if suddenly people feel like they know her and her life intimately, and have permission to transgress all her "life" boundaries.
As the voices beneath the music are talking, you find that the music is just as important as what they're saying. The traditional thing is to lower the music so you can hear the dialogue. We just couldn't do that for that song.
If I describe a person's physical appearance in my writing, which I often do, especially in fiction, I never say someone is "black" or "white." I may describe the color of their skin - black eyes, beige skin, blue eyes, dark skin, etc. But I'm not talking about race.
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