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Quote by James Gleick

“The past folds accordion-like into the present. Different media have different event horizons—for the written word, three millennia; for recorded sound, a century and a half—and within their time frames the old becomes as accessible as the new. Yellowed newspapers come back to life. Under headings of 50 Years Ago and 100 Years Ago, veteran publications recycle their archives: recipes, card-play techniques, science, gossip, once out of print and now ready for use. Record companies rummage through their attics to release, or re-release, every scrap of music, rarities, B-sides, and bootlegs. For a certain time, collectors, scholars, or fans possessed their books and their records. There was a line between what they had and what they did not. For some, the music they owned (or the books, or the videos) became part of who they were. That line fades away. Most of Sophocles' plays are lost, but those that survive are available at the touch of a button. Most of Bach's music was unknown to Beethoven; we have it all—partitas, cantatas, and ringtones. It comes to us instantly, or at light speed. It is a symptom of omniscience. It is what the critic Alex Ross calls the Infinite Playlist, and he sees how mixed is the blessing: "anxiety in place of fulfillment, and addictive cycle of craving and malaise. No sooner has one experience begun than the thought of what else is out there intrudes." The embarrassment of riches. Another reminder that information is not knowledge, and knowledge is not wisdom.”

Quote by James Gleick

Work

The Information: A History, a Theory, a Flood

This comprehensive work delves into the history and theory of information, examining its evolution and impact on society, culture, and technology. more

Author

James Gleick
James Gleick

James Gleick is a renowned American author known for his in-depth exploration of science and technology. His works cover a wide range of topics from quantum mechanics to the internet, with 'Chaos' and 'The Information' being particularly notable. more

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“ابيضّ شعر يوسف في عمر السابعة حين شاهد الثلج يهدم حجرة أخيه الأكبر، فيسقط السقف عليه وزوجته وتوأميه، الأجساد الأربعة يراها يوسف بعد ذلك ممدة على السرير الحديد في القبو. وتظلّ تزوره في أحلامه حتى عمرٍ متقدّمة. كان يقضي يومه متأملاً ويفكّر إمّا مُعلّقًا على غصن التينة ومأرجحًا أحد ساقيه، أو تحت ظلّ شجرة التوت بجوار قبر أمّه سارة.تعلّم يوسف إبراهيم خاطر جابر الكتابة، أراد أن يشغله والده عن ساعات التفكير الطويلة. “تعلّم يوسف كيف يكتب اسمه، تعلّم كيف يكتب الأرقام، تعلّم كيف يكتب “الله جلّ جلاله” تعلّم كيف يكتب إبراهيم بالألف الطويلة كشجرة في الوسط، تعلّم كيف يكتب سارة بالراء التي تكرج كالمياه من “هارب قناة المير” وبالتاء المربوطة التي نلفظها كالألف بعد راء إبراهيم، تعلّم كيف يكتب نور الدين، وأحسّ حين كتب اسم أخيه الصغير أنه يسمع صوت بكاءه خارجًا من الحروف”. كان يمرر يده على الحروف بعد أن يكتبها فيشعر أنها تتنفس تحت أصابعه.”

“Sometimes it seems like he just wants to punish someone, anyone, for a long list of grievances that he has never made clear, which you can never ask about because he keeps his emotions so guarded that any question would be interpreted as assault. I wonder if dragging us to this village and the nearby town wear he spent his childhood is a way of sinking us all into his own personal hell so that we can see how this strange combination of poverty and opportunity, these broken and muddy roads, these crumbling houses, these overburdened men and women walking slowly in these streets singing praise songs to keep themselves going, created the strange combination of love and anger and pride and fear that is my father. He always sat in the passenger seat while we drove around the village so he could fully view what he sometimes called a world of wasted opportunity. With OJ or my mother in the car, he pointed out all the things he would make right if only he had the power. With me now, he says nothing. Occasionally he turns to look at me with the same expression that occupies his face when he has to solve a problem at the office. I sink down in my seat and wish that my mother had come.”

“Washington, D.C. is so confusing in the spring. The days grow increasingly hot and humid, but the nights hold on to winter for as long as possible. On some days the grass is still frosted over in the mornings, stiff and crunchy, even if it wilts before the first class starts. If you are not careful you get caught in the weather's nostalgia and at night, a windbreaker or a sweater isn't enough.”

“Danijar riprese il canto. L’inizio era sempre così timido, malsicuro, ma a poco a poco la voce prese forza, riempì la valle, andò a risvegliare l’eco nelle rocce lontane. Ciò che mi sorprendeva di più era la passione, l’ardore che permeava la melodia stessa. Non sapevo come chiamare tutto questo, e non lo so tuttora, o più esattamente non posso dire se quella fosse soltanto la voce o qualche cosa di ben più importante che usciva dal cuore stesso dell’uomo, qualche cosa capace di suscitare negli altri una simile emozione, capace di animare i più segreti pensieri. Se mi fosse possibile, in qualche modo, riprodurre la canzone di Danijar! In essa non c’erano quasi parole, essa apriva senza parole l’anima profonda dell’uomo. Né prima, né dopo, mai ho udito una canzone simile: non somigliava né alle canzoni kazake, né alle canzoni kirghise, ma c’era in essa qualcosa delle due e delle altre. La musica di Danijar portava in sé tutte le più belle melodie dei due popoli fratelli e le fondeva in una sola canzone impossibile a ripetersi. Era una canzone dei monti e delle steppe, che ora s’alzava sonora come i monti kirghisi e ora si stendeva senza barriere come la steppa kazaka.”