Tv Programmes Quotes

And I want to play hide-and-seek and give you my clothes and tell you I like your shoes and sit on the steps while you take a bath and massage your neck and kiss your feet and hold your hand and go for a meal and not mind when you eat my food and meet you at Rudy's and talk about the day and type up your letters and carry your boxes and laugh at your paranoia and give you tapes you don't listen to and watch great films and watch terrible films and complain about the radio and take pictures of you when you're sleeping and get up to fetch you coffee and bagels and Danish and go to Florent and drink coffee at midnight and have you steal my cigarettes and never be able to find a match and tell you about the tv programme I saw the night before and take you to the eye hospital and not laugh at your jokes and want you in the morning but let you sleep for a while and kiss your back and stroke your skin and tell you how much I love your hair your eyes your lips your neck your breasts your arse your and sit on the steps smoking till your neighbour comes home and sit on the steps smoking till you come home and worry when you're late and be amazed when you're early and give you sunflowers and go to your party and dance till I'm black and be sorry when I'm wrong and happy when you forgive me and look at your photos and wish I'd known you forever and hear your voice in my ear and feel your skin on my skin and get scared when you're angry and your eye has gone red and the other eye blue and your hair to the left and your face oriental and tell you you're gorgeous and hug you when you're anxious and hold you when you hurt and want you when I smell you and offend you when I touch you and whimper when I'm next to you and whimper when I'm not and dribble on your breast and smother you in the night and get cold when you take the blanket and hot when you don't and melt when you smile and dissolve when you laugh and not understand why you think I'm rejecting you when I'm not rejecting you and wonder how you could think I'd ever reject you and wonder who you are but accept you anyway and tell you about the tree angel enchanted forest boy who flew across the ocean because he loved you and write poems for you and wonder why you don't believe me and have a feeling so deep I can't find words for it and want to buy you a kitten I'd get jealous of because it would get more attention than me and keep you in bed when you have to go and cry like a baby when you finally do and get rid of the roaches and buy you presents you don't want and take them away again and ask you to marry me and you say no again but keep on asking because though you think I don't mean it I do always have from the first time I asked you and wander the city thinking it's empty without you and want what you want and think I'm losing myself but know I'm safe with you and tell you the worst of me and try to give you the best of me because you don't deserve any less and answer your questions when I'd rather not and tell you the truth when I really don't want to and try to be honest because I know you prefer it and think it's all over but hang on in for just ten more minutes before you throw me out of your life and forget who I am and try to get closer to you because it's beautiful learning to know you and well worth the effort and speak German to you badly and Hebrew to you worse and make love with you at three in the morning and somehow somehow somehow communicate some of the overwhelming undying overpowering unconditional all-encompassing heart-enriching mind-expanding on-going never-ending love I have for you.

Luna didn't seem perturbed by Ron's rudeness; on the contrary, she simply watched him for a while as though he were a mildly interesting television programme.

It is absolutely what I think.' He looks deadly serious now. 'These academic guys have to feel important. They give papers and present TV programmes to show they're useful and valuable. But you do useful, valuable work every day. You don't need to prove anything. How many people have you treated? Hundreds. You've reduced their pain. You've made hundreds of people happier. Has Antony Tavish ever made anyone happier?

I sort of like watching them," he said; "I watch laundromat washers the way other people watch television, it's soothing because you always know what to expect and you don't have to think about it. Except I can vary my programmes a little; if I get tired of watching the same stuff I can always put in a pair of green socks or something colourful like that.

When you are working on a problem, you sometimes get so close to it that you can’t see all the options. You miss elegant solutions because the creative part of your mind is suppressed by the intensity of your focus. Sometimes the best way to solve a problem is to go home, eat dinner, watch TV, go to bed, and then wake up the next morning and take a shower.

I expect the audience to assume TV is stupid. I accept that it's my job to overcome it.

From the first smouldering taper to the elegant lanterns whose light reverberated around eighteenth-century courtyards and from the mild radiance of those lanterns to the unearthly glow of the sodium lamps that line the Belgian motorways, it has all been combustion. Combustion is the hidden principle behind every artefact we create. The making of a fish-hook, manufacture of a china cup, or production of a television programme, all depend on the same process of combustion. Like our bodies and like our desires, the machines we have devised are possessed of a heart which is slowly reduced to embers.

A statement: children who watch violent TV programmes tend to be more violent when they grow up. But did the TV cause the violence, or do violent children preferentially enjoy watching violent programmes? Very likely both are true. Commercial defenders of TV violence argue that anyone can distinguish between television and reality. But Saturday morning children’s programmes now average 25 acts of violence per hour. At the very least this desensitizes young children to aggression and random cruelty. And if impressionable adults can have false memories implanted in their brains, what are we implanting in our children when we expose them to some 100,000 acts of violence before they graduate from elementary school?

Your scientists have done studies with people connected to an EEG brain-scanning device while watching TV; they registered activity in the delta wave frequencies, essentially occupying a highly programmable sleep state while viewing TV.

Salt,” he says indignantly, his voice rising. “Are you going to fucking cook him?” I shake my head, flipping the top off. “I saw it on Supernatural. Dean and Sam shoot it at ghosts.” “Oh well, by all means let’s pin our survival on fictional characters in a TV programme.

I am a modern lady, a cutting-edge, very recent woman. And yet the only menstrual blood I have ever seen is my own. Is that weird? I can see sex on all the movies and TV programmes, I can watch murders being enacted and people pretending to shit themselves in the street, yet no periods.

Apparently advertisers don't like clever or insightful television programmes because such fare encourages people to discuss what they've seen during the ad breaks. This would explain much about the current state of broadcasting.

What's more, throughout much of our society, the image of female perfection to which women are encouraged to aspire has become more and more defined by sexual allure. Of course wanting to be sexually attractive has always and will always be a natural desire for both men and women, but in this generation a certain view of female sexuality has become celebrated throughout advertisements, music, television programmes, films and magazines. This image of female sexuality has become more than ever defined by the terms of the sex industry.

Watching television is another high-risk situation. This might seem counterintuitive, since people often look to TV as an escape—something to take their mind off things. But here’s the problem: Most programs are simply not interesting or engaging enough to fully occupy the mind, so it’s all too easy for our thoughts to wander off when we’re sitting in front of the tube. Add to this the fact that depression impairs our ability to concentrate—including the ability to stay focused on a TV program—and it’s no surprise that watching television is often a recipe for disaster. It’s one of the most effective ways to usher in an extended bout of rumination.

We welcome into our homes the machines that vacuum the thoughts out of our heads and pump in someone else's. John Berger in Ways of Seeing said that television advertisers succeeded by persuading viewers to envy themselves as they would be if they bought the product. These programmes do something similar, by persuading the viewer to envy himself as he would be if his life were that little bit more exciting and melodramatic than it actually is. They can make things seem normal that are not.

Television viewers, I was assured, expect to be told the truth in "science programmes". When I protested that in several areas I was not yet at all sure what the truth was, worse still that I was not sure that it mattered what the truth was so long as one way of looking at things made better sense than another, it left everybody confused.

Like Hilary (who never watched her own television programmes), Dorothy had no intention of ever consuming the products which she was happy to foist upon an uncomplaining public.

Because now mental health disorders have gone “mainstream”. And for all the good it’s brought people like me who have been given therapy and stuff, there’s a lot of bad it’s brought too. Because now people use the phrase OCD to describe minor personality quirks. “Oooh, I like my pens in a line, I’m so OCD.” NO YOU’RE FUCKING NOT. “Oh my God, I was so nervous about that presentation, I literally had a panic attack.” NO YOU FUCKING DIDN’T. “I’m so hormonal today. I just feel totally bipolar.” SHUT UP, YOU IGNORANT BUMFACE. Told you I got angry. These words – words like OCD and bipolar – are not words to use lightly. And yet now they’re everywhere. There are TV programmes that actually pun on them. People smile and use them, proud of themselves for learning them, like they should get a sticker or something. Not realizing that if those words are said to you by a medical health professional, as a diagnosis of something you’ll probably have for ever, they’re words you don’t appreciate being misused every single day by someone who likes to keep their house quite clean. People actually die of bipolar, you know? They jump in front of trains and tip down bottles of paracetamol and leave letters behind to their devastated families because their bullying brains just won’t let them be for five minutes and they can’t bear to live with that any more. People also die of cancer. You don’t hear people going around saying: “Oh my God, my headache is so, like, tumoury today.” Yet it’s apparently okay to make light of the language of people’s internal hell

The achievement of star status itself would seem to be based not on talent or good looks any more, but on the risks taken for the camera by a whole host of stuntmen brought in from the fairgrounds and circuses: trick riding, controlled falls, suspended accidents and suicidal exploits, leading, with the coming of 'live' transmission, to the 'confessional' TV programme, to the so-called reality show, which shades over, at the edges, into the snuff movie.

Lots of people are not in the business you think they’re in. Xerox, for instance, is in the business of selling toner cartridges. All that mucking about they do developing high-tech copying and printing machines is just creating a commodity market in toner cartridges, which is where their profit lies. Television companies are not in the business of delivering television programmes to their audience, they’re in the business of delivering audiences to their advertisers.

Ironically, the era of the free market has led to the most successful secessionist struggle ever waged in India – the secession of the middle and upper classes to a country of their own, somewhere up in the stratosphere where they merge with the rest of the world’s elite. This Kingdom in the Sky is a complete universe in itself, hermetically sealed from the rest of India. It has its own newspapers, films, television programmes, morality plays, transport systems, malls, and intellectuals.

I flicked through the library to choose from one of a dozen eBooks I’d downloaded but had yet to start reading. As a rule, novels bore me. The concentration it takes to remember what you’ve read and who is who as you swipe from one page to the next is arduous. I much prefer downloading a television programme and watching it on my phone instead. But Janine, our branch manager, frowned upon us doing that, one of many petty little dislikes she’d made us aware of since she’d taken charge seven months earlier

Withnail: This is ridiculous. Look at me, I'm 30 in a month and I've got a sole flapping off my shoe. Marwood: It'll get better, it has to. Withnail: Easy for you to say, luvvie, you've had an audition. Why can't I have an audition? It's ridiculous. I've been to drama school. I'm good looking. I tell you, I've a fuck sight more talent that half the rubbish that gets on television. Why can't I get on television? Marwood: Well, I don't know. It'll happen. Withnail: Will it? That's what you say. The only programme I'm likely to get on is the fucking news.

However popular Candid Camera may have been, though, it represented a genre—with the exception of a few popular shows like COPS, Real World, and America’s Funniest Home Videos—that lay dormant on American prime-time television until the late 1990s. Then, stung by a loss of viewers and watercooler buzz to more innovative, more targeted, and more creatively unshackled cable operators, network television programmers revisited reality. The show that ushered in the new era in network programming debuted in the summer of 2000 on CBS, and it became a ratings powerhouse known as Survivor.

Property porn: The unquestioned assumption, widely propagated in countless television programmes, that home improvement is the highest form of self improvement. If we never again see another programme in which some vapid idiots mince around redecorating a house, our lives will have gone up in value by over 30%

I amazed myself, above all, with how well I was able to manage. Michel got to school on time, his teeth brushed and his clothes clean. More or less clean: I was less critical of a few spots on his trousers than Claire would have been, but then I was his father. I’ve never tried to be ‘both father and mother’ to him, the way some half-assed, home-made-sweater-wearing head of a single-parent household put it once in some bullshit programme I saw on afternoon TV.

The one thing Dante never considered is that hell would be a place that the overwhelming majority LOVE. American Idol and X-Factor - these are programmes created by the elite to provide “bread and circuses” to the masses, and how the masses flock to the Colosseum. What they haven’t realised - because they’re too stupid - is that they’re the “Christians” being fed to the lions. They’re watching the annihilation of their hopes of a good life, and yet they’re laughing and cheering! That demonstrates the extent of the elite’s mind control over them. Every second you spend watching junk TV is a wasted second, and if you watch a huge amount of shit, you’ve wasted your life.

I deal in information," he says to the smarmy, toadying pseudojournalist who "interviews" him. He's sitting in his office in Houston, looking slicker than normal. "All television going out to Consumers throughout the world goes through me. Most of the information transmitted to and from the CIC database passes through my networks. The Metaverse -- -the entire Street -- exists by virtue of a network that I own and control. "But that means, if you'll just follow my reasoning for a bit, that when I have a programmer working under me who is working with that information, he is wielding enormous power. Information is going into his brain. And it's staying there. It travels with him when he goes home at night. It gets all tangled up into his dreams, for Christ's sake. He talks to his wife about it. And, goddamn it, he doesn't have any right to that information. If I was running a car factory, I wouldn't let workers drive the cars home or borrow tools. But that's what I do at five o'clock each day, all over the world, when my hackers go home from work. "When they used to hang rustlers in the old days, the last thing they would do is piss their pants. That was the ultimate sign, you see, that they had lost control over their own bodies, that they were about to die. See, it's the first function of any organization to control its own sphincters. We're not even doing that. So we're working on refining our management techniques so that we can control that information no matter where it is -- on our hard disks or even inside the programmers' heads. Now, I can't say more because I got competition to worry about. But it is my fervent hope that in five or ten years, this kind of thing won't even be an issue.

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.

Then, just as we were to leave on a whirlwind honeymoon in the beautiful Pacific Northwest, a call came from Australia. Steve’s friend John Stainton had word that a big croc had been frequenting areas too close to civilization, and someone had been taking potshots at him. “It’s a big one, Stevo, maybe fourteen or fifteen feet,” John said over the phone. “I hate to catch you right at this moment, but they’re going to kill him unless he gets relocated.” John was one of Australia’s award-winning documentary filmmakers. He and Steve had met in the late 1980s, when Steve would help John shoot commercials that required a zoo animal like a lizard or a turtle. But their friendship did not really take off until 1990, when an Australian beer company hired John to film a tricky shot involving a crocodile. He called Steve. “They want a bloke to toss a coldie to another bloke, but a croc comes out of the water and snatches at it. The guy grabs the beer right in front of the croc’s jaws. You think that’s doable?” “Sure, mate, no problem at all,” Steve said with his usual confidence. “Only one thing, it has to be my hand in front of the croc.” John agreed. He journeyed up to the zoo to film the commercial. It was the first time he had seen Steve on his own turf, and he was impressed. He was even more impressed when the croc shoot went off flawlessly. Monty, the saltwater crocodile, lay partially submerged in his pool. An actor fetched a coldie from the esky and tossed it toward Steve. As Steve’s hand went above Monty’s head, the crocodile lunged upward in a food response. On film it looked like the croc was about to snatch the can--which Steve caught right in front of his jaws. John was extremely impressed. As he left the zoo after completing the commercial shoot, Steve gave him a collection of VHS tapes. Steve had shot the videotapes himself. The raw footage came from Steve simply propping his camera in a tree, or jamming it into the mud, and filming himself single-handedly catching crocs. John watched the tapes when he got home to Brisbane. He told me later that what he saw was unbelievable. “It was three hours of captivating film and I watched it straight through, twice,” John recalled to me. “It was Steve. The camera loved him.” He rang up his contacts in television and explained that he had a hot property. The programmers couldn’t use Steve’s original VHS footage, but one of them had a better idea. He gave John the green light to shoot his own documentary of Steve. That led to John Stainton’s call to Oregon on the eve of our honeymoon. “I know it’s not the best timing, mate,” John said, “but we could take a crew and film a documentary of you rescuing this crocodile.” Steve turned to me. Honeymoon or crocodile? For him, it wasn’t much of a quandary. But what about me?” “Let’s go,” I replied.

The importance of interaction The role of interaction between a language-learning child and an interlocutor who responds to the child is illuminated by cases where such interaction is missing. Jacqueline Sachs and her colleagues (1981) studied the language development of a child they called Jim. He was a hearing child of deaf parents, and his only contact with oral language was through television, which he watched frequently. The family was unusual in that the parents did not use sign language with Jim. Thus, although in other respects he was well cared for, Jim did not begin his linguistic development in a normal environment in which a parent communicated with him in either oral or sign language. A language assessment at three years and nine months indicated that he was well below age level in all aspects of language. Although he attempted to express ideas appropriate to his age, he used unusual, ungrammatical word order. When Jim began conversational sessions with an adult, his expressive abilities began to improve. By the age of four years and two months most of the unusual speech patterns had disappeared, replaced by language more typical of his age. Jim’s younger brother Glenn did not display the same type of language delay. Glenn’s linguistic environment was different from Jim’s: he had his older brother—not only as a model, but, more importantly as a conversational partner whose interaction allowed Glenn to develop language in a more typical way. Jim showed very rapid acquisition of English once he began to interact with an adult on a one-to-one basis. The fact that he had failed to acquire language normally prior to this experience suggests that impersonal sources of language such as television or radio alone are not sufficient. One-to-one interaction gives children access to language that is adjusted to their level of comprehension. When a child does not understand, the adult may repeat or paraphrase. The response of the adult may also allow children to find out when their own utterances are understood. Television, for obvious reasons, does not provide such interaction. Even in children’s programmes, where simpler language is used and topics are relevant to younger viewers, no immediate adjustment is made for the needs of an individual child. Once children have acquired some language, however, television can be a source of language and cultural information.

there had been only three crimes on the statute books; the other two being Crimes Against Oneself and Crimes Against the State. Crimes Against Oneself usually result in a period of in-depth counseling and your own TV show. For Crimes Against the State, an exhaustive and comprehensive programme of organ donation is generally implemented, with the option to accept forced exile to a planet of the Law and Order AI’s choosing, at any stage before reduction in organ count made that option unviable.

on the freedom of the press, and the single-minded drive to control all media in South Africa, take place while many journalists keep quiet. I have commented a lot on the SABC saga, on government attempts to cow the media and on the Gupta scandals in my columns and through my television programme, The Justice Factor, on the news channel eNCA. To my shame I have kept quiet about what is happening at places like Independent Newspapers, where I began my career. I also kept quiet when the chief executive officer of e.tv, the media company that owns the channel that airs my show, came out in 2014 and alleged that there were numerous and serious attempts to control news content on the channel. His testimony was chilling.

programmes

I was scripting for a series on the Arts programme which was shown very late on a Sunday evening, and I was sent off to get the low down on several up and coming musicians who would be featured each week. To the music world, they may have been up and coming, I would have preferred them to be down and going and preferably out of range.

When feminists can see the problem with all-male panels, but can’t see the problem with all-white television programmes, it’s worth questioning who they’re really fighting for.

Wildlife television programmes and their depiction of the African wilds and the creatures that inhabit them tend to give the false impression that elephants are friendly creatures (while they are indeed noble beasts, they are at best indifferent to our presence), and that you can cuddle lions and make pets of hyaenas.

She may be the only person who simply wants you to be happy. She’s good at being cosy. It’s nice to snuggle up to her while she reads to you. She embodies a species of wisdom: the knowledge that achievement is in the long run overrated, that simply being comfortable sitting next to another person watching a gardening programme on television, or carefully watering a potted geranium in the company of a small person, can be deeply important.

State wants the alleged techniques, presumably.” “I’ve been wondering about that,” Norman said. “I wonder if we do want them.” “How do you mean?” “It’s a bit difficult to explain … Look, have you been following television at all since you came home?” “Occasionally, but since the Yatakang news broke I’ve been much too busy to catch more than an occasional news bulletin.” “So have I, but—well, I guess I’m more familiar with the way trends get started here nowadays, so I can extrapolate from the couple or three programmes I have had time for.” Norman’s gaze moved over Elihu’s head to the far corner of the room. “Engrelay Satelserv blankets most of Africa, doesn’t it?” “The whole continent, I’d say. There are English-speaking people in every country on Earth nowadays, except possibly for China.” “So you’re acquainted with Mr. and Mrs. Everywhere?” “Yes, of course—these two who always appear in station identification slots, doing exotic and romantic things.” “Did you have a personalised set at any time, with your own identity matted into the Everywhere image?” “Lord, no! It costs—what? About five thousand bucks, isn’t it?” “About that. I haven’t got one either; the basic fee is for couple service, and being a bachelor I’ve never bothered. I just have the standard brownnose identity on my set.” He hesitated. “And—to be absolutely frank—a Scandahoovian one for the shiggy half of the pair. But I’ve watched friends’ sets plenty of times where they had the full service, and I tell you it’s eerie. There’s something absolutely unique and indescribable about seeing your own face and hearing your own voice, matted into the basic signal. There you are wearing clothes you’ve never owned, doing things you’ve never done in places you’ve never been, and it has the immediacy of real life because nowadays television is the real world. You catch? We’re aware of the scale of the planet, so we don’t accept that our own circumscribed horizons constitute reality. Much more real is what’s relayed to us by the TV.” “I can well understand that,” Elihu nodded. “And of course I’ve seen this on other people’s sets too. Also I agree entirely about what we regard as real. But I thought we were talking about the Yatakangi claim?” “I still am,” Norman said. “Do you have a homimage attachment on your set? No, obviously not. I do. This does the same thing except with your environment; when they—let’s see … Ah yes! When they put up something like the splitscreen cuts they use to introduce SCANALYZER, one of the cuts is always what they call the ‘digging’ cut, and shows Mr. and Mrs. Everywhere sitting in your home wearing your faces watching the same programme you’re about to watch. You know this one?” “I don’t think they have this service in Africa yet,” Elihu said. “I know the bit you mean, but it always shows a sort of idealised dream-home full of luxy gadgetry.” “That used to be what they did here,” Norman said. “Only nowadays practically every American home is full of luxy gadgetry. You know Chad’s definition of the New Poor? People who are too far behind with time-payments on next year’s model to make the down-payment on the one for the year after?” Elihu chuckled, then grew grave. “That’s too nearly literal to be funny,” he said. “Prophet’s beard, it certainly is! I found time to look over some of Chad’s books after Guinevere’s party, and … Well, having met him I was inclined to think he was a conceited blowhard, but now I think he’s entitled to every scrap of vanity he likes to put on.

After lunch Ruth will still experience that old Sunday afternoon dread—a heady mix of undone homework and uniform drying by the fire, cosy and sad at the same time. She’ll get the Dread even though she doesn’t have to go to work tomorrow. Summer School is over and the holidays have officially started. But as soon as the Sunday evening programmes come on the television—costume dramas, antiques and the countryside—the Dread will descend.

Afterwards there is hell to pay, as my father sometimes says. Aunt Lillian is screaming, which makes me cry. My father now is shaking me. The television is on behind me, showing the programme with monsters. Later Mrs Holt takes me to her house for a biscuit and some milk. Later the baby is gone, and Riley too. My father’s face, which is nearly always red, is as white as my mother’s when she was lying still on the bed. Riley has mothered the baby, I hear someone say. Because the baby has no mother. That is why they have both gone.

Just as consumers flocked to the Internet despite the hiccups of dial-up modems and clunky Web pages, they will flock to this new medium that empowers them in ways that no single company or industry can replicate. They will come to forget that their relationship to video programming used to be mediated by a black box connected to their TV set, and instead will enjoy the same degree of freedom that they have in consuming and using the text Web from any personal computer. Most importantly, the massive economies of scale and reach that the Internet already provides will extend to the realm of video production, where producing and self-distributing a video program is nearly as effortless as producing a Web site, and where millions of new producers and programmers are born.

It makes Celia furious that around ninety percent of the women on Italian TV are fabulous specimens with great legs, superb chests and hair as glossy as a mink's pelt, and that every prime-time programme, whether it be a games show or football analysis, seems to require the presence of an attractive young woman with no discernible function other than to be decorative. She shakes her head in disbelief at the shopping channels, with their delirious women screaming about the wonders of the latest buttock-firming apparatus, and bald blokes in shiny suits shouting ‘Buy my carpets! Buy my jewellery, for God's sake!' hour after hour after hour. She can't resolve the contradictions of a country where spontaneous generosity is as likely to be encountered as petty deviousness; where a predilection for emetically sentimental ballads accompanies a disconcertingly hard-headed approach to interpersonal relationships (friends summarily discarded, to be barely acknowledged when they pass on the streets); where veneration for tradition competes with an infatuation with the latest technology, however low the standard of manufacture (the toilet in Elisabetta's apartment wouldn't look out of place on the Acropolis, but it doesn't flush properly; her brother-in-law's Ferrari is as fragile as a newborn giraffe); where sophistication and the maintenance of ‘la bella figura’ are of primary importance, while the television programmes are the most infantile and demeaning in the world; where there's a church on every corner yet religion often seems a form of social decoration, albeit a form of decoration that's essential to life - 'It's like the wallpaper is holding the house up,’ Celia wrote from Rome. She'll never make sense of Italy, but that's the attraction, or a major part of it, which is something Charlie will never understand, she says. But he does understand it to an extent. He can understand how one might find it interesting for a while, for the duration of a holiday; he just doesn't understand how an English person - an English woman, especially - could live there.

For weeks all opinion polls and all responsible commentators had been predicting that there was no hope of the Labour Party being elected on a programme like this. Ever since Harry Perkins had been chosen to lead Labour at a tumultuous party conference two years earlier, the popular press had been saying that this proved what they had always argued – namely that the Labour Party was in the grip of a Marxist conspiracy. Privately the rulers of the great corporations had been gleeful, for they had convinced themselves that the British people were basically moderate and that, however rough the going got, they would never elect a Labour government headed by the likes of Harry Perkins. Picture, therefore, the dismay that swept the lobby of the Athenaeum as the television showed Perkins coming to the rostrum in Sheffield town hall to acknowledge not only his own re-election with a record majority, but to claim victory on behalf of his party. “Comrades,” intoned brother Perkins. “Comrades, my foot.” Sir Arthur Furnival was apoplectic. “Told you the man’s a Communist.

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The Death of Standards On his way to work, a council health and safety official deliberately knocks over a pedestrian and drives on. Bizarrely, upon arriving at his office he launches into a heartfelt tirade against hit and run drivers. Meanwhile, the department's team leader instigates a series of compulsory redundancies then appears on a local TV news programme to protest against the sackings in the strongest possible terms. Strangely, Jenny Carver – working as a temp in the office – seems to be the only one aware of her colleagues’ paradoxical behaviour. Finding herself trapped in a world where everybody really is their own worst enemy, she begins to suspect there may be some kind of supernatural intelligence at work.

In an interview for a BBC TV programme in 1999, Hans-Georg Gadamer recalled asking an old man in Messkirch if he had known Martin Heidegger as a boy. The man replied: ‘Martin? Yes, certainly I remember him.’ ‘What was he like?’ ‘Tscha [Well],’ answered the man, ‘What can I say? He was the smallest, he was the weakest, he was the most unruly, he was the most useless. But he was in command of all of us.

More radically, how can we be sure that the source of consciousness lies within our bodies at all? You might think that because a blow to the head renders one unconscious, the ‘seat of consciousness’ must lie within the skull. But there is no logical reason to conclude that. An enraged blow to my TV set during an unsettling news programme may render the screen blank, but that doesn’t mean the news reader is situated inside the television. A television is just a receiver: the real action is miles away in a studio. Could the brain be merely a receiver of ‘consciousness signals’ created somewhere else? In Antarctica, perhaps? (This isn’t a serious suggestion – I’m just trying to make a point.) In fact, the notion that somebody or something ‘out there’ may ‘put thoughts in our heads’ is a pervasive one; Descartes himself raised this possibility by envisaging a mischievous demon messing with our minds. Today, many people believe in telepathy. So the basic idea that minds are delocalized is actually not so far-fetched. In fact, some distinguished scientists have flirted with the idea that not all that pops up in our minds originates in our heads. A popular, if rather mystical, idea is that flashes of mathematical inspiration can occur by the mathematician’s mind somehow ‘breaking through’ into a Platonic realm of mathematical forms and relationships that not only lies beyond the brain but beyond space and time altogether. The cosmologist Fred Hoyle once entertained an even bolder hypothesis: that quantum effects in the brain leave open the possibility of external input into our thought processes and thus guide us towards useful scientific concepts. He proposed that this ‘external guide’ might be a superintelligence in the far cosmic future using a subtle but well-known backwards-in-time property of quantum mechanics in order to steer scientific progress.

More radically, how can we be sure that the source of consciousness lies within our bodies at all? You might think that because a blow to the head renders one unconscious, the ‘seat of consciousness’ must lie within the skull. But there is no logical reason to conclude that. An enraged blow to my TV set during an unsettling news programme may render the screen blank, but that doesn’t mean the news reader is situated inside the television. A television is just a receiver: the real action is miles away in a studio. Could the brain be merely a receiver of ‘consciousness signals’ created somewhere else? In Antarctica, perhaps? (This isn’t a serious suggestion – I’m just trying to make a point.) In fact, the notion that somebody or something ‘out there’ may ‘put thoughts in our heads’ is a pervasive one; Descartes himself raised this possibility by envisaging a mischievous demon messing with our minds. Today, many people believe in telepathy. So the basic idea that minds are delocalized is actually not so far-fetched. In fact, some distinguished scientists have flirted with the idea that not all that pops up in our minds originates in our heads. A popular, if rather mystical, idea is that flashes of mathematical inspiration can occur by the mathematician’s mind somehow ‘breaking through’ into a Platonic realm of mathematical forms and relationships that not only lies beyond the brain but beyond space and time altogether. The cosmologist Fred Hoyle once entertained an even bolder hypothesis: that quantum effects in the brain leave open the possibility of external input into our thought processes and thus guide us towards useful scientific concepts. He proposed that this ‘external guide’ might be a superintelligence in the far cosmic future using a subtle but well-known backwards-in-time property of quantum mechanics in order to steer scientific progress.

Whether we are aware of it or not, there is a good likelihood that any preferences for how your body looks are shaped by media-influenced ideals.8 If you are surrounded by highly air-brushed photos in magazines, heavily filtered images on social media and TV programmes featuring wealthy celebrities who can afford cosmetic surgery procedures to keep them looking as slim and youthful as possible, it can make you feel a bit shit about yourself by comparison, you know?

Food has become remarkably inefficient, and the pill-promoting futurists of the 1960s would be astonished to see how wrong they were. People spend hours preparing it, eating it and watching television programmes about it. People cherish local ingredients, and willingly pay a premium for foods produced without chemical fertilisers. By contrast, when we made the food industry logical, we lost sight of the reasons we value food at all.

Moreover, the spread of cable and satellite television, beaming programmes like Baywatch and The Bold and the Beautiful in to millions of ordinary mofussil towns and villages, has made vast numbers of Indians aware for the first time of how the other half lives, inevitably generating resentment that others are enjoying a lifestyle that to them is totally inaccessible. An Inspector General of Police told me that towards the end of the 1980s, as satellite dishes and cable began to reach the remoter parts of his state, the crime in his area rose exponentially. The poor had become aware for the first time of what they were missing.

Our spread over the earth was fuelled by reducing the higher species of vegetation to charcoal, by incessantly burning whatever would burn. From the first smouldering taper to the elegant lanterns whose light reverberated around eighteenth-century courtyards and from the mild radiance of these lanterns to the unearthly glow of the sodium lamps that line the Belgian motorways, it has all been combustion. Combustion is the hidden principle behind every artefact we create. The making of a fish-hook, manufacture of a china cup, or production of a television programme, all depend on the same process of combustion. Like our bodies and like our desires, the machines we have devised are possessed of a heart which is slowly reduced to embers. From the earliest times, human civilization has been no more than a strange luminescence growing more intense by the hour, of which no one can say when it will begin to wane and when it will fade away. For the time being, our cities still shine through the night, and the fires still spread.

What incensed me most was that, at more or less the same time, 'ethnic revolt' in Azerbaijan and the 'Rumanian Liberation' were being telecast as a special programme. Large crowds were shown shouting: "We want freedom; we do not mind spilling our blood; death to the oppressors who have kept us in chains." If any proof of Government unimaginativeness or its disoriented functioning was needed, there it was. There could be no comparison between the case of Kashmir and that of Azerbaijan or Rumania. But it should have been understood that in the circumstances prevailing at that time, the Kashmiri youth would misread the message. Virtual incitement was provided by our own television. The timing of the telecast confirmed my impression that the political and bureaucratic mandarins of New Delhi had very little knowledge of the currents and undercurrents of the situation in Kashmir and its ground-level realities.

Luna did not seem perturbed by Ron’s rudeness; on the contrary, she simply watched him for a while as though he were a mildly interesting television programme.

The first trip I ever went on with Stephen was to Venice. He wanted to look at the art and the churches for a weekend, and I wanted to look at him for a weekend.’ ‘That’s romantic,’ says Joyce. ‘Looking at a man you love isn’t romantic, Joyce,’ says Elizabeth. ‘It’s just the sensible thing to do. Like watching a television programme you like.

As I have argued, psycho-logic and psychophysics need to be applied not just to the design of televisions, but also to welfare programmes, tax, transportation, healthcare, market research, the pricing of products and the design of democracy. There is no point in struggling to create changes in objective reality if human perception can’t see it, so all these things need to be perception optimised for humans.

The floating screens showed all sorts of television programmes.

In the kitchen, I turn on a TV set that has hundreds of channels devoted to every conceivable subject including celebrity bunion removal (This week: David Hasselhoff). I tune in to one of the literally dozens of news shows, all of which feature a format of 55 percent celebrities promoting things, 30 percent emails from viewers, and 15 percent YouTube videos showing bears jumping on trampolines. While I'm catching up on these developments, I turn on the programmable coffeemaker, which I hope that someday, perhaps by attending community college, I will learn to program.

It’s unthinkable, now to live as her parents had done, going to work from nine to five and enjoying the benefits of the newly-formed health and education services. What paradise it had seemed! Now, in order to pay their exorbitant mortgages, and ever more exorbitant fuel prices, British adults have to work long hours – the longest, it is said, in Europe… Everyone they know, everyone they see, is just like them, living in houses like these, reading the same papers, seeing the same films and TV programmes and plays, buying from the same shops and sending their children to the same schools; and they think it will go on for ever, either ever-mounting property prices cushioning them. But it can’t.

never allows you to stay up to watch your favourite television programme

Watching television with elderly members of your family. VERY LOUDLY INDEED. They can't understand how the remote control works but keep trying to make it work by pressing all the buttons. They somehow get it on a video function and we can't work out how to get back to normal telly programmes. Infuriating.

He can test me on any movies or TV programmes – from horror, to science fiction, to anime. I’m a very cultured dork

加拿大达尔豪斯大学2021版毕业证咨询Q微202661 4433出售达尔豪斯大学毕业证办达尔豪斯大学文凭办DU毕业证办DU假文凭办DU学历证书办DU文凭证书。 KJSJKSHKJSGSHGSHSHJSGHSSHSSHGSJHSGSHJSGKGSKSGKJSG KJSKJSHSKJHSJKSHSK Then there’s the TV button. I still don’t fully understand this button. I know what it does: takes you to the Apple TV area of Apple TV which mainly highlights Apple TV+ content. (Yes, this is laughably confusing from a branding perspective.) But I wish you could program it. Say that you watch mainly Netflix content, it would make sense to have the TV button take you there. Or even better, YouTube TV since it’s actual TV content.³ I’m very happy we don’t have branded buttons on the Apple TV remote, but I would love some level of programmable granularity here.

Let us draw our first conclusion. Corresponding to the object of the second type, that is, to a television that is switched on, we have a subject of the second type — that is, a virtual viewer, who manages his or her attention in exactly the same way as a programme production crew does. Feelings and thoughts, as well as the secretion of adrenalin and other hormones in the viewer’s organism, are dictated by an external operator and determined by the calculations of another individual. And of course, the subject of the first type does not notice the moment when he is displaced by the subject of the second type, since following this displacement there is no longer anyone to notice it, as the subject of the second type is unreal.

Today is Tuesday the 15th of August and Grandad Wilcox is at home in his bungalow with his dog Bruno, the town of Little Chedderton which was swarming with the media as gone back to its usual quiet self. Grandad Wilcox was watching a gardening programme on TV when he heared somebody knocking at the front door, he told Bruno to stay in his dog bed and then went to answer the door, when he opened the door he saw two men and a woman who were smartly dressed, the woman spoke " Hello Mr Wilcox, were are from the British department of space exploration " Grandad Wilcox invited the agents into his home and offered them each a drink and biscuits to which one of the male agents said OK and after about 10 minutes Grandad came into the living room with a tray of drinks and a large selection of biscuits.

There was nothing on the TV. Except pay-per-view and I refuse to buy programmes, on principle. Except that chef guy with the foul mouth.

When my colleagues spoke to me they uttered excrement ingested from television. Some fascist celebrity off a reality programme spouting the worst sorts of rightwing nonsense in that general spirit of smug ignorance that infuses the British Broadcasting Corporation. They listened to them and their lickspittles, washed-up entrepreneurs, DJs and rockstars, retired football players. They took their information from such sources. They knew nothing of politics and didnay want to know. At least not from me or anyone like me. They listened to nonsense and regurgitated the regurgitations, like licking up somebody's bile, spitting it into a cup and trying to use it to construct a picture.

Time jumps on speed, it cuts you out of the frame you are in and pastes you somewhere else without you knowing it. Speed is time travel, it is the dust of flux, and it flips you from jagged moment to moment. I had been dancing solidly for hours. It seemed like minutes. Bodies on the dance floor colliding into each other, the smell of sweat, hands twitching, my teeth gnawing my lip... In my mind, I was at a black mass, dancing a primitive, raw, tribal offering to some demon in another dimension, waiting for it to possess me... In reality, I looked like one of those people who do sign language in the corner of TV programmes for the deaf

I can see myself acquiring bad habits from living here. My little house is equipped with a TV, and I've watched a lot this week. At home I seldom switch on before 'The Nine O'Clock News', and usually it's later than that, for an arts documentary or a film. This week I've been watching TV while eating my solitary dinner, and leaving it on afterwards because when I switched it off the silence seemed so deathly, and I can't stand listening to music on my tinny transistor radio. I've seen all kinds of programmes I never normally watch, soaps and sitcoms and police series, consuming them steadily and indiscriminately like a child eating its way through a bag of mixed sweets. For simple mindless distraction you can't beat early evening television. No scene lasts more than thirty seconds, and the stories jump from character so fast that you hardly notice how cardboard-thin they are.

The book had been the key: it showed him a secret world that existed alongside the daily, humdrum one, but that seemed invisible to most people. The birds weren't just things flapping about in the background; they had lives, just like people did: they got married, had families, fought each other and died, and so did the foxes and the squirrels and everything else. And it was happening all the time and all around him, not just in TV programmes, or in Africa or wherever. It was all going on, secretly and without anything to do with people; and TC longed, longed, to belong to it all.

Intelligent people watch the programme on the TV. Fools watch the commercials.

She glanced at the mobile phone on the night table and noted that it was still turned off. She decided she didn’t want to hear from Maisie again. She would throw the bloody thing away. She didn’t like them anyway. They were intrusive and made you accessible twenty-four hours a day. Didn’t people feel they wanted any peace any more, on call twenty-four seven? She found it almost Orwellian. No one seemed to have any privacy. CCTV cameras everywhere you went and even TV programmes dedicated to watching complete strangers make arses of themselves.

The first law of the 5% theory says: “For any job that exists, be it a TV presenter, a teacher, an astronaut, a soldier, a truck driver, a programmer, a salesperson or a police officer, only 5% of the population have a talent for it.” The second law of the 5% theory says: “All talents in the world are randomly distributed among people.” Which means that nature is very wise and it knows approximately how many artists, soldiers, architects, farmers or singers a society needs, and it seeds all people with certain talents for them to occupy their place in the world.

Historian Greg Jenner, author and chief advisor to the BBC’s Horrible Histories programme, points out: ‘If you write a story set in the past, there’s a decent chance at least one of your characters could be a person of colour, or perhaps an immigrant, or both. It’s not political correctness to increase casting diversity, it’s actually a matter of historical accuracy.

Mass media programmers know that the best way to capture audience share is to titillate the masses with conflict, violence, sex, and rampant acts of ghoulishness. Americans are rapidly exchanging their energizing personal inner vibrancy for sedate forms of televised tickling.

This is funny but it saddens me that ‘art project’ is now a byword for useless, unskilled amateurism. You know that often someone who’s not very good at making television programmes becomes a video artist, and someone who’s not particularly good at writing hit songs becomes an art band.

الأفكار السلبية تعيق تقدمنا، علينا أن نقاومها ببسالة والتخلص من جذور المشكلة هو الشيء الذي يقتلعنا من وضع الألم من الضعف من الإهانة من سوء الحال..علينا أن نصعق معتقداتنا الذاتية الواهمة التي لا تلزم الا كل واحد منا لنجعلها نقطة انطلاقة لرحلة حب كونية ولنرتفع الى سماء الأسوياء المستقرين نفسيا القادرين على الأخذ بزمام الأمور ونستنشق هناك الأوكسيجين النقي الشافي، ونمشي في طرق كنا نعتقد أنها لم تخلق لمثلنا.. لا يجب أن نهدر عمر الأفراد والشعوب ونحن عالقين في أوحال الخوف وأشواك الماضي، هذا هو التشخيص، وانها حياة نستحقها لا كره فيها لا خوف فيها ولا ندم.

I find our cities forlorn places in the evening because the canopy of night is obscured by steel and glass condo palaces built on the hubris of speculators' credit. From them a sad luminescence is emitted from the glow of millions of flat-screen televisions that burn reality TV programmes, news updates and sitcoms into our collective consciousness. Their light is like the campfires of ancient men, used to ward off the beasts tha lurked in the shadows.

Detached. Like watching a TV programme about a strange and foreign society that I’m not a part of.

I avoid television and its mind-controlling sound bites, darling. It repeats subliminal messages to the mindless herd via their daily intake of dramas, soaps and reality programmes. They sit on their comfortable sofas bought on credit with their hands in a giant-sized packet of crisps

Soon after the West Coast Computer Faire, where we introduced the Apple II, a couple of other ready-to-use personal computers came out. One was the Radio Shack TRS-80, and the other was Commodore’s PET. These would become our direct competitors. But it was the Apple II that ended up kicking off the whole personal computer revolution. It had lots of firsts. Color was the big one. I designed the Apple II so it would work with the color TV you already owned. And it had game control paddles you could attach to it, and sound built in. That made it the first computer people wanted to design arcade-style games for, the first computer with sound and paddles ready to go. The Apple II even had a high-resolution mode where a game programmer could draw special little shapes really quickly. You could program every single pixel on the screen—whether it was on or off or what color it was—and that was something you could never do before with a low-cost computer. At first that mode didn’t mean a lot, but eventually it was a huge step toward the kinds of computer gaming you see today, where everything is high-res. Where the graphics can be truly realistic. The fact that it worked with your home TV made the total cost a lot lower than any competitors could do. It came with a real keyboard to type on—a normal keyboard—and that was a big deal. And the instant you turned it on, it was running BASIC in ROM.