A Quote by Yukihiro Matsumoto
In our daily lives as programmers, we process text strings a lot. So I tried to work hard on text processing, namely the string class and regular expressions. Regular expressions are built into the language and are very tuned up for use.
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Euphonic and harmonious expressions, forcible and just expressions, profound and comprehensive expressions, and especially apt and witty expressions, each have their specific influence upon different minds, and their common influence upon all minds.... It is therefore high time our most valuable aphorisms and paragraphs were put in order for frequent perusal, and for handy reference, as the circumstances of life call up subjects.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
As we read a text in our own language, the text itself becomes a barrier.
Any fifth language that you use should be equally used as just another bit of theater language, so that if you have a strong text, then the light should be as strongly part of that text as, for example, the sound it should be or whatever it is that you see.
Literature can no longer be either Mimesis or Mathesis but merely Semiosis, the adventure of what is impossible to language, in a word: Text (it is wrong to say that the notion of 'text' repeats the notion of 'literature': literature represents a finite world, the text figures the infinite of language).
I define UNIX as 30 definitions of regular expressions living under one roof.
One of the top comments I get from people is, 'Oh my God, you're like a regular person!' That's kind of a bizarre thing to live with. I know a lot of famous people, and their lives may not be regular, but they are regular people.
The pressure to conform to 'politically correct' speech is primarily a pressure not to use certain expressions. But when our freedom to use certain expressions is taken away, then our ability to think in certain ways is also curtailed.
I spent 20 years doing research on regular and irregular verbs, not because I'm an obsessive language lover but because it seemed to me that they tapped into a fundamental distinction in language processing, indeed in cognitive processing, between memory lookup and rule-driven computation.
Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
Whereas the work is understood to be traceable to a source (through a process of derivation or "filiation"), the Text is without a source - the "author" a mere "guest" at the reading of the Text.
At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.
The text illustrates the pictures - it provides a connective tissue for me. I usually refine the text last, partly because pictures are harder to do, so it's easier to edit words - I use text as grout in between the tiles of the pictures.
Good web text has a lot in common with good print text. It's plain, concise, concrete and 'transparent': even on a personal site the text shouldn't draw attention to itself, only to its subject.
Our amended Constitution is the lodestar for our aspirations. Like every text worth reading, it is not crystalline. The phrasing is broad and the limitations of its provisions are not clearly marked. Its majestic generalities and ennobling pronouncements are both luminous and obscure. This ambiguity of course calls forth interpretation, the interaction of reader and text. The encounter with the Constitutional text has been, in many senses, my life's work.
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