A Quote by Seth Shostak

In 1908, there was a persuasive demonstration of the power of high-speed, low-mass asteroids in rural Siberia. The Tunguska impactor iced millions of pine trees and about a zillion mosquitoes - and was no larger than an office building.
To pine for the days before public education became a practical reality is to pine for an America held back by mass ignorance and mass illiteracy.
Pine trees with low limbs spread over fresh snow made a stronger vault for the spirit than pews and pulpits ever could.
I'm extraordinarily passionate about the idea of asteroid mining in the future. Asteroids out there, we know them from those that have fallen on the Earth, there is a class of asteroids, sub-class of nickel/iron asteroids, which are 50,000 times more enriched than Platinum mines on earth.
It's a funny thing, 'The Office,' because millions and millions and millions and millions of people didn't watch it. But culturally, it is more of a phenomenon than almost anything else I can remember as far as British television is concerned.
Silverstone is normally quite a tricky place for the set-up and for finding a good balance, because you have a big difference between the low-speed and high speed corners, and there are not really any medium-speed corners in between.
They say country music stands for more than the rural life. It's about life, period, whether lived in a high-rise or a hollow. I don't think rural or urban has that much to do with it.
There is critical mass with high-speed Internet connections, so video is a good user experience. And that means there can be critical mass for advertisers.
Breakthrough Advertising is not about building better mousetraps. It is, however, about building larger mice - and then building a terrifying fear of them in your customers.
It is safer to try to understand the low in the light of the high than the high in the light of the low. In doing the latter one necessarily distorts the high, whereas in doing the former one does not deprive the low of the freedom to reveal itself as fully as what it is.
Intellectual culture seems to separate high art from low art. Low art is horror or pornography or anything that has a physical component to it and engages the reader on a visceral level and evokes a strong sympathetic reaction. High art is people driving in Volvos and talking a lot. I just don't want to keep those things separate. I think you can use visceral physical experiences to illustrate larger ideas, whether they're emotional or spiritual. I'm trying to not exclude high and low art or separate them.
New York City subways are now getting high speed Internet. How about some high speed subway trains?
My dad was somewhat of a naturalist and used to teach us about different birds and trees. So did a fifth grade teacher who made a lasting impact on me; to this day, I remember his lessons about counting the needles on pine trees, seeing if they are twisted or straight, and about checking the tips of oak leaves to see if they are pointed or lobed.
You know what I love the smell of? Christmas trees and pine. I always have a pine candle even if it's not Christmas.
The eventual goal is to marry all of my work together to make a high-speed, high-resolution, low-impact tool that can look deep inside biological systems.
The nature of the place...whether high or low, moist or dry, whether sloping north or south, or bearing tall trees or low shrubs...generally gives hint as to its inhabitants.
We differ in our speed. My brother always had more power than I did in the amateurs. He would punch for power and I would punch for speed. But as we turned pro and we developed with each other, we became more alike. I use a little more power now than I used to.
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