Now the trumpet summons us again–not as a call to bear arms, though arms we need–not as a call to battle, though embattled we are– but a call to bear the burden of a long twilight struggle, year in and year out, ‘rejoicing in hope, patient in tribulation’–a struggle against the common enemies of man: tyranny, poverty, disease and war itself
—JFK speech
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The Bauhaus aims to education a new, as yet non-existent type of worker for the industries and trades, who has an equal command for both engineering and form.
—<p>Walter Gropius (1926)</p>
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“It is better to have 100 functions operate on one data struc- ture,” wrote computer scientist Alan J. Perlis, thirty years ago, “than ten functions on ten data structures.” He meant: focus on your data, then code around it. Applications are there to serve the data, not the other way around.
—Paul Ford in Foreword of ‘Content Strategy for Mobile’
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Auerbach says wise words about image-making, but they apply equally to storytelling: “Until the subject becomes an idea, it doesn’t exist for the painter… the most tremendously tangible expression of an object…unless it has feeling… is inert and academic and studio-bound… When you’re painting, you’re making a picture… the feelings will be there if you’ve got them… really imagining and inhabiting it…”
—From Elise V’s Facebook page
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Bowie: We’re on the cusp of something exhilarating and terrifying.
Paxman: (The internet) is just a tool though isn’t it?
Bowie: No, it’s not, it’s an alien life form. […] The actual context and state of content is going to be so different to anything we can envisage at the moment. Where the interplay between user and provider will be so in simpatico it’s going to crush our ideas of what mediums are all about.
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Found on my desktop
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Design process: 1. Define a problem 2. Come up with possible solutions to the problem 3. Test the possible solutions with users
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I noticed that touring — which is wonderful in some ways — is absolutely confining in other ways. It’s so difficult… you just can’t think about anything else. You try your hardest: You take books with you and word processors, and you’re definitely going to do something with the time. And you never do. It’s so easy for it to become your exclusive life, this one and a half hours every evening that you play. And I just thought, “I’m losing touch with what I really like doing.” What I really like doing is what I call Import and Export. I like taking ideas from one place and putting them into another place and seeing what happens when you do that. I think you could probably sum up nearly everything I’ve done under that umbrella. Understanding something that’s happening in painting, say, and then seeing how that applies to music. Or understanding something that’s happening in experimental music and seeing what that could be like if you used it as a base for popular music. It’s a research job, a lot of it. You spend a lot of time sitting around, fiddling around with things, quite undramatically, and finally something clicks into place and you think, ”Oh, thats really worth doing.” The time spent researching is a big part of it. I never imagined a pop star life that would’ve permitted that.
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