T Quotes
Browse famous quotes beginning with T. This page is a child index of the full Popular Quotes A-Z directory.
“The computer is incredibly fast, accurate, and stupid.
Man is unbelievably slow, inaccurate, and brilliant.
The marriage of the two is a force beyond calculation.”
“THE COMPUTER IS JUST AN INSTRUMENT for doing faster what we already know how to do slower. All pretensions to computer intelligence and paradise-tomorrow promises should be toned down before the public turns away in disgust. And if that should happen, our civilization might not survive.”
Source: Discrete Thoughts: Essays on Mathematics, Science and Philosophy
“The computer is my favourite invention. I feel lucky to be part of the global village. I don't mean to brag, but I'm so fast with technology. People think it all seems too much, but we'll get used to it. I'm sure it all seemed too much when we were learning to walk.”
“The computer is really like a pencil, you know. It used to be. The pencil can do anything you want to, but you have to do it, and the same is with the computer.”
“The computer is simply an instrument whose music is ideas.”
“The computer is the most extraordinary of man's technological clothing; it's an extension of our central nervous system. Beside it, the wheel is a mere hula-hoop.”
“The computer is the new fireplace, everyone in the family gathers around the digital hearth for warmth.”
“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.”
“The computer is very good for me; I can magnify my work very easily.”
“The computer may be incompetent in itself--that is, unable to do the work for which it was designed. This kind of incompetence can never be eliminated, because the Peter Principle applies in the plants where computers are designed and manufactured.”
Source: The Peter Principle
“The computer needs...even by accident, offers incredible beautiful things that are very seductive. And if you forget about, or if you don't have an idea to begin with, it is very easy to be seduced and that is not a good use of the computer.”
“The computer offers another kind of creativity. You cannot ignore the creativity that computer technology can bring. But you need to be able to move between those two different worlds.”
“The computer programmer is a creator of universes for which he alone is responsible. Universes of virtually unlimited complexity can be created in the form of computer programs.”
“The computer programmer is a creator of universes for which he alone is the lawgiver. No playwright, no stage director, no emperor, however powerful, has ever exercised such absolute authority to arrange a stage or field of battle and to command such unswervingly dutiful actors or troops.”
“The computer provides the only way to give students a real foundation in 21st-century skills.”
“The computer revolution has allowed white-collar criminals to do what the Mob would have loved to do - put a pawnshop and a loan shark in every home!”
“The computer revolution is a revolution in the way we think and in the way we express what we think.”
“The computer revolution is a revolution in the way we think and in the way we express what we think. The essence of this change is the emergence of what might best be called procedural epistemology-the study of the structure of knowledge from an imperative point of view, as opposed to the more declarative point of view taken by classical mathematical subjects.”
“The computer saves man a lot of guesswork, but so does the bikini.”
“The computer seems easy because Apple makes the products so easy to use at home. It's the simple things, like getting the TV set up or getting the speakers to work. That drives me crazy.”
“The computer should be doing the hard work. That's what it's paid to do, after all.”
“The computer takes up where psychoanalysis left off. It takes the ideas of a decentered self and makes it more concrete by modeling mind as a multiprocessing machine.”
Source: The Second Self: Computers and the Human Spirit
“The computer was born to solve problems that did not exist before.”
“The computer was, to the best of my feelings about the subject, not thinking like a mathematician, and it was much more successful, because it was thinking not like a mathematician.”
“The computer will live your life, listen to you and understand you better than humans can.”
“The computer would do anything you programmed it to do.”
“The computer, being a mechanical moron, can handle only quantifiable data.”
Source: The Effective Executive: The Definitive Guide to Getting the Right Things Done
“The computer, the noise of the computer feels like impatience. It's sort of the sound of impatience to me.”
“The computers are in control. We just live in their world.”
“The computers are not replacing mathematicians; they are breeding them.”
Source: The 2nd Scientific American book of mathematical puzzles & diversions, a new selection
“The computers in Atlantis were infinitely evolved as opposed to what we see today. The science, the technology, everything was really done with light. All processing was done with light, with crystal formations and structures. Electricity is much too slow.”
“The computing scientist's main challenge is not to get confused by the complexities of his own making.”
“The computing world is very good at things that we are not. It is very good at memory.”
“The Comrade Wolf knows whom to eat, as the saying goes. It knows whom to eat and is not about to listen to anyone, it seems.”
“The comrades throughout the Party must take all this fully into account and be prepared to overcome all difficulties with an indomitable will and in a planned way. The reactionary forces and we both have difficulties. But the difficulties of the reactionary forces are insurmountable because they are forces on the verge of death and have no future. Our difficulties can be overcome because we are new and rising forces and have a bright future.”
Source: Selected Works
“The Comte de Chagny was right; no gala performance ever equalled this one. All the great composers of the day had conducted their own works in turns. Faure and Krauss had sung; and on that evening, Christine Daaé had revealed her true self, for the first time, to the astonished and and enthusiastic audience. Gounod had conducted the Funeral March of a Marionette; Reyer, his beautiful overture to Siguar; Saint Saëns, the Danse Macabre and a Rêverie Orientale, Massenet, an unpublished Hungarian march; Guiraud, his Carnaval; Delibes, the Valse lente from Sylvia and the Pizzicati from Coppelia. Mlle. Krauss had sung the bolero in the Vespri Siciliani; and Mlle. Denise Bloch the drinking song in Lucrezia Borgia.
But the real triumph was reserved for Christine Daaé, who had begun by singing a few passages from Romeo and Juliet. It was the first time that the young artist sang in this work of Gounod, which had not been transferred to the Opera and which was revived at the the old Theatre Lyrique by Mme. Carvalho. Those who heard her say that her voice, in these passages, was seraphic; but this was nothing to the superhuman notes that she gave forth in the prison scene and the final trio in Faust, which she sang in the place of La Carlotta, who was ill. No one had ever heard or seen anything like it.
Daaé revealed a new Margarita that night, a Margarita of a splendor, a radiance hitherto unsuspected. The whole house went mad, rising to it its feet, shouting, cheering, clapping, while Christine sobbed and fainted in the arms of her fellow-singers and had to be carried to her dressing-room. A few subscribers, however, protested. Why had so great a treasure been kept from them all that time? Till then, Christine Daaé had played a good Siebel to Carlotta's rather too splendidly material Margarita. And it had needed Carlotta's incomprehensible and inexcusable absence from this gala night for the little Daaé, at a moment's warning, to show all that she could do in a part of the programme reserved for the Spanish diva! Well, what the subscribers wanted to know was, why had Debienne and Poligny applied to Daaé, when Carlotta was taken ill? Did they know of her hidden genius? And, if they knew of it, why had they kept it hidden? And why had she kept it hidden? Oddly enough, she was not known to have a professor of singing at that moment. She had often said she meant to practice alone for the future. The whole thing was a mystery.”
Source: The Phantom of the Opera
“The Comtesse's fellow prisoners in this antechamber to death were characteristic of the ill-assorted gatherings thrown together in Revolutionary prisons: duchesses and prostitutes, actresses and politicians: the Duchesse de Crequy-Montmorency and Madame Roland; Madame du Barry and Madame Brissot; the random debris of a sunken ship thrown together for a moment by the tide of fortune and a moment later violently dispersed. All of them were already ghosts, standing on the shoreline of the last limits of life, waiting their turn for Charon and his grim tumbrel to ferry them across the Styx.”
“The con is a kind of jiu-jitsu that turns the sucker's own greed into its principal weapon. The greedier you are the more likely you are to be conned, and for the greater a sum. Since people regularly dispose of their intelligence in their rush to be swindled, and then turn right around and do it again, humans must want to be duped. Institutionalized wishful thinking - the stock market, religion, advertising - is after all a cornerstone of our system.”
“The con of contemplation names companionship, though paradoxically templum (Latin) is related to the Greek word témenos (τέμενος), coming from témno (τέμνω), meaning "to cut off.”
Source: Godsends: From Default Atheism to the Surprise of Revelation
“The concealment of art by the actor is as great a mark of genius as it is in the painter.”
“The concentrated structure of musical form, based on dramatic climaxes, gradually breaks up in romanticism and gives way again to the cumulative composition of the older music. Sonata form falls to pieces and is replaced more and more often by other, less severe and less schematically moulded forms—by small-scale lyrical and descriptive genres, such as the Fantasy and the Rhapsody, the Arabesque and the Étude, the Intermezzo and the Impromptu, the Improvisation and the Variation. Even extensive works are often made up of such miniature forms, which no longer constitute, from the structural point of view, the acts of a drama, but the scenes of a revue. A classical sonata or symphony was the world in parvo: a microcosm. A succession of musical pictures, such as Schumann’s Carnaval or Liszt’s Années de Pèlerinage, is like a painter’s sketch-book; it may contain magnificent lyrical-impressionistic details, but it abandons the attempt to create a total impression and an organic unity from the very beginning.
[...]
This change of form is accompanied by the literary inclinations of the composers and their bias towards programme music. The intermingling of forms also makes itself felt in music and is expressed most conspicuously in the fact that the romantic composers are often very gifted and important writers. In the painting and poetry of the period the disintegration of form does not proceed anything like so quickly, nor is it so far-reaching as in music. The explanation of the difference is partly that the cyclical ‘medieval’ structure had long since been overcome in the other arts, whereas it remained predominant in music until the middle of the eighteenth century, and only began to yield to formal unity after the death of Bach. In music it was therefore much easier to revert to it than, for example, in painting where it was completely out of date. The romantics’ historical interest in old music and the revival of Bach’s prestige had, however, only a subordinate part in the dissolution of strict sonata form, the real reason is to be sought in a change of taste which was in essentials sociologically conditioned.”
Source: The Social History of Art Volume 3: Rococo, Classicism and Romanticism
“The concentrating of powers in the same hands is precisely the definition of despotic government. It will be no alleviation that these powers will be exercised by a plurality of hands, and not by a single one.”
Source: The Works of Thomas Jefferson: Notes on Virginia II, Correspondence 1782-1786
“The concentration and dedication- the intangibles are the deciding factors between who won and who lost.”
“The concentration and reciprocal effect of industry and agriculture conjoin in a growth of productive powers, which increases more in geometrical than in arithmetical proportion.”
“The concentration camp is the final expression of human separateness and its ultimate consequence. It is organized abandonment.”
Source: The Collected Essays of Arthur Miller
“The concentration camps were a laboratory for the Nazis. They put the minorities and intellectuals in there because the general population wouldn't mind losing those people. The Nazi leaders knew people needed targets for their own self-hatred.”
Source: White Witch in a Black Robe: A True Story About Criminal Mind Control
“The concentration in my book on Marie Antoinette's childhood and on her family influences. It is surprising how some books actually start with her arrival in France!”
“The concentration of a baby is alive wonderment. It is to that kind of organic interest, or passion, and awareness that Toni [Packer] seems to be pointing: listening that is not rote or methodical in any way. The baby has no sense yet of self-image, of itself as an object—a person—who needs to be improved, and Toni will question any meditation practice that contributes to such a picture.”
Source: Bare-Bones Meditation: Waking Up from the Story of My Life
“The concentration of a small child at play is analogous to the concentration of the artist of any discipline. In real play, which is real concentration, the child is not only outside time, he is outside himself.”
Source: A Circle of Quiet
“The concentration of all seven behind the stroke should be so strong that you know by feel when that stroke has varied his style or rating without the cox announcing it.”