Ng Futures Quotes

We've searched our database for all the quotes and captions related to Ng Futures. Here they are! All 42 of them:

To a parent, your child wasn't just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all at the same time. You could see it every time you looked at her: layered in her face was the baby she'd been and the child she'd become and the adult she would grow up to be, and you saw them all simultaneously, like a 3-D image. It made your head spin. It was a place you could take refuge, if you knew how to get in. And each time you left it, each time your child passed out of your sight, you feared you might never be able to return to that place again.
Celeste Ng (Little Fires Everywhere)
Dreaming of his future, he no longer heard all the things she did not say.
Celeste Ng (Everything I Never Told You)
To a parent, your child wasn't just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once.
Celeste Ng (Little Fires Everywhere)
To a parent, your child wasn’t just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once.
Celeste Ng (Little Fires Everywhere)
Whenever he remembered this moment, it lasted forever: a flash of complete separateness as Lydia disappeared beneath the surface. Crouched on the dock, he had a glimpse of the future: without her, he would be completely alone. In the instant after, he knew it would change nothing. He could feel the ground still tipping beneath him. Even without Lydia, the world would not level. He and his parents and their lives would spin into the space where she had been. They would be sucked into the vacuum she left behind. More than this: the second he touched her, he knew that he had misunderstood everything. When his palms hit her shoulders, when the water closed over her head, Lydia had felt relief so great she had sighed in a deep choking lungful. She had staggered so readily, fell so eagerly, that she and Nath both knew: that she felt it, too, this pull she now exerted, and didn't want it. That the weight of everything tilting toward her was too much.
Celeste Ng (Everything I Never Told You)
Journalists,” she explained in a civics speech about dream careers, “chronicle our everyday lives. They reveal truths and information that the public deserves to know, and they provide a record for posterity, so that future generations can learn from our mistakes and improve upon our achievements.
Celeste Ng (Little Fires Everywhere)
I mean, that’s the future, isn’t it? In the future we’ll all be able to look past race.
Celeste Ng (Little Fires Everywhere)
Journalists...chronicle our everyday lives. They reveal truths and information that the public deserves to know, and they provide a record for posterity, so that future generations can learn from our mistakes and improve upon our achievements.
Celeste Ng (Little Fires Everywhere)
Where do we follow the rules, and where do we justify breaking them? Do our pasts determine what we deserve in the future? And is it ever possible to leave your past behind?
Celeste Ng (Little Fires Everywhere)
To a parent, your child wasn’t just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she’d been and the child she’d become and the adult she would grow up to be,
Celeste Ng (Little Fires Everywhere)
To a parent, your child wasn’t just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she’d been and the child she’d become and the adult she would grow up to be, and you saw them all simultaneously, like a 3-D image. It made your head spin. It was a place you could take refuge, if you knew how to get in. And each time you left it, each time your child passed out of your sight, you feared you might never be able to return to that place again.
Celeste Ng (Little Fires Everywhere)
To a parent, your child wasn't just a person: your child was a *place*, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she'd been and the child she'd become and the adult she would grow up to be, and you saw them all simultaneously, like a 3-D image.
Celeste Ng (Little Fires Everywhere)
To a parent, your child wasn't just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for existed all at once.
Celeste Ng (Little Fires Everywhere)
To a parent, your child wasn’t just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she’d been and the child she’d become and the adult she would grow up to be, and you saw them all simultaneously, like a 3-D image. It made your head spin.
Celeste Ng (Little Fires Everywhere)
To a parent, your child wasn’t just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living in and the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she’d been and the child she’d become and the adult she’d grow up to be, and you saw them all simultaneously, like a 3-D image. It made your head spin. It was a place you could take refuge, if you knew how to get in. And each time you left it, each time your child passed out of your sight, you thought you might never be able to return to that place again.
Celeste Ng (Little Fires Everywhere)
a parent, your child wasn’t just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she’d been and the child she’d become and the adult she would grow up to be, and you saw them all simultaneously, like a 3-D image. It made your head spin. It was a place you could take refuge, if you knew how to get in. And each time you left it, each time your child passed out of your sight, you feared
Celeste Ng (Little Fires Everywhere)
To a parent, your child wasn’t just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she’d been and the child she’d become and the adult she would grow up to be, and you saw them all simultaneously, like a 3-D image. It made your head spin. It was a place you could take refuge, if you knew how to get in. And each time you left it, each time your child passed out of your sight, you feared you might never be able to return to that place
Celeste Ng (Little Fires Everywhere)
To a parent, your child wasn’t just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she’d been and the child she’d become and the adult she would grow up to be, and you saw them all simultaneously, like a 3-D image. It made your head spin. It was a place you could take refuge, if you knew how to get in. And each time you left it, each time your child passed out of your sight, you feared you might never be able to return to that place again. Early,
Celeste Ng (Little Fires Everywhere)
Sometimes you almost forgot: that you didn't look like everyone else. In homeroom or at the drugstore or at the supermarket, you listened to morning announcements or dropped off a roll of film or picked out a carton of eggs and felt like just another someone in the crowd. Sometimes you didn't think about it at all. And then sometimes you noticed the girl across the aisle watching, the pharmacist watching, the checkout boy watching, and you saw yourself reflected in their stares: incongruous. Catching the eye like a hook. Every time you saw yourself from the outside, the way other people saw you, you remembered all over again. You saw it in the sign at the Peking Express - a cartoon man with a coolie hat, slant eyes, buckteeth, and chopsticks. You saw it in the little boys on the playground, stretching their eyes to slits with their fingers - Chinese - Japanese - look at these - and in the older boys who muttered ching chong ching chong ching as they passed you on the street, just loud enough for you to hear. You saw it when waitresses and policemen and bus drivers spoke slowly to you, in simple words, as if you might not understand. You saw it in photos, yours the only black head of hair in the scene, as if you'd been cut out and pasted in. You thought: Wait, what's she doing there? And then you remembered that she was you. You kept your head down and thought about school, or space, or the future, and tried to forget about it. And you did, until it happened again.
Celeste Ng (Everything I Never Told You)
The relevant time scale for superhuman AI is less predictable, but of course that means it, like nuclear fission, might arrive considerably sooner than expected. One formulation of the “it’s too soon to worry” argument that has gained currency is Andrew Ng’s assertion that “it’s like worrying about overpopulation on Mars.”11 (He later upgraded this from Mars to Alpha Centauri.) Ng, a former Stanford professor, is a leading expert on machine learning, and his views carry some weight. The assertion appeals to a convenient analogy: not only is the risk easily managed and far in the future but also it’s extremely unlikely we’d even try to move billions of humans to Mars in the first place. The analogy is a false one, however. We are already devoting huge scientific and technical resources to creating ever-more-capable AI systems, with very little thought devoted to what happens if we succeed.
Stuart Russell (Human Compatible: Artificial Intelligence and the Problem of Control)
A million little chances to change the future. They should never have married. He should never have touched her. She should have turned around, stepped out of his office into the hallway, walked away. He sees with utter clarity: none of this was supposed to happen. A mistake.
Celeste Ng (Everything I Never Told You)
He never completed the sentence, but in his imagined future, he floated away, untethered.
Celeste Ng (Everything I Never Told You)
the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she’d been and the child she’d become and the adult she would grow up to be, and you saw them all simultaneously, like a 3-D image. It
Celeste Ng (Little Fires Everywhere)
to. To a parent, your child wasn’t just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she’d been and the child she’d become and the adult she would grow up to be, and you saw them all simultaneously, like a 3-D image. It made your head spin. It was a place you could take refuge, if you knew how to get in. And each time you left it, each time your child passed out of your sight, you feared you might never be able to return to that place again.
Celeste Ng (Little Fires Everywhere)
To a parent, your child wasn’t just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she’d been and the child she’d become and the adult she would grow up to be, and you saw them all simultaneously, like a 3-D image.
Celeste Ng (Little Fires Everywhere)
You saw it in photos, yours the only black head of hair in the scene, as if you'd been cut out and pasted in. You thought: Wait, what's she doing there? And then you remembered that 'she' was 'you'. You kept your head down and thought about school, or space, or the future, and tried to forget about it. And you did, until it happened again.
Celeste Ng (Everything I Never Told You)
Sometimes you almost forgot: that you didn't look like everyone else. In homeroom or at the drugstore or at the supermarket, you listened to morning announcements or dropped off a roll of film or picked up a carton of eggs and felt like just another someone in the crowd. Sometimes you didn't think about it at all. And then sometimes you noticed the girl across the aisle watching, the pharmacist watching, the checkout boy watching, and you saw yourself reflected in their stares: incongruous. Catching the eye like a hook. Every time you saw yourself from the outside, the way other people saw you, you remembered all over again. You saw it in the sign at the Peking Express - a cartoon man with a coolie hat, slant eyes, buckteeth, and chopsticks. You saw it in the little boys on the playground, stretching their eyes to slits with their fingers -- Chinese - Japanese - look at these - and in the older boys who muttered ching chong ching chong ching as they passed you on the street, just loud enough for you to hear. You saw it when waitresses and policemen and bus drivers spoke slowly to you, in simple words, as if you might not understand. You saw it in photos, yours the only black head of hair in the scene, as if you'd been cut out and pasted in. You thought: Wait, what's she doing there? And then you remembered that she was you. You kept your head down and thought about school, or space, or the future, and tried to forget about it. And you did, until it happened again.
Celeste Ng (Everything I Never Told You)
Diamond Hill—what a glorious name for a place. No one outside of Hong Kong would have guessed it was the moniker of a squatter village in Kowloon East. In the fifties and sixties, it was a ghetto with its share of grime and crime, and sleaze oozing from brothels, opium dens, and underground gambling houses. There and then, you found no diamonds but plenty of poor people residing on its muddy slopes. Most refugees from mainland China settled in dumps like this because the rent was dirt cheap. Hong Kong began prospering in the seventies and eighties, and its population exploded, partly due to the continued influx of refugees. Large-scale urbanization and infrastructure development moved at breakneck speed. There was no longer any room for squatter villages or shantytowns. By the late eighties, Diamond Hill was chopped into pieces and demolished bit by bit with the construction of the six-lane Lung Cheung Road in its north, the Tate’s Cairn Tunnel in its northwest, and its namesake subway station in its south. Only its southern tip had survived. More than two hundred families and businesses crammed together in this remnant of Diamond Hill, where the old village’s flavor lingered. Its buildings remained a mishmash of shoddy low-rise brick houses and bungalows, shanties, tin huts, and illegal shelters made of planks and tar paper occupying every nook and cranny. There was not a single thoroughfare wide enough for cars. The only access was by foot using narrow lanes flanked by gutters. The lanes branched out and merged, twisted and turned, and dead-ended at tall fences built to separate the village from the outside world. The village was like a maze. The last of Diamond Hill’s residents were on borrowed time and borrowed land. They had already received eviction notices from the Hong Kong government, and all had made plans for the future. The government promised to compensate longtime residents for vacating the land, but not the new arrivals.
Jason Y. Ng (Hong Kong Noir)
A million little chances to change the future.
Celeste Ng (Everything I Never Told You)
We were poorer then, during the four decades before and after the second war, even though wealth lined some of the lanes, avenues, streets, and roads of TST. We came to TST because of that wealth and the men who haunted the district, trolling for love, gluttonous with desire. But we were happier then because any money is better than being impoverished. After all, we were young and pretty enough, smart and hungry enough, sad and desperate enough to go away and stay away in TST, far from the shanties or villages or homes of our birth. Those homes where love was absent and our desire for more translated into lust for a future that could be our own. We came in droves during war and peacetime, hunting out a perch to land on for what passed as a lifetime.
Jason Y. Ng (Hong Kong Noir)
Sentences such as “tomorrow”, “next week”, and “future” have the same meaning as “can never be done”.
G. Ng (The 38 Letters from J.D. Rockefeller to His Son: Perspectives, Ideology, and Wisdom)
I have no rights to be poor I should be rich; I have no right to be poor. Let money be my slave, but do not let me be a slave of money. Every penny in his hand adds a penny to the power to determine his future destiny. (Well does the man know, who has suffered, there are things sweeter and holier and more sacred than gold.)
G. Ng (The 38 Letters from J.D. Rockefeller to His Son: Perspectives, Ideology, and Wisdom)
This day seemed to determine everything in my future. To this day, whenever I ask myself what would happen if I did not get the job, I often tremble all over. Because I know what I got from that job, and what will happen to me without it. Therefore, I have celebrated September 26th as a “rebirth birthday” all my life, and I have more emotions for this day than my birthday.
G. Ng (The 38 Letters from J.D. Rockefeller to His Son: Perspectives, Ideology, and Wisdom)
To a parent, your child wasn’t just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she’d been and the child she’d become and the adult she would grow up to be, and you saw them all simultaneously, like a 3-D image. It made your head spin. It was a place you could take refuge, if you knew how to get in. And each time you left it, each time your child passed out of your sight, you feared you might never be able to return to that place again. Early, early
Celeste Ng (Little Fires Everywhere)
Five years, a year, even six months earlier, Lydia would have found sympathy in her brother's eyes. I know. I know. Confirmation and consolation in a single blink. This time Nath, immersed in a library book, did not notice Lydia's clenched fingers, the sudden red that rimmed her eyes. Dreaming of his future, he no longer heard all the things she did not say.
Celeste Ng (Everything I Never Told You)
All her life she had heard her mother’s heart Drumming one beat: doctor, doctor, doctor. She wanted this so much, Lydia knew, that she no longer needed to say it. It was always there. Lydia could not imagine another future, another life. It was like trying to imagine a world where the sun went around the moon, or where there was no such thing as air.
Celeste Ng (Everything I Never Told You)
1. Omnipresent and Omnipotent Authoritarianism: Authoritarian Media vs. Social Media?2. Istanbul Mobil'ized: Mobile Phones' Contribution to Political Participation and Activism in Istanbul Gezi Park Protests and Onwards. 3. The Gezi Park Protest and #resistgezi: A Chronicle of Tweeting the Protests. 4. Peace Journalism: Urgently and Desperately Needed in Post-Election Turkey.5. Critical Thinking Skills on Social Media: A Blooming Season Or A Period Of Decline? 6. Social media, blended learning and constructivism: A jigsaw completed by the uses and gratifications theory? 7. Educational uses of social media and problem-based learning. 8. The future of the new media: The mobile generation and interpersonal communication. 9. "Keep in E-Touch" Personality and Facebook use (with Ng)10. Of Kate Moss & Marilyn Monroe: Body Dissatisfaction and its Relation to Media (with Dev)11. Media psychology and intercultural communication: The social representations of Vietnam on Turkish newspapers. 12. Regional Journalism in Southeast Asia and ASEAN Identity in Making
Ulaş Başar Gezgin (Connecting Social Science Research with Human Communication Practices: Politics, Education and Psychology of Social Media, Media and Culture)
You know you’re the only girl in this school who’s not white?” “Yeah? I didn’t realize.” This was a lie. Even with blue eyes, she could not pretend she blended in. “You and Nath, you’re practically the only Chinese people in the whole of Middlewood, I bet.” “Probably.” Jack settled back into his seat and rubbed at a small dent in the plastic of the steering wheel. Then, after a moment, he said, “What’s that like?” “What’s it like?” Lydia hesitated. Sometimes you almost forgot: that you didn’t look like everyone else. In homeroom or at the drugstore or at the supermarket, you listened to morning announcements or dropped off a roll of film or picked out a carton of eggs and felt like just another someone in the crowd. Sometimes you didn’t think about it at all. And then sometimes you noticed the girl across the aisle watching, the pharmacist watching, the checkout boy watching, and you saw yourself reflected in their stares: incongruous. Catching the eye like a hook. Every time you saw yourself from the outside, the way other people saw you, you remembered all over again. You saw it in the sign at the Peking Express—the man with a coolie hat, slant eyes, buckteeth, and chopsticks. You saw it in the little boys on the playground, stretching their eyes to slits with their fingers—Chinese—Japanese—look at these—and in the older boys who muttered ching chong ching chong ching as they passed you on the street, just loud enough for you to hear. You saw it when waitresses and policemen and bus drivers spoke slowly to you, in simple words, as if you might not understand. You saw it in photos, yours the only black head of hair in the scene, as if you’d been cut out and pasted in. You thought: Wait, what’s she doing there? And then you remembered that she was you. You kept your head down and thought about school, or space, or the future, and tried to forget about it. And you did, until it happened again.
Celeste Ng (Everything I Never Told You)
She thought suddenly of those moments at the restaurant, after the dinner rush had ended and things were quiet, when Bebe sometimes rested her elbows on the counter and drifted away. Mia understood exactly where she drifted to. To a parent, your child wasn't just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once. You could see it every time you looked at her: layered in her face was the baby she'd been and the child she'd become and the adult she would grow up to be, and you saw them all simultaneously, like a 3-D image. It made your head spin. It was a place you could take refuge, if you knew how to get in. And each time you left it, each time your child passed out of your sight, you feared you might never be able to return to that place again.
Celeste Ng (Little Fires Everywhere)
To a parent, your child wasn’t just a person: your child was a place, a kind of Narnia, a vast eternal place where the present you were living and the past you remembered and the future you longed for all existed at once. You
Celeste Ng (Little Fires Everywhere)
Do our pasts determine what we deserve in the future? And is it ever possible to leave your past behind?
Celeste Ng (Little Fires Everywhere)
Violent s'ya or verbally abused ka" No woman deserves to be treated that way. Kung hindi ka nirerespeto ng partner mo ngayon pa lang, how do you expect him to treat you well when you're already his wife? Never let a man hurt you physically or verbally. If he has done it more than twice, honey, leave! Save yourself from future pain.
Alex Gonzaga (Dear Alex, Break Na Kami. Paano?! Love, Catherine)