A Quote by Warren MacKenzie
Those two teachers [Kathleen Blackshear and Robert von Neumann] were just fantastic, I thought. They never directed you in a single direction, but they just encouraged you to think for yourself.
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The two teachers that I had in the Art Institute who affected me the most were Kathleen Blackshear and Robert von Neumann; Kathleen Blackshear because she taught a class called design - I can't remember, design something, and in this class - it met once a week - we would do work centered around some theme, word or subject or technique or whatever, and bring it in for a three-hour discussion. And Kathleen was able, in watching and looking at our work, to direct us to all kinds of things which might relate to what we were trying to do, but she never attempted to tell us what to do.
If you didn't know what you were trying to do, [Robert von Neumann] wouldn't say a word. He would just turn and walk away. So you very quickly learned to think that you'd better be attempting to do something in that painting class.
There was a seminar for advanced students in Zürich that I was teaching and von Neumann was in the class. I came to a certain theorem, and I said it is not proved and it may be difficult. Von Neumann didn't say anything but after five minutes he raised his hand. When I called on him he went to the blackboard and proceeded to write down the proof. After that I was afraid of von Neumann.
[Kathleen Blackshear] just said, "Have you thought of looking at this?" and so on and so on and so on. And it was a discussion group where everyone had a say, and it was a tremendous learning experience.
John von Neumann gave me an interesting idea: that you don't have to be responsible for the world that you're in. So I have developed a very powerful sense of social irresponsibility as a result of von Neumann's advice. It's made me a very happy man ever since. But it was von Neumann who put the seed in that grew into my active irresponsibility!
My greatest concern was what to call it. I thought of calling it 'information,' but the word was overly used, so I decided to call it 'uncertainty.' When I discussed it with John von Neumann, he had a better idea. Von Neumann told me, 'You should call it entropy, for two reasons. In the first place your uncertainty function has been used in statistical mechanics under that name, so it already has a name. In the second place, and more important, no one really knows what entropy really is, so in a debate you will always have the advantage.'
It was a figure painting class, where you had a model, and [Robert von Neumann ] would wander around and he'd come up behind someone and say, "Well, what are you trying to do?" And if you told him what you were trying to do, he would then proceed to discuss this with you and suggest things that you might look at and ways in which you could improve what you were attempting to do, etc - never worked on your painting, never touched your painting but talked extensively about what you were trying to do.
Robert von Neumann taught painting, and when I finally got into a painting class of his, he reacted in much the same way.
There are two kinds of people in the world: Johnny Von Neumann and the rest of us.
Von Neumann languages do not have useful properties for reasoning about programs. Axiomatic and denotational semantics are precise tools for describing and understanding conventional programs, but they only talk about them and cannot alter their ungainly properties. Unlike von Neumann languages, the language of ordinary algebra is suitable both for stating its laws and for transforming an equation into its solution, all within the "language."
The teachers I've learned the most from, didn't think they were teaching me; they just thought we were friends.
Use "entropy" and you can never lose a debate, von Neumann told Shannon - because no one really knows what "entropy" is.
I play Father Francis in 'The Exorcist Prequel.' It's fantastic. We are shooting in Morrocco and Rome. Paul Schrader is directing; Stellan Skarsgard plays the younger Max Von Sydow character. It's just a fantastic script. It's a very eerie, very scary script. It encomposes a growing dread that I think is really appropriate for the film.
People think Chace is gay, and thought I was gay, that we were humping. It’s not true, but hilarious. People project their fantasies onto people. I’ve never been someone who makes it my objective to go out and pick up chicks. But I’ve met some fantastic ladies here. You know those amazing conversations where you find yourself in a café talking until 2 a.m. and never see them again.
John von Neumann was the only student I was ever afraid of.
I really loved 'Fast Five.' I thought it was a brilliant movie. I thought it was so well done, well directed. The action sequences were really well thought out. It looked fantastic.
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