Digital Art Quotes

The Buddha, the Godhead, resides quite as comfortably in the circuits of a digital computer or the gears of a cycle transmission as he does at the top of the mountain, or in the petals of a flower. To think otherwise is to demean the Buddha - which is to demean oneself.

Babcock fidgeted with one of his cufflinks while staring down the remaining brokers in his office. He then delivered something akin to a pep talk in a severe tone. "... The world depends on our services. Services that must not be impeded. We don't break our backs producing things that have no real value—food, shelter, clothes ... art. No! We're titans of finance. We move intangible things and ideas around the world on digital platforms. No one else in the world can accumulate as much wealth as we do by simply moving around one and zeros on computers.

Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.

I’m a modern man, a man for the millennium. Digital and smoke free. A diversified multi-cultural, post-modern deconstruction that is anatomically and ecologically incorrect. I’ve been up linked and downloaded, I’ve been inputted and outsourced, I know the upside of downsizing, I know the downside of upgrading. I’m a high-tech low-life. A cutting edge, state-of-the-art bi-coastal multi-tasker and I can give you a gigabyte in a nanosecond! I’m new wave, but I’m old school and my inner child is outward bound. I’m a hot-wired, heat seeking, warm-hearted cool customer, voice activated and bio-degradable. I interface with my database, my database is in cyberspace, so I’m interactive, I’m hyperactive and from time to time I’m radioactive. Behind the eight ball, ahead of the curve, ridin the wave, dodgin the bullet and pushin the envelope. I’m on-point, on-task, on-message and off drugs. I’ve got no need for coke and speed. I've got no urge to binge and purge. I’m in-the-moment, on-the-edge, over-the-top and under-the-radar. A high-concept, low-profile, medium-range ballistic missionary. A street-wise smart bomb. A top-gun bottom feeder. I wear power ties, I tell power lies, I take power naps and run victory laps. I’m a totally ongoing big-foot, slam-dunk, rainmaker with a pro-active outreach. A raging workaholic. A working rageaholic. Out of rehab and in denial! I’ve got a personal trainer, a personal shopper, a personal assistant and a personal agenda. You can’t shut me up. You can’t dumb me down because I’m tireless and I’m wireless, I’m an alpha male on beta-blockers. I’m a non-believer and an over-achiever, laid-back but fashion-forward. Up-front, down-home, low-rent, high-maintenance. Super-sized, long-lasting, high-definition, fast-acting, oven-ready and built-to-last! I’m a hands-on, foot-loose, knee-jerk head case pretty maturely post-traumatic and I’ve got a love-child that sends me hate mail. But, I’m feeling, I’m caring, I’m healing, I’m sharing-- a supportive, bonding, nurturing primary care-giver. My output is down, but my income is up. I took a short position on the long bond and my revenue stream has its own cash-flow. I read junk mail, I eat junk food, I buy junk bonds and I watch trash sports! I’m gender specific, capital intensive, user-friendly and lactose intolerant. I like rough sex. I like tough love. I use the “F” word in my emails and the software on my hard-drive is hardcore--no soft porn. I bought a microwave at a mini-mall; I bought a mini-van at a mega-store. I eat fast-food in the slow lane. I’m toll-free, bite-sized, ready-to-wear and I come in all sizes. A fully-equipped, factory-authorized, hospital-tested, clinically-proven, scientifically- formulated medical miracle. I’ve been pre-wash, pre-cooked, pre-heated, pre-screened, pre-approved, pre-packaged, post-dated, freeze-dried, double-wrapped, vacuum-packed and, I have an unlimited broadband capacity. I’m a rude dude, but I’m the real deal. Lean and mean! Cocked, locked and ready-to-rock. Rough, tough and hard to bluff. I take it slow, I go with the flow, I ride with the tide. I’ve got glide in my stride. Drivin and movin, sailin and spinin, jiving and groovin, wailin and winnin. I don’t snooze, so I don’t lose. I keep the pedal to the metal and the rubber on the road. I party hearty and lunch time is crunch time. I’m hangin in, there ain’t no doubt and I’m hangin tough, over and out!

A robust cybersecurity framework is essential to protect a company's digital assets, sensitive data, and critical infrastructure.

Making the choice to exercise compassion is an expression of Love for Humanity and Life itself.

I'm used to the security of living behind my online profiles and the clip art advertisdements I create to define me. I can be whoever I want to be in that world. I can be funny, deep, pensive, eccentric. I can be the best version of myself. I can make all the right decisions. I can delete my flaws by pressing a button. In the real world anything can happen. It's like stepping onto an icy surface--you have to adjust your footing or you'll slip and fall. Your movements become rigid and unsure because behind all the fancy gadgets and all that digital armor, you realize you're just flesh and bones.

Clocks with hands and sophisticated wheels have more art than a digital clock. Right? … Kusha beams when Rashad Gaumont praises her cars.

It is often said that a wrong decision taken at the right time is better than a right decision taken at the wrong time.

Too Clear, too clean. The problem was precision, perfection; the problem was "digitization" which sucked the life out of everything that got smeared through its microscopic mesh. Film, photography, music: dead. "An aesthetic holocaust!

For the last fifty years or so, The Novel’s demise has been broadcast on an almost weekly basis. Yet it strikes me that whatever happens, however else the geography of the imagination might modify in the future in, say, the digital ether, The Novel will continue to survive for some long time to come because it is able to investigate and cherish two things that film, music, painting, dance, architecture, drama, podcasts, cellphone exchanges, and even poetry can’t in a lush, protracted mode. The first is the intricacy and beauty of language—especially the polyphonic qualities of it to which Bakhtin first drew our attention. And the second is human consciousness. What other art form allows one to feel we are entering and inhabiting another mind for hundreds of pages and several weeks on end?

In today's consumer-driven economy, a strong marketing strategy is essential for success. Board members with marketing expertise can provide valuable insights into consumer behavior, brand positioning, and digital marketing strategies. This is especially crucial for companies in consumer goods, retail, and technology sectors.

People have always wanted to in some way inhabit the stories that move them. The only real variable is whether technology gives them that opportunity.

The art of decision making includes the art of questioning.

Finally, I was struck by how the truest creativity of the digital age came from those who were able to connect the arts and sciences.

innovation resides where art and science connect is not new. Leonardo da Vinci was the exemplar of the creativity that flourishes when the humanities and sciences interact. When Einstein was stymied while working out General Relativity, he would pull out his violin and play Mozart until he could reconnect to what he called the harmony of the spheres.

The science of decision-making is to make sure there is an effective decision process in place.

Like many aspects of the digital age, this idea that innovation resides where art and science connect is not new. Leonardo da Vinci was the exemplar of the creativity that flourishes when the humanities and sciences interact.

May, will you please, kindly DIG it," he remembered one of them saying, "and hold up on all those wonderful seven-dollar questions? If you got to ask what IS it all the time, you'll never get time to KNOW.

The art of questioning is to ignite innovative thinking; the science of questioning is to frame system thinking, with the progressive pursuit of better solutions.

Both the art of intuition and the science of analytics have the role to play in making wise decisions.

Decision making is an art only until the person understands the science.

Demosceners are the ones who enjoy the result of their hard work the most, but they also enjoy the hard work itself.

Demoscene has its own programming philosophy based on perfectionism.

Everything built with an art, May your eyes couldn't see it, but digital eye can.

Those industry-designed latest models, which hover in the air, are nothing compared to the story these cars have—Rashad, her adoptive father, encourages her. So what it’ll be slower? So what if it’ll soon rust? So what if machines age faster? Clocks with hands and sophisticated wheels have more art than a digital clock. Right? … Kusha beams when Rashad Gaumont praises her cars.

The next phase of the Digital Revolution will bring even more new methods of marrying technology with the creative industries, such as media, fashion, music, entertainment, education, literature, and the arts. Much of the first round of innovation involved pouring old wine—books, newspapers, opinion pieces, journals, songs, television shows, movies—into new digital bottles. But new platforms, services, and social networks are increasingly enabling fresh opportunities for individual imagination and collaborative creativity. Role-playing games and interactive plays are merging with collaborative forms of storytelling and augmented realities. This interplay between technology and the arts will eventually result in completely new forms of expression and formats of media. This innovation will come from people who are able to link beauty to engineering, humanity to technology, and poetry to processors. In other words, it will come from the spiritual heirs of Ada Lovelace, creators who can flourish where the arts intersect with the sciences and who have a rebellious sense of wonder that opens them to the beauty of both.

Jazz presumes that it would be nice if the four of us--simpatico dudes that we are--while playing this complicated song together, might somehow be free and autonomous as well. Tragically, this never quite works out. At best, we can only be free one or two at a time--while the other dudes hold onto the wire. Which is not to say that no one has tried to dispense with wires. Many have, and sometimes it works--but it doesn't feel like jazz when it does. The music simply drifts away into the stratosphere of formal dialectic, beyond our social concerns. Rock-and-roll, on the other hand, presumes that the four of us--as damaged and anti-social as we are--might possibly get it to-fucking-gether, man, and play this simple song. And play it right, okay? Just this once, in tune and on the beat. But we can't. The song's too simple, and we're too complicated and too excited. We try like hell, but the guitars distort, the intonation bends, and the beat just moves, imperceptibly, against our formal expectations, whetehr we want it to or not. Just because we're breathing, man. Thus, in the process of trying to play this very simple song together, we create this hurricane of noise, this infinitely complicated, fractal filigree of delicate distinctions. And you can thank the wanking eighties, if you wish, and digital sequencers, too, for proving to everyone that technologically "perfect" rock--like "free" jazz--sucks rockets. Because order sucks. I mean, look at the Stones. Keith Richards is always on top of the beat, and Bill Wyman, until he quit, was always behind it, because Richards is leading the band and Charlie Watts is listening to him and Wyman is listening to Watts. So the beat is sliding on those tiny neural lapses, not so you can tell, of course, but so you can feel it in your stomach. And the intonation is wavering, too, with the pulse in the finger on the amplified string. This is the delicacy of rock-and-roll, the bodily rhetoric of tiny increments, necessary imperfections, and contingent community. And it has its virtues, because jazz only works if we're trying to be free and are, in fact, together. Rock-and-roll works because we're all a bunch of flakes. That's something you can depend on, and a good thing too, because in the twentieth century, that's all there is: jazz and rock-and-roll. The rest is term papers and advertising.

I might be broke but I am not Broken

Selecting the right measure and measuring things right are both art and science. And KPIs influence management behavior as well as business culture.

Some stories, some visions, demand celluloid film and what it can deliver.

Demoscene tiene su propia filosofía de programación, basada en el perfeccionismo.

you never will love art well, till you love what she mirrors better

Decision makers with emotional excellence have the ability to dispassionately examine alternatives via fact finding, analysis, structured planning, objective evaluations, and comparison.

The Buddha, the Godhead, resides quite as comfortably in the circuits of a digital computer or the gears of a cycle transmission as he does at the top of a mountain or in the petals of a flower. To think otherwise is to demean the Buddha—which is to demean oneself.

In perhaps one of the greatest digital curatorial comments in any museum in the world, the Cleveland Museum of Art website used to list the description of the pot – ‘Here Medea flees the scene after murdering her children on a flying serpent-pulled chariot’ – under the heading, ‘Fun Fact’.45 I salute this curator.

Human ingenuity,” wrote Leonardo da Vinci, whose Vitruvian Man became the ultimate symbol of the intersection of art and science, “will never devise any inventions more beautiful, nor more simple, nor more to the purpose than Nature does.

Photography wasn’t even considered part of the art world until fairly recently. I find it ironic that some people in the world of fine-art photography consider digital photography as somehow “less artistic,” when it is merely a change in process, not vision. The debates will always be there, but your vision is yours alone.

Publishing is a business based on fiction—and not only the fiction that is packaged between book covers or sold as digital downloads. In order to convince harried, distracted people to set aside hours or even days to read hundreds of pages of non-animated words, we in the publishing business must manufacture an aura of success around a book, a glowing sheen that purrs I am worth your time. This aura is conveyed through breathless jacket copy, seductive cover imagery, and blurbs dripping with praise so thick the words seem painted on with honey. This fiction of success is stoked by the fiction of buzz and sustained by the fiction of social media.

Change was a constant in Walt Disney’s commitment to tell a story well, to bring it to an audience through the technology of the day, and to push that technology so that rather than controlling the story, it enhanced the story and gave it an opportunity to touch people, to speak to each of them individually, to make it believable.

They start out with a few compliments, which I receive readily. Yes, I’ve whipped the digital archive into shape. Yes, I delivered on the K–5 Maya Angelou and Frida Kahlo biographies, wherein the sexual assault and bus accident were omitted per a Provo parents group who weren’t ready for their kids to see the blood women wade through to create art.

But if stories themselves are universal, the way we tell them changes with the technology at hand. Every new medium has given rise to a new form of narrative.

I am LIMITLESS not bent by the foundations of my own mind.I can create endless possibilities with the world as my canvas

Decision maturity is to ensure the right decisions have been made by the right people at the right time to solve the right problems.

My life is circus

If your sad about your work then remember there are people who clean actual shit for a living

Do we create an impact to make money or de we make money to create an IMPACT ?

it’s technology married with liberal arts, married with the humanities, that yields us the result that make our heart sing.

We are doing a disservice to our young people by telling them that life is a straight path.

discovered is that I’m an image maker, and I don’t care how its made—whether it’s through painting or photography or drawing—I just want to create images.

You know when you really, really think about it, the whole digital reality is a real trip. The left side of the brain is for figuring – the right side is for doing.

I was struck by how the truest creativity of the digital age came from those who were able to connect the arts and sciences.

Digital marketing is the art of connecting with the right audience at the right time, turning clicks into connections and strategies into success

Digital forms are best illuminated by cultural criticism, which uses the tools of art and literary theory to make sense of the Internet’s glorious illusion: that the Internet is life. Because

I just think that their flight from and hatred of technology is self-defeating. The Buddha, the Godhead, resides quite as comfortably in the circuits of a digital computer or the gears of a cycle transmission as he does at the top of a mountain or in the petals of a flower. To think otherwise is to demean the Buddha—which is to demean oneself. That is what I want to talk about in this Chautauqua.

The Buddha resides quite as comfortably in the circuits of a digital computer or the gears of a cycle transmission as he does at the top of a mountain. — Robert Pirsig, Zen and the Art of Motorcycle Maintenance

I'm used to the security of living behind my online profiles and the clip art advertisements I create to define me. I can be whoever I want to be in that world. I can be funny, deep, pensive, eccentric. I can be the best version of myself. Better yet, an exaggeration of the best version of myself. I can make all the right decisions. I can delete my flaws by pressing a button. In the real world anything can happen. It's like stepping onto an icy surface—you have to adjust your footing or you'll slip and fall. Your movements become rigid and unsure because behind all the fancy gadgets and all that digital armor, you realize you're just flesh and bones.

One of the great challenges in healthcare technology is that medicine is at once an enormous business and an exquisitely human endeavor; it requires the ruthless efficiency of the modern manufacturing plant and the gentle hand-holding of the parish priest; it is about science, but also about art; it is eminently quantifiable and yet stubbornly not.

our roles have shifted and expanded. The role of the broadcaster is not just to speak but to listen; the role of the audience is not just to listen but to speak. The Art of Immersion is about why this is happening, and where it will take us from here.

The Buddha, the Godhead, resides quite as comfortably in the circuits of a digital computer or the gears of a cycle transmission as he does at the top of a mountain or in the petals of a flower. To think otherwise is to demean the Buddha—which is to demean oneself. That is what I want to talk about in this Chautauqua.

All that differentiates us from them is our memories. Not the memories that reside in our own brains, for the child born today enters the world just as much a blank slate as the child born thirty thousand years ago, but rather the memories that are stored outside ourselves—in books, photographs, museums, and these days in digital media.

Internet is in its infancy. It is at a fundamental level a new canvas for the old human condition, salvation and sin, at digital speed and with viral replication. It is a magnifying glass on every human inclination, beautiful and terrible, trivial and mean, generous and curious. Take note of how this realization puts the power back with us.

Fine arts are are considered as seven sisters named as, Music, Sculpture, Literature , Drama, Architecture & Cinema. However in this digital age , another fine art is to be considered.To-day all seven fine art forms depend on photography for promotion, communication, documentation and survival. Photography should be called the eighth Fine Art.

Working with light is photography at its essence, where everything else is stripped away and all that is left is your vision and intuition about how to convey what you think or feel. We are so distracted by the technology and complexity of digital photography these days, that the opportunity to be still and just notice can become a rare occurrence.

We have to be role models. We have to be curious. Above all, we have to pay attention and be part of the conversation while our kids are still listening to us.

He’d had no intentions of being at the World Memory Championship. Instead, he had devoted the last six months to memorizing the first 50,000 digits of the mathematical constant pi,

High EQ decision makers can leverage multifaceted thought processes in making sound judgments and improving the overall decision-making maturity.

The company’s leadership plays a major role in framing the right questions for decision-making.

The art in question is much more about open communications.

A liberal education is not so much about learning to do a job as it is about learning to learn, and to love learning.

still do some art. Not in the same capacity, but I manage Daisy’s social media, and I create and edit all the videos for her accounts and digitally master the photos.

I do not believe that all books will or should migrate onto screens: as Douglas Adams once pointed out to me over twenty years before digital books showed up, a physical book is like a shark. Sharks are old : there were sharks in the ocean before the dinosaurs. And the reason there are still sharks around is that sharks are better at being sharks than anything else is.

In the end, he settled on posting one picture every week of whatever personal art project he happens to be working on. “It’s a great way for me to have a visual archive of my projects,” he explained. He also follows only a small number of accounts, all of which belong to artists whose work inspires him—making the experience of checking his feed both fast and meaningful.

Today there is big money for those who can stealthily invade computer networks, or construct a secure botnet, and no modern military arsenal is complete without state-of-the-art malware.

But our world is abundant with beauty and courage and grace. I’m aware of a growing aspiration to attend, with all the tools we have at hand, to the human change that makes social change possible. The digital world, though a new Wild West in many ways, is on some basic level simply another screen on which we project the excesses and possibilities of life in flesh and blood.

The transposition of two Letters by five placeings will be sufficient for 32 Differences [and] by this Art a way is opened, whereby a man may expresse and signifie the intentions of his minde, at any distance of place, by objects … capable of a twofold difference onely,

By denying that they had created a game, he realized, he had fallen into a pattern that had been repeated many times before, whenever people were trying to figure out a way of telling stories that was new and unformed and not yet accepted. He was trying to make it seem okay.

In the PAO system, every two-digit number from 00 to 99 is represented by a single image of a person performing an action on an object. The number 34 might be Frank Sinatra (a person) crooning (an action) into a microphone (an object). Likewise, 13 might be David Beckham kicking a soccer ball.

Walking into a bookshop is a depressing thing. It’s not the pretentious twats, browsing books as part of their desirable lifestyle. It’s not the scrubby members of staff serving at the counter: the pseudo-hippies and fucking misfits. It’s not the stink of coffee wafting out from somewhere in the building, a concession to the cult of the coffee bean. No, it’s the books. I could ignore the other shit, decide that maybe it didn’t matter too much, that when consumerism meets culture, the result is always going to attract wankers and everything that goes with them. But the books, no, they’re what make your stomach sink and that feeling of dark syrup on the brain descend. Look around you, look at the shelves upon shelves of books – for years, the vessels of all knowledge. We’re part of the new world now, but books persist. Cheap biographies, pulp fiction; glossy covers hiding inadequate sentiments. Walk in and you’re surrounded by this shit – to every side a reminder that we don’t want stimulation anymore, we want sedation. Fight your way through the celebrity memoirs, pornographic cook books, and cheap thrills that satisfy most and you get to the second wave of vomit-inducing product: offerings for the inspired and arty. Matte poetry books, classics, the finest culture can provide packaged and wedged into trendy coverings, kidding you that you’re buying a fashion accessory, not a book. But hey, if you can stomach a trip further into the shop, you hit on the meatier stuff – history, science, economics – provided they can stick ‘pop.’ in front of it, they’ll stock it. Pop. psychology, pop. art, pop. life. It’s the new world – we don’t want serious anymore, we want nuggets of almost-useful information. Books are the past, they’re on the out. Information is digital now; bookshops, they’re somewhere between gallery and museum.

University of California, Irvine, Professor of Art and Engineering, Codirector of Arts, Computation, and Engineering (ACE) Program Kavita Philip University of California, Irvine, Associate Professor of Women's Studies, Anthropology, and Arts, Computation, and Engineering (ACE) Program Todd Presner University

Many of us who have observed our own behavior don't need science to prove that technology is altering us, but let's bring some in anyway. Dopamine, the neurotransmitter that records certain experiences in our brain (typically described as pleasurable) and prompts us to repeat them, plays a part not only in sex and drugs, but also the swiping and tapping we do on our smartphones. Scott Barry Kaufman--- scientific director of the Imagination Institute...gave me the straight dope on dopamine. "It's a misconception that dopamine has to do with our feelings of happiness and pleasure," he said. "It's a molecule that helps influence our expectations." Higher levels of dopamine are linked to being more open to new things and novelty seeking. Something novel could be an amazing idea for dinner or a new book. . . or just getting likes on a Facebook post or the ping of a text coming in. Our digital devices activate and hijack this dopamine system extremely well, when we let them. ...Kaufman calls dopamine "the mother of invention" and explains that because we have a limited amount of it, we must be judicious about choosing to spend it on "increasing our wonder and excitement for creating meaning and new things like art--- or on Twitter.

As data analytics, superfast computers, digital technology, and other breakthroughs enabled by science play a bigger and bigger role in informing medical decision-making, science has carved out a new and powerful role as the steadfast partner of the business of medicine—which is also enjoying a new day in the sun. It may surprise some people to learn that the business of medicine is not a twenty-first-century invention. Health care has always been a business, as far back as the days when Hippocrates and his peers practiced medicine. Whether it was three goats, a gold coin, or a bank note, some type of payment was typically exchanged for medical services, and institutions of government or learning funded research. However, since the 1970s, business has been the major force directing the practice of medicine. Together, the business and science of medicine are the new kids on the block—the bright, shiny new things. Ideally, as I’ve suggested, the art, science, and business of medicine would work together in a harmonious partnership, each upholding the other and contributing all it has to offer to the whole. And sometimes (as we’ll find in later chapters) this partnership works well. When it does, the results are magnificent for patients and doctors, not to mention for scientists and investors.

Much of the first round of innovation involved pouring old wine—books, newspapers, opinion pieces, journals, songs, television shows, movies—into new digital bottles. But new platforms, services, and social networks are increasingly enabling fresh opportunities for individual imagination and collaborative creativity. Role-playing games and interactive plays are merging with collaborative forms of storytelling and augmented realities. This interplay between technology and the arts will eventually result in completely new forms of expression and formats of media. This innovation will come from people who are able to link beauty to engineering, humanity to technology, and poetry to processors.

I think, however, the current fascination with the computer and its principal product, information, deserves a more critical response. This is because the computer does so ingeniously mimic human intelligence that it may significantly shake our confidence in the uses of the mind. And it is the mind that must think about all things, including the computer.

Ben developed a similarly Byzantine system for memorizing binary digits, which enables him to convert any ten-digit-long string of ones and zeros into a unique image. That’s 210, or 1,024, images set aside for binaries. When he sees 1101001001, he immediately sees it as a single chunk, an image of a card game. When he sees 0111011010, he instantaneously conjures up an image of a cinema. In international memory competitions, mental athletes are given sheets of 1,200 binary digits, thirty to a row, forty rows to a page. Ben turns each row of thirty digits into a single image. The number 110110100000111011010001011010, for example, is a muscleman putting a fish in a tin. At the time, Ben held the world record for having learned 3,705 random ones and zeroes in half an hour.

Distraction leaches the authenticity out of our communications. When we are not emotionally present, we are gliding over the surface of our interactions and we never tangle in the depths where the nuances of our skills are tested and refined. A medical professor describes the easy familiarity with which her digital-native resident students master medical electronic records—but is troubled by the fact that they enter data with their eyes focused on their digital devices, not on the patient in the room with them. Preoccupation with technology acts as a screen between the student and the patient’s real emotion, real fear, and real concern. It may also prevent these residents from noticing physical symptoms that the patient fails to mention. The easy busyness of medical record entry is a way to sidestep the more challenging dynamics of human connection. But experienced physicians know that interpersonal skills are essential to mastering the art and science of medical diagnosis.

Notice that the process of chunking takes seemingly meaningless information and reinterprets it in light of information that is already stored away somewhere in our long-term memory. If you didn’t know the dates of Pearl Harbor or September 11, you’d never be able to chunk that twelve-digit numerical string. If you spoke Swahili and not English, the nursery rhyme would remain a jumble of letters. In other words, when it comes to chunking—and to our memory more broadly—what we already know determines what we’re able to learn.

In that sense, “otaku” referred to a sudden, spontaneous, and, to most Japanese, inexplicable eruption of extreme obsessiveness among the country’s youth. One day, Japanese in their teens and twenties were normal, well-adjusted young people. The next day, or so it seemed, they were hopeless geeks who had forsaken all social skills in favor of a deep dive into—whatever. Manga (comics). Anime. Super-hard-core deviant anime porn in which tender young schoolgirls are violated by multi-tentacled octopi. Trains. It could be anything really.

There are many reasons why the tech revolution will hit the emerging world much harder than it will hit Europe and the United States. In developed countries, children are more likely to grow up with digital technologies as toys and then to encounter them in school. Governments in these countries have money to invest in educational systems that prepare workers, both blue and white collar, for change. Their universities have much greater access to state-of-the-art technologies. Their companies produce the innovations that drive tech change in the first place. This creates a dynamic in which high-wage countries are more likely than low-wage ones to dominate the skill-intensive industries that will generate twenty-first-century growth, leaving behind large numbers of those billion-plus people who only recently emerged from age-old deprivation. The wealth in developed countries helps them maintain much stronger social safety nets than in poorer countries to help citizens who lose their jobs, fall ill, or need to care for sick children or aging parents. In short, wealthier countries are both more adaptable and more resilient than developing ones.

I will give technology three definitions that we will use throughout the book. The first and most basic one is that a technology is a means to fulfill a human purpose. For some technologies-oil refining-the purpose is explicit. For others- the computer-the purpose may be hazy, multiple, and changing. As a means, a technology may be a method or process or device: a particular speech recognition algorithm, or a filtration process in chemical engineering, or a diesel engine. it may be simple: a roller bearing. Or it may be complicated: a wavelength division multiplexer. It may be material: an electrical generator. Or it may be nonmaterial: a digital compression algorithm. Whichever it is, it is always a means to carry out a human purpose. The second definition I will allow is a plural one: technology as an assemblage of practices and components. This covers technologies such as electronics or biotechnology that are collections or toolboxes of individual technologies and practices. Strictly speaking, we should call these bodies of technology. But this plural usage is widespread, so I will allow it here. I will also allow a third meaning. This is technology as the entire collection of devices and engineering practices available to a culture. Here we are back to the Oxford's collection of mechanical arts, or as Webster's puts it, "The totality of the means employed by a people to provide itself with the objects of material culture." We use this collective meaning when we blame "technology" for speeding up our lives, or talk of "technology" as a hope for mankind. Sometimes this meaning shades off into technology as a collective activity, as in "technology is what Silicon Valley is all about." I will allow this too as a variant of technology's collective meaning. The technology thinker Kevin Kelly calls this totality the "technium," and I like this word. But in this book I prefer to simply use "technology" for this because that reflects common use. The reason we need three meanings is that each points to technology in a different sense, a different category, from the others. Each category comes into being differently and evolves differently. A technology-singular-the steam engine-originates as a new concept and develops by modifying its internal parts. A technology-plural-electronics-comes into being by building around certain phenomena and components and develops by changing its parts and practices. And technology-general, the whole collection of all technologies that have ever existed past and present, originates from the use of natural phenomena and builds up organically with new elements forming by combination from old ones.

En el muro de Facebook hay una opción que te permite añadir "Me gusta" al comentario o la foto de otro internauta. El pictograma es una mano cerrada con el pulgar hacia arriba. También ofrece la posibilidad, en caso de arrepentimiento, de sustituirlo por un "Ya no me gusta". Eso es todo. La red social de Zuckerberg no admite la alternativa de matizar esa adhesión o ese arrepentimiento con algún estado intermedio, quizá titubeante o más gaseoso. Sólo acepta la rotundidad de un sí o un no, del blanco o el negro, con el pulgar hacia arriba o hacia abajo, sin medias tintas. La duda ha sido expulsada de esta arcadia digital y condenada a vagar por el desierto de territorios más lejanos y lentos, es decir, más literarios [...] Ahora bien, pensar consiste justamente en lo contrario. Pensar implica el compromiso radical de ir un paso más allá del "Me gusta" o "No me gusta", de suspender la fase infantil de la imposición caprichosa de nuestros antojos. Aquí no sirve eso tan socorrido del "Porque lo digo yo" y el puñetazo en la mesa. Hay que razonar, justificar, argumentar con palabras de peso nuestro amor, nuestro rechazo, lo cual es complicado e incómodo, ya que puedes equivocarte o quedar en ridículo. O puedes caer en la paradoja de aquel personaje de Monterroso, un escritor cuya esposa, tras desvelar los hábitos de trabajo de él, concluía: «Cuando no se le ocurre nada escribe pensamientos».

Although these digital tools can improve the diagnostic process and offer clinicians a variety of state-of-the-art treatment options, most are based on a reductionist approach to health and disease. This paradigm takes a divide-and-conquer approach to medicine, "rooted in the assumption that complex problems are solvable by dividing them into smaller, simpler, and thus more tractable units." Although this methodology has led to important insights and practical implications in healthcare, it does have its limitations. Reductionist thinking has led researchers and clinicians to search for one or two primary causes of each disease and design therapies that address those causes.... The limitation of this type of reasoning becomes obvious when one examines the impact of each of these diseases. There are many individuals who are exposed to HIV who do not develop the infection, many patients have blood glucose levels outside the normal range who never develop signs and symptoms of diabetes, and many patients with low thyroxine levels do not develop clinical hypothyroidism. These "anomalies" imply that there are cofactors involved in all these conditions, which when combined with the primary cause or causes bring about the clinical onset. Detecting these contributing factors requires the reductionist approach to be complemented by a systems biology approach, which assumes there are many interacting causes to each disease.

Many people who celebrate the arts and the humanities, who applaud vigorously the tributes to their importance in our schools, will proclaim without shame (and sometimes even joke) that they don’t understand math or physics. They extoll the virtues of learning Latin, but they are clueless about how to write an algorithm or tell BASIC from C++, Python from Pascal. They consider people who don’t know Hamlet from Macbeth to be Philistines, yet they might merrily admit that they don’t know the difference between a gene and a chromosome, or a transistor and a capacitor, or an integral and a differential equation. These concepts may seem difficult. Yes, but so, too, is Hamlet. And like Hamlet, each of these concepts is beautiful.

As an analogy, we used to think of books, music, and movies as distinct. Then they all became represented by packets sent over the internet. Yes, we listened to music in audio players and viewed books in ebook readers, but their fundamental structure became digital. Similarly, today we think of stocks, bonds, gold, loans, and art as different. But all of them are represented as debits and credits on blockchains. Again, the fundamental structure became digital. Now, we are starting to think of different kinds of collections of people –— whether communities, cities, companies, or countries —– all fundamentally as networks, where the digital profiles and how they interact become more and more fundamental. This is obvious for communities and companies, which can already be fully remote and digital, but even already existing cities and countries are starting to be modeled this way, because (a) their citizens48 are often geographically remote, (b) the concept of citizenship itself is becoming similar to digital single sign-on, (c) many 20th century functions of government have already been de-facto transferred to private networks like (electronic) mail delivery, hotel, and taxi regulation, (d) cities and countries increasingly recruit citizens online, (e) so-called smart cities are increasingly administrated through a computer interface, and (f) as countries issue central bank digital currencies and cities likely follow suit, every polity will be publicly traded on the internet just like companies and coins.

It is almost inconceivable that so many filmmakers could think of nothing -- be inspired by nothing -- nothing, nothing, nothing -- but the politics of representation, 'performitivity', gender, race, queer theory etc. There must be other subjects, in the world outside or in their inner lives, which belong on the silver (or digital) screen. This degree of conformity is unsettling. It should alarm cultural elites rather than comfort them. Yet the art world's ideological atmosphere is so thick and pervasive that those inside of it don't even realise it as the air they breathe." "Forgive me, I forgot to mention the other permissible topic: 'consumptive capitalism', that oppressive economic system which creates vast sums of taxable wealth, which in turn allows the UK government to fund even this nonsense.

Fine art galleries are the excellent setups for exhibiting art, generally aesthetic art such as paints, sculptures, and digital photography. Basically, art galleries showcase a range of art designs featuring contemporary and traditional fine art, glass fine art, art prints, and animation fine art. Fine art galleries are dedicated to the advertising of arising artists. These galleries supply a system for them to present their jobs together with the works of across the country and internationally popular artists. The UNITED STATE has a wealth of famous art galleries. Lots of villages in the U.S. show off an art gallery. The High Museum of Fine art, Alleged Gallery, Henry Art Gallery, National Gallery of Art Gallery, Washington Gallery of Modern Art, Agora Gallery, Rosalux Gallery, National Portrait Gallery, The Alaska House Gallery, and Anchorage Gallery of History and Art are some of the renowned fine art galleries in the United States. Today, there are on the internet fine art galleries showing initial artwork. Several famous fine art galleries show regional pieces of art such as African fine art, American art, Indian fine art, and European art, in addition to individual fine art, modern-day and modern fine art, and digital photography. These galleries collect, show, and keep the masterpieces for the coming generations. Many famous art galleries try to entertain and educate their local, nationwide, and international audiences. Some renowned fine art galleries focus on specific areas such as pictures. A great variety of well-known fine art galleries are had and run by government. The majority of famous fine art galleries supply an opportunity for site visitors to buy outstanding art work. Additionally, they organize many art-related tasks such as songs shows and verse readings for kids and grownups. Art galleries organize seminars and workshops conducted by prominent artists. Committed to quality in both art and solution, most well-known fine art galleries provide you a rich, exceptional experience. If you wish to read additional information, please visit this site

C. P. Snow was right about the need to respect both of “the two cultures,” science and the humanities. But even more important today is understanding how they intersect. Those who helped lead the technology revolution were people in the tradition of Ada, who could combine science and the humanities. From her father came a poetic streak and from her mother a mathematical one, and it instilled in her a love for what she called “poetical science.” Her father defended the Luddites who smashed mechanical looms, but Ada loved how punch cards instructed those looms to weave beautiful patterns, and she envisioned how this wondrous combination of art and technology could be manifest in computers. (...) This innovation will come from people who are able to link beauty to engineering, humanity to technology, and poetry to processors. In other words, it will come from the spiritual heirs of Ada Lovelace, creators who can flourish where the arts intersect with the sciences and who have a rebellious sense of wonder that opens them to the beauty of both.

a harbinger of a third wave of computing, one that blurred the line between augmented human intelligence and artificial intelligence. “The first generation of computers were machines that counted and tabulated,” Rometty says, harking back to IBM’s roots in Herman Hollerith’s punch-card tabulators used for the 1890 census. “The second generation involved programmable machines that used the von Neumann architecture. You had to tell them what to do.” Beginning with Ada Lovelace, people wrote algorithms that instructed these computers, step by step, how to perform tasks. “Because of the proliferation of data,” Rometty adds, “there is no choice but to have a third generation, which are systems that are not programmed, they learn.”27 But even as this occurs, the process could remain one of partnership and symbiosis with humans rather than one designed to relegate humans to the dustbin of history. Larry Norton, a breast cancer specialist at New York’s Memorial Sloan-Kettering Cancer Center, was part of the team that worked with Watson. “Computer science is going to evolve rapidly, and medicine will evolve with it,” he said. “This is coevolution. We’ll help each other.”28 This belief that machines and humans will get smarter together is a process that Doug Engelbart called “bootstrapping” and “coevolution.”29 It raises an interesting prospect: perhaps no matter how fast computers progress, artificial intelligence may never outstrip the intelligence of the human-machine partnership. Let us assume, for example, that a machine someday exhibits all of the mental capabilities of a human: giving the outward appearance of recognizing patterns, perceiving emotions, appreciating beauty, creating art, having desires, forming moral values, and pursuing goals. Such a machine might be able to pass a Turing Test. It might even pass what we could call the Ada Test, which is that it could appear to “originate” its own thoughts that go beyond what we humans program it to do. There would, however, be still another hurdle before we could say that artificial intelligence has triumphed over augmented intelligence. We can call it the Licklider Test. It would go beyond asking whether a machine could replicate all the components of human intelligence to ask whether the machine accomplishes these tasks better when whirring away completely on its own or when working in conjunction with humans. In other words, is it possible that humans and machines working in partnership will be indefinitely more powerful than an artificial intelligence machine working alone?

What’s the best thing you’ve done in your work and career? In business decision-making, certainly one of your highlights was licensing your computer operating system to IBM for almost no money, provided you could retain the right to license the system to other computer manufacturers as well. IBM was happy to agree because, after all, nobody would possibly want to compete with the most powerful company in the world, right? With that one decision, your system and your company became dominant throughout the world, and you, Bill Gates, were on your way to a net worth of more than $60 billion. Or maybe you’d like to look at your greatest career achievement from a different angle. Instead of focusing on the decision that helped you make so much money, maybe you’d like to look at the decision to give so much of it away. After all, no other person in history has become a philanthropist on the scale of Bill Gates. Nations in Africa and Asia are receiving billions of dollars in medical and educational support. This may not be as well publicized as your big house on Lake Washington with its digitalized works of art, but it’s certainly something to be proud of. Determining your greatest career achievement is a personal decision. It can be something obvious or something subtle. But it should make you proud of yourself when you think of it. So take a moment, then make your choice.

What Cantor's Diagonal Proof does is generate just such a number, which let's call R. The proof is both ingenious and beautiful-a total confirmation of art's compresence in pure math. First, have another look at the above table. We can let the integral value of R be whatever X we want; it doesn't matter. But now look at the table's very first row. We're going to make sure R's first post-decimal digit, a, is a different number from the table's a1. It's easy to do this even though we don't know what particular number a1 is: let's specify that a=(a1-1) unless a1 happens to be 0, in which case a=9. Now look at the table's second row, because we're going to do the same thing for R's second digit b: b=(b2-1), or b=9 if b2=0. This is how it works. We use the same procedure for R's third digit c and the table's c3, for d and d4, for e and e5, and so on, ad inf. Even though we can't really construct the whole R (just as we can't really finish the whole infinite table), we can still see that this real number R=X.abcdefhi... is going to be demonstrably different from every real number in the table. It will differ from the table's 1st Real in its first post-decimal digit, from the 2nd Real in its second digit, from the 3rd Real in its third digit,...and will, given the Diagonal Method here, differ from the table's Nth Real in its nth digit. Ergo R is not-cannot be-included in the above infinite table; ergo the infinite table is not exhaustive of all the real numbers; ergo (by the rules of reductio) the initial assumption is contradicted and the set of all real numbers is not denumerable, i.e. it's not 1-1 C-able with the set of integers. And since the set of all rational numbers is 1-1C-able with the integers, the set of all reals' cardinality has got to be greater than the set of all rationals' cardinality. Q.E.D.*