Xerox Best Quotes

The best way to predict the future is to invent it. ALAN KAY, XEROX PARC

Poetic Terrorism WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earth-works as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy. Pick someone at random & convince them they're the heir to an enormous, useless & amazing fortune--say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. ... Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc. Go naked for a sign. Organize a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty. Graffiti-art loaned some grace to ugly subways & rigid public monuments--PT-art can also be created for public places: poems scrawled in courthouse lavatories, small fetishes abandoned in parks & restaurants, Xerox-art under windshield-wipers of parked cars, Big Character Slogans pasted on playground walls, anonymous letters mailed to random or chosen recipients (mail fraud), pirate radio transmissions, wet cement... The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is "signed" or anonymous, if it does not change someone's life (aside from the artist) it fails. PT is an act in a Theater of Cruelty which has no stage, no rows of seats, no tickets & no walls. In order to work at all, PT must categorically be divorced from all conventional structures for art consumption (galleries, publications, media). Even the guerilla Situationist tactics of street theater are perhaps too well known & expected now. An exquisite seduction carried out not only in the cause of mutual satisfaction but also as a conscious act in a deliberately beautiful life--may be the ultimate PT. The PTerrorist behaves like a confidence-trickster whose aim is not money but CHANGE. Don't do PT for other artists, do it for people who will not realize (at least for a few moments) that what you have done is art. Avoid recognizable art-categories, avoid politics, don't stick around to argue, don't be sentimental; be ruthless, take risks, vandalize only what must be defaced, do something children will remember all their lives--but don't be spontaneous unless the PT Muse has possessed you. Dress up. Leave a false name. Be legendary. The best PT is against the law, but don't get caught. Art as crime; crime as art.

While tracking trends can be a useful tool in dealing with the unpredictable future, market research can be more of a problem than a help. Research does best at measuring the past. New ideas and concepts are almost impossible to measure. No one has a frame of reference. People don’t know what they will do until they face an actual decision. The classic example is the research conducted before Xerox introduced the plain-paper copier. What came back was the conclusion that no one would pay five cents for a plain-paper copy when they could get a Thermofax copy for a cent and a half. Xerox ignored the research, and the rest is history.

The Xerox Corporation’s Palo Alto Research Center, known as Xerox PARC, had been established in 1970 to create a spawning ground for digital ideas. It was safely located, for better and for worse, three thousand miles from the commercial pressures of Xerox corporate headquarters in Connecticut. Among its visionaries was the scientist Alan Kay, who had two great maxims that Jobs embraced: “The best way to predict the future is to invent it”and “People who are serious about software should make their own hardware.

The Xerox Corporation’s Palo Alto Research Center, known as Xerox PARC, had been established in 1970 to create a spawning ground for digital ideas. It was safely located, for better and for worse, three thousand miles from the commercial pressures of Xerox corporate headquarters in Connecticut. Among its visionaries was the scientist Alan Kay, who had two great maxims that Jobs embraced: “The best way to predict the future is to invent it” and “People who are serious about software should make their own hardware.” Kay pushed the vision of a small personal computer, dubbed the “Dynabook,” that would be easy enough for children to use. So Xerox PARC’s engineers began to develop user-friendly graphics that could replace all of the command lines and DOS prompts that made computer screens intimidating. The metaphor they came up with was that of a desktop. The screen could have many documents and folders on it, and you could use a mouse to point and click on the one you wanted to use.

Dozens of the world’s best computer scientists began their careers at SAIL. More than half a dozen companies including Foonly, Imagen, Xidex, Vicarm, Valid Logic, Sun Microsystems, Xerox PARC, and Cisco Systems can trace their technology either directly or indirectly to SAIL.

The occasion was the broadcast of a television program about the artistic avant-garde entitled Supervisions, which was produced by the Los Angeles public television station KCET. Smith’s and Shoup’s work on Superpaint had started to win wide notice outside PARC, thanks in part to a tape called “Vidbits” which Smith had compiled from clips of his best work for playing to artists’ gatherings all around California. After one such showing, KCET commissioned the two of them to supply some brief color-cycling effects for Supervisions. They had scrupulously insisted that the producers give Xerox screen credit, assuming that the parent company would appreciate the honor. Instead, Taylor marched into the video lab a day or two after the broadcast and buttonholed Smith. “Xerox wants their logo off every piece of tape,” he said. “Right now.

Another reason why I've been slow to answer is that I've been working on something I've tried to get behind for 12 years: a sequel to MAN IN THE HIGH CASTLE. Maybe I should keep you posted about it; possibly it will be the best thing (so to speak) that I've done or will do. Working title is: VALISYSTEM A. That's an acronym for "Vast Active Living Intelligence System" A. I have a 7-page letter on the subject addressed to Peter Fitting, one of the Marxist writers; if I can get it together to get a Xerox, I'll send it to you. Bear with me, please, because I am lazy & disorganized. But brilliant (you knew that).

Evolution is best grasped by understanding that those things which feel the urge to make copies, and are best suited to make copies, will make a lot of copies. Give this enough time, and you’ve got some Xerox-obsessed creatures running around. •••

the course of one frustrating encounter Kay blurted out the line destined to become his (and PARC’s) unofficial credo. “Look,” he said, “the best way to predict the future is to invent it!

In Tsai's go‐go years, high‐flying stocks with​ positive momentum were all the rage. Polaroid, Xerox, IBM all traded at price‐to‐earnings ratios of more than 50. These expensive stocks were supported by explosively high growth rates. From 1964 to 1968, IBM, Polaroid, and Xerox grew their earnings per share at 88%, 22%, and 171%, respectively. Others like University Computing, Mohawk Data, and Fairchild Camera traded at several‐hundred times their trailing 12‐month earnings. The latter three and many others like them would go on to lose more than 80% in the 1969–1970 bear market. The Manhattan Fund was up almost 40% in 1967, more than double the Dow. But in 1968, he was down 7% and was ranked 299th out of 305 funds tracked by Arthur Lipper.16 When the market crash came, the people responsible were entirely unprepared. By 1969, half of the salesmen on Wall Street had only come into the business since 196217 and had seen nothing but a rising market. And when stocks turned, the highfliers that went up the fastest also came down the fastest. For example, National Student Marketing, which Tsai bought 122,000 shares for $5 million, crashed from $143 in December 1969 to $3.50 in July 1970.18 Between September and November 1929, $30 billion worth of stock value vanished; in the1969‐1970 crash, the loss was $300 billion!19 The gunslingers of the 1960s were thinking only about return and paid little attention to risk. This carefree attitude was a result of the market they were playing in. From 1950 through the end of 1965, the Dow was within 5% of its highs 66% of the time, and within 10% of its highs 87% of the time. There was virtually no turbulence at all. From 1950 to 1965, the only bear market was “The Kennedy Slide,” which chopped 27% off the S&P 500, and recovered in just over a year.

In Rome, the person in charge of equipollenza, or training equivalency, was located at the Foreign Ministry. I got into that mass of marble by depositing my passport at the front desk, and was escorted through dimly-lit halls wearing a temporary ID badge on my lapel and clutching my little pile of documents. The diminutive official took a glance at my grimy Xeroxes and harrumphed a little laugh through his moustache. The colleague at the New York Consulate had unfortunately gotten several things wrong, he said. First a procedural error: the “authenticating” squiggles on the back of the copies were meaningless. They didn’t even vouch for the accuracy of the photocopying, much less prove the validity of the originals. All the documents would have to be sent back and scattered around the USA for proper authentication, by local Italian consulates. For example, the Italian Consul in Boston had to testify that Harvard was a degree-granting university. Second, the Consular list had omitted a crucial document, the Certificate of Existence in Life. No, the mere observation of me stamping my foot and tearing my hair was not, for the Italian government, sufficient proof that I existed. Yes, a nonexistent person was unlikely to be asking for an Italian medical license, but rules were rules. The Consulate’s final error was a bit of misinformation, bred, perhaps, of tenderheartedness. All these documents couldn’t possibly get me an Italian license. They would merely get me a toehold in the University where they might, at best, be alchemized into an Italian medical degree, but an actual license would be another and rather more difficult question. This was my first lesson in Italian bureaucracy. The Consular official in New York clearly hadn’t had the faintest idea what she was doing and no intention of trying to find out, but she had found me too simpatica to disappoint—a sentiment not strong enough to keep her from abandoning my application to gather dust. By this time various shady sources such as Italian medical professors and representatives of international foundations had suggested an alternative to my quest for the holy grail of doctorly legitimacy: just hang out a shingle and to hell with the license. Unfortunately, I’m such a coward that climbing on a bus without a ticket gives me palpitations, so practicing without a license would be a degree of “transgression” (as the Italians call it) far beyond my talents.