A Quote by Jim Harrison
When I write, I don't like to be around any humans.
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To our human minds, computers behave less like rocks and trees than they do like humans, so we unconsciously treat them like people.... In other words, humans have special instincts that tell them how to behave around other sentient beings, and as soon as any object exhibits sufficient cognitive function, those instincts kick in and we react as though we were interacting with another sentient human being.
you mean machines are like humans?" I shook my head. "No, not like humans. With machines the feeling is, well, more finite. It doesn't go any further. With humans it's different. The feeling is always changing. Like if you love somebody, the love is always shifting or wavering. It's always questioning or inflating or disappearing or denying or hurting. And the thing is, you can't do anything about it, you can't control it. With my Subaru, it's not so complicated.
Ugly programs are like ugly suspension bridges: they're much more liable to collapse than pretty ones, because the way humans (especially engineer-humans) perceive beauty is intimately related to our ability to process and understand complexity. A language that makes it hard to write elegant code makes it hard to write good code.
Any fool can write code that a computer can understand. Good programmers write code that humans can understand.
In the native literatures of North America there aren't any novels. Instead, the major genre is myth. And myths are stories that are fundamentally about the world, not about human individuals. A myth needn't include any humans at all. If it does include them, they're usually minor characters - imaginary humans sent out like scouts to report back on what's happening in the mythworld, but not central participants in the action.
There is no trick to it. If you like to write and want to write, you write, no matter where you are or what else you are doing or whether anyone pays any heed.
When humans act like animals, they become the most dangerous of animals to themselves and other humans, and this is because of another critical difference between humans and animals: Whereas animals are usually restrained by the limits of physical appetites, humans have mental appetites that can be far more gross and capacious than physical ones. Only humans squander and hoard, murder and pillage because of notions.
We wanted to write the kind of songs that can really cross any language barriers, any borders, and resonate with fans around the world.
I like to write about the solitary things people do. Humans seem to function best when they're alone.
I believe that society needs to confront this question before it is upon us: If machines are capable of doing almost any work humans can do, what will humans do?
In the Roman world, and in the worlds around it that Romans sought to subdue and control, the gods were merciless, frivolous, prone to set traps for humans, and largely indifferent to the unprivileged bulk of humankind, who in any case did not expect their fate in the afterworld to be any better than it had been on earth.
People ask me: "Why do you write about food, and eating, and drinking? Why don't you write about the struggle for power and security, and about love, the way the others do?" . . . The easiest answer is to say that, like most other humans, I am hungry.
Very close cousins like humans and chimps have almost all their genes in common. Slightly less close cousins like humans and monkeys still have recognizably the same genes. You could carry on right on down to humans and bacteria, and you will find continuous compelling evidence for the hierarchical tree of cousinship.
I never write a tune before the lyrics. I get the lyrics and then I write around them. Some people write music and the lyrics come along and they say, 'Oh yeah, I've got something to fit that.' If that's the way people write songs, I feel like you might as well just go to the supermarket.
I write poetry to figure things out. Any time I’m trying to wrap my head around something, poetry is like a puzzle-solving strategy for me.
To have been able to write the books I wanted to write, on demanding subjects like war and the history of psychiatry, and for them to have sold in the numbers they have - and then go around saying: 'Actually, I'd also like to have won the Costa Book of the Year?' That would be ridiculous.
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