A Quote by George Lucas

Digital technology is the same revolution as adding sound to pictures and the same revolution as adding color to pictures. Nothing more and nothing less. — © George Lucas
Digital technology is the same revolution as adding sound to pictures and the same revolution as adding color to pictures. Nothing more and nothing less.
You and I love understanding American Revolution, but let's also understand the digital revolution, because that makes us more comfortable with our technology.
A revolution is bloody, but America is in a unique position. She's the only country in history in a position actually to become involved in a bloodless revolution. The Russian revolution was bloody, Chinese revolution was bloody, French revolution was bloody, Cuban revolution was bloody, and there was nothing more bloody then the American Revolution. But today this country can become involved in a revolution that won't take bloodshed. All she's got to do is give the black man in this country everything that's due him, everything.
I think, for a lot of people, the point is to get high engagement and likes on their photos, so I think it's just good marketing. But at the same time, if you're posting pictures and you look nothing like your pictures, then it's false advertising.
The doctrine of evolution implies the passage from the most organised to the least organised, or, in other terms, from the most general to the most special. Roughly, we say that there is a gradual 'adding on' of the more and more special, a continual adding on of new organisations. But this 'adding on' is at the same time a 'keeping down'. The higher nervous arrangements evolved out of the lower keep down those lower, just as a government evolved out of a nation controls as well as directs that nation.
The digital revolution has also meant a revolution in access to information. This puts more power and knowledge into the hands of nonexperts.
Why take notes? The obvious reason is to remember. Visual note-taking translates what we hear into pictures that give context, color, and meaning. By adding symbols, visual metaphors, likenesses of people, and room layouts, we add several dimensions.
For all the talk of my pictures being narratives or that they're about storytelling, there's really very little actually happening in the pictures. One of the few things I always tell people in my pictures is that I want less - give me something less.
The French Revolution was nothing but a precursor of another revolution, one that will be bigger, more solemn, and which will be the last.
What really turns me on about technology is not just the ability to get more songs on MP3 players. The revolution - this revolution - is much bigger than that. I hope, I believe. What turns me on about the digital age, what excites me personally, is that you have closed the gap between dreaming and doing.
Almost everybody today believes that nothing in economic history has ever moved as fast as, or had a greater impact than, the Information Revolution. But the Industrial Revolution moved at least as fast in the same time span, and had probably an equal impact if not a greater one.
People over the age of thirty were born before the digital revolution really started. We've learned to use digital technology-laptops, cameras, personal digital assistants, the Internet-as adults, and it has been something like learning a foreign language. Most of us are okay, and some are even expert. We do e-mails and PowerPoint, surf the Internet, and feel we're at the cutting edge. But compared to most people under thirty and certainly under twenty, we are fumbling amateurs. People of that age were born after the digital revolution began. They learned to speak digital as a mother tongue.
The fact that people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions.. the people who weep before my pictures are having the same religious experience I had when painting them. And if you say you are moved only by their color relationships then you miss the point.
I started directing chamber orchestras, then adding bigger pieces, adding winds, adding small symphonies. I've always loved chamber music, and I've done a lot.
One must have a mind of winter to regard the frost and the boughs of the pine trees, crusted with snow, And have been cold a long time, to behold the junipers, shagged with ice, the spruces, rough in the distant glitter of the January sun, and not to think of any misery in the sound of the wind, in the sound of a few leaves, which is the sound of the land, full of the same wind, blowing in the same bare place for the listener, who listens in the snow, and, nothing herself, beholds nothing that is not there, and the nothing that is.
After finishing the first draft, I work for as long as it takes (for two or three weeks, most often) to rework that first draft on a computer. Usually that involves expansion: filling in and adding to, but trying not to lose the spontaneous, direct sound. I use that first draft as a touchstone to make sure everything else in that section has the same sound, the same tone and impression of spontaneity.
I've been trolled myself for adding on pounds and would dread the negative comments if I posted beach pictures.
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