I can write faster on a typewriter than you can on a computer. I do 120 words a minute, and you can't do that on a computer.
When I'm writing it's as if I'm the observer. It's as if that computer screen there -it used to be the typewriter - just kind of dissolves and there's this whirling tunnel of mist and there's a kind of proscenium arch, and then there are my characters, and they say what they say, and I laugh sometimes in surprise at what they say.
I don't use any fance quill pens or pads, because I can't read my own handwriting. I just use whatever computer is laying around, and start writing.
Men are nuts. Young men are crazy. We all love toys. I'm toy oriented. I write about toys. I've got a lot of toys. Hundreds of things. But computers are toys, and men like to mess around with smart dumb things. They feel creative.
I used to want to be a computer programmer when I was younger. We got an Apple II Plus when I was, like, 11 and I wrote programs and BASIC on that, like I think a lot of people did, but I have no idea how to program in the current languages at all.
I did a couple of writing seminars in Canada with high school kids. These were the bright kids; they all have computers, but they can't spell. Because spell-check won't [help] you if you don't know through from threw. I told them, "If you can read in the 21st century, you own the world." Because you learn to write from reading.
Kids absolutely not reading. I think it's because they're so screen-oriented [TVs, computers, smartphones]. They do read - girls in particular read a lot. They have a tendency to go toward the paranormal, romances, Twilight and stuff like that. And then it starts to taper off because other things take precedence, like the Kardashian sisters.
All our technology - whether we use fax machines or computers or speak on phones or watch programs on television - is based on the premise that the essential nature of the material world is non-material.
I like to sit in front of the computer, going through files of music, and recording the final vocals, guitars and what- nots. But the windows are always open and you can hear the crickets, birds, chickens, and even the sound of rain hitting the studio. The farm is a great place to hang out in, learn from and create music.
It's pretty amazing to go from a world where computers were unheard of and very complex to where they're a tool of everyday life.
Novels are almost like music or poetry - they just come to me in simple sentences, whereas I think my pieces get more and more complex ever since I've started using a computer.
I use an IBM Thinkpad. I just use it like a typewriter, but when I started using it in 1987, I thought I won't be able to write anymore, so I thought I'd go back to the typewriter. But you couldn't go back to the typewriter after using the computer.
Before I started working on a computer, writing a piece would be like making something up every day, taking the material and never quite knowing where you were going to go next with the material. With a computer it was less like painting and more like sculpture, where you start with a block of something and then start shaping it.
I'm very interested in the way the Internet has changed teenage life. Obviously it's very different from when I grew up, when there weren't even answering machines, much less computers. I was telling my children this the other day, and the little one said, "Did you have electricity, Mom?" and I was like okay, enough, kid.
I write fiction longhand. That's not so much about rejecting technology as being unable to write fiction on a computer for some reason. I don't think I would write it on a typewriter either. I write in a very blind gut instinctive way. It just doesn't feel right. There's a physical connection. And then in nonfiction that's not the case at all. I can't even imagine writing nonfiction by hand.
The IT people who have made such an effort to know and understand computer technology. They are frustrated that you cannot use Facebook, Twitter and YouTube in China. They are the first to recognize that the situation is terrible.
Reality is overrated to me. Everyone spends enough time on the computer, eating, going out to bars. Why do I need to read a book about that?
The computer is the way I'm making books, but I still think about the physical properties. I visualize the length of a book, the proportions of a book, in material terms.
Education is that human process of feeling your body mature, feeding your mind with ideas that it never had before, or information you never had. You simply cannot do that on a computer.
I didn't realize how good I was with technology until I met my parents... my dad told me "You're good; you should be a computer programmer." I said, "You're bad... you should be a caveman."
You must not you worry about leaks or pieces [stolen] on your computer. You just make songs, you gotta make music, keep stuff out. You may not know rap, but that's how it works.
I chose to go to Arizona, because it was an opportunity to make something that I've never done. To work with different people and to have a good time when you're recording and to not have the whole thing be some sort of editing process in front of a computer, but to actually try and capture some sort of spirit.
I've never felt really creative or intuitive using software. I like paper and pens and paint. I need to angle real lights on my artwork and work with my hands and build props. Computers just take all that fun out of it [animation drawing].
Shook is the musical universe I created. I come from a classical and jazz background and my father is a jazz pianist, so my world bears largely the marks of this influence. As a sort of gateway, I started composing my own music on the computer at the age of 13. Before Shook, I had not yet discovered the kind of music I wanted to dedicate myself to, so I did a little of everything.
I don't have any computers in my studio, it's all analog tape. All analog tape, all old equipment, I mean my mics are like from the 60's and early 70's, everything in there is old.
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