Computers are very powerful tools, but in the simulated world of the computer, everything has to be calculated.
If computers remain far worse than us at image recognition, a certain over-confident combination of man and machine can elsewhere take inaccuracy to a whole new level.
I'm certainly not computer savvy, at all. I joined Twitter kicking and screaming, and very reluctantly.
I grew up watching movies on television and computer screens. They affected me just as powerfully in the small private space.
I'm always happy when I see something written on an album that wasn't just typed on a computer.
There's so many different kinds of rights to consider these days: computer, e-book, all sorts of things. Forget foreign rights and entertainment rights. There are so many things to consider and an agent is going to know how to wade through all that much better than you are.
Because of the cumbersome nature of filmmaking, it's only recently that it has become available to the masses, with digital equipment and laptop computers. You can now actually make a pretty serviceable movie for very little money by yourself.
Films are made the same today, as they've ever been made, in certain respects. The scriptwriting, the pre-production, the storyboarding, and the designing are all the same. The technique of animation has changed, in the sense that rather than drawing it by hand, we use a computer as a tool. The computer has become a pencil to draw or paint the images that we see in a film.
An actor uses his body as a tool and an instrument. In the same way a musician plays an instrument, the actor uses his body to convey feeling and emotion. An animator uses a pencil or a computer to create the same thing, the same exact way... An actor is taking words that are not his own, and he has to bring some kind of authentic life to those words. It's the same goal, to create this authentic life. Even if it's a drawing, or if it's a cartoon, you're still trying to create authenticity because, if the character emotes authentically, it has a power to connect with the audience.
I'm part of the consumer culture. I was part of the baby boom generation. I have a car when I shouldn't, a couple of computers; I can't be anti-consumerist in that sense.
There's this whole notion of being an Indian - the idea that "warrior" is a positive description of us [Indians as native Americans]. When an Indian guy does well, he's a warrior, even now. He could be a computer salesman, but if he does well, he's a warrior. I'm not a pacifist by any measure, but I'm also fully aware that the reasons I might go to war could be very dubious.
I feel like we are so used to CGI [computer-generated imagery] and thank god because it is a wonderful tool, but there is an element of everything you are looking at has been created in the comfort of a studio. I want to return to a world where I can celebrate when you are really interacting with the world.
I don't know who's running IMDB. It could be computers. I'd like to talk to someone from IMDB.
I started producing in 1992 at the age of 15, when I found out music could be made with the help of a computer. I come from a musical family, but was always the family member not as good as the others. So once I found out I could release the music that was stuck inside my head through a computer, I knew I found what I wanted to do for the rest of my life.
I guess that's a big problem with working with computers - you've got the luxury to keep tweaking the songs until the last second and beyond. So I don't think I'll ever have that feeling, unless I'm the one finishing the track.
To sit down at a computer every day and write a script is commendable. I don't have the patience for it, but I have some fantastic ideas.
A violin is nothing more than a piece of wood and a dead cat. But it's a piece of technology. So when computers came along, in the '70s, I suddenly thought, hang on a second, this is interesting. These things can become an instrument. So I just became very interested in them, and started, playing with electronics.
You turn the computer into the storyteller and the player into the audience, like in the old days when the storyteller would actually respond to the audience, rather than just having the audience respond to the storyteller. I had an enormous amount of fun, actually, working on that.
When I was nine, ten, I was super young, but I installed a program on my computer so I could start producing music.
You can sit behind your computer and listen to music via a program or from the Internet and also watch performances on the Internet. There's motivation to sit at home. You don't have to get dressed up, or be social and for those old enough you don't risk DUI charges by drinking at home at the computer.
Computers had their origin in military cryptography-in a sense, every computer game represents the commandeering of a military code-breaking apparatus for purposes of human expression.
Writing helped to have jobs that involved running around, pushing things like dish carts and wheelbarrows. It would be hard to sit at a desk all day, and then come to sit at another desk. Also, it helps to abandon hope. If I sit at my computer, determined to write a New Yorker story I won't get beyond the first sentence. It's better to put no pressure on it. What would happen if I followed the previous sentence with this one, I'll think. If the eighth draft is torture, the first should be fun. At least if you're writing humor.
The first job I ever did in the theatre, I was supposed to be a genius piano player. I couldn't play the piano, but you just sit there at a piano like you're playing, and suddenly all this amazing music comes out and the audience believes you can do it. It's the same with computers. I love scenes where there are people yanking at monitors, "yes I'll put you through now," and you know they're just doing that. But you can look brilliant at all this technology. I love it.
My reason [for making my own paint] is to force a real-time experience of the work. Most work today is experienced by reproduction, and more specifically by computer screen, like jpegs, but an RGB simulation of fluorescent will never fully accurately depict some colors. For example, our eyes are a lot more sophisticated than you might assume. You can feel a lot more going on on the surface of a canvas than you can on the surface of a screen.
If you start thinking about the kids being born now, for them the computer is ancient history. So one imagines that when children think of it as the only place to be, because there isn't anywhere else, then the geniuses of those generations will find their way into doing something that is impressive and as good as a Shakespeare or a Cervantes. But nowadays, we can't see that. We're not close enough to it yet.
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