A Quote by James Gosling
The data center side of the world is kind of like a solved problem, but you see interesting things happening on the edge with things like cell phones and embedded systems that are becoming really fascinating.
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I think there's a danger of becoming too familiar with things, isn't there? That you kind of, when you're used to seeing the same things every day, you see those things come what may, and you don't see maybe the interesting things just slightly out of view behind them.
One metaphor for how we are living is that you see so may people with cell phones. In restaurants, walking, they have cell phones clamped to their to heads. When they are on their cell phones they are not where their bodies are...they are somewhere else in hyperspace. They are not grounded. We have become disembodied. By being always somewhere else we are nowhere.
Personal computing today is a rich ecosystem encompassing massive PC-based data centers, notebook and Tablet PCs, handheld devices, and smart cell phones. It has expanded from the desktop and the data center to wherever people need it - at their desks, in a meeting, on the road or even in the air.
The cell phone has transformed public places into giant phone-a-thons in which callers exist within narcissistic cocoons of private conversations. Like faxes, computer modems and other modern gadgets that have clogged out lives with phony urgency, cell phones represent the 20th Century's escalation of imaginary need. We didn't need cell phones until we had them. Clearly, cell phones cause not only a breakdown of courtesy, but the atrophy of basic skills.
There are so many things happening nowadays that you've seen in films from years ago, like cloning and all of those things are actually happening now, so we can kind of visualize it a lot more, and I think our generation particularly know that we're going to be a big part of that, we we're kind of fascinated with how human beings will fare in the world.
It's when people come at you on Twitter and say really crazy things. That's the kind of stuff that I insulate myself from. All of that is not very interesting or helpful, but we have critics who sometimes really love us or sometimes don't, and it's really interesting for me to see what they don't like about it.
There's also an immediacy to everything that has changed everybody's expectations. Now if I can't get a hold of somebody on their cell phone I'm, like, angry with them. And in my mind, all the things that I really value in terms of art, really good novels or films or comics, I know they all take a long, long time to create, and they take a lot of concentration and dedication...and I just feel like the training for that is becoming more and more rare when people are used to seeing things like YouTube clips, and being able to acquire things instantly.
I want to stand as close to the edge as I can without going over. Out on the edge you see all the kinds of things you can't see from the center.
Okay well - no that is a very real thing seven-year-olds asking for BlackBerrys and cell phones and things like that. And that's one of the things I love most about the show [The Starter Wife] is the social satire.
Complicated things for me tend not to be interesting. Simple things, like when it's really direct eye contact, or when you see a really beautiful shape, like when it's clean or well balanced in the frame.
No one ever gets to see Foley artists at work, and they're so strange. They see the world differently: things as things that might make sounds that sound like other things. They see the whole world that way - like when you're a house painter, all you see is a bunch of houses that need painting.
As an adult, I really don't watch much horror, to be honest. I mean, I like a good thrill. Thrillers are my favorite. I like stuff that keeps you on the edge of your seat or maybe makes you jump. But what I don't like is the gore. I don't like gratuitous violence and killing and all that kind of stuff. So it's kind of an interesting paradox.
You see so many beautiful things happening in this world, and you see so many things that make you want to cry and crawl under a rock. But there's an underlying feeling of magic and mystery in everything that I live for. I feel like all of my art is trying to get people to see that underlying, subtle energy that lives within everything that we see and what we don't see in this world.
There are all kinds of features that will become part of cell phones that will help us offload the more laborious things of life and let us focus on doing the things humans do well, like abstract thinking and creating.
There are more people with cell phones in the world than any other thing on the planet. There are billions of cell phones. There's not not billions of radios.
Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it – I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world.' And it's not the world. The world is a million possible things.
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