Disc War Quotes

Every room I've lived in since I was given my own room at eleven was lined with, and usually overfull of, books. My employment in bookstores was always continuous with my private hours: shelving and alphabetizing, building shelves, and browsing-- in my collection and others-- in order to understand a small amount about the widest possible number of books. Such numbers of books are constantly acquired that constant culling is necessary; if I slouch in this discipline, the books erupt. I've also bricked myself in with music--vinyl records, then compact discs. My homes have been improbably information-dense, like capsules for survival of a nuclear war, or models of the interior of my own skull. That comparison--room as brain-- is one I've often reached for in describing the rooms of others, but it began with the suspicion that I'd externalized my own brain, for anyone who cared to look.

The precise origins of the Mage Wars have been lost in the fogs of Time, but Disc philosophers agree that the First Men, shortly after their creation, understandably lost their temper.

Prussians were singularly well prepared in other areas as well. They invented the “dog tag” in 1870: an oval disc worn by every soldier bearing his name, regiment, and place of residence.

But let my death be memoried on this disc. Wear it, sweet friend. Inscribe no date nor deed. But let thy heart-beat kiss it night and day, Until the name grow vague and wear away.

Meanwhile, someplace in the world, somebody is making love and another a poem. Elsewhere in the universe, a star manyfold the mass of our third-rate sun is living out its final moments in a wild spin before collapsing into a black hole, its exhale bending spacetime itself into a well of nothingness that can swallow every atom that ever touched us and every datum we ever produced, every poem and statue and symphony we’ve ever known—an entropic spectacle insentient to questions of blame and mercy, devoid of why. “In four billion years, our own star will follow its fate, collapsing into a white dwarf. We exist only by chance, after all. The Voyager will still be sailing into the interstellar shorelessness on the wings of the “heavenly breezes” Kepler had once imagined, carrying Beethoven on a golden disc crafted by a symphonic civilization that long ago made love and war and mathematics on a distant blue dot. But until that day comes, nothing once created ever fully leaves us. Seeds are planted and come abloom generations, centuries, civilizations later, migrating across coteries and countries and continents. Meanwhile, people live and people die—in peace as war rages on, in poverty and disrepute as latent fame awaits, with much that never meets its more, in shipwrecked love. I will die. You will die. The atoms that huddled for a cosmic blink around the shadow of a self will return to the seas that made us. What will survive of us are shoreless seeds and stardust.

They started with Big Ben. It’s always got to be relayed direct from Westminster, the real thing, never from disc. That’s got to be firmly fixed in the listeners’ minds. Then, if Big Ben is silent, the public will know that the war has taken a distinctly unpleasant turn.

Beyond those somewhat anchored fantasy settings are the wild-eyed and the wahoo worlds. This is by no means pejorative, as these include some of my personal favorites, but it is meant to show that there are high-concept, love-’em-or-hate-’em sorts of settings. Call them worlds of pure chaos, places where anything goes and where the usual rules do not apply. They are not meant to be realistic, and indeed that is their appeal. They are settings unmoored from reality and operating by rules of your design—but these settings do have rules. To provide some examples, think of places like China Mieville’s Bas Lag, Pratchett’s Disc World, Frank Baum’s Oz, David “Zeb” Cook’s Dark Sun and Planescape, Keith Baker’s Eberron, Jim Ward’s Gamma World, NCSoft’s Guild Wars, Andrew Leker’s Jorune, Michael Moorcock’s Melnibone, Jeff Grubb’s Spelljammer, and Blizzard’s World of Warcraft. These are places where truly Weird Shit happens, with different rules of physics, alien landscapes, magical wastelands, alien gods, mutants, and cosmologies. It’s fun to go out on the edge, and fantasy is always exploring strange places like this. These are the high-wire acts of worldbuilding. They take creative risks, not always successfully, and they endure a higher degree of mockery than the real fantasies or anchored fantasies do because of those creative risks. They also attract a loyal following who love that particular flavor of weird. Just ask any Planescape fan.

As I tried various restaurants, certain preconceptions came crashing down. I realized not all Japanese food consisted of carefully carved vegetables, sliced fish, and clear soups served on black lacquerware in a highly restrained manner. Tasting okonomiyaki (literally, "cook what you like"), for example, revealed one way the Japanese let their chopsticks fly. Often called "Japanese pizza," okonomiyaki more resembles a pancake filled with chopped vegetables and your choice of meat, chicken, or seafood. The dish evolved in Osaka after World War II, as a thrifty way to cobble together a meal from table scraps. A college classmate living in Kyoto took me to my first okonomiyaki restaurant where, in a casual room swirling with conversation and aromatic smoke, we ordered chicken-shrimp okonomiyaki. A waitress oiled the small griddle in the center of our table, then set down a pitcher filled with a mixture of flour, egg, and grated Japanese mountain yam made all lumpy with chopped cabbage, carrots, scallions, bean sprouts, shrimp, and bits of chicken. When a drip of green tea skated across the surface of the hot meal, we poured out a huge gob of batter. It sputtered and heaved. With a metal spatula and chopsticks, we pushed and nagged the massive pancake until it became firm and golden on both sides. Our Japanese neighbors were doing the same. After cutting the doughy disc into wedges, we buried our portions under a mass of mayonnaise, juicy strands of red pickled ginger, green seaweed powder, smoky fish flakes, and a sweet Worcestershire-flavored sauce. The pancake was crispy on the outside, soft and savory inside- the epitome of Japanese comfort food. Another day, one of Bob's roommates, Theresa, took me to a donburi restaurant, as ubiquitous in Japan as McDonald's are in America. Named after the bowl in which the dish is served, donburi consists of sticky white rice smothered with your choice of meat, vegetables, and other goodies. Theresa recommended the oyako, or "parent and child," donburi, a medley of soft nuggets of chicken and feathery cooked egg heaped over rice, along with chopped scallions and a rich sweet bouillon. Scrumptious, healthy, and prepared in a flash, it redefined the meaning of fast food.

Television* means ‘to see from a distance’. The desire in man to do so has been there for ages. In the early years of the twentieth century many scientists experimented with the idea of using selenium photosensitive cells for converting light from pictures into electrical signals and transmitting them through wires. The first demonstration of actual television was given by J.L. Baird in UK and C.F. Jenkins in USA around 1927 by using the technique of mechanical scanning employing rotating discs.However, the real breakthrough occurred with the invention of the cathode ray tube and the success of V.K. Zworykin of the USA in perfecting the first camera tube (the iconoscope) based on the storage principle. By 1930 electromagnetic scanning of both camera and picture tubes and other ancillary circuits such as for beam deflection, video amplification, etc. were developed. Though television broadcast started in 1935, world political developments and the second world war slowed down the progress of television. With the end of the war, television rapidly grew into a popular medium for dispersion of news and mass entertainment. Television Systems At the outset, in the absence of any international standards, three monochrome (i.e. black and white) systems grew independently. These are the 525 line American, the 625 line European and the 819 line French systems. This naturally prevents direct exchange of programme between countries using different television standards.Later, efforts by the all world committee on radio and television (CCIR) for changing to a common 625 line system by all concerned proved ineffective and thus all the three systems have apparently come to stay. The inability to change over to a common system is mainly due to the high cost of replacing both the transmitting equipment and the millions of receivers already in use. However the UK, where initially a 415 line monochrome system was in use, has changed to the 625 line system with some modification in the channel bandwidth. In India, where television transmission started in 1959, the 625-B monochrome system has been adopted.

Arakawa and Lincoln had flown to the Philips world headquarters in Eindhoven, Netherlands, for a meeting with Gaston Bastiaens, head of the Compact Disc Interactive (CD-I) group.

There’s going to be a horrible war. It’s all going to happen. The Disc is too old to take it this time. Everything’s been worn too thin. Doom, darkness and destruction bear down on us. The Apocralypse is nigh.

The date was November 23, 1965. One company was in contact. Machinegun fire rattled in the distance. Tom McEnry took pictures of artillery firing support for soldiers in the field. Just after eleven o’clock in the morning, McEnry complained about his light meter. “I can’t get a reading,” he said, shaking the small black instrument in front of him, banging it against his hand. At the same time, field commanders called in on their radios that something strange was happening. ‘I don’t know what it is,’ one officer called, ‘but it’s weird. It’s really gettin, uh, kinda eerie out here.’ The air became still. Insects went quiet. The artillery stopped firing. Radios were silent. The temperature, which had been about eighty-five degrees, dropped to around seventy or seventy-five. The light dimmed, though there were no clouds. The North Vietnamese broke contact. The war stopped. Someone said, ‘Look at the sun!’ Everyone looked up. A thin black disc appeared at the side of the white-yellow sun, obscuring part of it, blocking the light. ‘Far fucking out,’ a soldier said. ‘Would you believe it?’ said another. ‘A fucking ee-clipse? In fucking Veetnam?’ ‘I bet the VC think we done it,’ a GI said. ‘That’s why they took off.’ ‘Shee-it.’ Several minutes passed in near silence. The hand of an unseen presence seemed to move across the tropical savanna. No one spoke. Then the light brightened. The temperature warmed. Insects screeched. A few gunshots cracked. Field radios came alive with chatter and hiss. Artillery boomed. Helicopter blades whacked the air. The war, having skipped a beat, resumed as if nothing had happened.

There were people who saw the future of warfare coming from the skies. And they always knew that would mean bombing civilians. That’s what it was always about, though no one would say it aloud. You see, they thought that if you killed enough civilians it would bring a quick end to any war.

Who is the world’s longest-serving monarch of all time? ‘Queen Victoria’ people will say, ‘But Elizabeth II is catching up’. Wrong! Sobhuza II’s reign of Swaziland began in 1899 when he was just three months old. During his reign, worldwide events that took place included the First World War, the Second World War, The Moon Landings, the birth and death of Glam Rock and Disco, and the invention of the compact disc (just!). On the day of his death, the 21st of August 1982, Sobhuza II had reigned for an incredible 82 years and nine months!

The turntable, with its appendages, is a stalled computer: a head and an infinite tape. It can read stored material, it can reproduce any sound; but used in the standard way, it can only read, not store. Hip hop declared war on this nonfacility by throwing the disc into reverse, mutilating predetermined regimes of speed and frequency. Hip hop mobilized the third category of action of the computer; alongside reading and storing information, the universal machine must be able to act on itself, to calculate. The phase space of all possible sounds of the turntable is determined by the table drawn up at the intersection of speed and frequency. Turntablism opens this space up to mutation outside of the regimes of melody, harmony, and voice by forming a copula between the two series, rhythm and noise. The endless tape of the Turing machine is imposed on the finite coil, causing it to leap from break to break. Feedback is "the property of being able to adjust future conduct by past performance,"" to reprogram: to alter its performance in the light of computation. The turntable invents the DJ in order to compute.

Admiral Nelson won the great Battle of Trafalgar against the French during the Napoleonic Wars. The Viscount of Camperdown, who also won many battles during that period, was one of the admirals under Nelson. The Viscount of Canperdown's family crest had a ship with full sails on it and with two little Latin words: Disce pai—"Lean to suffer." That is precisely what Peter and Paul and Job and Moses and Jesus would say to you and me as believers in the fallen world. "Learn to suffer.