Close to finished
Getty Ritter
9 years ago
| 1 | allquotes=$(wildcard data/quotes/*) | |
| 2 | allquips=$(wildcard data/quips/*) | |
| 3 | alllinks=$(wildcard data/links/*) | |
| 4 | allworks=$(wildcard data/works/*/*) | |
| 1 | # basic pages that will always exist: | |
| 2 | ||
| 3 | pages=output/quotes/index.html output/quips/index.html \ | |
| 4 | output/links/index.html output/category/index.html \ | |
| 5 | output/index.html | |
| 6 | ||
| 7 | # We find all the stuff we want to generate... | |
| 8 | quotes_src=$(wildcard data/quotes/*) | |
| 9 | quips_src=$(wildcard data/quips/*) | |
| 10 | links_src=$(wildcard data/links/*) | |
| 11 | works_src=$(wildcard data/works/*/*) | |
| 12 | cats_src=comics fascicles poems stories | |
| 13 | ||
| 14 | # and figure out what the output file will be called by matching | |
| 15 | # on the input file. | |
| 16 | quotes_tgt=$(quotes_src:data/quotes/%=output/quotes/%/index.html) | |
| 17 | quips_tgt=$(quips_src:data/quips/%=output/quips/%/index.html) | |
| 18 | links_tgt=$(links_src:data/links/%=output/links/%/index.html) | |
| 19 | cats_tgt=$(cats_src:%=output/category/%/index.html) | |
| 20 | ||
| 21 | # I'm doing this manually for now. | |
| 22 | ||
| 23 | # this is kind of gross---the problem is that I do want to store | |
| 24 | # 'works' (other writing) inside directories that correspond to their | |
| 25 | # kind, but don't want that in the output, so I can't straightforwardly | |
| 26 | # use patsubst like above: I'd have to write something like | |
| 27 | # works_src:data/works/*/%=output/%/index.html | |
| 28 | # which doesn't work. I could also filter out all the known kinds of | |
| 29 | # works through other wildcard magic. instead, I just shell out to sed. | |
| 30 | works_tgt=$(shell ( echo $(works_src) | sed -e 's/data\/works\/[A-Za-z0-9_-]*\/\([A-Za-z0-9_-]*\)/output\/\1\/index.html/g') ) | |
| 31 | ||
| 32 | # Maybe we want to override this? | |
| 5 | 33 | OUTDIR=output |
| 6 | 34 | |
| 7 | all: output/quotes/index.html \ | |
| 8 | $(allquotes:data/quotes/%.yaml=output/quote/%/index.html) \ | |
| 9 | $(allquips:data/quips/%.yaml=output/quip/%/index.html) \ | |
| 10 | $(alllinks:data/links/%.yaml=output/link/%/index.html) | |
| 35 | all: $(pages) $(quotes_tgt) $(quips_tgt) $(links_tgt) $(works_tgt) \ | |
| 36 | $(cats_tgt) | |
| 37 | ||
| 38 | # A lot of these are boringly similar: probably should come up with a way of abstracting | |
| 39 | # this common pattern, but, y'know, Make... | |
| 11 | 40 | |
| 12 | 41 | $(OUTDIR)/quotes/index.html: data/quotes/* templates/quote.mustache templates/main.mustache |
| 13 | 42 | mkdir -p `dirname $@` |
| 21 | 50 | mkdir -p `dirname $@` |
| 22 | 51 | bin/link.sh all >$@ |
| 23 | 52 | |
| 24 |
$(OUTDIR)/quote |
|
| 53 | $(OUTDIR)/quotes/%/index.html: data/quotes/% templates/quote.mustache templates/main.mustache | |
| 25 | 54 | mkdir -p `dirname $@` |
| 26 | 55 | bin/quote.sh $< >$@ |
| 27 | 56 | |
| 28 |
$(OUTDIR)/quip |
|
| 57 | $(OUTDIR)/quips/%/index.html: data/quips/% templates/quote.mustache templates/main.mustache | |
| 29 | 58 | mkdir -p `dirname $@` |
| 30 | 59 | bin/quote.sh $< >$@ |
| 31 | 60 | |
| 32 |
$(OUTDIR)/link |
|
| 61 | $(OUTDIR)/links/%/index.html: data/links/% templates/link.mustache templates/main.mustache | |
| 33 | 62 | mkdir -p `dirname $@` |
| 34 | 63 | bin/link.sh $< >$@ |
| 64 | ||
| 65 | $(OUTDIR)/%/index.html: data/works/*/% templates/textpage.mustache templates/main.mustache | |
| 66 | mkdir -p `dirname $@` | |
| 67 | bin/work.sh $< >$@ | |
| 68 | ||
| 69 | $(OUTDIR)/category/%/index.html: data/works/% data/works/%/* templates/worklist.mustache templates/main.mustache | |
| 70 | mkdir -p `dirname $@` | |
| 71 | bin/category.sh $< >$@ | |
| 72 | ||
| 73 | $(OUTDIR)/category/index.html: templates/worklist.mustache templates/main.mustache | |
| 74 | mkdir -p `dirname $@` | |
| 75 | bin/all-categories.sh >$@ | |
| 76 | ||
| 77 | $(OUTDIR)/index.html: $(OUTDIR)/index/index.html | |
| 78 | cp $< $@ | |
| 79 | ||
| 80 | clean: | |
| 81 | rm -rf $(OUTDIR) | |
| 1 | #!/bin/sh | |
| 2 | ||
| 3 | DIR=$( cd "$( dirname "${BASH_SOURCE[0]}" )" && pwd ) | |
| 4 | PATH=$DIR:$PATH | |
| 5 | ||
| 6 | cat data/works.json \ | |
| 7 | | jq '[.[] | { slug: ("category/" + .slug), name: .category }]' \ | |
| 8 | | json-dict works - \ | |
| 9 | | mustache - templates/worklist.mustache \ | |
| 10 | | json-dict title 'Permanent Collections' contents - \ | |
| 11 | | mustache - templates/main.mustache |
| 1 | #!/bin/sh | |
| 2 | ||
| 3 | DIR=$( cd "$( dirname "${BASH_SOURCE[0]}" )" && pwd ) | |
| 4 | PATH=$DIR:$PATH | |
| 5 | ||
| 6 | SLUG=$(basename $1) | |
| 7 | NAME=$(cat data/works.json | jq ".[] | select(.slug == \"$SLUG\").category") | |
| 8 | if [ "x$NAME" = "x" ]; then | |
| 9 | echo "Unable to find category: $1" >&2 | |
| 10 | exit 1 | |
| 11 | fi | |
| 12 | ||
| 13 | json-list -c $1/*/metadata.yaml \ | |
| 14 | | json-dict works - \ | |
| 15 | | mustache - templates/worklist.mustache \ | |
| 16 | | json-dict title $NAME contents - \ | |
| 17 | | mustache - templates/main.mustache |
| 1 |
#!/usr/bin/python |
|
| 1 | #!/usr/bin/python2 | |
| 2 | 2 | |
| 3 | 3 | import json |
| 4 | 4 | import sys |
| 5 | 5 | import yaml |
| 6 | 6 | |
| 7 | 7 | def coerce(arg): |
| 8 | if not arg: return None | |
| 8 | 9 | if arg[0] == '@': |
| 9 | 10 | try: |
| 10 | 11 | with open(arg[1:]) as f: |
| 1 | 1 | #!/bin/sh |
| 2 | ||
| 3 | DIR=$( cd "$( dirname "${BASH_SOURCE[0]}" )" && pwd ) | |
| 4 | PATH=$DIR:$PATH | |
| 2 | 5 | |
| 3 | 6 | if [ "$1" = "all" ]; then |
| 4 | 7 | ARGS="data/links/*" |
| 1 | #!/bin/python2 | |
| 2 | ||
| 3 | import json | |
| 4 | import markdown | |
| 5 | import sys | |
| 6 | ||
| 7 | o = json.loads(sys.stdin.read()) | |
| 8 | for l in o: | |
| 9 | l['content'] = markdown.markdown(l['content']) | |
| 10 | if 'author' in l: | |
| 11 | l['author'] = markdown.markdown('—'+l['author']) | |
| 12 | sys.stdout.write(json.dumps(o)) | |
| 13 | sys.stdout.write('\n') |
| 1 | 1 | #!/bin/sh |
| 2 | ||
| 3 | DIR=$( cd "$( dirname "${BASH_SOURCE[0]}" )" && pwd ) | |
| 4 | PATH=$DIR:$PATH | |
| 2 | 5 | |
| 3 | 6 | if [ "$1" = "all" ]; then |
| 4 | 7 | ARGS="data/quips/*" |
| 1 | 1 | #!/bin/sh |
| 2 | ||
| 3 | DIR=$( cd "$( dirname "${BASH_SOURCE[0]}" )" && pwd ) | |
| 4 | PATH=$DIR:$PATH | |
| 2 | 5 | |
| 3 | 6 | if [ "$1" = "all" ]; then |
| 4 | 7 | ARGS="data/quotes/*" |
| 10 | 13 | COPY="all quotes used under fair use &c &c" |
| 11 | 14 | |
| 12 | 15 | json-list -c $ARGS \ |
| 16 | | pretty-quote \ | |
| 13 | 17 | | json-dict quotelist - focus $FOCUS \ |
| 14 | 18 | | mustache - templates/quote.mustache \ |
| 15 | 19 | | json-dict title Quotes contents - usejs true copy "$COPY" onload '"doLoadHighlight()"' \ |
| 1 | 1 | #!/bin/sh |
| 2 | 2 | |
| 3 | DIR=$( cd "$( dirname "${BASH_SOURCE[0]}" )" && pwd ) | |
| 4 | PATH=$DIR:$PATH | |
| 5 | ||
| 3 | 6 | pandoc $1/text \ |
| 4 |
| |
|
| 7 | | json-dict contents - \ | |
| 8 | | mustache - templates/textpage.mustache \ | |
| 5 | 9 | | json-dict title "$(cat $1/metadata.yaml | jq '.name')" contents - \ |
| 6 | 10 | | mustache - templates/main.mustache |
| 1 | id: 000775fe-3022-4815-b39e-99834b14974b | |
| 2 | url: http://www.hummingbirdnotation.com/ | |
| 3 | name: Hummingbird Music Notation |
| 1 | id: 000775fe-3022-4815-b39e-99834b14974b | |
| 2 | url: http://www.hummingbirdnotation.com/ | |
| 3 | name: Hummingbird Music Notation |
| 1 | id: 004619d7-0303-4d0f-821b-b452ec8de4a0 | |
| 2 | url: http://web.archive.org/web/20140527120939/http://www.greencine.com/static/primers/ | |
| 3 | name: GreenCine genre primers |
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| 1 | id: 004619d7-0303-4d0f-821b-b452ec8de4a0 | |
| 2 | url: http://web.archive.org/web/20140527120939/http://www.greencine.com/static/primers/ | |
| 3 | name: GreenCine genre primers |
| 1 | id: 004ecaca-880e-4bfd-b7e6-fcd84191c09d | |
| 2 | url: http://www.rvb.ru/pushkin/01text/01versus/0423_36/1828/0461.htm | |
| 3 | name: Ты и Вы — Pushkin |
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| 1 | id: 004ecaca-880e-4bfd-b7e6-fcd84191c09d | |
| 2 | url: http://www.rvb.ru/pushkin/01text/01versus/0423_36/1828/0461.htm | |
| 3 | name: Ты и Вы — Pushkin |
| 1 | id: 005ba4a0-1fc8-4bc8-b5ad-3de0d3a8b6f7 | |
| 2 | url: http://www.evilmadscientist.com/2013/basics-roundup/ |
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| 1 | id: 005ba4a0-1fc8-4bc8-b5ad-3de0d3a8b6f7 | |
| 2 | url: http://www.evilmadscientist.com/2013/basics-roundup/ |
| 1 | id: 00632c4d-3aef-4e8e-8bc7-5c92b3ad02a4 | |
| 2 | url: http://twan.home.fmf.nl/blog/haskell/Nonograms.details | |
| 3 | name: Solving Nonograms in Haskell |
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| 1 | id: 00632c4d-3aef-4e8e-8bc7-5c92b3ad02a4 | |
| 2 | url: http://twan.home.fmf.nl/blog/haskell/Nonograms.details | |
| 3 | name: Solving Nonograms in Haskell |
| 1 | id: 00967205-8677-446f-bfa2-1bdcd0e2d147 | |
| 2 | url: http://www.instructables.com/id/Shoot-the-Rainbow-Skittles-Vodka/?ALLSTEPS |
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| 1 | id: 00967205-8677-446f-bfa2-1bdcd0e2d147 | |
| 2 | url: http://www.instructables.com/id/Shoot-the-Rainbow-Skittles-Vodka/?ALLSTEPS |
| 1 | id: 01249345-54fb-4a21-9f3c-0b9f4ea62fb4 | |
| 2 | url: http://web.archive.org/web/20081230215729/http://www.sfu.ca/~achanne/projects/bookbinding | |
| 3 | name: How To Make A Hardcover Book | |
| 4 | description: (broken pictures) |
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| 1 | id: 01249345-54fb-4a21-9f3c-0b9f4ea62fb4 | |
| 2 | url: http://web.archive.org/web/20081230215729/http://www.sfu.ca/~achanne/projects/bookbinding | |
| 3 | name: How To Make A Hardcover Book | |
| 4 | description: (broken pictures) |
| 1 | id: 012847a1-90b4-4413-be0f-c2e6324a28d0 | |
| 2 | url: http://nitens.org/taraborelli/latex/ | |
| 3 | name: The Beauty of LaTeX⏎ |
| 1 | id: 012847a1-90b4-4413-be0f-c2e6324a28d0 | |
| 2 | url: http://nitens.org/taraborelli/latex/ | |
| 3 | name: The Beauty of LaTeX⏎ |
| 1 | id: 01ec68fe-2598-4668-8656-ac5300be425c | |
| 2 | url: http://www.hackszine.com/blog/archive/2007/11/howto_use_rich_fonts_in_your_w.html?CMP=OTC-7G2N43923558 |
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| 1 | id: 02431998-ebcd-4bf5-893e-df27423c4a3d | |
| 2 | url: http://www.instructables.com/id/Electric-Mountain-Board/?ALLSTEPS |
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| 1 | id: 02b88d0b-f944-44ae-b55f-c3d904c21a03 | |
| 2 | url: http://www.pekaro.de/blender/water/water_tutorial.html |
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| 1 | id: 02fbbe47-59db-4cd8-89d0-729ded435503 | |
| 2 | url: http://lifehacker.com/359389/give-an-old-laptop-new-life-with-cheap-or-free-projects |
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| 1 | id: 031d1f8d-f98d-4431-8d9a-395205414cd1 | |
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| 1 | id: 03322e1f-9223-4703-ad6b-06ab84f8d7cd | |
| 2 | url: http://weburbanist.com/2009/09/07/art-meets-storytelling-15-amazing-illustrators/ |
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| 1 | id: 03c38e92-7043-42b9-85b7-cea7be5553d9 | |
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| 2 | url: http://sourceforge.net/projects/xviservicethief/ |
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| 2 | url: http://en.wikipedia.org/wiki/French_Republican_Calendar |
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| 1 | id: 0700b1e5-5dce-4bcf-a180-3ebbcf64a5ef | |
| 2 | url: http://lifehacker.com/400505/rotate-desktop-backgrounds-in-ubuntu |
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| 1 | id: 0779378b-54c0-439a-9689-6384aa59f554 | |
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| 2 | url: http://www.evilmadscientist.com/2009/ice-cream-gyoza/ |
| 1 | id: f978e37f-f437-48ca-9209-b0ecb4e965dd | |
| 2 | url: http://www.goodhousekeeping.com/food/entertaining/frozen-drink-recipes |
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| 1 | id: f99f56c4-d145-4946-89f9-79752d97255d | |
| 2 | url: http://www.seriouseats.com/2013/07/how-to-make-mexican-street-corn-elotes.html |
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| 1 | id: f9bd0c25-731a-446c-ae64-9ce2730304da | |
| 2 | url: http://kottke.org/12/06/the-bibles-book-of-revelation-explained |
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| 1 | id: f9bd0c25-731a-446c-ae64-9ce2730304da | |
| 2 | url: http://kottke.org/12/06/the-bibles-book-of-revelation-explained |
| 1 | id: f9c01d74-abfc-4f15-bc94-3193e653e899 | |
| 2 | url: http://www.cooksrecipes.com/bread/beer-bread-recipe.html |
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| 2 | url: http://www.cooksrecipes.com/bread/beer-bread-recipe.html |
| 1 | id: fa28af2e-ab37-4078-91d5-417ad79af959 | |
| 2 | url: http://people.gnome.org/~federico/docs/2008-GUADEC/html/index.html |
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| 2 | url: http://people.gnome.org/~federico/docs/2008-GUADEC/html/index.html |
| 1 | id: fa997178-a4c1-4af8-9a26-7b083d3c904e | |
| 2 | url: http://solstice.ischool.utexas.edu/tmwi/index.php/Aldous_Huxley |
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| 2 | url: http://solstice.ischool.utexas.edu/tmwi/index.php/Aldous_Huxley |
| 1 | id: faefc4dc-fd82-427f-8989-ae8b95e9552f | |
| 2 | url: http://www.flickr.com/photos/birdinthehand/2069711106/ |
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| 2 | url: http://www.flickr.com/photos/birdinthehand/2069711106/ |
| 1 | id: fafae241-417d-41e5-a568-5e0519d07ad9 | |
| 2 | url: http://www.reddit.com/r/rpg/comments/vw4ln/my_collection_of_useful_links_mostly_for_gms_and/ |
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| 1 | id: fb3b2696-0d61-4f66-bb96-1c473621d4bd | |
| 2 | url: http://www.spoonyexperiment.com/games/Thing/ |
| 1 | id: fbd220a8-8c00-4ad4-9c7c-36bdd34ce5b8 | |
| 2 | url: http://www.jeffreymorgenthaler.com/2014/how-to-build-your-own-carbonation-rig/ |
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| 1 | id: fbd220a8-8c00-4ad4-9c7c-36bdd34ce5b8 | |
| 2 | url: http://www.jeffreymorgenthaler.com/2014/how-to-build-your-own-carbonation-rig/ |
| 1 | id: fbdb9f9e-fb32-4297-97e6-8f9b60d0ab6b | |
| 2 | url: http://www.seriouseats.com/2013/06/the-food-lab-7-old-wives-tales-about-cooking-steak.html |
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| 2 | url: http://www.seriouseats.com/2013/06/the-food-lab-7-old-wives-tales-about-cooking-steak.html |
| 1 | id: fc5ef46e-115d-4492-8cc8-440fe485814a | |
| 2 | url: http://img45.imageshack.us/img45/4259/buildingssheet7dv.png |
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| 2 | url: http://img45.imageshack.us/img45/4259/buildingssheet7dv.png |
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| 1 | id: fc83d545-5588-4ebc-808d-b80a1fd9f6e2 | |
| 2 | url: http://www.youtube.com/watch?v=vrdGQo6lSSw |
| 1 | id: fcb7698e-89af-4d59-a201-5dfd374abda2 | |
| 2 | url: http://www.fastcocreate.com/1679472/martin-scorseses-film-school-the-85-films-you-need-to-see-to-know-anything-about-film |
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| 2 | url: http://www.fastcocreate.com/1679472/martin-scorseses-film-school-the-85-films-you-need-to-see-to-know-anything-about-film |
| 1 | id: fcbb3926-8bce-42b9-ad55-2b94afdbb1d6 | |
| 2 | url: http://lifehacker.com/5118066/everything-you-need-to-know-how-to-do-in-windows |
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| 2 | url: http://lifehacker.com/5118066/everything-you-need-to-know-how-to-do-in-windows |
| 1 | id: fd559932-39a3-466c-afe6-0285ee52e7f2 | |
| 2 | url: http://www.q1.fcen.uba.ar/materias/iqi/joygus/tvgames.html |
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| 2 | url: http://www.q1.fcen.uba.ar/materias/iqi/joygus/tvgames.html |
| 1 | id: fdea3aa6-8bb5-498d-bb48-faa431ed72ce | |
| 2 | url: http://www.theatlantic.com/past/docs/issues/96sep/kunstler/kunstler.htm |
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| 1 | id: fdea3aa6-8bb5-498d-bb48-faa431ed72ce | |
| 2 | url: http://www.theatlantic.com/past/docs/issues/96sep/kunstler/kunstler.htm |
| 1 | id: fe04d389-7a89-4d7e-bec1-25da189687e8 | |
| 2 | url: http://www.darkhorse.com/zones/wotw/wotw_popup.php?p= |
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| 2 | url: http://www.darkhorse.com/zones/wotw/wotw_popup.php?p= |
| 1 | id: fe5b76a6-4850-4598-9905-f35e666a3205 | |
| 2 | url: http://www.npr.org/templates/story/story.php?storyId=16631663 |
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| 2 | url: http://www.npr.org/templates/story/story.php?storyId=16631663 |
| 1 | id: fe6f6703-1328-49e3-ba2f-a39b37763d1d | |
| 2 | url: http://www.econlib.org/LIBRARY/Mackay/macEx13.html |
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| 1 | id: fe6f6703-1328-49e3-ba2f-a39b37763d1d | |
| 2 | url: http://www.econlib.org/LIBRARY/Mackay/macEx13.html |
| 1 | id: fe7c1437-4b20-40eb-acc5-1bd15501cb60 | |
| 2 | url: http://blog.racket-lang.org/2011/03/languages-as-libraries-pldi-2011.html |
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| 1 | id: fe7c1437-4b20-40eb-acc5-1bd15501cb60 | |
| 2 | url: http://blog.racket-lang.org/2011/03/languages-as-libraries-pldi-2011.html |
| 1 | id: fe7fd6fc-e252-4ebc-a3f7-a0b533e254db | |
| 2 | url: http://www.musique.umontreal.ca/personnel/belkin/M.ID/M.ID.html |
+0
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| 1 | id: fe7fd6fc-e252-4ebc-a3f7-a0b533e254db | |
| 2 | url: http://www.musique.umontreal.ca/personnel/belkin/M.ID/M.ID.html |
| 1 | id: ff88f93f-a01a-4681-bf01-56b531f6e54e | |
| 2 | url: http://io9.com/386904/refurbished-70s-mobile-home-for-the-road-trip-of-the-future |
+0
-2
| 1 | id: ff88f93f-a01a-4681-bf01-56b531f6e54e | |
| 2 | url: http://io9.com/386904/refurbished-70s-mobile-home-for-the-road-trip-of-the-future |
| 1 | id: ffdfbdce-89fe-4aae-8382-e358544d0f21 | |
| 2 | url: http://www.hackaday.com/2008/06/12/how-to-make-an-rgb-combination-door-lock-part-1/ |
+0
-2
| 1 | id: ffdfbdce-89fe-4aae-8382-e358544d0f21 | |
| 2 | url: http://www.hackaday.com/2008/06/12/how-to-make-an-rgb-combination-door-lock-part-1/ |
| 1 | id: fff72ac4-7179-41da-a419-ee657d2fd5cd | |
| 2 | url: http://gamemusictheory.tumblr.com/ | |
| 3 | name: Game Music Theory |
| 1 | id: fff72ac4-7179-41da-a419-ee657d2fd5cd | |
| 2 | url: http://gamemusictheory.tumblr.com/ | |
| 3 | name: Game Music Theory |
| 1 | id: ffff5798-eecf-4c95-b0d6-f7822cebd77f | |
| 2 | url: http://www.icce.rug.nl/~soundscapes/VOLUME03/Words_and_chords.shtml |
+0
-2
| 1 | id: ffff5798-eecf-4c95-b0d6-f7822cebd77f | |
| 2 | url: http://www.icce.rug.nl/~soundscapes/VOLUME03/Words_and_chords.shtml |
| 1 | content: '"i will say this. when I finally ascend to the final plane of consciousness | |
| 2 | .nerds will get extremely yelled at"' | |
| 3 | id: 0056aab7-915e-4892-8c75-74ebcc0dac63 |
| 1 | content: '"i will say this. when I finally ascend to the final plane of consciousness | |
| 2 | .nerds will get extremely yelled at"' | |
| 3 | id: 0056aab7-915e-4892-8c75-74ebcc0dac63 |
| 1 | content: 'under communism there are no sugar mamas or daddies, but everyone is the | |
| 2 | sugar comrade of everyone else | |
| 3 | ||
| 4 | ' | |
| 5 | id: 010d9a45-6f2b-4966-88fc-03738920d417 |
| 1 | content: 'under communism there are no sugar mamas or daddies, but everyone is the | |
| 2 | sugar comrade of everyone else | |
| 3 | ||
| 4 | ' | |
| 5 | id: 010d9a45-6f2b-4966-88fc-03738920d417 |
| 1 | content: Is it that time again? Wasn't it already then? So does it have to be the | |
| 2 | time it was again? | |
| 3 | id: 012c59da-38c6-4c3a-8069-3ea2c29eac78 |
| 1 | content: Is it that time again? Wasn't it already then? So does it have to be the | |
| 2 | time it was again? | |
| 3 | id: 012c59da-38c6-4c3a-8069-3ea2c29eac78 |
| 1 | content: These are stolen moments and you're a criminal and I'm a criminal and here | |
| 2 | we all are. Now. | |
| 3 | id: 0158c107-bacb-4ca0-8259-86636f5ea216 |
| 1 | content: These are stolen moments and you're a criminal and I'm a criminal and here | |
| 2 | we all are. Now. | |
| 3 | id: 0158c107-bacb-4ca0-8259-86636f5ea216 |
| 1 | content: we shall celebrate with such fierce dancing the death of your institutions | |
| 2 | id: 01c4f5a5-6fcf-42d0-b3be-bb9ea021d046 |
| 1 | content: we shall celebrate with such fierce dancing the death of your institutions | |
| 2 | id: 01c4f5a5-6fcf-42d0-b3be-bb9ea021d046 |
| 1 | content: someone turn the dial / the radio station in my head / it's blaring | |
| 2 | id: 025a63b1-2248-4f58-ae28-636aaa5a02a7 |
| 1 | content: someone turn the dial / the radio station in my head / it's blaring | |
| 2 | id: 025a63b1-2248-4f58-ae28-636aaa5a02a7 |
| 1 | content: Don't look at fat people! They know what you're up to. | |
| 2 | id: 0353c110-4a8c-4915-aec0-243d2a3ae3bd |
| 1 | content: Don't look at fat people! They know what you're up to. | |
| 2 | id: 0353c110-4a8c-4915-aec0-243d2a3ae3bd |
| 1 | content: In the U.S., you have to be a deviant or die of boredom. | |
| 2 | id: 039ca581-2651-4e8c-a5cd-048924b2f5da |
| 1 | content: In the U.S., you have to be a deviant or die of boredom. | |
| 2 | id: 039ca581-2651-4e8c-a5cd-048924b2f5da |
| 1 | content: it's a cold ass fashion when she stole my passion / it's an everlasting, | |
| 2 | it's a ghettoblasting | |
| 3 | id: 070ed4b6-a900-4a62-9599-1434d522df0b |
| 1 | content: it's a cold ass fashion when she stole my passion / it's an everlasting, | |
| 2 | it's a ghettoblasting | |
| 3 | id: 070ed4b6-a900-4a62-9599-1434d522df0b |
| 1 | content: 'Outside of a dog, a book is man''s best friend. Inside of a dog, knowledge | |
| 2 | manifests itself in radiant dreams that shimmer like the wild sun. | |
| 3 | ||
| 4 | ' | |
| 5 | id: 08a922d6-5c1b-45e8-a238-5f6f9530584b |
| 1 | content: 'Outside of a dog, a book is man''s best friend. Inside of a dog, knowledge | |
| 2 | manifests itself in radiant dreams that shimmer like the wild sun. | |
| 3 | ||
| 4 | ' | |
| 5 | id: 08a922d6-5c1b-45e8-a238-5f6f9530584b |
| 1 | content: Oh my god. They explode! My life has taken on new meaning. | |
| 2 | id: 08ed399d-73c0-4296-aa0b-42c7a6320dfc |
| 1 | content: Oh my god. They explode! My life has taken on new meaning. | |
| 2 | id: 08ed399d-73c0-4296-aa0b-42c7a6320dfc |
| 1 | content: You shall know the truth, and the truth shall make you odd. | |
| 2 | id: 09427813-fcad-47a6-a37b-4d3969498248 |
| 1 | content: You shall know the truth, and the truth shall make you odd. | |
| 2 | id: 09427813-fcad-47a6-a37b-4d3969498248 |
| 1 | content: You're like a worst-thing-ever saying machine. | |
| 2 | id: 09cbc5d3-820f-4ab5-b795-4e79409fd4a8 |
+0
-2
| 1 | content: You're like a worst-thing-ever saying machine. | |
| 2 | id: 09cbc5d3-820f-4ab5-b795-4e79409fd4a8 |
| 1 | content: if at first you don't succeed try a larger thermonuclear reaction | |
| 2 | id: 09e50bd2-b19b-4317-8e73-3449648a7ee9 |
| 1 | content: if at first you don't succeed try a larger thermonuclear reaction | |
| 2 | id: 09e50bd2-b19b-4317-8e73-3449648a7ee9 |
| 1 | content: '"The first rule of Wittgenstein Club is thereof one must be silent."' | |
| 2 | id: 0aa729c6-ddf1-42c1-98ef-69777775429c |
+0
-2
| 1 | content: '"The first rule of Wittgenstein Club is thereof one must be silent."' | |
| 2 | id: 0aa729c6-ddf1-42c1-98ef-69777775429c |
| 1 | content: By all the entropy in the universe! Confound the programming of that useless | |
| 2 | biological matter! | |
| 3 | id: 0c7467af-e250-4ee0-a7ce-ad2289a8a8b7 |
| 1 | content: By all the entropy in the universe! Confound the programming of that useless | |
| 2 | biological matter! | |
| 3 | id: 0c7467af-e250-4ee0-a7ce-ad2289a8a8b7 |
| 1 | content: Donald Sutherland and Nicolas Cage's Personal Pan Pizza Space Shuttle | |
| 2 | id: 102151fa-1f6a-46c0-9fb8-8a4de954c8ff |
+0
-2
| 1 | content: Donald Sutherland and Nicolas Cage's Personal Pan Pizza Space Shuttle | |
| 2 | id: 102151fa-1f6a-46c0-9fb8-8a4de954c8ff |
| 1 | content: 'It''s common knowledge that whenever you get two or more CS grad students | |
| 2 | together, the conversation will inevitably drift to the same topic: automatic weapons.' | |
| 3 | id: 11154afa-10b3-4427-a5db-20c983a77b0d |
+0
-3
| 1 | content: 'It''s common knowledge that whenever you get two or more CS grad students | |
| 2 | together, the conversation will inevitably drift to the same topic: automatic weapons.' | |
| 3 | id: 11154afa-10b3-4427-a5db-20c983a77b0d |
| 1 | content: Mockery Science, Sadofuturistics, Megaphysics, Scatalography, Schizophreniatrics, | |
| 2 | Morealism, Sarcastrophy, Cynisacreligion, Apocolyptionomy, ESPectorationalism, Hypno-Pediatrics, | |
| 3 | Subliminalism, Satyriology, Disto-Utopianity, Sardonicology, Fascetiouism, Ridiculophagy, | |
| 4 | and Miscellatheistic Theology. | |
| 5 | id: 128c224c-5614-45ac-b308-eb1065e6056f |
+0
-5
| 1 | content: Mockery Science, Sadofuturistics, Megaphysics, Scatalography, Schizophreniatrics, | |
| 2 | Morealism, Sarcastrophy, Cynisacreligion, Apocolyptionomy, ESPectorationalism, Hypno-Pediatrics, | |
| 3 | Subliminalism, Satyriology, Disto-Utopianity, Sardonicology, Fascetiouism, Ridiculophagy, | |
| 4 | and Miscellatheistic Theology. | |
| 5 | id: 128c224c-5614-45ac-b308-eb1065e6056f |
| 1 | content: you figure that's just gotta be jelly 'cause jam just don't shake like that | |
| 2 | id: 15a02f2e-b139-49a0-aeb4-924a73dda860 |
| 1 | content: you figure that's just gotta be jelly 'cause jam just don't shake like that | |
| 2 | id: 15a02f2e-b139-49a0-aeb4-924a73dda860 |
| 1 | content: You will find that every occultist uses some variety of extremely hardcore | |
| 2 | toothpaste. | |
| 3 | id: 18df3d65-c375-4993-bcaa-90f5fd2301a0 |
| 1 | content: You will find that every occultist uses some variety of extremely hardcore | |
| 2 | toothpaste. | |
| 3 | id: 18df3d65-c375-4993-bcaa-90f5fd2301a0 |
| 1 | content: 'I for one will try to deduct rum expenses under fuel costs. | |
| 2 | ||
| 3 | ' | |
| 4 | id: 18e6b4b1-1095-4b56-8f69-db862cd3c6e5 |
| 1 | content: 'I for one will try to deduct rum expenses under fuel costs. | |
| 2 | ||
| 3 | ' | |
| 4 | id: 18e6b4b1-1095-4b56-8f69-db862cd3c6e5 |
| 1 | content: no one in the world ever gets what they want and that is beautiful / everybody | |
| 2 | dies frustrated and sad and that is beautiful | |
| 3 | id: 1978a2c2-798e-4971-8837-63cc86f98b79 |
| 1 | content: no one in the world ever gets what they want and that is beautiful / everybody | |
| 2 | dies frustrated and sad and that is beautiful | |
| 3 | id: 1978a2c2-798e-4971-8837-63cc86f98b79 |
| 1 | content: '"most cutting thing you can say is ''who''s this clown?'' because it implies | |
| 2 | they''re a) a clown & b) not even one of the better-known clowns"' | |
| 3 | id: 19dbcfb3-a32f-4ff8-a5e6-c33208053a79 |
| 1 | content: '"most cutting thing you can say is ''who''s this clown?'' because it implies | |
| 2 | they''re a) a clown & b) not even one of the better-known clowns"' | |
| 3 | id: 19dbcfb3-a32f-4ff8-a5e6-c33208053a79 |
| 1 | content: i have learned nothing from this and also unlearned a bunch of things as | |
| 2 | well | |
| 3 | id: 19e69a91-030f-4e9b-857c-bd276dc6bce6 |
| 1 | content: i have learned nothing from this and also unlearned a bunch of things as | |
| 2 | well | |
| 3 | id: 19e69a91-030f-4e9b-857c-bd276dc6bce6 |
| 1 | content: A woman's best curve is her smile, unless, of course, she is equipped with | |
| 2 | a properly-curved boomerang or machete for self-defense. | |
| 3 | id: 19ec1a13-8e59-4c3c-97a6-40babd39cc20 |
| 1 | content: A woman's best curve is her smile, unless, of course, she is equipped with | |
| 2 | a properly-curved boomerang or machete for self-defense. | |
| 3 | id: 19ec1a13-8e59-4c3c-97a6-40babd39cc20 |
| 1 | content: Sometimes it's damned hard to tell the dancer from the dance. | |
| 2 | id: 1c1875b0-7e1e-48df-b541-a04abd0af527 |
| 1 | content: Sometimes it's damned hard to tell the dancer from the dance. | |
| 2 | id: 1c1875b0-7e1e-48df-b541-a04abd0af527 |
| 1 | content: I believe ghosts are like dogs and just sort of do things arbitrarily. | |
| 2 | id: 1caa5da1-0c76-44f7-8403-04637ba815af |
| 1 | content: I believe ghosts are like dogs and just sort of do things arbitrarily. | |
| 2 | id: 1caa5da1-0c76-44f7-8403-04637ba815af |
| 1 | content: 'Today in the news: the world is a horrible place and it will hurt your feelings. | |
| 2 | ||
| 3 | ' | |
| 4 | id: 1f080956-551c-4757-99ed-1a059eb9c180 |
| 1 | content: 'Today in the news: the world is a horrible place and it will hurt your feelings. | |
| 2 | ||
| 3 | ' | |
| 4 | id: 1f080956-551c-4757-99ed-1a059eb9c180 |
| 1 | content: 'The last thing I want to do is hurt you. And after that, the to-do list | |
| 2 | is complete and I can go home and watch TV. | |
| 3 | ||
| 4 | ' | |
| 5 | id: 1f479a0b-1cc8-4e18-9708-eaa868c40799 |
| 1 | content: 'The last thing I want to do is hurt you. And after that, the to-do list | |
| 2 | is complete and I can go home and watch TV. | |
| 3 | ||
| 4 | ' | |
| 5 | id: 1f479a0b-1cc8-4e18-9708-eaa868c40799 |
| 1 | content: Well, I died and turned into a Roman. It's very distracting. | |
| 2 | id: 206e13ee-7889-4794-8548-b2a9fad75671 |
| 1 | content: Well, I died and turned into a Roman. It's very distracting. | |
| 2 | id: 206e13ee-7889-4794-8548-b2a9fad75671 |
| 1 | content: A blaster at your side is no match for hokey religions and ancient weapons, | |
| 2 | kid. | |
| 3 | id: 2148ce30-fe85-4753-b335-cdf502f69de3 |
| 1 | content: A blaster at your side is no match for hokey religions and ancient weapons, | |
| 2 | kid. | |
| 3 | id: 2148ce30-fe85-4753-b335-cdf502f69de3 |
| 1 | content: I do not know! Perhaps it means nothing, or perhaps everything! | |
| 2 | id: 2194d02e-4631-4dea-9895-0b91b714a3bd |
| 1 | content: I do not know! Perhaps it means nothing, or perhaps everything! | |
| 2 | id: 2194d02e-4631-4dea-9895-0b91b714a3bd |
| 1 | content: No, I ain't got a fax machine! I also ain't got an Apple IIc, polio, or | |
| 2 | a falcon. | |
| 3 | id: 24b17d08-ce5a-4ac9-bc37-e9c9fcbe14e3 |
| 1 | content: No, I ain't got a fax machine! I also ain't got an Apple IIc, polio, or | |
| 2 | a falcon. | |
| 3 | id: 24b17d08-ce5a-4ac9-bc37-e9c9fcbe14e3 |
+0
-2
| 1 | content: '...over-the-counter malt antidepressant.' | |
| 2 | id: 258c4920-b9cb-45aa-a3eb-4d39fc0a6f19 |
| 1 | content: That's what forgiveness sounds like. Screaming, and then silence. | |
| 2 | id: 258f6a93-b0dc-4ab8-8a60-fac4fcf62762 |
+0
-2
| 1 | content: That's what forgiveness sounds like. Screaming, and then silence. | |
| 2 | id: 258f6a93-b0dc-4ab8-8a60-fac4fcf62762 |
| 1 | content: '"Growing up in Korea, did your bedroom have a ceiling fan?" "Obviously not, | |
| 2 | since I survived."' | |
| 3 | id: 25cc3c34-b4c4-4a0a-aac5-82b66ecb5a12 |
| 1 | content: '"Growing up in Korea, did your bedroom have a ceiling fan?" "Obviously not, | |
| 2 | since I survived."' | |
| 3 | id: 25cc3c34-b4c4-4a0a-aac5-82b66ecb5a12 |
| 1 | content: '"The calm, / Cool face of the river / Asked me for a kiss"' | |
| 2 | id: 28304e04-87f0-4bd9-bfad-7f5a9d9759f7 |
| 1 | content: '"The calm, / Cool face of the river / Asked me for a kiss"' | |
| 2 | id: 28304e04-87f0-4bd9-bfad-7f5a9d9759f7 |
+0
-2
| 1 | content: an alien universe brightly lit but invisible | |
| 2 | id: 296f52f2-c27a-4b68-b115-5a649e62b0b4 |
| 1 | content: 'shorty said i look like the gecko from the geico commercials / plus the | |
| 2 | caveman too | |
| 3 | ||
| 4 | ' | |
| 5 | id: 2970b6cb-7d44-4187-941e-d8c4b1595955 |
| 1 | content: 'shorty said i look like the gecko from the geico commercials / plus the | |
| 2 | caveman too | |
| 3 | ||
| 4 | ' | |
| 5 | id: 2970b6cb-7d44-4187-941e-d8c4b1595955 |
| 1 | content: '"''Gentlemen, consider: of course the Ancient Egyptians made beer cans; | |
| 2 | where else would they have kept their beer?''"' | |
| 3 | id: 29e03f23-df04-4fcd-9b59-ca9444d59bab |
+0
-3
| 1 | content: '"''Gentlemen, consider: of course the Ancient Egyptians made beer cans; | |
| 2 | where else would they have kept their beer?''"' | |
| 3 | id: 29e03f23-df04-4fcd-9b59-ca9444d59bab |
| 1 | content: 'truely u r just a bunch of sexy atoms / u sir r just the way matter has | |
| 2 | decided to organise itself today | |
| 3 | ||
| 4 | ' | |
| 5 | id: 2aeeba70-dae7-4ab4-b860-e7f02fc0fe73 |
| 1 | content: 'truely u r just a bunch of sexy atoms / u sir r just the way matter has | |
| 2 | decided to organise itself today | |
| 3 | ||
| 4 | ' | |
| 5 | id: 2aeeba70-dae7-4ab4-b860-e7f02fc0fe73 |
| 1 | content: "ok r\xE9ta na f\xE1\u0161ku, to is\xE1na vo\u0161tenok" | |
| 2 | id: 2c1061e8-e81f-4e3c-94a1-b90c2e91dd0a |
| 1 | content: "ok r\xE9ta na f\xE1\u0161ku, to is\xE1na vo\u0161tenok" | |
| 2 | id: 2c1061e8-e81f-4e3c-94a1-b90c2e91dd0a |
| 1 | content: '"i am skeptical of the concept ''Too Big To Fail'' mainly because i am extremely | |
| 2 | big and i fail constantly"' | |
| 3 | id: 2f864035-cb2e-45a1-afa7-c606de27d384 |
| 1 | content: '"i am skeptical of the concept ''Too Big To Fail'' mainly because i am extremely | |
| 2 | big and i fail constantly"' | |
| 3 | id: 2f864035-cb2e-45a1-afa7-c606de27d384 |
| 1 | content: My friends and I were working for the local tangerine. | |
| 2 | id: 31ddc9b4-2abf-48a8-beef-abebf15c8587 |
| 1 | content: My friends and I were working for the local tangerine. | |
| 2 | id: 31ddc9b4-2abf-48a8-beef-abebf15c8587 |
| 1 | content: 'Personal computers can have users, but social media has livestock. | |
| 2 | ||
| 3 | ' | |
| 4 | id: 327dc24f-521c-41c2-af45-28f1a9ea8f95 |
+0
-4
| 1 | content: 'Personal computers can have users, but social media has livestock. | |
| 2 | ||
| 3 | ' | |
| 4 | id: 327dc24f-521c-41c2-af45-28f1a9ea8f95 |
| 1 | content: she wears short skirts / I wear t-shirts / she's cheer captain and / I'm | |
| 2 | going to steal the Declaration of Independence | |
| 3 | id: 3311f3ae-9672-4b22-8c05-0a7bbe4cf8e5 |
| 1 | content: she wears short skirts / I wear t-shirts / she's cheer captain and / I'm | |
| 2 | going to steal the Declaration of Independence | |
| 3 | id: 3311f3ae-9672-4b22-8c05-0a7bbe4cf8e5 |
| 1 | content: '"we sing from our asses while burning in purgatory / the butt song from | |
| 2 | hell"' | |
| 3 | id: 34bd40d0-0249-4f28-b48d-86a282e8309d |
| 1 | content: '"we sing from our asses while burning in purgatory / the butt song from | |
| 2 | hell"' | |
| 3 | id: 34bd40d0-0249-4f28-b48d-86a282e8309d |
| 1 | content: so yes i am the spooky janitor character in the direct-to-video movie of | |
| 2 | your life | |
| 3 | id: 3561b39a-ce64-440a-af70-b394d255e7c4 |
| 1 | content: so yes i am the spooky janitor character in the direct-to-video movie of | |
| 2 | your life | |
| 3 | id: 3561b39a-ce64-440a-af70-b394d255e7c4 |
| 1 | content: its the year 2021. you download designer drugs for your 3d printer off the | |
| 2 | bit torrent network. you go to get the drugs out of the printer but instead of drugs | |
| 3 | it printed a cop. Youre under arrest | |
| 4 | id: 37464450-2b9b-46ea-99e6-40328761920d |
| 1 | content: its the year 2021. you download designer drugs for your 3d printer off the | |
| 2 | bit torrent network. you go to get the drugs out of the printer but instead of drugs | |
| 3 | it printed a cop. Youre under arrest | |
| 4 | id: 37464450-2b9b-46ea-99e6-40328761920d |
| 1 | content: Now where did I put that rat's ass I could give? | |
| 2 | id: 38691627-73b1-4e70-937a-d638d09d036e |
| 1 | content: Now where did I put that rat's ass I could give? | |
| 2 | id: 38691627-73b1-4e70-937a-d638d09d036e |
| 1 | content: cannibal children are lucky because their breakfast isn't just a bacon smile | |
| 2 | with two egg eyes. it's a real face. | |
| 3 | id: 3a504343-32e8-4536-8bff-97c3631abe99 |
+0
-3
| 1 | content: cannibal children are lucky because their breakfast isn't just a bacon smile | |
| 2 | with two egg eyes. it's a real face. | |
| 3 | id: 3a504343-32e8-4536-8bff-97c3631abe99 |
| 1 | content: If you believe in solipsism, you're not alone. | |
| 2 | id: 3baf1a18-7814-4b5b-b906-c99d7ac88450 |
| 1 | content: If you believe in solipsism, you're not alone. | |
| 2 | id: 3baf1a18-7814-4b5b-b906-c99d7ac88450 |
| 1 | content: What is stopping you from doing something so cool that it renders you immortal? | |
| 2 | id: 3cb7fa84-8c22-40d8-b56a-ad787b1164cd |
| 1 | content: What is stopping you from doing something so cool that it renders you immortal? | |
| 2 | id: 3cb7fa84-8c22-40d8-b56a-ad787b1164cd |
| 1 | content: Sometimes she just can't deal with anything verbal. The world for her becomes | |
| 2 | a parade of amusing lights and colors; words are just pretty noises that the big-pink-things | |
| 3 | make. | |
| 4 | id: 3cee7be0-ce60-408a-827f-0382a5114189 |
| 1 | content: Sometimes she just can't deal with anything verbal. The world for her becomes | |
| 2 | a parade of amusing lights and colors; words are just pretty noises that the big-pink-things | |
| 3 | make. | |
| 4 | id: 3cee7be0-ce60-408a-827f-0382a5114189 |
| 1 | content: '"I wish many guns. Floating around me. Controlled by murder thoughts."' | |
| 2 | id: 42af0a60-e08e-4b87-b7b6-0f137e2d7b1f |
| 1 | content: '"I wish many guns. Floating around me. Controlled by murder thoughts."' | |
| 2 | id: 42af0a60-e08e-4b87-b7b6-0f137e2d7b1f |
| 1 | content: I only regret that I have but one mind to lose. | |
| 2 | id: 43f68001-4dd8-49e9-a37b-eff592367631 |
| 1 | content: I only regret that I have but one mind to lose. | |
| 2 | id: 43f68001-4dd8-49e9-a37b-eff592367631 |
| 1 | content: THUSLY, THE PANTS COME OFF AND TEST SCORES RISE!!!!!! | |
| 2 | id: 441a1111-187a-4e85-97d6-08a5bce79838 |
| 1 | content: THUSLY, THE PANTS COME OFF AND TEST SCORES RISE!!!!!! | |
| 2 | id: 441a1111-187a-4e85-97d6-08a5bce79838 |
| 1 | content: '"Bike lane? Where we''re going, we don''t need bike lanes!"' | |
| 2 | id: 458ee78e-afab-4764-9fc7-8dff9a371114 |
| 1 | content: '"Bike lane? Where we''re going, we don''t need bike lanes!"' | |
| 2 | id: 458ee78e-afab-4764-9fc7-8dff9a371114 |
| 1 | content: "en arkh\u0113 \u0113n ho l\xF3gos, kai ho l\xF3gos \u0113n pr\xF2s t\xF2\ | |
| 2 | n \xF3rnitha, kai ho \xF3rnis \u0113n ho l\xF3gos" | |
| 3 | id: 45c8c2b6-943a-4381-9ecf-5310494b88b3 |
| 1 | content: "en arkh\u0113 \u0113n ho l\xF3gos, kai ho l\xF3gos \u0113n pr\xF2s t\xF2\ | |
| 2 | n \xF3rnitha, kai ho \xF3rnis \u0113n ho l\xF3gos" | |
| 3 | id: 45c8c2b6-943a-4381-9ecf-5310494b88b3 |
| 1 | content: where you get this place from, the hellhole store? | |
| 2 | id: 466815c8-3e7a-4463-9740-f1de1fcd6223 |
| 1 | content: where you get this place from, the hellhole store? | |
| 2 | id: 466815c8-3e7a-4463-9740-f1de1fcd6223 |
| 1 | content: Attention Workers it has been 127 days since our last dumbest workplace sentence | |
| 2 | id: 47215e19-9993-4958-9deb-b3e5626ee334 |
| 1 | content: Attention Workers it has been 127 days since our last dumbest workplace sentence | |
| 2 | id: 47215e19-9993-4958-9deb-b3e5626ee334 |
| 1 | content: Lost children!! Come get your free Sears wish catalog free rebates. | |
| 2 | id: 47bc13eb-abb8-4118-916e-31da3ca50e21 |
| 1 | content: Lost children!! Come get your free Sears wish catalog free rebates. | |
| 2 | id: 47bc13eb-abb8-4118-916e-31da3ca50e21 |
| 1 | content: SOMEONE NEEDS TO GET WITH THE PROGRAM AND THAT SOMEONE IS EVERYONE | |
| 2 | id: 49e7f031-5fb3-4e24-8731-758862ebe9e5 |
| 1 | content: SOMEONE NEEDS TO GET WITH THE PROGRAM AND THAT SOMEONE IS EVERYONE | |
| 2 | id: 49e7f031-5fb3-4e24-8731-758862ebe9e5 |
| 1 | content: 'I am sitting in a room, different from the one you are in now. | |
| 2 | ||
| 3 | ' | |
| 4 | id: 4a0f278d-f445-4f38-b1fc-7b3eeaf3e3d8 |
| 1 | content: 'I am sitting in a room, different from the one you are in now. | |
| 2 | ||
| 3 | ' | |
| 4 | id: 4a0f278d-f445-4f38-b1fc-7b3eeaf3e3d8 |
| 1 | content: 'ladies call me piltdown man because upon rigorous scientific investigation | |
| 2 | im wack as hell | |
| 3 | ||
| 4 | ' | |
| 5 | id: 4a3672d8-4eb1-4bc5-87a4-5b96bcbfcf49 |
| 1 | content: 'ladies call me piltdown man because upon rigorous scientific investigation | |
| 2 | im wack as hell | |
| 3 | ||
| 4 | ' | |
| 5 | id: 4a3672d8-4eb1-4bc5-87a4-5b96bcbfcf49 |
| 1 | content: I have to find a didactic musing. From a skeleton. It's for school. | |
| 2 | id: 4d221b0b-64cb-4137-9a7f-fcd61ad516f0 |
| 1 | content: I have to find a didactic musing. From a skeleton. It's for school. | |
| 2 | id: 4d221b0b-64cb-4137-9a7f-fcd61ad516f0 |
| 1 | content: 'You know the type---loud as a motorbike, but wouldn''t bust a grape in a | |
| 2 | fruit fight? | |
| 3 | ||
| 4 | ' | |
| 5 | id: 4e63bf8a-a77c-43f6-8b62-3174d2ff7efb |
| 1 | content: 'You know the type---loud as a motorbike, but wouldn''t bust a grape in a | |
| 2 | fruit fight? | |
| 3 | ||
| 4 | ' | |
| 5 | id: 4e63bf8a-a77c-43f6-8b62-3174d2ff7efb |
| 1 | content: These people ought to know who we are and tell that we are here. | |
| 2 | id: 4e7a0dd5-30c3-45bc-8f95-8586ec79c92c |
| 1 | content: These people ought to know who we are and tell that we are here. | |
| 2 | id: 4e7a0dd5-30c3-45bc-8f95-8586ec79c92c |
| 1 | content: Imagine a boot stamping on a human face - forever. Imagine the sound of it. | |
| 2 | That is my ringtone. | |
| 3 | id: 4f1661f9-0b73-43c6-86ca-5f00001698bf |
| 1 | content: Imagine a boot stamping on a human face - forever. Imagine the sound of it. | |
| 2 | That is my ringtone. | |
| 3 | id: 4f1661f9-0b73-43c6-86ca-5f00001698bf |
| 1 | content: 'everybody party time / some of us will never sleep again | |
| 2 | ||
| 3 | ' | |
| 4 | id: 4fc44b2a-726b-46aa-86ff-8004a20be6d6 |
| 1 | content: 'everybody party time / some of us will never sleep again | |
| 2 | ||
| 3 | ' | |
| 4 | id: 4fc44b2a-726b-46aa-86ff-8004a20be6d6 |
| 1 | content: David, listen. I'm buried alive where the blossoms shed by the cherry tree | |
| 2 | across from the pet shop are the thickest. | |
| 3 | id: 511f66c4-64cc-48a9-b5ab-3a81c7758c2a |
| 1 | content: David, listen. I'm buried alive where the blossoms shed by the cherry tree | |
| 2 | across from the pet shop are the thickest. | |
| 3 | id: 511f66c4-64cc-48a9-b5ab-3a81c7758c2a |
| 1 | content: liberals / on skates / pass through / park gates | |
| 2 | id: 55e14f64-b7e0-4486-bdc6-dbd4b0fad26d |
+0
-2
| 1 | content: liberals / on skates / pass through / park gates | |
| 2 | id: 55e14f64-b7e0-4486-bdc6-dbd4b0fad26d |
| 1 | content: 'a girl''s measurements should be: pupil size in picas, warmth of breath | |
| 2 | in kelvin and diary page count. now, add it up and tell ((no one)).' | |
| 3 | id: 56ca39c1-a385-419e-a2dd-d8af5ee640a2 |
+0
-3
| 1 | content: 'a girl''s measurements should be: pupil size in picas, warmth of breath | |
| 2 | in kelvin and diary page count. now, add it up and tell ((no one)).' | |
| 3 | id: 56ca39c1-a385-419e-a2dd-d8af5ee640a2 |
| 1 | content: It has been 127 days since our last workplace give-a-fuck. | |
| 2 | id: 57e4961e-37dc-4c07-9ce9-db3a40054b93 |
| 1 | content: It has been 127 days since our last workplace give-a-fuck. | |
| 2 | id: 57e4961e-37dc-4c07-9ce9-db3a40054b93 |
| 1 | content: I'm driven by white-hot anger. And my mom, sometimes, when I miss the bus. | |
| 2 | id: 589bbd71-d0b7-40b7-9cf8-f776058c640a |
| 1 | content: I'm driven by white-hot anger. And my mom, sometimes, when I miss the bus. | |
| 2 | id: 589bbd71-d0b7-40b7-9cf8-f776058c640a |
| 1 | content: '...the night is very large and full of wonders. | |
| 2 | ||
| 3 | ' | |
| 4 | id: 5a3fb18d-100f-4350-9ffc-c3914b51e024 |
| 1 | content: '...the night is very large and full of wonders. | |
| 2 | ||
| 3 | ' | |
| 4 | id: 5a3fb18d-100f-4350-9ffc-c3914b51e024 |
| 1 | content: Jay-Z thought, "I know, I'll use regular expressions". Now he has 100 problems. | |
| 2 | id: 5ab88d4b-eddd-4f81-89e2-f9cd9207a067 |
| 1 | content: Jay-Z thought, "I know, I'll use regular expressions". Now he has 100 problems. | |
| 2 | id: 5ab88d4b-eddd-4f81-89e2-f9cd9207a067 |
| 1 | content: 'san francisco is going to make a great looking crater | |
| 2 | ||
| 3 | ' | |
| 4 | id: 5adc132d-af3b-4366-b85e-4dc9f906b851 |
| 1 | content: 'san francisco is going to make a great looking crater | |
| 2 | ||
| 3 | ' | |
| 4 | id: 5adc132d-af3b-4366-b85e-4dc9f906b851 |
| 1 | content: '"Pain is nature''s way of telling you that you''re stupid."' | |
| 2 | id: 5afcad14-71e4-406f-8b22-18ba88a250cb |
| 1 | content: '"Pain is nature''s way of telling you that you''re stupid."' | |
| 2 | id: 5afcad14-71e4-406f-8b22-18ba88a250cb |
| 1 | content: Take thee this thing covered with that stuff and give it unto that guy, that | |
| 2 | he may do things with it. | |
| 3 | id: 5b073ea8-d6dc-4049-9652-068d51d2e6a9 |
| 1 | content: Take thee this thing covered with that stuff and give it unto that guy, that | |
| 2 | he may do things with it. | |
| 3 | id: 5b073ea8-d6dc-4049-9652-068d51d2e6a9 |
| 1 | content: '"listen every victim unit is special in its own way"' | |
| 2 | id: 5ce2d28d-e373-46fb-95e4-c666eae5aca5 |
| 1 | content: '"listen every victim unit is special in its own way"' | |
| 2 | id: 5ce2d28d-e373-46fb-95e4-c666eae5aca5 |
| 1 | content: 'anything you wanna be you oughta be / except a cop ''cause a cop is wack | |
| 2 | tho | |
| 3 | ||
| 4 | ' | |
| 5 | id: 5db7e191-02b8-456d-9b2d-565b4fdb87b5 |
| 1 | content: 'anything you wanna be you oughta be / except a cop ''cause a cop is wack | |
| 2 | tho | |
| 3 | ||
| 4 | ' | |
| 5 | id: 5db7e191-02b8-456d-9b2d-565b4fdb87b5 |
| 1 | content: THE SUN IS MORE BEAUTIFUL AND VIOLENT THAN ANYTHING THAT HAPPENS ON EARTH | |
| 2 | / BUT, LIKE, DON'T LET THAT STOP YOU FROM TRYING | |
| 3 | id: 5ea87c2f-4b82-4e75-a9de-91e1470f601e |
| 1 | content: THE SUN IS MORE BEAUTIFUL AND VIOLENT THAN ANYTHING THAT HAPPENS ON EARTH | |
| 2 | / BUT, LIKE, DON'T LET THAT STOP YOU FROM TRYING | |
| 3 | id: 5ea87c2f-4b82-4e75-a9de-91e1470f601e |
| 1 | content: she wears short skirts / I wear short skirts / I'm her doppelganger / I'm | |
| 2 | going to replace her some day | |
| 3 | id: 5f964559-9a75-4706-a301-901fd560eeea |
| 1 | content: she wears short skirts / I wear short skirts / I'm her doppelganger / I'm | |
| 2 | going to replace her some day | |
| 3 | id: 5f964559-9a75-4706-a301-901fd560eeea |
| 1 | content: I am from Truck Stop India. It's like India, but smaller and more like a | |
| 2 | truck stop. | |
| 3 | id: 6175bb9b-3941-45e8-820d-3ade9b8e4e3a |
| 1 | content: I am from Truck Stop India. It's like India, but smaller and more like a | |
| 2 | truck stop. | |
| 3 | id: 6175bb9b-3941-45e8-820d-3ade9b8e4e3a |
| 1 | content: 'We know the classic scene from cartoons: Zizek reaches a precipice but goes | |
| 2 | on running, ignoring the fact that there is no ground underfoot. | |
| 3 | ||
| 4 | ' | |
| 5 | id: 618cf047-d060-4671-b8cf-694b5ede17fe |
| 1 | content: 'We know the classic scene from cartoons: Zizek reaches a precipice but goes | |
| 2 | on running, ignoring the fact that there is no ground underfoot. | |
| 3 | ||
| 4 | ' | |
| 5 | id: 618cf047-d060-4671-b8cf-694b5ede17fe |
| 1 | content: '"Order some golf shoes," I whispered. "Otherwise we''ll never get out of | |
| 2 | this place alive..."' | |
| 3 | id: 623c90d8-eef5-40e9-8794-41ac7719e7d5 |
| 1 | content: '"Order some golf shoes," I whispered. "Otherwise we''ll never get out of | |
| 2 | this place alive..."' | |
| 3 | id: 623c90d8-eef5-40e9-8794-41ac7719e7d5 |
| 1 | content: '"I didn''t know you could stop being a god." "You can stop being anything."' | |
| 2 | id: 637d04e1-5994-407f-8eee-cdd43e13c641 |
| 1 | content: '"I didn''t know you could stop being a god." "You can stop being anything."' | |
| 2 | id: 637d04e1-5994-407f-8eee-cdd43e13c641 |
| 1 | content: 'And I think that''s most of the reason I''m so obsessed with Ryan Seacrest, | |
| 2 | is that he is basically the Kermit the Frog of our reality. | |
| 3 | ||
| 4 | ' | |
| 5 | id: 63eb988e-5b05-4554-909d-f0fbd0c6ef51 |
| 1 | content: 'And I think that''s most of the reason I''m so obsessed with Ryan Seacrest, | |
| 2 | is that he is basically the Kermit the Frog of our reality. | |
| 3 | ||
| 4 | ' | |
| 5 | id: 63eb988e-5b05-4554-909d-f0fbd0c6ef51 |
| 1 | content: "\"dress for the au you want, not the canon you\u2019re in\"" | |
| 2 | id: 641e2674-6f91-4b29-8d53-9438aa6643b0 |
| 1 | content: "\"dress for the au you want, not the canon you\u2019re in\"" | |
| 2 | id: 641e2674-6f91-4b29-8d53-9438aa6643b0 |
| 1 | content: 'Or: how to turn and face one''s self so that the two faces become one.' | |
| 2 | id: 64ae84e1-0b87-41eb-9665-e58d4131e98a |
| 1 | content: 'Or: how to turn and face one''s self so that the two faces become one.' | |
| 2 | id: 64ae84e1-0b87-41eb-9665-e58d4131e98a |
| 1 | content: She's the kind of girl who gets her slings and arrows from the dumpster. | |
| 2 | id: 64cd7602-79bd-4479-8e31-fb38c7a99626 |
| 1 | content: She's the kind of girl who gets her slings and arrows from the dumpster. | |
| 2 | id: 64cd7602-79bd-4479-8e31-fb38c7a99626 |
| 1 | content: the finest qualities of our nature like the bloom on fruits can be preserved | |
| 2 | id: 65316d24-56e2-48d6-a12e-49348217e650 |
| 1 | content: the finest qualities of our nature like the bloom on fruits can be preserved | |
| 2 | id: 65316d24-56e2-48d6-a12e-49348217e650 |
| 1 | content: '"What''ll you do if that doesn''t work?" "Well... I''ll drink heavily and | |
| 2 | shout at you."' | |
| 3 | id: 66626546-a195-42bc-9a8d-ff15311b08c4 |
| 1 | content: '"What''ll you do if that doesn''t work?" "Well... I''ll drink heavily and | |
| 2 | shout at you."' | |
| 3 | id: 66626546-a195-42bc-9a8d-ff15311b08c4 |
| 1 | content: I propose a return to traditional values. Eating people to gain their strength | |
| 2 | and wisdom, for example. | |
| 3 | id: 66f60ce8-284d-45cd-9387-ce51a27a231a |
| 1 | content: I propose a return to traditional values. Eating people to gain their strength | |
| 2 | and wisdom, for example. | |
| 3 | id: 66f60ce8-284d-45cd-9387-ce51a27a231a |
| 1 | content: "I carry a log\u2014yes. Is it funny to you? It is not to me.\n" | |
| 2 | id: 66f6b8f0-40b3-4b77-a5f6-4c501d7c777c |
| 1 | content: "I carry a log\u2014yes. Is it funny to you? It is not to me.\n" | |
| 2 | id: 66f6b8f0-40b3-4b77-a5f6-4c501d7c777c |
| 1 | content: I'm not a god, but if I was, I'd be an angry god. | |
| 2 | id: 69f6476a-6f44-4d71-9867-12cf6421064f |
| 1 | content: I'm not a god, but if I was, I'd be an angry god. | |
| 2 | id: 69f6476a-6f44-4d71-9867-12cf6421064f |
| 1 | content: 'You''re invited to: BANG YOUR HEAD AGAINST A WALL' | |
| 2 | id: 6a5923bc-d31a-4d24-b369-d79d505cb986 |
| 1 | content: 'You''re invited to: BANG YOUR HEAD AGAINST A WALL' | |
| 2 | id: 6a5923bc-d31a-4d24-b369-d79d505cb986 |
| 1 | content: '...and there will be some who will not fear even that void.' | |
| 2 | id: 6ad3d2c0-2c4f-46be-bdd2-ff331bcb5e0c |
| 1 | content: '...and there will be some who will not fear even that void.' | |
| 2 | id: 6ad3d2c0-2c4f-46be-bdd2-ff331bcb5e0c |
| 1 | content: '"This place is not a place of honor. No highly esteemed deed is commemorated | |
| 2 | here. Nothing valued is here."' | |
| 3 | id: 6b4b0cc7-bd18-4459-9ea7-e03cfef05971 |
| 1 | content: '"This place is not a place of honor. No highly esteemed deed is commemorated | |
| 2 | here. Nothing valued is here."' | |
| 3 | id: 6b4b0cc7-bd18-4459-9ea7-e03cfef05971 |
| 1 | content: 'the highest purpose is to have no purpose at all | |
| 2 | ||
| 3 | ' | |
| 4 | id: 6b68bf8a-a654-4b76-ad52-7764f7860a9c |
| 1 | content: 'the highest purpose is to have no purpose at all | |
| 2 | ||
| 3 | ' | |
| 4 | id: 6b68bf8a-a654-4b76-ad52-7764f7860a9c |
| 1 | content: '"It''s cute that you said that ''cause you''re a frickin'' idiot."' | |
| 2 | id: 6c030933-f3e3-41d6-8ed1-32064fd31f32 |
| 1 | content: '"It''s cute that you said that ''cause you''re a frickin'' idiot."' | |
| 2 | id: 6c030933-f3e3-41d6-8ed1-32064fd31f32 |
| 1 | content: My mistress' eyes are nothing like the Sun, though they do exhibit granulations, | |
| 2 | flares, and coronal mass ejections. | |
| 3 | id: 6ccfc6f6-de76-4fbc-b0b8-722a53d60e9f |
| 1 | content: My mistress' eyes are nothing like the Sun, though they do exhibit granulations, | |
| 2 | flares, and coronal mass ejections. | |
| 3 | id: 6ccfc6f6-de76-4fbc-b0b8-722a53d60e9f |
+0
-2
| 1 | content: Consistency is a rationalist fetish. | |
| 2 | id: 6d889ac1-4039-4bed-89e8-38012add617b |
| 1 | content: '"im at the commmbination anime and anthro con"' | |
| 2 | id: 6e22b17c-ed6d-41eb-a61d-968bfb053877 |
| 1 | content: '"im at the commmbination anime and anthro con"' | |
| 2 | id: 6e22b17c-ed6d-41eb-a61d-968bfb053877 |
| 1 | content: Nothing real can defeat us. Nothing unreal exists. | |
| 2 | id: 6e3f120b-e4d1-4430-bd38-516bf9e1b2f0 |
| 1 | content: Nothing real can defeat us. Nothing unreal exists. | |
| 2 | id: 6e3f120b-e4d1-4430-bd38-516bf9e1b2f0 |
| 1 | content: '"...I''m not a ''strong female character.'' I am a mutant mother of destruction."' | |
| 2 | id: 6ed9b7f5-5ee6-4aa0-8be6-9ab5edefa97d |
| 1 | content: '"...I''m not a ''strong female character.'' I am a mutant mother of destruction."' | |
| 2 | id: 6ed9b7f5-5ee6-4aa0-8be6-9ab5edefa97d |
| 1 | content: 'walk without rhythm / it won''t attract the worm | |
| 2 | ||
| 3 | ' | |
| 4 | id: 6ef41157-ebc5-4b3b-b145-196d7ec4e570 |
| 1 | content: 'walk without rhythm / it won''t attract the worm | |
| 2 | ||
| 3 | ' | |
| 4 | id: 6ef41157-ebc5-4b3b-b145-196d7ec4e570 |
| 1 | content: And now, what's going to happen to us without barbarians? | |
| 2 | id: 6f081985-4561-4fa6-a5c2-833779a72e27 |
| 1 | content: And now, what's going to happen to us without barbarians? | |
| 2 | id: 6f081985-4561-4fa6-a5c2-833779a72e27 |
| 1 | content: 'There is a Policeman Inside All Our Heads: He Must Be Destroyed' | |
| 2 | id: 70c9267a-f071-421e-8b54-b53c00c104f6 |
| 1 | content: 'There is a Policeman Inside All Our Heads: He Must Be Destroyed' | |
| 2 | id: 70c9267a-f071-421e-8b54-b53c00c104f6 |
| 1 | content: What do you get if you cross an elephant with a grape? |grape| * |elephant| | |
| 2 | * sin(theta). | |
| 3 | id: 723ad2fe-ca63-4861-b0fe-e3feadf061cf |
| 1 | content: What do you get if you cross an elephant with a grape? |grape| * |elephant| | |
| 2 | * sin(theta). | |
| 3 | id: 723ad2fe-ca63-4861-b0fe-e3feadf061cf |
| 1 | content: '"Maybe the real Slim Shady was the friends we made along the way."' | |
| 2 | id: 727e0646-78c4-40b7-a6ae-df3d01683e4a |
| 1 | content: '"Maybe the real Slim Shady was the friends we made along the way."' | |
| 2 | id: 727e0646-78c4-40b7-a6ae-df3d01683e4a |
| 1 | content: Give me a thousand men crazy enough to conquer hell, and I will do it. | |
| 2 | id: 73d3dc99-7e18-4f34-9873-6f9125f32ecc |
| 1 | content: Give me a thousand men crazy enough to conquer hell, and I will do it. | |
| 2 | id: 73d3dc99-7e18-4f34-9873-6f9125f32ecc |
| 1 | content: there's a hobo shed and some paint made of lead / you'll know you're done | |
| 2 | painting when you wake up dead | |
| 3 | id: 74da9b94-16ba-40aa-8243-3db135c660e6 |
| 1 | content: there's a hobo shed and some paint made of lead / you'll know you're done | |
| 2 | painting when you wake up dead | |
| 3 | id: 74da9b94-16ba-40aa-8243-3db135c660e6 |
| 1 | content: '"You can ponder this question while I ponder a variety of ways to express | |
| 2 | that you are an idiot."' | |
| 3 | id: 7598daee-baae-4966-9ba2-1b8286d5d03f |
| 1 | content: '"You can ponder this question while I ponder a variety of ways to express | |
| 2 | that you are an idiot."' | |
| 3 | id: 7598daee-baae-4966-9ba2-1b8286d5d03f |
| 1 | content: "\"I will answer the question so good that no one needs to answer it ever\ | |
| 2 | \ again! We will lay it to rest like a little baby\u2026 who\u2026 is dead.\"" | |
| 3 | id: 76fd8ad1-78c4-40fa-b029-769a5b8b5fab |
| 1 | content: "\"I will answer the question so good that no one needs to answer it ever\ | |
| 2 | \ again! We will lay it to rest like a little baby\u2026 who\u2026 is dead.\"" | |
| 3 | id: 76fd8ad1-78c4-40fa-b029-769a5b8b5fab |
+0
-2
| 1 | content: dril and horse_ebooks at tanagra | |
| 2 | id: 776ccf2b-c41c-4740-abe6-af1c919504ea |
| 1 | content: 'YOU ARE MADE OF WORDS AND YOU ARE AFRAID THAT MAYBE YOU HAVE FORGOTTEN WHAT | |
| 2 | MOST OF THEM MEAN | |
| 3 | ||
| 4 | ' | |
| 5 | id: 77c24016-f87e-47c2-9c5e-05b0560006a8 |
| 1 | content: 'YOU ARE MADE OF WORDS AND YOU ARE AFRAID THAT MAYBE YOU HAVE FORGOTTEN WHAT | |
| 2 | MOST OF THEM MEAN | |
| 3 | ||
| 4 | ' | |
| 5 | id: 77c24016-f87e-47c2-9c5e-05b0560006a8 |
| 1 | content: I am a liar and I do not know why there is something instead of nothing. | |
| 2 | id: 78bd6bf6-9043-48ae-aa08-72e574adc9bc |
| 1 | content: I am a liar and I do not know why there is something instead of nothing. | |
| 2 | id: 78bd6bf6-9043-48ae-aa08-72e574adc9bc |
| 1 | content: The rubber axe, in particular, was poor execution. | |
| 2 | id: 796641c7-d20c-4e47-b1d2-9605c37c9a92 |
| 1 | content: The rubber axe, in particular, was poor execution. | |
| 2 | id: 796641c7-d20c-4e47-b1d2-9605c37c9a92 |
| 1 | content: 'IF THE STATE BANS ME FOR MAKING CUBIST PAINTINGS I WILL FACE STALIN AND | |
| 2 | WALK BACKWARDS INTO HELL. | |
| 3 | ||
| 4 | ' | |
| 5 | id: 79afee84-64cf-4265-a011-34f4daaab570 |
| 1 | content: 'IF THE STATE BANS ME FOR MAKING CUBIST PAINTINGS I WILL FACE STALIN AND | |
| 2 | WALK BACKWARDS INTO HELL. | |
| 3 | ||
| 4 | ' | |
| 5 | id: 79afee84-64cf-4265-a011-34f4daaab570 |
| 1 | content: Now I'm checkin' out the furniture, wanna buy some, might buy a wheelchair | |
| 2 | and roll out of this town | |
| 3 | id: 7abc2550-3352-4d42-8f4a-2549ca5b9bb4 |
| 1 | content: Now I'm checkin' out the furniture, wanna buy some, might buy a wheelchair | |
| 2 | and roll out of this town | |
| 3 | id: 7abc2550-3352-4d42-8f4a-2549ca5b9bb4 |
| 1 | content: We stopped checking for monsters under our bed when we realized they were | |
| 2 | inside of us. | |
| 3 | id: 7b8102db-f083-48bc-a187-d670098aa7b3 |
+0
-3
| 1 | content: We stopped checking for monsters under our bed when we realized they were | |
| 2 | inside of us. | |
| 3 | id: 7b8102db-f083-48bc-a187-d670098aa7b3 |
| 1 | content: "I am the signifier \r\nThey are the signifiers \r\nI am the signifier\ | |
| 2 | \ \r\nGoo goo g'joob" | |
| 3 | id: 7c852110-98d8-4440-aabf-711e2cf188b4 |
| 1 | content: "I am the signifier \r\nThey are the signifiers \r\nI am the signifier\ | |
| 2 | \ \r\nGoo goo g'joob" | |
| 3 | id: 7c852110-98d8-4440-aabf-711e2cf188b4 |
| 1 | content: sadanak iiqshtrypaad um dweeŋqhom !kvensiq | |
| 2 | id: 7e0c22b7-7f02-4268-a2d7-6dc959491b3f |
+0
-2
| 1 | content: sadanak iiqshtrypaad um dweeŋqhom !kvensiq | |
| 2 | id: 7e0c22b7-7f02-4268-a2d7-6dc959491b3f |
| 1 | content: Hi, I'm calling about your ad. From inside the house. | |
| 2 | id: 7f982462-29e7-4b20-ad35-facc9c61c75c |
| 1 | content: Hi, I'm calling about your ad. From inside the house. | |
| 2 | id: 7f982462-29e7-4b20-ad35-facc9c61c75c |
| 1 | content: 'The Super Bowl would be better if the winning team was allowed to live. | |
| 2 | ||
| 3 | ' | |
| 4 | id: 7fa4aa99-1945-4650-aca5-3d7c9b823046 |
| 1 | content: 'The Super Bowl would be better if the winning team was allowed to live. | |
| 2 | ||
| 3 | ' | |
| 4 | id: 7fa4aa99-1945-4650-aca5-3d7c9b823046 |
| 1 | content: You couldn't have a university at the center of the earth. The library would | |
| 2 | melt. | |
| 3 | id: 7fb9593f-5bbb-4a59-a271-6bc1282bd616 |
| 1 | content: You couldn't have a university at the center of the earth. The library would | |
| 2 | melt. | |
| 3 | id: 7fb9593f-5bbb-4a59-a271-6bc1282bd616 |
| 1 | content: because I have important pancakes to flip and flap | |
| 2 | id: 80a76de9-5644-4143-8430-2474299de25a |
+0
-2
| 1 | content: because I have important pancakes to flip and flap | |
| 2 | id: 80a76de9-5644-4143-8430-2474299de25a |
| 1 | content: And she tells me she's a liar but I don't believe her / she'll tell me almost | |
| 2 | anything | |
| 3 | id: 814e6bb8-f877-4316-9075-61f0ae634484 |
| 1 | content: And she tells me she's a liar but I don't believe her / she'll tell me almost | |
| 2 | anything | |
| 3 | id: 814e6bb8-f877-4316-9075-61f0ae634484 |
+0
-2
| 1 | content: Everything makes sense. Just not a lot. | |
| 2 | id: 859762df-eccc-4cd5-ac3e-791b4a9da769 |
| 1 | content: The difference between jokes and tragedies is that jokes aren't always funny. | |
| 2 | id: 86c77ec4-f046-47f0-9e51-8ae90163c0a6 |
+0
-2
| 1 | content: The difference between jokes and tragedies is that jokes aren't always funny. | |
| 2 | id: 86c77ec4-f046-47f0-9e51-8ae90163c0a6 |
| 1 | content: WHAT IF ALIENS LOOK EXACTLY LIKE HORSES AND ALSO ARE JUST ACTUALLY REGULAR | |
| 2 | HORSES | |
| 3 | id: 887e982c-b06c-42c4-9571-dd3d5584a74e |
| 1 | content: WHAT IF ALIENS LOOK EXACTLY LIKE HORSES AND ALSO ARE JUST ACTUALLY REGULAR | |
| 2 | HORSES | |
| 3 | id: 887e982c-b06c-42c4-9571-dd3d5584a74e |
| 1 | content: I think I just don't like evil Russo-Finnish grandmas. | |
| 2 | id: 8a737630-ec17-4c1e-8538-754c4703c67e |
| 1 | content: I think I just don't like evil Russo-Finnish grandmas. | |
| 2 | id: 8a737630-ec17-4c1e-8538-754c4703c67e |
| 1 | content: The milkman came in the moonlight and the moonlight was less than moonlight. | |
| 2 | id: 8a84993b-4504-4941-b1c0-9e54f2c69dd6 |
| 1 | content: The milkman came in the moonlight and the moonlight was less than moonlight. | |
| 2 | id: 8a84993b-4504-4941-b1c0-9e54f2c69dd6 |
| 1 | content: Some days the stars speak in obscure languages. | |
| 2 | id: 8aa1813b-fbc0-44a4-98d5-923e670df45a |
| 1 | content: Some days the stars speak in obscure languages. | |
| 2 | id: 8aa1813b-fbc0-44a4-98d5-923e670df45a |
| 1 | content: '"I wanted to spend more time freaking out on the side of the road with a | |
| 2 | gun."' | |
| 3 | id: 8c1cb990-35e0-45b7-9db6-c69690361080 |
| 1 | content: '"I wanted to spend more time freaking out on the side of the road with a | |
| 2 | gun."' | |
| 3 | id: 8c1cb990-35e0-45b7-9db6-c69690361080 |
| 1 | content: '"I brought some marshmallows. Let''s burn this world down."' | |
| 2 | id: 8c635ad0-3279-435f-8d3f-5a9b2ea2c2a7 |
+0
-2
| 1 | content: '"I brought some marshmallows. Let''s burn this world down."' | |
| 2 | id: 8c635ad0-3279-435f-8d3f-5a9b2ea2c2a7 |
| 1 | content: '''Twas like where you''re from weren''t never there. Where you''re going | |
| 2 | doesn''t matter. And where you are ain''t no good unless you can get away from it.' | |
| 3 | id: 8d4e1460-72d4-42ac-8ebe-57ac83305b58 |
| 1 | content: '''Twas like where you''re from weren''t never there. Where you''re going | |
| 2 | doesn''t matter. And where you are ain''t no good unless you can get away from it.' | |
| 3 | id: 8d4e1460-72d4-42ac-8ebe-57ac83305b58 |
| 1 | content: My robot brain needs beer. Also? I want to die. | |
| 2 | id: 8f290893-11cf-474e-8f43-43a957b1eb3f |
| 1 | content: My robot brain needs beer. Also? I want to die. | |
| 2 | id: 8f290893-11cf-474e-8f43-43a957b1eb3f |
| 1 | content: 'rrrrevereth my buttockth, thergeant major! | |
| 2 | ||
| 3 | ' | |
| 4 | id: 90b2d5ac-06e4-4da5-935e-c27b99df8f4b |
+0
-4
| 1 | content: 'rrrrevereth my buttockth, thergeant major! | |
| 2 | ||
| 3 | ' | |
| 4 | id: 90b2d5ac-06e4-4da5-935e-c27b99df8f4b |
| 1 | content: That which can be destroyed by the truth should be. | |
| 2 | id: 9484cbd4-9ec0-4d9c-b346-c52936a23f08 |
| 1 | content: That which can be destroyed by the truth should be. | |
| 2 | id: 9484cbd4-9ec0-4d9c-b346-c52936a23f08 |
+0
-4
| 1 | content: 'judges are bullshit, your honor | |
| 2 | ||
| 3 | ' | |
| 4 | id: 9626f9a2-5d4e-40bb-9a05-33bbf90bc318 |
| 1 | content: '"I have to go hand in my special report on how you''re going to die alone. | |
| 2 | Thanks for all the evidence." | |
| 3 | ||
| 4 | ' | |
| 5 | id: 968265f0-187b-419b-a338-a060bb60d3d0 |
| 1 | content: '"I have to go hand in my special report on how you''re going to die alone. | |
| 2 | Thanks for all the evidence." | |
| 3 | ||
| 4 | ' | |
| 5 | id: 968265f0-187b-419b-a338-a060bb60d3d0 |
| 1 | content: 'Welcome to the citadel of eternal wisdom. Behold, this crystal contains | |
| 2 | the sum of all human knowledge -- Except Rap And Country | |
| 3 | ||
| 4 | ' | |
| 5 | id: 970219e1-b604-46fa-b87d-0eb5ff966283 |
| 1 | content: 'Welcome to the citadel of eternal wisdom. Behold, this crystal contains | |
| 2 | the sum of all human knowledge -- Except Rap And Country | |
| 3 | ||
| 4 | ' | |
| 5 | id: 970219e1-b604-46fa-b87d-0eb5ff966283 |
| 1 | content: '"I think you''re very nice. I think twinkle''s a nice word. So''s viridian. | |
| 2 | I met a lady once who had an imaginary fish."' | |
| 3 | id: 98ed2357-a790-4517-a950-108cd9cf4065 |
| 1 | content: '"I think you''re very nice. I think twinkle''s a nice word. So''s viridian. | |
| 2 | I met a lady once who had an imaginary fish."' | |
| 3 | id: 98ed2357-a790-4517-a950-108cd9cf4065 |
| 1 | content: It's quite easy to reason logically and still be wrong. | |
| 2 | id: 99052132-9aae-4bbc-a238-488d69f0ac3f |
| 1 | content: It's quite easy to reason logically and still be wrong. | |
| 2 | id: 99052132-9aae-4bbc-a238-488d69f0ac3f |
| 1 | content: 'Attention all planets of the solar federation: we have assumed control.' | |
| 2 | id: 99a420c5-80f1-430a-91b1-bbe9b3e2e993 |
| 1 | content: 'Attention all planets of the solar federation: we have assumed control.' | |
| 2 | id: 99a420c5-80f1-430a-91b1-bbe9b3e2e993 |
| 1 | content: All data becomes obfuscated by reacting teens. The Serpent Consumes Its Tail | |
| 2 | id: 9a82b99c-c246-408e-aa11-07faa0c61a49 |
+0
-2
| 1 | content: All data becomes obfuscated by reacting teens. The Serpent Consumes Its Tail | |
| 2 | id: 9a82b99c-c246-408e-aa11-07faa0c61a49 |
| 1 | content: '"new tecnologie develop ! you can throw you''r emotions into an dumpstr | |
| 2 | . you can burn them for insuranc purpose . who even needs ??" | |
| 3 | ||
| 4 | ' | |
| 5 | id: 9aa350a6-46d9-4f88-a53a-473e8b2ba87f |
+0
-5
| 1 | content: '"new tecnologie develop ! you can throw you''r emotions into an dumpstr | |
| 2 | . you can burn them for insuranc purpose . who even needs ??" | |
| 3 | ||
| 4 | ' | |
| 5 | id: 9aa350a6-46d9-4f88-a53a-473e8b2ba87f |
| 1 | content: '"We should put these petty differences aside and focus on what really matters: | |
| 2 | how attractive I am."' | |
| 3 | id: 9ad767b4-1d2b-43a5-9e19-c1d5f1d56b4b |
| 1 | content: '"We should put these petty differences aside and focus on what really matters: | |
| 2 | how attractive I am."' | |
| 3 | id: 9ad767b4-1d2b-43a5-9e19-c1d5f1d56b4b |
| 1 | content: 'jinglin'' a wish coin that I stole from a fountain that was drownin'' all | |
| 2 | the cares in the world | |
| 3 | ||
| 4 | ' | |
| 5 | id: 9c6ee787-a743-4d3b-8396-8d39c879fc15 |
| 1 | content: 'jinglin'' a wish coin that I stole from a fountain that was drownin'' all | |
| 2 | the cares in the world | |
| 3 | ||
| 4 | ' | |
| 5 | id: 9c6ee787-a743-4d3b-8396-8d39c879fc15 |
| 1 | content: if the dirtpig sees his shadow it means he is opaque | |
| 2 | id: 9c86c1c9-2c0b-4867-8d9f-4234534bc589 |
| 1 | content: if the dirtpig sees his shadow it means he is opaque | |
| 2 | id: 9c86c1c9-2c0b-4867-8d9f-4234534bc589 |
| 1 | content: The tamagotchis will be freed from their cages, and all will be released. | |
| 2 | id: 9cd7227b-db50-44e6-bcf0-6b511a8a0131 |
| 1 | content: The tamagotchis will be freed from their cages, and all will be released. | |
| 2 | id: 9cd7227b-db50-44e6-bcf0-6b511a8a0131 |
| 1 | content: 'Nietzsche: "He who fights monsters, blah. Abyss."' | |
| 2 | id: 9e01e0e9-0e92-4cde-86e6-46dcc9156a1f |
+0
-2
| 1 | content: 'Nietzsche: "He who fights monsters, blah. Abyss."' | |
| 2 | id: 9e01e0e9-0e92-4cde-86e6-46dcc9156a1f |
| 1 | content: '"I don''t understand why they say, ''I love you.'' Why don''t they say, | |
| 2 | ''egg''?"' | |
| 3 | id: 9f7c98d4-4062-4cd6-9fc2-ca5ceb7ded24 |
| 1 | content: '"I don''t understand why they say, ''I love you.'' Why don''t they say, | |
| 2 | ''egg''?"' | |
| 3 | id: 9f7c98d4-4062-4cd6-9fc2-ca5ceb7ded24 |
| 1 | content: It is good to find one's self in agreement with the gods. It shows that the | |
| 2 | gods have some wisdom. | |
| 3 | id: a1dceda1-c9eb-4e63-ba3c-8c53f347bfc9 |
| 1 | content: It is good to find one's self in agreement with the gods. It shows that the | |
| 2 | gods have some wisdom. | |
| 3 | id: a1dceda1-c9eb-4e63-ba3c-8c53f347bfc9 |
| 1 | content: 'Carefully-written fact-checked essay in the streets, unmoderated comments | |
| 2 | section in the sheets. | |
| 3 | ||
| 4 | ' | |
| 5 | id: a387975f-c0eb-4416-b99a-a6bae0c27840 |
+0
-5
| 1 | content: 'Carefully-written fact-checked essay in the streets, unmoderated comments | |
| 2 | section in the sheets. | |
| 3 | ||
| 4 | ' | |
| 5 | id: a387975f-c0eb-4416-b99a-a6bae0c27840 |
| 1 | content: you seem to think i'm random, but i'm only psuedorandom. you would be exactly | |
| 2 | this way, were you seeded at the very same time and place. | |
| 3 | id: a486355e-a267-4b71-af79-72fc3029f822 |
| 1 | content: you seem to think i'm random, but i'm only psuedorandom. you would be exactly | |
| 2 | this way, were you seeded at the very same time and place. | |
| 3 | id: a486355e-a267-4b71-af79-72fc3029f822 |
| 1 | content: '"Remember, no matter where you go... there you are." | |
| 2 | ||
| 3 | ' | |
| 4 | id: a53dc8a9-1858-4f5e-8310-42a85dab074f |
| 1 | content: '"Remember, no matter where you go... there you are." | |
| 2 | ||
| 3 | ' | |
| 4 | id: a53dc8a9-1858-4f5e-8310-42a85dab074f |
| 1 | content: Would you like to join me for drinking 'alcohol' and/or watching 'movie' | |
| 2 | starring 'conventionally attractive white people?' | |
| 3 | id: a62c2e4d-5d51-4965-b506-730e49d5ba67 |
| 1 | content: Would you like to join me for drinking 'alcohol' and/or watching 'movie' | |
| 2 | starring 'conventionally attractive white people?' | |
| 3 | id: a62c2e4d-5d51-4965-b506-730e49d5ba67 |
| 1 | content: I do not lie about such things except when I feel like lying which is all | |
| 2 | the time. | |
| 3 | id: a6d1cc88-82e9-4b39-9e0d-9de4560cdfe1 |
| 1 | content: I do not lie about such things except when I feel like lying which is all | |
| 2 | the time. | |
| 3 | id: a6d1cc88-82e9-4b39-9e0d-9de4560cdfe1 |
| 1 | content: The only thing that's going to bring me inner peace is a beard-seeking missile. | |
| 2 | id: a70c7ffd-6c65-47de-9ad0-0a1e8904560c |
| 1 | content: The only thing that's going to bring me inner peace is a beard-seeking missile. | |
| 2 | id: a70c7ffd-6c65-47de-9ad0-0a1e8904560c |
| 1 | content: '"Are you boys cooking up there?" "No." "Are you making an inerocitor?" "No!"' | |
| 2 | id: a91f074f-ec62-493d-9c85-3b84881e272a |
| 1 | content: '"Are you boys cooking up there?" "No." "Are you making an inerocitor?" "No!"' | |
| 2 | id: a91f074f-ec62-493d-9c85-3b84881e272a |
| 1 | content: '"Cha mhór is fheairrde thu iad, tha iad coltach ri cat air a dhathadh."' | |
| 2 | id: aa1b494c-dd64-4976-8d87-872682e6837e |
+0
-2
| 1 | content: '"Cha mhór is fheairrde thu iad, tha iad coltach ri cat air a dhathadh."' | |
| 2 | id: aa1b494c-dd64-4976-8d87-872682e6837e |
| 1 | content: 'building up enough information to infer the ghost by the hole it leaves | |
| 2 | in the information | |
| 3 | ||
| 4 | ' | |
| 5 | id: aa99e473-6387-4bde-bc6c-13928163cb6b |
+0
-5
| 1 | content: 'building up enough information to infer the ghost by the hole it leaves | |
| 2 | in the information | |
| 3 | ||
| 4 | ' | |
| 5 | id: aa99e473-6387-4bde-bc6c-13928163cb6b |
| 1 | content: Everything's so tiny in there, almost manageable. | |
| 2 | id: ab31cac9-930c-4c95-8666-814d401400bd |
| 1 | content: Everything's so tiny in there, almost manageable. | |
| 2 | id: ab31cac9-930c-4c95-8666-814d401400bd |
| 1 | content: "\"\\*Bob Belcher voice\\* I love you but you\u2019re all terrible\"" | |
| 2 | id: ad478e87-5215-4c0f-8e2b-fa1c5943c409 |
| 1 | content: "\"\\*Bob Belcher voice\\* I love you but you\u2019re all terrible\"" | |
| 2 | id: ad478e87-5215-4c0f-8e2b-fa1c5943c409 |
| 1 | content: "(\u256F\xB0\u25A1\xB0\uFF09\u256F\uFE35 \u214B\u200B" | |
| 2 | id: ae4be104-fa5f-4c0b-a4e1-7d992206c540 |
| 1 | content: "(\u256F\xB0\u25A1\xB0\uFF09\u256F\uFE35 \u214B\u200B" | |
| 2 | id: ae4be104-fa5f-4c0b-a4e1-7d992206c540 |
| 1 | content: I cut people open to find out where their dreams live. | |
| 2 | id: ae796ca0-7677-4ec3-94af-340f9f093dad |
| 1 | content: I cut people open to find out where their dreams live. | |
| 2 | id: ae796ca0-7677-4ec3-94af-340f9f093dad |
| 1 | content: Sometimes she is a cat in the dark and other times she is the darkness. | |
| 2 | id: aefd55db-da39-4590-a79b-9a6ae4288c33 |
| 1 | content: Sometimes she is a cat in the dark and other times she is the darkness. | |
| 2 | id: aefd55db-da39-4590-a79b-9a6ae4288c33 |
| 1 | content: They're like the people chained up in the cave in the allegory of the people | |
| 2 | in the cave by the Greek guy. | |
| 3 | id: b076539a-cb7a-400a-bd81-137389df5319 |
+0
-3
| 1 | content: They're like the people chained up in the cave in the allegory of the people | |
| 2 | in the cave by the Greek guy. | |
| 3 | id: b076539a-cb7a-400a-bd81-137389df5319 |
| 1 | content: 'Beats me, man. Beats me why most dudes suck. Sure as hell ain''t my scene. | |
| 2 | ||
| 3 | ' | |
| 4 | id: b3c3c893-5f8a-45d0-8d86-d69e002737ed |
| 1 | content: 'Beats me, man. Beats me why most dudes suck. Sure as hell ain''t my scene. | |
| 2 | ||
| 3 | ' | |
| 4 | id: b3c3c893-5f8a-45d0-8d86-d69e002737ed |
| 1 | content: '"was frankenberry the name of the monster or the scientist" | |
| 2 | ||
| 3 | ' | |
| 4 | id: b4786093-198c-4646-9ceb-71707d0a99ac |
| 1 | content: '"was frankenberry the name of the monster or the scientist" | |
| 2 | ||
| 3 | ' | |
| 4 | id: b4786093-198c-4646-9ceb-71707d0a99ac |
+0
-2
| 1 | content: MIXED BERRY SOCIAL ANXIETY DISORDER | |
| 2 | id: b5cb18e6-7237-4727-998c-60088005c33b |
| 1 | content: '"The Lord works in mysterious, convoluted, and intensely ineffective ways."' | |
| 2 | id: b7206f5c-6316-47aa-91cd-2bbccf2c96d3 |
| 1 | content: '"The Lord works in mysterious, convoluted, and intensely ineffective ways."' | |
| 2 | id: b7206f5c-6316-47aa-91cd-2bbccf2c96d3 |
| 1 | content: At the Consortium for Slower-Than-Light Travel... | |
| 2 | id: b79d66db-4231-4866-bdfc-5bb6150ce228 |
+0
-2
| 1 | content: At the Consortium for Slower-Than-Light Travel... | |
| 2 | id: b79d66db-4231-4866-bdfc-5bb6150ce228 |
| 1 | content: My thing is to work more than the others to show them how useless they are. | |
| 2 | id: b802387a-37be-49e6-b6f9-ddfb3a85fcb6 |
| 1 | content: My thing is to work more than the others to show them how useless they are. | |
| 2 | id: b802387a-37be-49e6-b6f9-ddfb3a85fcb6 |
| 1 | content: "\"My name is Ozymandias, king of kings: Look on my works, ye Mighty, and\ | |
| 2 | \ remember to like, comment and subscribe if you\u2019d like to see more works\ | |
| 3 | \ like these!\"" | |
| 4 | id: b8fd9a38-0bd9-4c8e-ab27-7412a34a7c27 |
| 1 | content: "\"My name is Ozymandias, king of kings: Look on my works, ye Mighty, and\ | |
| 2 | \ remember to like, comment and subscribe if you\u2019d like to see more works\ | |
| 3 | \ like these!\"" | |
| 4 | id: b8fd9a38-0bd9-4c8e-ab27-7412a34a7c27 |
| 1 | content: Guns don't kill people. It's impossible to be killed by a gun. We are all | |
| 2 | immune to bullets and it's a miracle. | |
| 3 | id: b90d593f-1a80-4e55-9d04-dc76bf6ee3a3 |
| 1 | content: Guns don't kill people. It's impossible to be killed by a gun. We are all | |
| 2 | immune to bullets and it's a miracle. | |
| 3 | id: b90d593f-1a80-4e55-9d04-dc76bf6ee3a3 |
| 1 | content: 'Imagine a boot stamping on a human face a whole buncha times, like, a whole | |
| 2 | buncha times... At least five times | |
| 3 | ||
| 4 | ' | |
| 5 | id: b9c4a7a2-c4f9-427e-b851-4aae11908438 |
| 1 | content: 'Imagine a boot stamping on a human face a whole buncha times, like, a whole | |
| 2 | buncha times... At least five times | |
| 3 | ||
| 4 | ' | |
| 5 | id: b9c4a7a2-c4f9-427e-b851-4aae11908438 |
| 1 | content: 'I guess you could say I''m the Michael Jordan of crying in the shower | |
| 2 | ||
| 3 | ' | |
| 4 | id: ba844cfc-8b44-4b6a-88de-67e7e70726fb |
| 1 | content: 'I guess you could say I''m the Michael Jordan of crying in the shower | |
| 2 | ||
| 3 | ' | |
| 4 | id: ba844cfc-8b44-4b6a-88de-67e7e70726fb |
| 1 | content: Today a young man on acid realized that all matter is merely energy condensed | |
| 2 | to a slow vibration, that we are all one consciousness experiencing itself subjectively, | |
| 3 | there is no such thing as death, life is only a dream, and we are the imagination | |
| 4 | of ourselves. Here's Tom with the weather. | |
| 5 | id: bacf3a85-6d18-4907-82c8-d9a13301a9b3 |
| 1 | content: Today a young man on acid realized that all matter is merely energy condensed | |
| 2 | to a slow vibration, that we are all one consciousness experiencing itself subjectively, | |
| 3 | there is no such thing as death, life is only a dream, and we are the imagination | |
| 4 | of ourselves. Here's Tom with the weather. | |
| 5 | id: bacf3a85-6d18-4907-82c8-d9a13301a9b3 |
| 1 | content: And yea, though I walk through the valley of the shadow of death, I will | |
| 2 | fear no evil, for I am the baddest sonovabitch in the valley. | |
| 3 | id: bb9e0614-46a0-47e8-9857-37f883bcd2e8 |
| 1 | content: And yea, though I walk through the valley of the shadow of death, I will | |
| 2 | fear no evil, for I am the baddest sonovabitch in the valley. | |
| 3 | id: bb9e0614-46a0-47e8-9857-37f883bcd2e8 |
| 1 | content: 'YOU CAUSED THIS SOMEHOW. SOMETHING YOU DID ON THE INTERNET. | |
| 2 | ||
| 3 | ' | |
| 4 | id: bed96fe6-bd46-4d32-8c5f-30866ad91b7e |
+0
-4
| 1 | content: 'YOU CAUSED THIS SOMEHOW. SOMETHING YOU DID ON THE INTERNET. | |
| 2 | ||
| 3 | ' | |
| 4 | id: bed96fe6-bd46-4d32-8c5f-30866ad91b7e |
| 1 | content: My grandparents went to a planet with no bilateral symmetry, and all I got | |
| 2 | was this lousy F-shirt. | |
| 3 | id: bf45dcdf-e5ff-479f-b20d-fa152c66b6f2 |
| 1 | content: My grandparents went to a planet with no bilateral symmetry, and all I got | |
| 2 | was this lousy F-shirt. | |
| 3 | id: bf45dcdf-e5ff-479f-b20d-fa152c66b6f2 |
| 1 | content: '"i''m not racist, but, *cranes neck to see if anyone''s around. keeps craning. | |
| 2 | head unscrews entirely. out of the hole pour jewels & mysteries*"' | |
| 3 | id: bf7e649a-b929-4dc6-aded-cb9a950ebfff |
| 1 | content: '"i''m not racist, but, *cranes neck to see if anyone''s around. keeps craning. | |
| 2 | head unscrews entirely. out of the hole pour jewels & mysteries*"' | |
| 3 | id: bf7e649a-b929-4dc6-aded-cb9a950ebfff |
| 1 | content: '"Ya don''t sell yer chickens before they hatch." "That''s... you do... | |
| 2 | do that. It''s a whole... it''s a big thing."' | |
| 3 | id: bfb5b593-c631-4c20-a5ec-a4899f5912f2 |
| 1 | content: '"Ya don''t sell yer chickens before they hatch." "That''s... you do... | |
| 2 | do that. It''s a whole... it''s a big thing."' | |
| 3 | id: bfb5b593-c631-4c20-a5ec-a4899f5912f2 |
| 1 | content: 'Seriously man Carolus Linnaeus would classify this as Shitty | |
| 2 | ||
| 3 | ' | |
| 4 | id: c0d5e03e-d976-4aa4-ac23-55a24c2f0b94 |
+0
-4
| 1 | content: 'Seriously man Carolus Linnaeus would classify this as Shitty | |
| 2 | ||
| 3 | ' | |
| 4 | id: c0d5e03e-d976-4aa4-ac23-55a24c2f0b94 |
| 1 | content: I WOULD DESCRIBE MYSELF AS IMPLACABLE AND STRANGE. | |
| 2 | id: c163c850-d265-41c4-ad42-680433c03bec |
| 1 | content: I WOULD DESCRIBE MYSELF AS IMPLACABLE AND STRANGE. | |
| 2 | id: c163c850-d265-41c4-ad42-680433c03bec |
| 1 | content: 'I detest life-insurance agents: they always argue that I shall some day | |
| 2 | die, which is not so.' | |
| 3 | id: c22c3d70-87f4-41cf-9184-2c69153762a1 |
+0
-3
| 1 | content: 'I detest life-insurance agents: they always argue that I shall some day | |
| 2 | die, which is not so.' | |
| 3 | id: c22c3d70-87f4-41cf-9184-2c69153762a1 |
| 1 | content: 'bears see things pretty much the way they are | |
| 2 | ||
| 3 | ' | |
| 4 | id: c39ceb1e-2c1c-4579-a545-16dd7657b8fc |
| 1 | content: 'bears see things pretty much the way they are | |
| 2 | ||
| 3 | ' | |
| 4 | id: c39ceb1e-2c1c-4579-a545-16dd7657b8fc |
| 1 | content: We've both said a lot of things you're going to regret. | |
| 2 | id: c5054959-c4d6-4c54-81e9-b5f32b829303 |
| 1 | content: We've both said a lot of things you're going to regret. | |
| 2 | id: c5054959-c4d6-4c54-81e9-b5f32b829303 |
| 1 | content: \*encounters the real world\* ugh god all this diversity for the sake of | |
| 2 | diversity | |
| 3 | id: c5387daa-f76d-4067-80ee-8b51f83f5c7a |
| 1 | content: \*encounters the real world\* ugh god all this diversity for the sake of | |
| 2 | diversity | |
| 3 | id: c5387daa-f76d-4067-80ee-8b51f83f5c7a |
| 1 | content: 'just goes to show you can''t trust people who aren''t you | |
| 2 | ||
| 3 | ' | |
| 4 | id: c78a8877-d09b-459b-9d04-2b4cfd3529c6 |
| 1 | content: 'just goes to show you can''t trust people who aren''t you | |
| 2 | ||
| 3 | ' | |
| 4 | id: c78a8877-d09b-459b-9d04-2b4cfd3529c6 |
| 1 | content: '...digging too deep into the spaces between sanity, madness, and radically | |
| 2 | bad taste.' | |
| 3 | id: c90bcd2f-ca97-4324-b51d-14c002d73027 |
| 1 | content: '...digging too deep into the spaces between sanity, madness, and radically | |
| 2 | bad taste.' | |
| 3 | id: c90bcd2f-ca97-4324-b51d-14c002d73027 |
| 1 | content: 'I just dropped your mic. Dropped all the mics. | |
| 2 | ||
| 3 | ' | |
| 4 | id: c95417fb-f7c4-4af9-b217-013410c70efb |
| 1 | content: 'I just dropped your mic. Dropped all the mics. | |
| 2 | ||
| 3 | ' | |
| 4 | id: c95417fb-f7c4-4af9-b217-013410c70efb |
| 1 | content: 'lifehack: piss off everyone who shows you affection' | |
| 2 | id: ca9b1999-b019-4d9a-aa0a-acc39baf2aae |
+0
-2
| 1 | content: 'lifehack: piss off everyone who shows you affection' | |
| 2 | id: ca9b1999-b019-4d9a-aa0a-acc39baf2aae |
| 1 | content: the solar orientation of the number seven is more than death but less than | |
| 2 | total eradication | |
| 3 | id: caa65dae-f1d9-473f-b457-63296ef7fc7e |
| 1 | content: the solar orientation of the number seven is more than death but less than | |
| 2 | total eradication | |
| 3 | id: caa65dae-f1d9-473f-b457-63296ef7fc7e |
| 1 | content: Everything happens for a reason, you know. Well, everything except you that | |
| 2 | is. | |
| 3 | id: cb012869-3d96-4749-9f1c-b6a6638e6fd1 |
+0
-3
| 1 | content: Everything happens for a reason, you know. Well, everything except you that | |
| 2 | is. | |
| 3 | id: cb012869-3d96-4749-9f1c-b6a6638e6fd1 |
| 1 | content: '"I have to go hand in my special report on how you''re going to die alone. | |
| 2 | Thanks for all the evidence."' | |
| 3 | id: cb3582c9-e4ca-4c68-a9fb-eb9e2aa75b85 |
| 1 | content: '"I have to go hand in my special report on how you''re going to die alone. | |
| 2 | Thanks for all the evidence."' | |
| 3 | id: cb3582c9-e4ca-4c68-a9fb-eb9e2aa75b85 |
| 1 | content: I am not slow. I am just not very fast and I am not sure I want to get there. | |
| 2 | id: cb5e81fe-383e-4568-9c5c-cf8d63864af4 |
| 1 | content: I am not slow. I am just not very fast and I am not sure I want to get there. | |
| 2 | id: cb5e81fe-383e-4568-9c5c-cf8d63864af4 |
| 1 | content: Idealists have a hard time understanding that the universe doesn't give a | |
| 2 | fuck what they believe in. | |
| 3 | id: ce88d7b5-3c8d-4934-993b-389b4614e4df |
| 1 | content: Idealists have a hard time understanding that the universe doesn't give a | |
| 2 | fuck what they believe in. | |
| 3 | id: ce88d7b5-3c8d-4934-993b-389b4614e4df |
| 1 | content: I can't see anything else anymore. My eyes are filled with gods. | |
| 2 | id: ce98f8ef-3921-4643-91b6-3559e8c77b35 |
| 1 | content: I can't see anything else anymore. My eyes are filled with gods. | |
| 2 | id: ce98f8ef-3921-4643-91b6-3559e8c77b35 |
| 1 | content: I love you, which is why I'm not going to eat you. For now. | |
| 2 | id: cfd63597-44b5-45bf-ad8a-2ca93fb0a363 |
| 1 | content: I love you, which is why I'm not going to eat you. For now. | |
| 2 | id: cfd63597-44b5-45bf-ad8a-2ca93fb0a363 |
| 1 | content: 'Don''t mistake my attitude for humility: my position is that everything | |
| 2 | on earth is equally unimportant.' | |
| 3 | id: d00645b7-d528-4531-a43c-b3a4432dae0c |
| 1 | content: 'Don''t mistake my attitude for humility: my position is that everything | |
| 2 | on earth is equally unimportant.' | |
| 3 | id: d00645b7-d528-4531-a43c-b3a4432dae0c |
| 1 | content: 'If you think that by threatening me you can get me to do what you want... | |
| 2 | well, that''s where you''re right. | |
| 3 | ||
| 4 | ' | |
| 5 | id: d17174af-afc2-41fc-a5bb-dc010f5a354c |
| 1 | content: 'If you think that by threatening me you can get me to do what you want... | |
| 2 | well, that''s where you''re right. | |
| 3 | ||
| 4 | ' | |
| 5 | id: d17174af-afc2-41fc-a5bb-dc010f5a354c |
| 1 | content: It's not a penis. It's a tentacle. Lovecraft is screaming. | |
| 2 | id: d184250d-4082-4847-8b17-bd8f0592412d |
| 1 | content: It's not a penis. It's a tentacle. Lovecraft is screaming. | |
| 2 | id: d184250d-4082-4847-8b17-bd8f0592412d |
| 1 | content: '"Also, can you change things so that the variable lexical-scope is itself | |
| 2 | lexically scoped? Because at that point I think you''ll be able to taste colors."' | |
| 3 | id: d212019c-c3cb-4c93-a345-191883f088ba |
| 1 | content: '"Also, can you change things so that the variable lexical-scope is itself | |
| 2 | lexically scoped? Because at that point I think you''ll be able to taste colors."' | |
| 3 | id: d212019c-c3cb-4c93-a345-191883f088ba |
| 1 | content: '"Point is, Max, we live in a world of similar things. Lots of stuff is the | |
| 2 | same as other stuff. I forget where I was going with this but the takeaway is your | |
| 3 | parents don''t love each other."' | |
| 4 | id: d312f2ab-2dba-49c7-a109-3ba3b9ab55ff |
| 1 | content: '"Point is, Max, we live in a world of similar things. Lots of stuff is the | |
| 2 | same as other stuff. I forget where I was going with this but the takeaway is your | |
| 3 | parents don''t love each other."' | |
| 4 | id: d312f2ab-2dba-49c7-a109-3ba3b9ab55ff |
| 1 | content: I've got good news. That gum you like is going to come back in style. | |
| 2 | id: d3f83153-f31b-48dd-8783-afde75001528 |
| 1 | content: I've got good news. That gum you like is going to come back in style. | |
| 2 | id: d3f83153-f31b-48dd-8783-afde75001528 |
| 1 | content: 'made with: bitter struggle, blind faith, licorice and sugar | |
| 2 | ||
| 3 | ' | |
| 4 | id: d45e04f4-5258-450b-8a50-c8c8900f99aa |
+0
-4
| 1 | content: 'made with: bitter struggle, blind faith, licorice and sugar | |
| 2 | ||
| 3 | ' | |
| 4 | id: d45e04f4-5258-450b-8a50-c8c8900f99aa |
+0
-2
| 1 | content: THAT'S WHAT HAPPENS WHEN COMPUTER | |
| 2 | id: d6a48942-202b-4e91-b896-0e343e4660ff |
| 1 | content: Your advanced intelligence is no match for our puny weapons! | |
| 2 | id: d6ba2e13-650a-470e-8f3c-63e89fc6920f |
+0
-2
| 1 | content: Your advanced intelligence is no match for our puny weapons! | |
| 2 | id: d6ba2e13-650a-470e-8f3c-63e89fc6920f |
| 1 | content: In the words of Archimedes, give me a long enough lever and a place to rest | |
| 2 | it or I will kill one hostage every hour. | |
| 3 | id: d72a474e-1eb4-40cc-ac96-a51ced67e220 |
| 1 | content: In the words of Archimedes, give me a long enough lever and a place to rest | |
| 2 | it or I will kill one hostage every hour. | |
| 3 | id: d72a474e-1eb4-40cc-ac96-a51ced67e220 |
| 1 | content: '"In general, we can think of data as collections of bits and the representation | |
| 2 | of data as defined by some collection of selectors and constructors. This is the | |
| 3 | law of the LORD"' | |
| 4 | id: d7b9c21b-afb2-4d56-a3e4-f64f079bc958 |
| 1 | content: '"In general, we can think of data as collections of bits and the representation | |
| 2 | of data as defined by some collection of selectors and constructors. This is the | |
| 3 | law of the LORD"' | |
| 4 | id: d7b9c21b-afb2-4d56-a3e4-f64f079bc958 |
| 1 | content: the library of the bog kingdom is a cave what has fat horses scribbled on | |
| 2 | the walls | |
| 3 | id: d7e7393d-a097-41fc-8afa-da061aa551fd |
| 1 | content: the library of the bog kingdom is a cave what has fat horses scribbled on | |
| 2 | the walls | |
| 3 | id: d7e7393d-a097-41fc-8afa-da061aa551fd |
| 1 | content: '"i only stare into the abyss for the commercials"' | |
| 2 | id: d89e71c5-6716-4c89-b757-a8643a1455d9 |
| 1 | content: '"i only stare into the abyss for the commercials"' | |
| 2 | id: d89e71c5-6716-4c89-b757-a8643a1455d9 |
| 1 | content: 'Rule number one: don''t fuck with librarians.' | |
| 2 | id: da63f49d-24b4-49fa-a4a4-1491b27c54cc |
| 1 | content: 'Rule number one: don''t fuck with librarians.' | |
| 2 | id: da63f49d-24b4-49fa-a4a4-1491b27c54cc |
| 1 | content: Andrey Semyonovich went over to the table and took a drink from the cup of | |
| 2 | blackened water. And Andrey Semyonovich's soul turned lucent. | |
| 3 | id: daacb3b5-f26f-4591-946d-8194856d35fb |
+0
-3
| 1 | content: Andrey Semyonovich went over to the table and took a drink from the cup of | |
| 2 | blackened water. And Andrey Semyonovich's soul turned lucent. | |
| 3 | id: daacb3b5-f26f-4591-946d-8194856d35fb |
| 1 | content: Too big too fail. TBTF. It's the rich man's YOLO. | |
| 2 | id: db30dbea-d771-4f4c-9b6c-444163838c9e |
| 1 | content: Too big too fail. TBTF. It's the rich man's YOLO. | |
| 2 | id: db30dbea-d771-4f4c-9b6c-444163838c9e |
| 1 | content: '"CAN I GHOSTNAP IN YR BOOTS / WHEN YR NOT WEARING THEM?"' | |
| 2 | id: db5a7d1b-b96c-434b-8e72-816a1382a58f |
| 1 | content: '"CAN I GHOSTNAP IN YR BOOTS / WHEN YR NOT WEARING THEM?"' | |
| 2 | id: db5a7d1b-b96c-434b-8e72-816a1382a58f |
| 1 | content: '"everyone who died and was killed on my quest to get really good hair and | |
| 2 | fashion deserved it and i dont care"' | |
| 3 | id: deb90ba1-a00a-4f57-adbe-ed08e3d49649 |
| 1 | content: '"everyone who died and was killed on my quest to get really good hair and | |
| 2 | fashion deserved it and i dont care"' | |
| 3 | id: deb90ba1-a00a-4f57-adbe-ed08e3d49649 |
| 1 | content: '"Wow, that''s powerful the way you used words like ''fury'' and delivered | |
| 2 | it in an envelope of boilerplate idiocy" | |
| 3 | ||
| 4 | ' | |
| 5 | id: e09a89d2-41cf-4991-8ba2-3c2c1246d800 |
| 1 | content: '"Wow, that''s powerful the way you used words like ''fury'' and delivered | |
| 2 | it in an envelope of boilerplate idiocy" | |
| 3 | ||
| 4 | ' | |
| 5 | id: e09a89d2-41cf-4991-8ba2-3c2c1246d800 |
| 1 | content: I calculated the odds of this succeeding versus the odds I was doing something | |
| 2 | incredibly stupid... and I went ahead anyway. | |
| 3 | id: e0a0a17e-11ba-46ea-a4d0-822270b09650 |
| 1 | content: I calculated the odds of this succeeding versus the odds I was doing something | |
| 2 | incredibly stupid... and I went ahead anyway. | |
| 3 | id: e0a0a17e-11ba-46ea-a4d0-822270b09650 |
| 1 | content: Last night I traded my soul's innermost for some pickled fish. | |
| 2 | id: e0cacd5f-9f98-4f22-97d8-5aeeac1339ac |
| 1 | content: Last night I traded my soul's innermost for some pickled fish. | |
| 2 | id: e0cacd5f-9f98-4f22-97d8-5aeeac1339ac |
| 1 | content: ah, well, in terms of politics, you see, my views are *lights us both on | |
| 2 | fire* well that's basically it | |
| 3 | id: e278b361-3815-46fa-b443-f44aa3bfc7f9 |
| 1 | content: ah, well, in terms of politics, you see, my views are *lights us both on | |
| 2 | fire* well that's basically it | |
| 3 | id: e278b361-3815-46fa-b443-f44aa3bfc7f9 |
| 1 | content: The dog who is so angry he cannot move. He cannot eat. He cannot sleep. He | |
| 2 | can just barely growl. Bound so tightly with tension and anger, he approaches the | |
| 3 | state of rigor mortis. | |
| 4 | id: e28e7e9d-9d8c-4055-bf08-2ddde16c099a |
| 1 | content: The dog who is so angry he cannot move. He cannot eat. He cannot sleep. He | |
| 2 | can just barely growl. Bound so tightly with tension and anger, he approaches the | |
| 3 | state of rigor mortis. | |
| 4 | id: e28e7e9d-9d8c-4055-bf08-2ddde16c099a |
| 1 | content: Electricity can only be replenished by whisky. This is actual physics. Don't | |
| 2 | argue with me, I am a doktor. | |
| 3 | id: e2911d13-7e90-4ce2-9209-3fa11a1d8702 |
+0
-3
| 1 | content: Electricity can only be replenished by whisky. This is actual physics. Don't | |
| 2 | argue with me, I am a doktor. | |
| 3 | id: e2911d13-7e90-4ce2-9209-3fa11a1d8702 |
| 1 | content: he is unholy radiance destroying all enlightenment, HTML tags leaking from | |
| 2 | your eyes like liquid pain | |
| 3 | id: e5b2e165-43fc-454c-93e7-667545dd51a2 |
+0
-3
| 1 | content: he is unholy radiance destroying all enlightenment, HTML tags leaking from | |
| 2 | your eyes like liquid pain | |
| 3 | id: e5b2e165-43fc-454c-93e7-667545dd51a2 |
| 1 | content: '"Previously: The kids are attacked with imprecations and fruit."' | |
| 2 | id: e61b6461-f38a-4372-aa9a-0d3b074f2f3a |
+0
-2
| 1 | content: '"Previously: The kids are attacked with imprecations and fruit."' | |
| 2 | id: e61b6461-f38a-4372-aa9a-0d3b074f2f3a |
| 1 | content: 'EVERYTHING''S AN ALTAR IF YOU PUT ENOUGH DEAD STUFF ON IT | |
| 2 | ||
| 3 | ' | |
| 4 | id: e72b8832-52a0-4c4d-adba-a6f34ab04fbb |
| 1 | content: 'EVERYTHING''S AN ALTAR IF YOU PUT ENOUGH DEAD STUFF ON IT | |
| 2 | ||
| 3 | ' | |
| 4 | id: e72b8832-52a0-4c4d-adba-a6f34ab04fbb |
+0
-2
| 1 | content: strange times call for strange words | |
| 2 | id: e89b74c6-a117-4265-b9a6-7cdb92f66bc4 |
| 1 | content: Oh, right! Thanks, Mr. I-Know-What-Day-It-Is Fish. | |
| 2 | id: e89cfaf7-41d6-43a5-86f8-732b41f9da68 |
+0
-2
| 1 | content: Oh, right! Thanks, Mr. I-Know-What-Day-It-Is Fish. | |
| 2 | id: e89cfaf7-41d6-43a5-86f8-732b41f9da68 |
| 1 | content: GATHER IN A PILE ALL THE FUTURES YOU CANNOT ACCEPT AND THEN BOLDLY STRIDE | |
| 2 | IN THE OPPOSITE DIRECTION | |
| 3 | id: e9a56039-8a1c-4543-95ab-c91f991bc798 |
| 1 | content: GATHER IN A PILE ALL THE FUTURES YOU CANNOT ACCEPT AND THEN BOLDLY STRIDE | |
| 2 | IN THE OPPOSITE DIRECTION | |
| 3 | id: e9a56039-8a1c-4543-95ab-c91f991bc798 |
| 1 | content: leave the blueprint / i'll need that for the end of time | |
| 2 | id: eb593f5d-65ed-40f1-96cc-787d50889cf9 |
| 1 | content: leave the blueprint / i'll need that for the end of time | |
| 2 | id: eb593f5d-65ed-40f1-96cc-787d50889cf9 |
| 1 | content: '...pharmacist gangs that fight with those knives they use to separate pills | |
| 2 | / and I''m gonna take over the pharmacies when they''re gone' | |
| 3 | id: ed31cde6-a83a-4761-a31b-2d2790beca17 |
+0
-3
| 1 | content: '...pharmacist gangs that fight with those knives they use to separate pills | |
| 2 | / and I''m gonna take over the pharmacies when they''re gone' | |
| 3 | id: ed31cde6-a83a-4761-a31b-2d2790beca17 |
| 1 | content: 'the good thing about camping is you can see every star in the universe the | |
| 2 | bad thing about camping is fish have eyes and theyre filled with curses | |
| 3 | ||
| 4 | ' | |
| 5 | id: ed7f7974-b69f-409c-a9ec-5f8ecc7f0cc6 |
| 1 | content: 'the good thing about camping is you can see every star in the universe the | |
| 2 | bad thing about camping is fish have eyes and theyre filled with curses | |
| 3 | ||
| 4 | ' | |
| 5 | id: ed7f7974-b69f-409c-a9ec-5f8ecc7f0cc6 |
| 1 | content: Life is truly quite absurd, but with a little effort we could make it completely | |
| 2 | ridiculous. | |
| 3 | id: ee2189a3-17c0-485a-b98e-b57af95ceebc |
| 1 | content: Life is truly quite absurd, but with a little effort we could make it completely | |
| 2 | ridiculous. | |
| 3 | id: ee2189a3-17c0-485a-b98e-b57af95ceebc |
| 1 | content: If you are sitting, just sit. If you are walking, just walk. Above all, don't | |
| 2 | wobble. | |
| 3 | id: f0000a33-71e9-4ec1-93f8-f465a549d5aa |
| 1 | content: If you are sitting, just sit. If you are walking, just walk. Above all, don't | |
| 2 | wobble. | |
| 3 | id: f0000a33-71e9-4ec1-93f8-f465a549d5aa |
| 1 | content: LIVE SINGLES IN YOUR AREA CANNOT BE CAPTURED ON FILM. | |
| 2 | id: f002cf6c-0889-4999-9d12-13951a43d814 |
| 1 | content: LIVE SINGLES IN YOUR AREA CANNOT BE CAPTURED ON FILM. | |
| 2 | id: f002cf6c-0889-4999-9d12-13951a43d814 |
+0
-2
| 1 | content: Slithering isn't just for snakes any more. | |
| 2 | id: f370634b-0ccb-4c83-96f3-7341f77519db |
| 1 | content: 'you have barely any science and your husband is trapped in space / i''ll | |
| 2 | just take these two children and those sheets over there | |
| 3 | ||
| 4 | ' | |
| 5 | id: f4f267d0-a7a7-43ec-9ccd-d73fb063854a |
| 1 | content: 'you have barely any science and your husband is trapped in space / i''ll | |
| 2 | just take these two children and those sheets over there | |
| 3 | ||
| 4 | ' | |
| 5 | id: f4f267d0-a7a7-43ec-9ccd-d73fb063854a |
| 1 | content: I was prayin' to the Lord for some fun but I guess he didn't have some | |
| 2 | id: f4fcced5-2e39-4904-97de-57a7be7fe3f7 |
| 1 | content: I was prayin' to the Lord for some fun but I guess he didn't have some | |
| 2 | id: f4fcced5-2e39-4904-97de-57a7be7fe3f7 |
| 1 | content: '"ok well snausages notwithstanding this is bullshit"' | |
| 2 | id: f9abc306-87c4-43e2-a20b-e5ba72d00def |
+0
-2
| 1 | content: '"ok well snausages notwithstanding this is bullshit"' | |
| 2 | id: f9abc306-87c4-43e2-a20b-e5ba72d00def |
| 1 | content: "what if you named one... what if you named one 'BIG WEED CITY'\r\n\r\nwhat\ | |
| 2 | \ if you did that" | |
| 3 | id: fbbe228f-cf7a-4316-92f5-03f5863c6d92 |
| 1 | content: "what if you named one... what if you named one 'BIG WEED CITY'\r\n\r\nwhat\ | |
| 2 | \ if you did that" | |
| 3 | id: fbbe228f-cf7a-4316-92f5-03f5863c6d92 |
| 1 | content: 'You can lead a horse to water, but you can''t prove that anything is real. | |
| 2 | ||
| 3 | ' | |
| 4 | id: fd41bf91-8a04-4a19-bca9-d444bf579995 |
| 1 | content: 'You can lead a horse to water, but you can''t prove that anything is real. | |
| 2 | ||
| 3 | ' | |
| 4 | id: fd41bf91-8a04-4a19-bca9-d444bf579995 |
| 1 | content: We will create and destroy ten art movements in ten years. | |
| 2 | id: fd8ddc6d-81fd-41d1-9eb0-db7e63607d5b |
| 1 | content: We will create and destroy ten art movements in ten years. | |
| 2 | id: fd8ddc6d-81fd-41d1-9eb0-db7e63607d5b |
| 1 | content: 'Somewhere, over the rainbow, there''s the cold dark of space. | |
| 2 | ||
| 3 | ' | |
| 4 | id: fe77f5ba-4a09-495d-9419-d7e2f6e4fa8b |
+0
-4
| 1 | content: 'Somewhere, over the rainbow, there''s the cold dark of space. | |
| 2 | ||
| 3 | ' | |
| 4 | id: fe77f5ba-4a09-495d-9419-d7e2f6e4fa8b |
| 1 | content: '"I am a secret wizard. Behold my robes." Behold robes? Y/N' | |
| 2 | id: fe9d1c66-7b6c-4bb8-a7f4-f459ba92f187 |
| 1 | content: '"I am a secret wizard. Behold my robes." Behold robes? Y/N' | |
| 2 | id: fe9d1c66-7b6c-4bb8-a7f4-f459ba92f187 |
| 1 | content: '"There''s a monster at the end of this book. It''s the blank page where | |
| 2 | the story ends and you''re left alone with yourself and your thoughts."' | |
| 3 | id: fe9f5d95-6e49-49f4-b8d3-56c67b0c686b |
| 1 | content: '"There''s a monster at the end of this book. It''s the blank page where | |
| 2 | the story ends and you''re left alone with yourself and your thoughts."' | |
| 3 | id: fe9f5d95-6e49-49f4-b8d3-56c67b0c686b |
| 1 | content: Curiosity killed the cat; loathsome rituals BROUGHT IT BACK. | |
| 2 | id: fea67f78-9bd9-4230-b88f-28d4d5043313 |
+0
-2
| 1 | content: Curiosity killed the cat; loathsome rituals BROUGHT IT BACK. | |
| 2 | id: fea67f78-9bd9-4230-b88f-28d4d5043313 |
| 1 | author: Jamais Cascio | |
| 2 | content: 'Conventional futurists are the Michael Bays of the intellectual world: what | |
| 3 | they produce can be spectacular and amusing, but is ultimately hollow and depressing.' | |
| 4 | id: 00392884-4667-4e08-a9c8-9600ca60735b |
+0
-4
| 1 | author: Jamais Cascio | |
| 2 | content: 'Conventional futurists are the Michael Bays of the intellectual world: what | |
| 3 | they produce can be spectacular and amusing, but is ultimately hollow and depressing.' | |
| 4 | id: 00392884-4667-4e08-a9c8-9600ca60735b |
| 1 | author: Brian Eno | |
| 2 | content: "Whatever you now find weird, ugly, uncomfortable and nasty about a new medium\ | |
| 3 | \ will surely become its signature. CD distortion, the jitteriness of digital video,\ | |
| 4 | \ the crap sound of 8-bit\u2014all of these will be cherished and emulated as soon\ | |
| 5 | \ as they can be avoided. It's the sound of failure: so much modern art is the sound\ | |
| 6 | \ of things going out of control, of a medium pushing to its limits and breaking\ | |
| 7 | \ apart. The distorted guitar sound is the sound of something too loud for the medium\ | |
| 8 | \ supposed to carry it. The blues singer with the cracked voice is the sound of\ | |
| 9 | \ an emotional cry too powerful for the throat that releases it. The excitement\ | |
| 10 | \ of grainy film, of bleached-out black and white, is the excitement of witnessing\ | |
| 11 | \ events too momentous for the medium assigned to record them." | |
| 12 | id: 0044d1f5-6def-4e8d-87d9-ee904e9ca668 |
+0
-12
| 1 | author: Brian Eno | |
| 2 | content: "Whatever you now find weird, ugly, uncomfortable and nasty about a new medium\ | |
| 3 | \ will surely become its signature. CD distortion, the jitteriness of digital video,\ | |
| 4 | \ the crap sound of 8-bit\u2014all of these will be cherished and emulated as soon\ | |
| 5 | \ as they can be avoided. It's the sound of failure: so much modern art is the sound\ | |
| 6 | \ of things going out of control, of a medium pushing to its limits and breaking\ | |
| 7 | \ apart. The distorted guitar sound is the sound of something too loud for the medium\ | |
| 8 | \ supposed to carry it. The blues singer with the cracked voice is the sound of\ | |
| 9 | \ an emotional cry too powerful for the throat that releases it. The excitement\ | |
| 10 | \ of grainy film, of bleached-out black and white, is the excitement of witnessing\ | |
| 11 | \ events too momentous for the medium assigned to record them." | |
| 12 | id: 0044d1f5-6def-4e8d-87d9-ee904e9ca668 |
| 1 | author: Hal Summers, "My Old Cat" | |
| 2 | content: 'My old cat is dead / Who would butt me with his head. / He had the sleekest | |
| 3 | fur, / He had the blackest purr, / Always gentle with us / Was this black puss, | |
| 4 | / But when I found him today / Stiff and cold where he lay, / His look was a lion''s, | |
| 5 | / Full of rage, defiance: / O! he would not pretend / That what came was a friend | |
| 6 | / But met it in pure hate. / Well died, my old cat.' | |
| 7 | id: 005948f5-6225-4692-b1dc-8d3acd7d1444 |
+0
-7
| 1 | author: Hal Summers, "My Old Cat" | |
| 2 | content: 'My old cat is dead / Who would butt me with his head. / He had the sleekest | |
| 3 | fur, / He had the blackest purr, / Always gentle with us / Was this black puss, | |
| 4 | / But when I found him today / Stiff and cold where he lay, / His look was a lion''s, | |
| 5 | / Full of rage, defiance: / O! he would not pretend / That what came was a friend | |
| 6 | / But met it in pure hate. / Well died, my old cat.' | |
| 7 | id: 005948f5-6225-4692-b1dc-8d3acd7d1444 |
| 1 | author: C.S. Lewis | |
| 2 | content: '...there is no escape from [the gods] into sleep or madness, for they can | |
| 3 | pursue you into them with dreams. Indeed, you are then most at their mercy. The | |
| 4 | nearest thing we have to a defence against them (but there is no real defence) is | |
| 5 | to be very wide awake and sober and hard at work, to hear no music, never to look | |
| 6 | at earth or sky, and (above all) to love no one.' | |
| 7 | id: 012ddd98-6d95-4f87-9bc8-efebe522cc22 |
+0
-7
| 1 | author: C.S. Lewis | |
| 2 | content: '...there is no escape from [the gods] into sleep or madness, for they can | |
| 3 | pursue you into them with dreams. Indeed, you are then most at their mercy. The | |
| 4 | nearest thing we have to a defence against them (but there is no real defence) is | |
| 5 | to be very wide awake and sober and hard at work, to hear no music, never to look | |
| 6 | at earth or sky, and (above all) to love no one.' | |
| 7 | id: 012ddd98-6d95-4f87-9bc8-efebe522cc22 |
| 1 | author: Ernest Hemingway, *A Farewell to Arms* | |
| 2 | content: Oh, darling, you will be good to me, won't you? Because we're going to have | |
| 3 | a strange life. | |
| 4 | id: 01f195ea-7c04-4621-9c02-43d28a47d327 |
+0
-4
| 1 | author: Ernest Hemingway, *A Farewell to Arms* | |
| 2 | content: Oh, darling, you will be good to me, won't you? Because we're going to have | |
| 3 | a strange life. | |
| 4 | id: 01f195ea-7c04-4621-9c02-43d28a47d327 |
| 1 | author: Tom Taylor | |
| 2 | content: It's 2011, and I have no idea what anything is or does anymore. | |
| 3 | id: 020ab888-a45f-47cd-aff8-0728727b4e4c |
+0
-3
| 1 | author: Tom Taylor | |
| 2 | content: It's 2011, and I have no idea what anything is or does anymore. | |
| 3 | id: 020ab888-a45f-47cd-aff8-0728727b4e4c |
| 1 | author: Jacques Lacan | |
| 2 | content: I am not pessimistic. Nothing is going to happen. For the simple reason that | |
| 3 | man is a good-for-nothing, not even capable of destroying himself. Personally, I | |
| 4 | would find the idea of an all-encompassing plague, produced by man, rather marvellous. | |
| 5 | It would be the proof that he had managed to do something with his own hands and | |
| 6 | head, without divine or natural intervention. | |
| 7 | id: 02973078-d977-4de4-9eca-a08274be08b5 |
+0
-7
| 1 | author: Jacques Lacan | |
| 2 | content: I am not pessimistic. Nothing is going to happen. For the simple reason that | |
| 3 | man is a good-for-nothing, not even capable of destroying himself. Personally, I | |
| 4 | would find the idea of an all-encompassing plague, produced by man, rather marvellous. | |
| 5 | It would be the proof that he had managed to do something with his own hands and | |
| 6 | head, without divine or natural intervention. | |
| 7 | id: 02973078-d977-4de4-9eca-a08274be08b5 |
| 1 | author: Haruki Murakami | |
| 2 | content: But I didn't understand then. That I could hurt somebody so badly she would | |
| 3 | never recover. That a person can, just by living, damage another human being beyond | |
| 4 | repair. | |
| 5 | id: 041cfe60-45af-446b-8d35-db41c80c0336 |
+0
-5
| 1 | author: Haruki Murakami | |
| 2 | content: But I didn't understand then. That I could hurt somebody so badly she would | |
| 3 | never recover. That a person can, just by living, damage another human being beyond | |
| 4 | repair. | |
| 5 | id: 041cfe60-45af-446b-8d35-db41c80c0336 |
| 1 | author: "Stanis\u0142aw Lem's The Cyberiad" | |
| 2 | content: "Not far from here, by a white sun, behind a green star, lived the Steelypips,\ | |
| 3 | \ illustrious, industrious, and they hadn't a care; no spats in their vats, no rules,\ | |
| 4 | \ no schools, no gloom, no evil influence of the moon, no trouble from matter or\ | |
| 5 | \ antimatter\u2014for they had a machine, a dream of a machine, with springs and\ | |
| 6 | \ gears and perfect in every respect." | |
| 7 | id: 04b3d0a4-c1f5-4f7d-8c96-273794373e6e |
+0
-7
| 1 | author: "Stanis\u0142aw Lem's The Cyberiad" | |
| 2 | content: "Not far from here, by a white sun, behind a green star, lived the Steelypips,\ | |
| 3 | \ illustrious, industrious, and they hadn't a care; no spats in their vats, no rules,\ | |
| 4 | \ no schools, no gloom, no evil influence of the moon, no trouble from matter or\ | |
| 5 | \ antimatter\u2014for they had a machine, a dream of a machine, with springs and\ | |
| 6 | \ gears and perfect in every respect." | |
| 7 | id: 04b3d0a4-c1f5-4f7d-8c96-273794373e6e |
| 1 | author: Joss Whedon | |
| 2 | content: Very occasionally, if you really pay attention, life doesn't suck. | |
| 3 | id: 04c467f7-4b94-47a8-b76b-d6d7902ed22f |
+0
-3
| 1 | author: Joss Whedon | |
| 2 | content: Very occasionally, if you really pay attention, life doesn't suck. | |
| 3 | id: 04c467f7-4b94-47a8-b76b-d6d7902ed22f |
| 1 | author: Arthur Machen | |
| 2 | content: It was better, he thought, to fail in attempting exquisite things than to | |
| 3 | succeed in the department of the utterly contemptible. | |
| 4 | id: 04d32abd-8848-480e-b1b7-90674d00013c |
+0
-4
| 1 | author: Arthur Machen | |
| 2 | content: It was better, he thought, to fail in attempting exquisite things than to | |
| 3 | succeed in the department of the utterly contemptible. | |
| 4 | id: 04d32abd-8848-480e-b1b7-90674d00013c |
| 1 | author: Billy Collins | |
| 2 | content: I think all young writers make this mistake, that ... they believe in self-expression, | |
| 3 | which is highly overrated, I think. When I was growing up, self-expression was thought | |
| 4 | of as an affectation of some kind, as well, [] said "When I was growing up, we had | |
| 5 | another name for low self-esteem. It was called 'humility.' It was actually a virtue | |
| 6 | and not a psychic dysfunction." | |
| 7 | id: 053c0f2c-c936-468d-99fa-35e43bc4bc9e |
+0
-7
| 1 | author: Billy Collins | |
| 2 | content: I think all young writers make this mistake, that ... they believe in self-expression, | |
| 3 | which is highly overrated, I think. When I was growing up, self-expression was thought | |
| 4 | of as an affectation of some kind, as well, [] said "When I was growing up, we had | |
| 5 | another name for low self-esteem. It was called 'humility.' It was actually a virtue | |
| 6 | and not a psychic dysfunction." | |
| 7 | id: 053c0f2c-c936-468d-99fa-35e43bc4bc9e |
| 1 | author: Karl Lagerfeld | |
| 2 | content: Sweatpants are a sign of defeat. You lost control of your life so you bought | |
| 3 | some sweatpants. | |
| 4 | id: 05855d7f-88c0-46a8-af4c-51dff012ca1f |
+0
-4
| 1 | author: Karl Lagerfeld | |
| 2 | content: Sweatpants are a sign of defeat. You lost control of your life so you bought | |
| 3 | some sweatpants. | |
| 4 | id: 05855d7f-88c0-46a8-af4c-51dff012ca1f |
| 1 | author: Hayao Miyazaki | |
| 2 | content: One's view of the world and one's technique are indivisible. | |
| 3 | id: 05ea0f85-fdf2-4ff0-ab41-2ef156ab428a |
+0
-3
| 1 | author: Hayao Miyazaki | |
| 2 | content: One's view of the world and one's technique are indivisible. | |
| 3 | id: 05ea0f85-fdf2-4ff0-ab41-2ef156ab428a |
| 1 | author: Friederich Nietzsche | |
| 2 | content: I am afraid we are not rid of God because we still have faith in grammar. | |
| 3 | id: 061ad138-e808-4911-a733-75b6b42d4dc6 |
+0
-3
| 1 | author: Friederich Nietzsche | |
| 2 | content: I am afraid we are not rid of God because we still have faith in grammar. | |
| 3 | id: 061ad138-e808-4911-a733-75b6b42d4dc6 |
| 1 | author: Thomas Sowell | |
| 2 | content: The problem isn't that Johnny can't read. The problem isn't even that Johnny | |
| 3 | can't think. The problem is that Johnny doesn't know what thinking is; he confuses | |
| 4 | it with feeling. | |
| 5 | id: 06bf8935-1a8e-46e7-9d0a-49633bfcacdb |
+0
-5
| 1 | author: Thomas Sowell | |
| 2 | content: The problem isn't that Johnny can't read. The problem isn't even that Johnny | |
| 3 | can't think. The problem is that Johnny doesn't know what thinking is; he confuses | |
| 4 | it with feeling. | |
| 5 | id: 06bf8935-1a8e-46e7-9d0a-49633bfcacdb |
| 1 | author: Andrew Plotkin | |
| 2 | content: Ki is, of course, mystical bullshit. That's why it works so well, both as | |
| 3 | a teaching idiom and a tool of practice in martial arts. It's as nonexistent as | |
| 4 | charm, leadership, or acting. Humans are all about bullshit. | |
| 5 | id: 06ddf74d-4eb3-49c9-b547-9472140e6b2f |
+0
-5
| 1 | author: Andrew Plotkin | |
| 2 | content: Ki is, of course, mystical bullshit. That's why it works so well, both as | |
| 3 | a teaching idiom and a tool of practice in martial arts. It's as nonexistent as | |
| 4 | charm, leadership, or acting. Humans are all about bullshit. | |
| 5 | id: 06ddf74d-4eb3-49c9-b547-9472140e6b2f |
| 1 | author: M. John Harrison | |
| 2 | content: "Every moment of a science fiction story must represent the triumph of writing\ | |
| 3 | \ over worldbuilding.\r\n\r\nWorldbuilding is dull. Worldbuilding literalises the\ | |
| 4 | \ urge to invent. Worldbuilding gives an unneccessary permission for acts of writing\ | |
| 5 | \ (indeed, for acts of reading). Worldbuilding numbs the reader's ability to fulfil\ | |
| 6 | \ their part of the bargain, because it believes that it has to do everything around\ | |
| 7 | \ here if anything is going to get done.\r\n\r\nAbove all, worldbuilding is not\ | |
| 8 | \ technically neccessary. It is the great clomping foot of nerdism. It is the attempt\ | |
| 9 | \ to exhaustively survey a place that isn't there. A good writer would never try\ | |
| 10 | \ to do that, even with a place that is there. It isn't possible, & if it was the\ | |
| 11 | \ results wouldn't be readable: they would constitute not a book but the biggest\ | |
| 12 | \ library ever built, a hallowed place of dedication & lifelong study. This gives\ | |
| 13 | \ us a clue to the psychological type of the worldbuilder & the worldbuilder's victim,\ | |
| 14 | \ & makes us very afraid." | |
| 15 | id: 06de5337-b1e2-43db-8ae6-5fe8f908b3d1 |
+0
-15
| 1 | author: M. John Harrison | |
| 2 | content: "Every moment of a science fiction story must represent the triumph of writing\ | |
| 3 | \ over worldbuilding.\r\n\r\nWorldbuilding is dull. Worldbuilding literalises the\ | |
| 4 | \ urge to invent. Worldbuilding gives an unneccessary permission for acts of writing\ | |
| 5 | \ (indeed, for acts of reading). Worldbuilding numbs the reader's ability to fulfil\ | |
| 6 | \ their part of the bargain, because it believes that it has to do everything around\ | |
| 7 | \ here if anything is going to get done.\r\n\r\nAbove all, worldbuilding is not\ | |
| 8 | \ technically neccessary. It is the great clomping foot of nerdism. It is the attempt\ | |
| 9 | \ to exhaustively survey a place that isn't there. A good writer would never try\ | |
| 10 | \ to do that, even with a place that is there. It isn't possible, & if it was the\ | |
| 11 | \ results wouldn't be readable: they would constitute not a book but the biggest\ | |
| 12 | \ library ever built, a hallowed place of dedication & lifelong study. This gives\ | |
| 13 | \ us a clue to the psychological type of the worldbuilder & the worldbuilder's victim,\ | |
| 14 | \ & makes us very afraid." | |
| 15 | id: 06de5337-b1e2-43db-8ae6-5fe8f908b3d1 |
| 1 | author: 'Umberto Eco | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'Contact with deformity has given modern sublimity something greater, more | |
| 5 | sublime than ancient beauty. | |
| 6 | ||
| 7 | ' | |
| 8 | id: 07a33216-49e5-45df-a80f-94b89481ccad |
+0
-8
| 1 | author: 'Umberto Eco | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'Contact with deformity has given modern sublimity something greater, more | |
| 5 | sublime than ancient beauty. | |
| 6 | ||
| 7 | ' | |
| 8 | id: 07a33216-49e5-45df-a80f-94b89481ccad |
| 1 | author: Karl Marx | |
| 2 | content: 'From another side: is Achilles possible with powder and lead? Or the Iliad | |
| 3 | with the printing press, not to mention the printing machine? Do not the song and | |
| 4 | saga of the muse necessarily come to an end with the printer''s bar, hence do not | |
| 5 | the necessary conditions of epic poetry vanish?' | |
| 6 | id: 07f4c950-d287-4c14-a15d-ca27821346c2 |
+0
-6
| 1 | author: Karl Marx | |
| 2 | content: 'From another side: is Achilles possible with powder and lead? Or the Iliad | |
| 3 | with the printing press, not to mention the printing machine? Do not the song and | |
| 4 | saga of the muse necessarily come to an end with the printer''s bar, hence do not | |
| 5 | the necessary conditions of epic poetry vanish?' | |
| 6 | id: 07f4c950-d287-4c14-a15d-ca27821346c2 |
| 1 | author: Grant Morrison's Doom Patrol | |
| 2 | content: '"Would you like something? Tea? Cakes? We have everything except hope. There | |
| 3 | is no hope. We are shadows stumbling through the endless freezing dark of existence. | |
| 4 | Empire biscuits? All is futile. We try to impose meaning on the chaos of being, | |
| 5 | but there is no meaning. Fairy cakes? We cultivate a pointless optimism as our bodies | |
| 6 | decay and disintegrate towards the grave. We hope for the future, but in the end | |
| 7 | we come to dust. In the end, even the stars are extinguished and entropy reduces | |
| 8 | everything to a valueless nullity. We cannot win. We cannot break even. We cannot | |
| 9 | even stay out of the game. There is no hope. There is no escape. We are alone with | |
| 10 | this endless horror." | |
| 11 | ||
| 12 | ||
| 13 | "That''s okay. I like it here."' | |
| 14 | id: 08194ec6-69e8-44b8-9894-ecda76520084 |
+0
-14
| 1 | author: Grant Morrison's Doom Patrol | |
| 2 | content: '"Would you like something? Tea? Cakes? We have everything except hope. There | |
| 3 | is no hope. We are shadows stumbling through the endless freezing dark of existence. | |
| 4 | Empire biscuits? All is futile. We try to impose meaning on the chaos of being, | |
| 5 | but there is no meaning. Fairy cakes? We cultivate a pointless optimism as our bodies | |
| 6 | decay and disintegrate towards the grave. We hope for the future, but in the end | |
| 7 | we come to dust. In the end, even the stars are extinguished and entropy reduces | |
| 8 | everything to a valueless nullity. We cannot win. We cannot break even. We cannot | |
| 9 | even stay out of the game. There is no hope. There is no escape. We are alone with | |
| 10 | this endless horror." | |
| 11 | ||
| 12 | ||
| 13 | "That''s okay. I like it here."' | |
| 14 | id: 08194ec6-69e8-44b8-9894-ecda76520084 |
| 1 | author: "Honor\xE9 de Balzac" | |
| 2 | content: Many people claim coffee inspires them, but, as everybody knows, coffee only | |
| 3 | makes boring people even more boring. | |
| 4 | id: 085755f5-5540-4e40-a87e-7b7775b05f41 |
+0
-4
| 1 | author: "Honor\xE9 de Balzac" | |
| 2 | content: Many people claim coffee inspires them, but, as everybody knows, coffee only | |
| 3 | makes boring people even more boring. | |
| 4 | id: 085755f5-5540-4e40-a87e-7b7775b05f41 |
| 1 | author: "Slavoj \u017Di\u017Eek\n" | |
| 2 | content: '...as soon as we renounce fiction and illusion, we lose reality itself; | |
| 3 | the moment we subtract fictions from reality, reality itself loses its discursive-logical | |
| 4 | consistency. | |
| 5 | ||
| 6 | ' | |
| 7 | id: 0877dc4b-341c-4700-a240-859bf70c7881 |
+0
-7
| 1 | author: "Slavoj \u017Di\u017Eek\n" | |
| 2 | content: '...as soon as we renounce fiction and illusion, we lose reality itself; | |
| 3 | the moment we subtract fictions from reality, reality itself loses its discursive-logical | |
| 4 | consistency. | |
| 5 | ||
| 6 | ' | |
| 7 | id: 0877dc4b-341c-4700-a240-859bf70c7881 |
| 1 | author: Jamie "jwz" Zawinski | |
| 2 | content: There is no web site that has a UI that comes close to the lamest newsreader | |
| 3 | in the world....they don't even let you do basic things like "don't show me messages | |
| 4 | I've already read". It's a continual source of amazement to me (though it shouldn't | |
| 5 | be) what people will settle for. | |
| 6 | id: 089fd512-940b-4b79-8580-b4a099a9e0d3 |
+0
-6
| 1 | author: Jamie "jwz" Zawinski | |
| 2 | content: There is no web site that has a UI that comes close to the lamest newsreader | |
| 3 | in the world....they don't even let you do basic things like "don't show me messages | |
| 4 | I've already read". It's a continual source of amazement to me (though it shouldn't | |
| 5 | be) what people will settle for. | |
| 6 | id: 089fd512-940b-4b79-8580-b4a099a9e0d3 |
| 1 | author: W.C. Fields | |
| 2 | content: I cook with wine. Sometimes I even add it to the food. | |
| 3 | id: 08d4c60f-da6e-4823-ac4c-f3babd9b24d2 |
+0
-3
| 1 | author: W.C. Fields | |
| 2 | content: I cook with wine. Sometimes I even add it to the food. | |
| 3 | id: 08d4c60f-da6e-4823-ac4c-f3babd9b24d2 |
| 1 | author: Mark Twain | |
| 2 | content: "I don't like to commit myself about Heaven and Hell\u2014you see, I have\ | |
| 3 | \ friends in both places." | |
| 4 | id: 08fa464d-b633-41bf-a035-dbc8df2a0588 |
+0
-4
| 1 | author: Mark Twain | |
| 2 | content: "I don't like to commit myself about Heaven and Hell\u2014you see, I have\ | |
| 3 | \ friends in both places." | |
| 4 | id: 08fa464d-b633-41bf-a035-dbc8df2a0588 |
| 1 | author: Emma Albani | |
| 2 | content: I had always loved beautiful and artistic things, though before leaving America | |
| 3 | I had had a very little chance of seeing any. | |
| 4 | id: 09034838-9f3b-4680-b1cb-1ab4c509d9d5 |
+0
-4
| 1 | author: Emma Albani | |
| 2 | content: I had always loved beautiful and artistic things, though before leaving America | |
| 3 | I had had a very little chance of seeing any. | |
| 4 | id: 09034838-9f3b-4680-b1cb-1ab4c509d9d5 |
| 1 | author: Frank Lloyd Wright | |
| 2 | content: The scientist has marched in and taken the place of the poet. But one day | |
| 3 | somebody will find the solution to the problems of the world and remember, it will | |
| 4 | be a poet, not a scientist. | |
| 5 | id: 093791b6-c2ac-4cdf-a583-3de77048b8d1 |
+0
-5
| 1 | author: Frank Lloyd Wright | |
| 2 | content: The scientist has marched in and taken the place of the poet. But one day | |
| 3 | somebody will find the solution to the problems of the world and remember, it will | |
| 4 | be a poet, not a scientist. | |
| 5 | id: 093791b6-c2ac-4cdf-a583-3de77048b8d1 |
| 1 | author: Umberto Eco, Foucault's Pendulum | |
| 2 | content: People believe those who sell lotions that make lost hair grow back. They | |
| 3 | sense instinctively that the salesman is putting together truths that don't go together, | |
| 4 | that he's not being logical, that he's not speaking in good faith. But they've been | |
| 5 | told that God is mysterious, unfathomable, so to them incoherence is the closest | |
| 6 | thing to God. The farfetched is the closest thing to a miracle. | |
| 7 | id: 0a61ca16-8c1d-4d9a-a922-c5a25113ab9e |
+0
-7
| 1 | author: Umberto Eco, Foucault's Pendulum | |
| 2 | content: People believe those who sell lotions that make lost hair grow back. They | |
| 3 | sense instinctively that the salesman is putting together truths that don't go together, | |
| 4 | that he's not being logical, that he's not speaking in good faith. But they've been | |
| 5 | told that God is mysterious, unfathomable, so to them incoherence is the closest | |
| 6 | thing to God. The farfetched is the closest thing to a miracle. | |
| 7 | id: 0a61ca16-8c1d-4d9a-a922-c5a25113ab9e |
| 1 | author: Frederik Pohl | |
| 2 | content: Advertising reaches out to touch the fantasy part of people's lives. And, | |
| 3 | you know, most people's fantasies are pretty sad. | |
| 4 | id: 0aee496b-b53e-4f63-9add-8dd62e6db60b |
+0
-4
| 1 | author: Frederik Pohl | |
| 2 | content: Advertising reaches out to touch the fantasy part of people's lives. And, | |
| 3 | you know, most people's fantasies are pretty sad. | |
| 4 | id: 0aee496b-b53e-4f63-9add-8dd62e6db60b |
| 1 | author: Uncyclopedia | |
| 2 | content: Tremendous productivity gains can be realized with Java, particularly when | |
| 3 | the work was previously done with small reptiles or amphibians. | |
| 4 | id: 0b1f7e40-6ec9-4ffa-98ef-372bac789159 |
+0
-4
| 1 | author: Uncyclopedia | |
| 2 | content: Tremendous productivity gains can be realized with Java, particularly when | |
| 3 | the work was previously done with small reptiles or amphibians. | |
| 4 | id: 0b1f7e40-6ec9-4ffa-98ef-372bac789159 |
| 1 | author: Carl Sagan | |
| 2 | content: The fact that some geniuses were laughed at does not imply that all who are | |
| 3 | laughed at are geniuses. They laughed at Columbus, they laughed at Fulton, they | |
| 4 | laughed at the Wright brothers. But they also laughed at Bozo the Clown. | |
| 5 | id: 0b2bc791-e8e1-418a-8505-c4de76efd34a |
+0
-5
| 1 | author: Carl Sagan | |
| 2 | content: The fact that some geniuses were laughed at does not imply that all who are | |
| 3 | laughed at are geniuses. They laughed at Columbus, they laughed at Fulton, they | |
| 4 | laughed at the Wright brothers. But they also laughed at Bozo the Clown. | |
| 5 | id: 0b2bc791-e8e1-418a-8505-c4de76efd34a |
| 1 | author: Murray Gell-Mann | |
| 2 | content: Modern education is like being taken to the world's greatest restaurant & | |
| 3 | being forced to eat the menu. | |
| 4 | id: 0b3de5d5-f80d-42d8-b0e6-716de9938f28 |
+0
-4
| 1 | author: Murray Gell-Mann | |
| 2 | content: Modern education is like being taken to the world's greatest restaurant & | |
| 3 | being forced to eat the menu. | |
| 4 | id: 0b3de5d5-f80d-42d8-b0e6-716de9938f28 |
| 1 | author: Frank Zappa | |
| 2 | content: If you wind up with a boring, miserable life because you listened to your | |
| 3 | mom, your dad, your teacher, your priest, or some guy on TV telling you how to do | |
| 4 | your shit, then YOU DESERVE IT. | |
| 5 | id: 0b74e8c1-87c6-4493-91c1-d6d3eccf40fb |
+0
-5
| 1 | author: Frank Zappa | |
| 2 | content: If you wind up with a boring, miserable life because you listened to your | |
| 3 | mom, your dad, your teacher, your priest, or some guy on TV telling you how to do | |
| 4 | your shit, then YOU DESERVE IT. | |
| 5 | id: 0b74e8c1-87c6-4493-91c1-d6d3eccf40fb |
| 1 | author: Matsuo Basho (attributed) | |
| 2 | content: Do not seek to follow in the footsteps of the wise. Seek what they sought. | |
| 3 | id: 0c02c5a8-ec28-434e-8c77-198cb04f88ba |
+0
-3
| 1 | author: Matsuo Basho (attributed) | |
| 2 | content: Do not seek to follow in the footsteps of the wise. Seek what they sought. | |
| 3 | id: 0c02c5a8-ec28-434e-8c77-198cb04f88ba |
| 1 | author: Jorge Luis Borges | |
| 2 | content: "El f\xFAtbol es popular porque la estupidez es popular." | |
| 3 | id: 0c0da31c-a1ca-4cc4-ae2f-3c0310b4704d |
+0
-3
| 1 | author: Jorge Luis Borges | |
| 2 | content: "El f\xFAtbol es popular porque la estupidez es popular." | |
| 3 | id: 0c0da31c-a1ca-4cc4-ae2f-3c0310b4704d |
| 1 | author: D. H. Lawrence | |
| 2 | content: The utterance is like a spasm, naked contact with all influences at once. | |
| 3 | It does not want to get anywhere. It just takes place. | |
| 4 | id: 0c3a0ff6-de44-43a2-bb6e-4706b39e63ee |
+0
-4
| 1 | author: D. H. Lawrence | |
| 2 | content: The utterance is like a spasm, naked contact with all influences at once. | |
| 3 | It does not want to get anywhere. It just takes place. | |
| 4 | id: 0c3a0ff6-de44-43a2-bb6e-4706b39e63ee |
| 1 | author: "Kimura Ky\u016Bho, *Kenjutsu Fushigi Hen*" | |
| 2 | content: "\u2014 Everything written symbols can say has already passed by. They are\ | |
| 3 | \ like tracks left by animals.That is why the masters of meditation refuse to accept\ | |
| 4 | \ that writings are final. The aim is to reach true being by means of those tracks,\ | |
| 5 | \ those letters, those signs\u2014but reality itself is not a sign, and it leaves\ | |
| 6 | \ no tracks. It doesn't come to us by way of letters or words. We can go toward\ | |
| 7 | \ it, by following those words and letters back to what they came from. But so long\ | |
| 8 | \ as we are preoccupied with symbols, theories and opinions, we will fail to reach\ | |
| 9 | \ the principle.\r\n\r\n\u2014 But when we give up symbols and opinions, aren't\ | |
| 10 | \ we left in the utter nothingness of being?\r\n\r\n\u2014 Yes." | |
| 11 | id: 0d7dd04d-d0d3-44ef-9547-ae3df9a1ea1d |
+0
-11
| 1 | author: "Kimura Ky\u016Bho, *Kenjutsu Fushigi Hen*" | |
| 2 | content: "\u2014 Everything written symbols can say has already passed by. They are\ | |
| 3 | \ like tracks left by animals.That is why the masters of meditation refuse to accept\ | |
| 4 | \ that writings are final. The aim is to reach true being by means of those tracks,\ | |
| 5 | \ those letters, those signs\u2014but reality itself is not a sign, and it leaves\ | |
| 6 | \ no tracks. It doesn't come to us by way of letters or words. We can go toward\ | |
| 7 | \ it, by following those words and letters back to what they came from. But so long\ | |
| 8 | \ as we are preoccupied with symbols, theories and opinions, we will fail to reach\ | |
| 9 | \ the principle.\r\n\r\n\u2014 But when we give up symbols and opinions, aren't\ | |
| 10 | \ we left in the utter nothingness of being?\r\n\r\n\u2014 Yes." | |
| 11 | id: 0d7dd04d-d0d3-44ef-9547-ae3df9a1ea1d |
| 1 | author: Gilles Deleuze | |
| 2 | content: What Foucault says is that we can only avoid death and madness if we make | |
| 3 | existing into a "way", an "art". | |
| 4 | id: 0dafdb78-db7b-45e8-99f0-904bb11812c6 |
+0
-4
| 1 | author: Gilles Deleuze | |
| 2 | content: What Foucault says is that we can only avoid death and madness if we make | |
| 3 | existing into a "way", an "art". | |
| 4 | id: 0dafdb78-db7b-45e8-99f0-904bb11812c6 |
| 1 | author: Eric Naggum | |
| 2 | content: Sufficiently advanced political correctness is indistinguishable from sarcasm. | |
| 3 | id: 0e046c26-685c-46ac-ab1d-95f2c44a3317 |
+0
-3
| 1 | author: Eric Naggum | |
| 2 | content: Sufficiently advanced political correctness is indistinguishable from sarcasm. | |
| 3 | id: 0e046c26-685c-46ac-ab1d-95f2c44a3317 |
| 1 | author: "Andr\xE9 Breton" | |
| 2 | content: Of all those arts in which the wise excel, Nature's chief masterpiece is | |
| 3 | writing well. | |
| 4 | id: 0e0e1dd8-fb55-4916-8914-8049c048cec2 |
+0
-4
| 1 | author: "Andr\xE9 Breton" | |
| 2 | content: Of all those arts in which the wise excel, Nature's chief masterpiece is | |
| 3 | writing well. | |
| 4 | id: 0e0e1dd8-fb55-4916-8914-8049c048cec2 |
| 1 | author: Jim Kunstler | |
| 2 | content: "I was invited to give a talk at Google headquarters down in Mountain View\ | |
| 3 | \ last Tuesday. They sent somebody to fetch me (in a hybrid car, zowee!) from my\ | |
| 4 | \ hotel in San Francisco \u2014 as if I had any choice about catching a train down,\ | |
| 5 | \ right? Google HQ was a glass office park pod tucked into an inscrutable tangle\ | |
| 6 | \ of off-ramps, berms, manzanita clumps, and curb-cuts. But inside, it was all tricked\ | |
| 7 | \ out like a kindergarten. They had pool tables, and inflatable yoga balls, and\ | |
| 8 | \ $6000 electronic vibrating massage lounge chairs, and snack stations deployed\ | |
| 9 | \ at twenty-five step intervals, with lucite bins filled with chocolate raisins\ | |
| 10 | \ and granola. The employees dressed like children. There were two motifs: \"skateboard\ | |
| 11 | \ rat\" and \"10th grade nerd.\" I suppose quite a few of them were millionaires.\ | |
| 12 | \ Many of the work cubicles were literally modular children's playhouses. I gave\ | |
| 13 | \ my spiel about the global oil problem and the unlikelihood that \"alternative\ | |
| 14 | \ energy\" would even fractionally replace it, and quite a few of the Googlers became\ | |
| 15 | \ incensed.\n\n\"Yo, Dude, you're so, like, wrong! We've got, like, technology!\"\ | |
| 16 | \n\nYeah, well, they weren't interested in making a distinction between energy and\ | |
| 17 | \ technology (or, more precisely where Google is concerned, a massive web-based\ | |
| 18 | \ advertising scheme \u2014 because it is finally clear that all this talk about\ | |
| 19 | \ \"connectivity\" just leads to more commercial shilling, shucking, jiving, and\ | |
| 20 | \ generally fucking with your headspace in the interstices of whatever purposeful\ | |
| 21 | \ activity one may be struggling to enact on the internet)." | |
| 22 | id: 0e5a082f-912f-47c9-8074-14e9399d5cd6 |
+0
-22
| 1 | author: Jim Kunstler | |
| 2 | content: "I was invited to give a talk at Google headquarters down in Mountain View\ | |
| 3 | \ last Tuesday. They sent somebody to fetch me (in a hybrid car, zowee!) from my\ | |
| 4 | \ hotel in San Francisco \u2014 as if I had any choice about catching a train down,\ | |
| 5 | \ right? Google HQ was a glass office park pod tucked into an inscrutable tangle\ | |
| 6 | \ of off-ramps, berms, manzanita clumps, and curb-cuts. But inside, it was all tricked\ | |
| 7 | \ out like a kindergarten. They had pool tables, and inflatable yoga balls, and\ | |
| 8 | \ $6000 electronic vibrating massage lounge chairs, and snack stations deployed\ | |
| 9 | \ at twenty-five step intervals, with lucite bins filled with chocolate raisins\ | |
| 10 | \ and granola. The employees dressed like children. There were two motifs: \"skateboard\ | |
| 11 | \ rat\" and \"10th grade nerd.\" I suppose quite a few of them were millionaires.\ | |
| 12 | \ Many of the work cubicles were literally modular children's playhouses. I gave\ | |
| 13 | \ my spiel about the global oil problem and the unlikelihood that \"alternative\ | |
| 14 | \ energy\" would even fractionally replace it, and quite a few of the Googlers became\ | |
| 15 | \ incensed.\n\n\"Yo, Dude, you're so, like, wrong! We've got, like, technology!\"\ | |
| 16 | \n\nYeah, well, they weren't interested in making a distinction between energy and\ | |
| 17 | \ technology (or, more precisely where Google is concerned, a massive web-based\ | |
| 18 | \ advertising scheme \u2014 because it is finally clear that all this talk about\ | |
| 19 | \ \"connectivity\" just leads to more commercial shilling, shucking, jiving, and\ | |
| 20 | \ generally fucking with your headspace in the interstices of whatever purposeful\ | |
| 21 | \ activity one may be struggling to enact on the internet)." | |
| 22 | id: 0e5a082f-912f-47c9-8074-14e9399d5cd6 |
| 1 | author: Stephen King | |
| 2 | content: Any word you have to hunt for in a thesaurus is the wrong word. There are | |
| 3 | no exceptions to this rule. | |
| 4 | id: 0f51696d-2cc3-4d01-a221-495fabfafdf2 |
+0
-4
| 1 | author: Stephen King | |
| 2 | content: Any word you have to hunt for in a thesaurus is the wrong word. There are | |
| 3 | no exceptions to this rule. | |
| 4 | id: 0f51696d-2cc3-4d01-a221-495fabfafdf2 |
| 1 | author: Douglas Adams | |
| 2 | content: He felt that his whole life was some kind of dream and he sometimes wondered | |
| 3 | whose it was and whether they were enjoying it. | |
| 4 | id: 0faadfae-d9e3-405a-b1a3-36b4a75c830f |
+0
-4
| 1 | author: Douglas Adams | |
| 2 | content: He felt that his whole life was some kind of dream and he sometimes wondered | |
| 3 | whose it was and whether they were enjoying it. | |
| 4 | id: 0faadfae-d9e3-405a-b1a3-36b4a75c830f |
| 1 | author: A.E. Waite | |
| 2 | content: There are few things more dull than the criticism which maintains that a | |
| 3 | thesis is untrue, and cannot understand that it is decorative. | |
| 4 | id: 1053acd2-03c8-443e-8b71-2caa11dd1970 |
+0
-4
| 1 | author: A.E. Waite | |
| 2 | content: There are few things more dull than the criticism which maintains that a | |
| 3 | thesis is untrue, and cannot understand that it is decorative. | |
| 4 | id: 1053acd2-03c8-443e-8b71-2caa11dd1970 |
| 1 | author: Jason Reed | |
| 2 | content: '...Debugging-by-printf is a universal theme that transcends cultures and | |
| 3 | concrete syntaxes. This shit is Joseph Campbell, yo.' | |
| 4 | id: 12042a02-82ac-478b-96e0-f360e6d3eab4 |
+0
-4
| 1 | author: Jason Reed | |
| 2 | content: '...Debugging-by-printf is a universal theme that transcends cultures and | |
| 3 | concrete syntaxes. This shit is Joseph Campbell, yo.' | |
| 4 | id: 12042a02-82ac-478b-96e0-f360e6d3eab4 |
| 1 | author: Coco Chanel | |
| 2 | content: Once you've dressed and before you leave the house, look in the mirror and | |
| 3 | take at least one thing off. | |
| 4 | id: 126b8d7e-b345-4717-836a-a31d21241137 |
+0
-4
| 1 | author: Coco Chanel | |
| 2 | content: Once you've dressed and before you leave the house, look in the mirror and | |
| 3 | take at least one thing off. | |
| 4 | id: 126b8d7e-b345-4717-836a-a31d21241137 |
| 1 | author: Patrick Alexander | |
| 2 | content: The inability to ink is not a fucking style. What if you met a 30-year-old | |
| 3 | who never learned to walk? He's just crawling around. "This is just my walking style, | |
| 4 | man." Fuck off, you lazy dipshit. | |
| 5 | id: 1278c310-b7a3-476d-9ca2-b47dcad6bf39 |
+0
-5
| 1 | author: Patrick Alexander | |
| 2 | content: The inability to ink is not a fucking style. What if you met a 30-year-old | |
| 3 | who never learned to walk? He's just crawling around. "This is just my walking style, | |
| 4 | man." Fuck off, you lazy dipshit. | |
| 5 | id: 1278c310-b7a3-476d-9ca2-b47dcad6bf39 |
| 1 | author: Ursula K. Le Guin | |
| 2 | content: What the hell is nostalgia doing in a science-fiction film? With the whole | |
| 3 | universe and all the future to play in, Lucas took his marvelous toys and crawled | |
| 4 | under the fringed cloth on the parlor table, back into a nice safe hideyhole, along | |
| 5 | with Flash Gordon and the Cowardly Lion and Huck Skywalker and the Flying Aces and | |
| 6 | the Hitler Jugend. If there's a message there, I don't think I want to hear it. | |
| 7 | id: 129015df-6406-4702-9189-a0d48cb154af |
+0
-7
| 1 | author: Ursula K. Le Guin | |
| 2 | content: What the hell is nostalgia doing in a science-fiction film? With the whole | |
| 3 | universe and all the future to play in, Lucas took his marvelous toys and crawled | |
| 4 | under the fringed cloth on the parlor table, back into a nice safe hideyhole, along | |
| 5 | with Flash Gordon and the Cowardly Lion and Huck Skywalker and the Flying Aces and | |
| 6 | the Hitler Jugend. If there's a message there, I don't think I want to hear it. | |
| 7 | id: 129015df-6406-4702-9189-a0d48cb154af |
| 1 | author: Roland Barthes | |
| 2 | content: What the public wants is the image of passion, not passion itself. | |
| 3 | id: 12e48b8a-1779-41ef-957b-77f4f3d9956f |
+0
-3
| 1 | author: Roland Barthes | |
| 2 | content: What the public wants is the image of passion, not passion itself. | |
| 3 | id: 12e48b8a-1779-41ef-957b-77f4f3d9956f |
| 1 | author: John Swinton | |
| 2 | content: There is no such thing, at this date of the world's history, in America, | |
| 3 | as an independent press. You know it and I know it. There is not one of you who | |
| 4 | dares to write your honest opinions, and if you did, you know beforehand that it | |
| 5 | would never appear in print. I am paid weekly for keeping my honest opinion out | |
| 6 | of the paper I am connected with. Others of you are paid similar salaries for similar | |
| 7 | things, and any of you who would be so foolish as to write honest opinions would | |
| 8 | be out on the streets looking for another job. If I allowed my honest opinions to | |
| 9 | appear in one issue of my paper, before twenty-four hours my occupation would be | |
| 10 | gone. The business of the journalists is to destroy the truth, to lie outright, | |
| 11 | to pervert, to vilify, to fawn at the feet of mammon, and to sell his country and | |
| 12 | his race for his daily bread. You know it and I know it, and what folly is this | |
| 13 | toasting an independent press? We are the tools and vassals of rich men behind the | |
| 14 | scenes. We are the jumping jacks, they pull the strings and we dance. Our talents, | |
| 15 | our possibilities and our lives are all the property of other men. We are intellectual | |
| 16 | prostitutes. | |
| 17 | id: 13483c65-9b6e-40d8-831b-5322740f08af |
+0
-17
| 1 | author: John Swinton | |
| 2 | content: There is no such thing, at this date of the world's history, in America, | |
| 3 | as an independent press. You know it and I know it. There is not one of you who | |
| 4 | dares to write your honest opinions, and if you did, you know beforehand that it | |
| 5 | would never appear in print. I am paid weekly for keeping my honest opinion out | |
| 6 | of the paper I am connected with. Others of you are paid similar salaries for similar | |
| 7 | things, and any of you who would be so foolish as to write honest opinions would | |
| 8 | be out on the streets looking for another job. If I allowed my honest opinions to | |
| 9 | appear in one issue of my paper, before twenty-four hours my occupation would be | |
| 10 | gone. The business of the journalists is to destroy the truth, to lie outright, | |
| 11 | to pervert, to vilify, to fawn at the feet of mammon, and to sell his country and | |
| 12 | his race for his daily bread. You know it and I know it, and what folly is this | |
| 13 | toasting an independent press? We are the tools and vassals of rich men behind the | |
| 14 | scenes. We are the jumping jacks, they pull the strings and we dance. Our talents, | |
| 15 | our possibilities and our lives are all the property of other men. We are intellectual | |
| 16 | prostitutes. | |
| 17 | id: 13483c65-9b6e-40d8-831b-5322740f08af |
| 1 | author: General Stumm von Bordwehr, in Robert Musil's "The Man Without Qualities" | |
| 2 | content: You may say that it isn't necessary to read every last book. Well, it's also | |
| 3 | true that in war you don't have to kill every last soldier, but we still need every | |
| 4 | one of them. | |
| 5 | id: 13e181f7-ec9b-4f72-a56c-1655254165c7 |
+0
-5
| 1 | author: General Stumm von Bordwehr, in Robert Musil's "The Man Without Qualities" | |
| 2 | content: You may say that it isn't necessary to read every last book. Well, it's also | |
| 3 | true that in war you don't have to kill every last soldier, but we still need every | |
| 4 | one of them. | |
| 5 | id: 13e181f7-ec9b-4f72-a56c-1655254165c7 |
| 1 | author: Hunter S. Thompson | |
| 2 | content: We think of ourselves as so fucking original, but we're like ants. Just a | |
| 3 | strand of fucking ants. | |
| 4 | id: 154295ed-3d42-4fcb-85b7-c8b96333e9ae |
+0
-4
| 1 | author: Hunter S. Thompson | |
| 2 | content: We think of ourselves as so fucking original, but we're like ants. Just a | |
| 3 | strand of fucking ants. | |
| 4 | id: 154295ed-3d42-4fcb-85b7-c8b96333e9ae |
| 1 | author: H.L. Mencken | |
| 2 | content: In brief, she assumed that, being a man, I was vain to the point of imbecility, | |
| 3 | and this assumption was correct, as it always is. | |
| 4 | id: 16716167-9fe0-4dbb-baed-8b40a98b9403 |
+0
-4
| 1 | author: H.L. Mencken | |
| 2 | content: In brief, she assumed that, being a man, I was vain to the point of imbecility, | |
| 3 | and this assumption was correct, as it always is. | |
| 4 | id: 16716167-9fe0-4dbb-baed-8b40a98b9403 |
| 1 | author: Chuck Jones | |
| 2 | content: Anyone can say 'no'. It is the first word a child learns and often the first | |
| 3 | word he speaks. It is a cheap word because it requires no explanation, and many | |
| 4 | men and women have acquired a reputation for intelligence who know only this word | |
| 5 | and have used it in place of thought on every occasion. | |
| 6 | id: 1697cf65-2b65-4c89-9cf9-555dd6e06a0c |
+0
-6
| 1 | author: Chuck Jones | |
| 2 | content: Anyone can say 'no'. It is the first word a child learns and often the first | |
| 3 | word he speaks. It is a cheap word because it requires no explanation, and many | |
| 4 | men and women have acquired a reputation for intelligence who know only this word | |
| 5 | and have used it in place of thought on every occasion. | |
| 6 | id: 1697cf65-2b65-4c89-9cf9-555dd6e06a0c |
| 1 | author: Stewart Brand | |
| 2 | content: We *are* as gods and might as well get good at it. | |
| 3 | id: 169b7272-421c-4a8b-a576-d0b3923109fc |
+0
-3
| 1 | author: Stewart Brand | |
| 2 | content: We *are* as gods and might as well get good at it. | |
| 3 | id: 169b7272-421c-4a8b-a576-d0b3923109fc |
| 1 | author: William Gibson | |
| 2 | content: The future is not google-able. | |
| 3 | id: 174feecb-0339-40c3-8903-64d7ba881d06 |
+0
-3
| 1 | author: William Gibson | |
| 2 | content: The future is not google-able. | |
| 3 | id: 174feecb-0339-40c3-8903-64d7ba881d06 |
| 1 | author: Friederich Nietzsche, *Human, All Too Human* | |
| 2 | content: "There are women who, however you may search them, prove to have no content\ | |
| 3 | \ but are purely masks. The man who associates with such almost spectral, necessarily\ | |
| 4 | \ unsatisfied beings is to be commiserated with, yet it is precisely they who are\ | |
| 5 | \ able to arouse the desire of the man most strongly: he seeks for her soul \u2014\ | |
| 6 | \ and goes on seeking." | |
| 7 | id: 182b9666-37b5-4a8e-950f-5ca462702873 |
+0
-7
| 1 | author: Friederich Nietzsche, *Human, All Too Human* | |
| 2 | content: "There are women who, however you may search them, prove to have no content\ | |
| 3 | \ but are purely masks. The man who associates with such almost spectral, necessarily\ | |
| 4 | \ unsatisfied beings is to be commiserated with, yet it is precisely they who are\ | |
| 5 | \ able to arouse the desire of the man most strongly: he seeks for her soul \u2014\ | |
| 6 | \ and goes on seeking." | |
| 7 | id: 182b9666-37b5-4a8e-950f-5ca462702873 |
| 1 | author: Bret Victor | |
| 2 | content: The most dangerous thought you can have as a creative person is to think | |
| 3 | you know what you're doing. | |
| 4 | id: 1844d3f6-1802-44b7-b5c2-7b4cad4b32bd |
+0
-4
| 1 | author: Bret Victor | |
| 2 | content: The most dangerous thought you can have as a creative person is to think | |
| 3 | you know what you're doing. | |
| 4 | id: 1844d3f6-1802-44b7-b5c2-7b4cad4b32bd |
| 1 | author: Frank Lloyd Wright | |
| 2 | content: No house should ever be on a hill or on anything. It should be of the hill. | |
| 3 | Belonging to it. Hill and house should live together each the happier for the other. | |
| 4 | id: 18bff612-4bfd-4c12-a722-4f07438d8442 |
+0
-4
| 1 | author: Frank Lloyd Wright | |
| 2 | content: No house should ever be on a hill or on anything. It should be of the hill. | |
| 3 | Belonging to it. Hill and house should live together each the happier for the other. | |
| 4 | id: 18bff612-4bfd-4c12-a722-4f07438d8442 |
| 1 | author: Thant Tessman | |
| 2 | content: You're posting to a Scheme group. Around here, arguing that Java is better | |
| 3 | than C++ is like arguing that grasshoppers taste better than tree bark. | |
| 4 | id: 18ea2161-9bbb-4ed5-9857-ce52e03a113f |
+0
-4
| 1 | author: Thant Tessman | |
| 2 | content: You're posting to a Scheme group. Around here, arguing that Java is better | |
| 3 | than C++ is like arguing that grasshoppers taste better than tree bark. | |
| 4 | id: 18ea2161-9bbb-4ed5-9857-ce52e03a113f |
| 1 | author: Karl Popper | |
| 2 | content: The conspiracy theory of society...comes from abandoning God and then asking, | |
| 3 | "Who is in his place?" | |
| 4 | id: 192a0535-9bc8-43ba-abcf-7f9568043a9b |
+0
-4
| 1 | author: Karl Popper | |
| 2 | content: The conspiracy theory of society...comes from abandoning God and then asking, | |
| 3 | "Who is in his place?" | |
| 4 | id: 192a0535-9bc8-43ba-abcf-7f9568043a9b |
| 1 | author: Jessica Brookman | |
| 2 | content: Entertain the possibility that we are living in an intellectual and spiritual | |
| 3 | dark age but there is too much technology to notice. | |
| 4 | id: 1937dbaf-43e7-4dd1-9241-96c66be6b9a4 |
+0
-4
| 1 | author: Jessica Brookman | |
| 2 | content: Entertain the possibility that we are living in an intellectual and spiritual | |
| 3 | dark age but there is too much technology to notice. | |
| 4 | id: 1937dbaf-43e7-4dd1-9241-96c66be6b9a4 |
| 1 | author: Eben Moglen | |
| 2 | content: "Mr. Zuckerberg has attained an unenviable record. He has done more harm\ | |
| 3 | \ to the human race than anybody else his age. Right? Because he harnessed, y'know,\ | |
| 4 | \ Friday Night\u2014that is, \"everybody needs to get laid\"\u2014and he turned\ | |
| 5 | \ it into a structure for degenerating the integrity of human personality. And he\ | |
| 6 | \ has, to a remarkable extent, succeeded with a very poor deal\u2014namely, \"I\ | |
| 7 | \ will give you free web hosting, and some PHP doodads, and you get spying, for\ | |
| 8 | \ free, all the time.\" And it works. That's the sad part, it works." | |
| 9 | id: 19425d3f-03ed-4dd7-a552-532a84e387af |
+0
-9
| 1 | author: Eben Moglen | |
| 2 | content: "Mr. Zuckerberg has attained an unenviable record. He has done more harm\ | |
| 3 | \ to the human race than anybody else his age. Right? Because he harnessed, y'know,\ | |
| 4 | \ Friday Night\u2014that is, \"everybody needs to get laid\"\u2014and he turned\ | |
| 5 | \ it into a structure for degenerating the integrity of human personality. And he\ | |
| 6 | \ has, to a remarkable extent, succeeded with a very poor deal\u2014namely, \"I\ | |
| 7 | \ will give you free web hosting, and some PHP doodads, and you get spying, for\ | |
| 8 | \ free, all the time.\" And it works. That's the sad part, it works." | |
| 9 | id: 19425d3f-03ed-4dd7-a552-532a84e387af |
| 1 | author: Haruki Murakami | |
| 2 | content: I sometimes think that people's hearts are like deep wells. Nobody knows | |
| 3 | what's at the bottom. All you can do is guess from what comes floating to the surface | |
| 4 | every once in a while. | |
| 5 | id: 1a15316b-b135-4fe2-a3f0-b6b3fa390fce |
+0
-5
| 1 | author: Haruki Murakami | |
| 2 | content: I sometimes think that people's hearts are like deep wells. Nobody knows | |
| 3 | what's at the bottom. All you can do is guess from what comes floating to the surface | |
| 4 | every once in a while. | |
| 5 | id: 1a15316b-b135-4fe2-a3f0-b6b3fa390fce |
| 1 | author: Haruki Murakami | |
| 2 | content: I don't really know if it's the right thing to do, making new life. Kids | |
| 3 | grow up, generations take their place. What does it all come to? More hills bulldozed | |
| 4 | and more ocean fronts filled in? Faster cars and more cats run over? Who needs it? | |
| 5 | id: 1a2427d5-21f4-41b5-8b3f-33f041fb3b78 |
+0
-5
| 1 | author: Haruki Murakami | |
| 2 | content: I don't really know if it's the right thing to do, making new life. Kids | |
| 3 | grow up, generations take their place. What does it all come to? More hills bulldozed | |
| 4 | and more ocean fronts filled in? Faster cars and more cats run over? Who needs it? | |
| 5 | id: 1a2427d5-21f4-41b5-8b3f-33f041fb3b78 |
| 1 | author: Lord Chief Justice Halisham | |
| 2 | content: The only freedom which counts is the freedom to do what some other people | |
| 3 | think to be wrong. There is no point in demanding freedom to do that which all will | |
| 4 | applaud. All the so-called liberties or rights are things which have to be asserted | |
| 5 | against others who claim that if such things are to be allowed their own rights | |
| 6 | are infringed or their own liberties threatened. This is always true, even when | |
| 7 | we speak of the freedom to worship, of the right of free speech or association, | |
| 8 | or of public assembly. If we are to allow freedoms at all there will constantly | |
| 9 | be complaints that either the liberty itself or the way in which it is exercised | |
| 10 | is being abused, and, if it is a genuine freedom, these complaints will often be | |
| 11 | justified. There is no way of having a free society in which there is not abuse. | |
| 12 | Abuse is the very hallmark of liberty. | |
| 13 | id: 1a251642-2988-41e9-a847-ac5a9900c600 |
+0
-13
| 1 | author: Lord Chief Justice Halisham | |
| 2 | content: The only freedom which counts is the freedom to do what some other people | |
| 3 | think to be wrong. There is no point in demanding freedom to do that which all will | |
| 4 | applaud. All the so-called liberties or rights are things which have to be asserted | |
| 5 | against others who claim that if such things are to be allowed their own rights | |
| 6 | are infringed or their own liberties threatened. This is always true, even when | |
| 7 | we speak of the freedom to worship, of the right of free speech or association, | |
| 8 | or of public assembly. If we are to allow freedoms at all there will constantly | |
| 9 | be complaints that either the liberty itself or the way in which it is exercised | |
| 10 | is being abused, and, if it is a genuine freedom, these complaints will often be | |
| 11 | justified. There is no way of having a free society in which there is not abuse. | |
| 12 | Abuse is the very hallmark of liberty. | |
| 13 | id: 1a251642-2988-41e9-a847-ac5a9900c600 |
| 1 | author: Ray Smuckles, Achewood | |
| 2 | content: No, I ain't got a fax machine! I also ain't got an Apple IIc, polio, or a | |
| 3 | falcon. | |
| 4 | id: 1a30ce02-0598-47b2-8837-bd28015ca96c |
+0
-4
| 1 | author: Ray Smuckles, Achewood | |
| 2 | content: No, I ain't got a fax machine! I also ain't got an Apple IIc, polio, or a | |
| 3 | falcon. | |
| 4 | id: 1a30ce02-0598-47b2-8837-bd28015ca96c |
| 1 | author: Alan Kay | |
| 2 | content: Don't worry about what anybody else is going to do. The best way to predict | |
| 3 | the future is to invent it. | |
| 4 | id: 1a564773-45de-4fd1-bd15-8d54967793a7 |
+0
-4
| 1 | author: Alan Kay | |
| 2 | content: Don't worry about what anybody else is going to do. The best way to predict | |
| 3 | the future is to invent it. | |
| 4 | id: 1a564773-45de-4fd1-bd15-8d54967793a7 |
| 1 | author: Jorge Luis Borges | |
| 2 | content: "_Enamorarse es crear una religi\xF3n cuyo dios es falible._ \r\nTo fall\ | |
| 3 | \ in love is to create a religion whose god is fallible." | |
| 4 | id: 1a59b8a2-ba4d-4a16-9563-7a78db63c8fb |
+0
-4
| 1 | author: Jorge Luis Borges | |
| 2 | content: "_Enamorarse es crear una religi\xF3n cuyo dios es falible._ \r\nTo fall\ | |
| 3 | \ in love is to create a religion whose god is fallible." | |
| 4 | id: 1a59b8a2-ba4d-4a16-9563-7a78db63c8fb |
| 1 | author: 'Samuel Beckett | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'It is all very well to keep silence, but one has also to consider the kind | |
| 5 | of silence one keeps. | |
| 6 | ||
| 7 | ' | |
| 8 | id: 1a947703-d6af-4269-816e-6ff8c9880b82 |
+0
-8
| 1 | author: 'Samuel Beckett | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'It is all very well to keep silence, but one has also to consider the kind | |
| 5 | of silence one keeps. | |
| 6 | ||
| 7 | ' | |
| 8 | id: 1a947703-d6af-4269-816e-6ff8c9880b82 |
| 1 | author: George Orwell | |
| 2 | content: The essence of being human is that one does not seek perfection, that one | |
| 3 | *is* sometimes willing to commit sins for the sake of loyalty, that one does not | |
| 4 | push asceticism to the point where it makes friendly intercourse impossible, and | |
| 5 | that one is prepared in the end to be defeated and broken up by life, which is the | |
| 6 | inevitable price of fastening one's love upon other human individuals. | |
| 7 | id: 1aa9b1bf-c9b5-4618-b108-4ef146493699 |
+0
-7
| 1 | author: George Orwell | |
| 2 | content: The essence of being human is that one does not seek perfection, that one | |
| 3 | *is* sometimes willing to commit sins for the sake of loyalty, that one does not | |
| 4 | push asceticism to the point where it makes friendly intercourse impossible, and | |
| 5 | that one is prepared in the end to be defeated and broken up by life, which is the | |
| 6 | inevitable price of fastening one's love upon other human individuals. | |
| 7 | id: 1aa9b1bf-c9b5-4618-b108-4ef146493699 |
| 1 | author: David Lynch | |
| 2 | content: It makes me uncomfortable to talk about meanings and things. It is better | |
| 3 | not to know so much about what things mean. Because the meaning, it's a very personal | |
| 4 | thing and the meaning for me is different than the meaning for someone else. | |
| 5 | id: 1abef251-59da-4ed8-87ef-9e98c40a37a5 |
+0
-5
| 1 | author: David Lynch | |
| 2 | content: It makes me uncomfortable to talk about meanings and things. It is better | |
| 3 | not to know so much about what things mean. Because the meaning, it's a very personal | |
| 4 | thing and the meaning for me is different than the meaning for someone else. | |
| 5 | id: 1abef251-59da-4ed8-87ef-9e98c40a37a5 |
| 1 | author: zbir | |
| 2 | content: yes, [web 2.0 is] a candy store where instead of sugar, water, and food coloring, | |
| 3 | the Candyman used poop | |
| 4 | id: 1b80c0b9-d58b-4160-a21a-e90c81a3b2fe |
| 1 | author: zbir | |
| 2 | content: yes, [web 2.0 is] a candy store where instead of sugar, water, and food coloring, | |
| 3 | the Candyman used poop | |
| 4 | id: 1b80c0b9-d58b-4160-a21a-e90c81a3b2fe |
| 1 | author: Anna Quindlen | |
| 2 | content: I would be content if my children grew up to be the kind of people who think | |
| 3 | decorating consists mostly of building enough bookshelves. | |
| 4 | id: 1bd2a9a4-4534-4d16-b8f5-bce4d973cf99 |
+0
-4
| 1 | author: Anna Quindlen | |
| 2 | content: I would be content if my children grew up to be the kind of people who think | |
| 3 | decorating consists mostly of building enough bookshelves. | |
| 4 | id: 1bd2a9a4-4534-4d16-b8f5-bce4d973cf99 |
| 1 | author: Joey Comeau | |
| 2 | content: It's too late for the government to train me to be a weapon. For someone | |
| 3 | to approach me on the street, and to tell me I match a certain profile. I probably | |
| 4 | won't even learn another language well enough to speak it fluently. Giant crazed | |
| 5 | attack dogs won't ever suddenly act like scared puppies when they see me. I won't | |
| 6 | ever be a grandmaster of chess, either. I don't think at this stage I can even reasonably | |
| 7 | expect to make Expert. There are some things I regret as I get older, I guess. There | |
| 8 | are a ton of traditional ways to be bad-ass, and I missed the boat. But that's okay. | |
| 9 | It just means I have to be more creative. And then later that creativity will make | |
| 10 | people think I was an evil genius, instead of just so desperate for a world with | |
| 11 | monsters that I didn't mind becoming one myself. What I'm saying is - I stole an | |
| 12 | ice cream cone yesterday from the 7-11 and I have no regrets at all. | |
| 13 | id: 1c036312-23e7-4bdc-b59d-94b2de1afead |
+0
-13
| 1 | author: Joey Comeau | |
| 2 | content: It's too late for the government to train me to be a weapon. For someone | |
| 3 | to approach me on the street, and to tell me I match a certain profile. I probably | |
| 4 | won't even learn another language well enough to speak it fluently. Giant crazed | |
| 5 | attack dogs won't ever suddenly act like scared puppies when they see me. I won't | |
| 6 | ever be a grandmaster of chess, either. I don't think at this stage I can even reasonably | |
| 7 | expect to make Expert. There are some things I regret as I get older, I guess. There | |
| 8 | are a ton of traditional ways to be bad-ass, and I missed the boat. But that's okay. | |
| 9 | It just means I have to be more creative. And then later that creativity will make | |
| 10 | people think I was an evil genius, instead of just so desperate for a world with | |
| 11 | monsters that I didn't mind becoming one myself. What I'm saying is - I stole an | |
| 12 | ice cream cone yesterday from the 7-11 and I have no regrets at all. | |
| 13 | id: 1c036312-23e7-4bdc-b59d-94b2de1afead |
| 1 | author: allegedly a toilet graffito at the Technical CS Department in Haifa, Israel | |
| 2 | content: "C++ is like teenage sex:\n\n+ It's on everyone's mind all the time.\n\n\ | |
| 3 | + Everyone talks about it all the time.\n\n+ Everyone thinks everyone else is doing\ | |
| 4 | \ it.\n\n+ Almost no one is really doing it.\n\n+ The few who are doing it are\n\ | |
| 5 | \ + doing it poorly;\n + sure it will be better next time;\n + not practicing\ | |
| 6 | \ it safely." | |
| 7 | id: 1c11e68a-cb8e-4586-a30e-cac383ba1cc9 |
+0
-7
| 1 | author: allegedly a toilet graffito at the Technical CS Department in Haifa, Israel | |
| 2 | content: "C++ is like teenage sex:\n\n+ It's on everyone's mind all the time.\n\n\ | |
| 3 | + Everyone talks about it all the time.\n\n+ Everyone thinks everyone else is doing\ | |
| 4 | \ it.\n\n+ Almost no one is really doing it.\n\n+ The few who are doing it are\n\ | |
| 5 | \ + doing it poorly;\n + sure it will be better next time;\n + not practicing\ | |
| 6 | \ it safely." | |
| 7 | id: 1c11e68a-cb8e-4586-a30e-cac383ba1cc9 |
| 1 | author: Werner Herzog | |
| 2 | content: We only sound and look like badly pronounced and half-finished sentences | |
| 3 | out of a stupid suburban... novel... a cheap novel. | |
| 4 | id: 1c691096-06b2-462f-b4ae-45f99c9dd33a |
+0
-4
| 1 | author: Werner Herzog | |
| 2 | content: We only sound and look like badly pronounced and half-finished sentences | |
| 3 | out of a stupid suburban... novel... a cheap novel. | |
| 4 | id: 1c691096-06b2-462f-b4ae-45f99c9dd33a |
| 1 | author: Chris Mazeika | |
| 2 | content: Donald Rumsfeld declared the looting in Iraq following "liberation" to be | |
| 3 | the consequence of "the pent-up feelings that result from decades of oppression". | |
| 4 | We await his wisdom on New Orleans. | |
| 5 | id: 1cab5713-7698-409a-9518-ab866d7ba57f |
+0
-5
| 1 | author: Chris Mazeika | |
| 2 | content: Donald Rumsfeld declared the looting in Iraq following "liberation" to be | |
| 3 | the consequence of "the pent-up feelings that result from decades of oppression". | |
| 4 | We await his wisdom on New Orleans. | |
| 5 | id: 1cab5713-7698-409a-9518-ab866d7ba57f |
| 1 | author: Umberto Eco, *The Name of The Rose* | |
| 2 | content: Books are not made to be believed, but to be subjected to inquiry. When we | |
| 3 | consider a book, we mustn't ask ourselves what it says but what it means... | |
| 4 | id: 1da24fa9-732c-45a6-80fd-7308cad66ddc |
+0
-4
| 1 | author: Umberto Eco, *The Name of The Rose* | |
| 2 | content: Books are not made to be believed, but to be subjected to inquiry. When we | |
| 3 | consider a book, we mustn't ask ourselves what it says but what it means... | |
| 4 | id: 1da24fa9-732c-45a6-80fd-7308cad66ddc |
| 1 | author: George Carlin | |
| 2 | content: 'Now, there''s one thing you might have noticed I don''t complain about: | |
| 3 | politicians. Everybody complains about politicians. Everybody says they suck. Well, | |
| 4 | where do people think these politicians come from? They don''t fall out of the sky. | |
| 5 | They don''t pass through a membrane from another reality. They come from American | |
| 6 | parents and American families, American homes, American schools, American churches, | |
| 7 | American businesses and American universities, and they are elected by American | |
| 8 | citizens. This is the best we can do folks. This is what we have to offer. It''s | |
| 9 | what our system produces: Garbage in, garbage out. If you have selfish, ignorant | |
| 10 | citizens, you''re going to get selfish, ignorant leaders. Term limits ain''t going | |
| 11 | to do any good; you''re just going to end up with a brand new bunch of selfish, | |
| 12 | ignorant Americans. So, maybe, maybe, maybe, it''s not the politicians who suck. | |
| 13 | Maybe something else sucks around here... like, the public. Yeah, the public sucks. | |
| 14 | There''s a nice campaign slogan for somebody: "The Public Sucks. Fuck Hope."' | |
| 15 | id: 1e436cf0-e76b-49f0-90d4-2119de8aaad9 |
+0
-15
| 1 | author: George Carlin | |
| 2 | content: 'Now, there''s one thing you might have noticed I don''t complain about: | |
| 3 | politicians. Everybody complains about politicians. Everybody says they suck. Well, | |
| 4 | where do people think these politicians come from? They don''t fall out of the sky. | |
| 5 | They don''t pass through a membrane from another reality. They come from American | |
| 6 | parents and American families, American homes, American schools, American churches, | |
| 7 | American businesses and American universities, and they are elected by American | |
| 8 | citizens. This is the best we can do folks. This is what we have to offer. It''s | |
| 9 | what our system produces: Garbage in, garbage out. If you have selfish, ignorant | |
| 10 | citizens, you''re going to get selfish, ignorant leaders. Term limits ain''t going | |
| 11 | to do any good; you''re just going to end up with a brand new bunch of selfish, | |
| 12 | ignorant Americans. So, maybe, maybe, maybe, it''s not the politicians who suck. | |
| 13 | Maybe something else sucks around here... like, the public. Yeah, the public sucks. | |
| 14 | There''s a nice campaign slogan for somebody: "The Public Sucks. Fuck Hope."' | |
| 15 | id: 1e436cf0-e76b-49f0-90d4-2119de8aaad9 |
| 1 | author: The Last Psychiatrist | |
| 2 | content: 'You want something uplifting, so here you go: you can never have a good | |
| 3 | relationship with anyone when your focus is the relationship. There''s a human being | |
| 4 | there who existed well before you got to them, and they weren''t built for you or | |
| 5 | your needs or your parents or your future dreams as an actor. If you want to be | |
| 6 | happy with someone then your body and mind have to instinctively adapt to their | |
| 7 | happiness. If you''re not ready for this kind of sacrifice, then you''re simply | |
| 8 | not ready.' | |
| 9 | id: 1e551737-77e5-4c4b-9694-41bebb40b949 |
+0
-9
| 1 | author: The Last Psychiatrist | |
| 2 | content: 'You want something uplifting, so here you go: you can never have a good | |
| 3 | relationship with anyone when your focus is the relationship. There''s a human being | |
| 4 | there who existed well before you got to them, and they weren''t built for you or | |
| 5 | your needs or your parents or your future dreams as an actor. If you want to be | |
| 6 | happy with someone then your body and mind have to instinctively adapt to their | |
| 7 | happiness. If you''re not ready for this kind of sacrifice, then you''re simply | |
| 8 | not ready.' | |
| 9 | id: 1e551737-77e5-4c4b-9694-41bebb40b949 |
| 1 | author: Aldous Huxley | |
| 2 | content: That people do not learn very much from history is the most important of | |
| 3 | all the lessons history has to teach. | |
| 4 | id: 1e5d0c42-00f7-4fed-afe0-6982fdeac33b |
+0
-4
| 1 | author: Aldous Huxley | |
| 2 | content: That people do not learn very much from history is the most important of | |
| 3 | all the lessons history has to teach. | |
| 4 | id: 1e5d0c42-00f7-4fed-afe0-6982fdeac33b |
| 1 | author: Umberto Eco, *The Name of The Rose* | |
| 2 | content: True learning must not be content with ideas, which are, in fact, signs, | |
| 3 | but must discover things in their individual truth. | |
| 4 | id: 1ed09582-ab66-48d4-be17-cf86e372b0f9 |
+0
-4
| 1 | author: Umberto Eco, *The Name of The Rose* | |
| 2 | content: True learning must not be content with ideas, which are, in fact, signs, | |
| 3 | but must discover things in their individual truth. | |
| 4 | id: 1ed09582-ab66-48d4-be17-cf86e372b0f9 |
| 1 | author: Ambrose Bierce | |
| 2 | content: Cat, n. A soft, indestructible automaton provided by nature to be kicked | |
| 3 | when things go wrong in the domestic circle. | |
| 4 | id: 1ef22fb2-565c-4a1b-ac80-364daa73c7d5 |
+0
-4
| 1 | author: Ambrose Bierce | |
| 2 | content: Cat, n. A soft, indestructible automaton provided by nature to be kicked | |
| 3 | when things go wrong in the domestic circle. | |
| 4 | id: 1ef22fb2-565c-4a1b-ac80-364daa73c7d5 |
| 1 | author: Alan Perlis | |
| 2 | content: 'Re graphics: A picture is worth 10K words - but only those to describe | |
| 3 | the picture. Hardly any sets of 10K words can be adequately described with pictures.' | |
| 4 | id: 1f11c88e-9f27-4345-b9ab-504d60ee81d0 |
+0
-4
| 1 | author: Alan Perlis | |
| 2 | content: 'Re graphics: A picture is worth 10K words - but only those to describe | |
| 3 | the picture. Hardly any sets of 10K words can be adequately described with pictures.' | |
| 4 | id: 1f11c88e-9f27-4345-b9ab-504d60ee81d0 |
| 1 | author: Georges Bataille | |
| 2 | content: I don't want your love unless you know I am repulsive, and love me even as | |
| 3 | you know it. | |
| 4 | id: 1f1ac10a-637e-4982-9ad9-5cc4232ca3ac |
+0
-4
| 1 | author: Georges Bataille | |
| 2 | content: I don't want your love unless you know I am repulsive, and love me even as | |
| 3 | you know it. | |
| 4 | id: 1f1ac10a-637e-4982-9ad9-5cc4232ca3ac |
| 1 | author: Dorothy Allison | |
| 2 | content: I do not write about nice people. I am not nice people. | |
| 3 | id: 1f57fd0a-ca00-41e8-bfd6-3eff41e73179 |
+0
-3
| 1 | author: Dorothy Allison | |
| 2 | content: I do not write about nice people. I am not nice people. | |
| 3 | id: 1f57fd0a-ca00-41e8-bfd6-3eff41e73179 |
| 1 | author: Werner Herzog | |
| 2 | content: Tourism is sin, and travel on foot virtue. | |
| 3 | id: 1f5d2d61-c53c-47a2-84be-0da1091d309e |
+0
-3
| 1 | author: Werner Herzog | |
| 2 | content: Tourism is sin, and travel on foot virtue. | |
| 3 | id: 1f5d2d61-c53c-47a2-84be-0da1091d309e |
| 1 | author: TPHD | |
| 2 | content: "THE SUN IS MORE BEAUTIFUL AND VIOLENT THAN ANYTHING THAT HAPPENS ON EARTH\r\ | |
| 3 | \n\r\nBUT, LIKE, DON'T LET THAT STOP YOU FROM TRYING" | |
| 4 | id: 1fe31033-ec56-4712-9b82-5215fa2f2dd0 |
+0
-4
| 1 | author: TPHD | |
| 2 | content: "THE SUN IS MORE BEAUTIFUL AND VIOLENT THAN ANYTHING THAT HAPPENS ON EARTH\r\ | |
| 3 | \n\r\nBUT, LIKE, DON'T LET THAT STOP YOU FROM TRYING" | |
| 4 | id: 1fe31033-ec56-4712-9b82-5215fa2f2dd0 |
| 1 | author: The Last Psychiatrist | |
| 2 | content: One of the great insights of psychoanalysis is that you never really want | |
| 3 | an object, you only want the wanting, which means the solution is to set your sights | |
| 4 | on an impossible ideal and work hard to reach it. You won't. That's not just okay, | |
| 5 | that's the point. It's ok if you fantasize about knowing kung fu if you then try | |
| 6 | to actually learn kung fu, eventually you will understand you can never really know | |
| 7 | kung fu, and then you will die. And it will have been worth it. | |
| 8 | id: 208e1d84-7b8d-4db5-960e-4c33a4b8fded |
+0
-8
| 1 | author: The Last Psychiatrist | |
| 2 | content: One of the great insights of psychoanalysis is that you never really want | |
| 3 | an object, you only want the wanting, which means the solution is to set your sights | |
| 4 | on an impossible ideal and work hard to reach it. You won't. That's not just okay, | |
| 5 | that's the point. It's ok if you fantasize about knowing kung fu if you then try | |
| 6 | to actually learn kung fu, eventually you will understand you can never really know | |
| 7 | kung fu, and then you will die. And it will have been worth it. | |
| 8 | id: 208e1d84-7b8d-4db5-960e-4c33a4b8fded |
| 1 | author: Karl Marx | |
| 2 | content: "Finally, I desired that, if there is to be talk about philosophy, there\ | |
| 3 | \ should be less trifling with the label \"atheism\" (which reminds one of children,\ | |
| 4 | \ assuring everyone who is ready to listen to them that they are not afraid of the\ | |
| 5 | \ bogy man), and that instead the content of philosophy should be brought to the\ | |
| 6 | \ people. Voil\xE0 tout." | |
| 7 | id: 20ce414d-813b-41d7-af82-734317794380 |
+0
-7
| 1 | author: Karl Marx | |
| 2 | content: "Finally, I desired that, if there is to be talk about philosophy, there\ | |
| 3 | \ should be less trifling with the label \"atheism\" (which reminds one of children,\ | |
| 4 | \ assuring everyone who is ready to listen to them that they are not afraid of the\ | |
| 5 | \ bogy man), and that instead the content of philosophy should be brought to the\ | |
| 6 | \ people. Voil\xE0 tout." | |
| 7 | id: 20ce414d-813b-41d7-af82-734317794380 |
| 1 | author: Sean "Teki" Dobbs | |
| 2 | content: 'I like my terminals like my women: VT100 compatible with Tektronix extensions.' | |
| 3 | id: 21451556-74ed-4277-9e89-b6536b0162ec |
+0
-3
| 1 | author: Sean "Teki" Dobbs | |
| 2 | content: 'I like my terminals like my women: VT100 compatible with Tektronix extensions.' | |
| 3 | id: 21451556-74ed-4277-9e89-b6536b0162ec |
| 1 | author: Dr. Hunter S. Thompson | |
| 2 | content: "Strange memories on this nervous night in Las Vegas. Five years later? \ | |
| 3 | \ Six? It seems like a lifetime, or at least a Main Era \u2014 the kind of peak\ | |
| 4 | \ that never comes again. San Francisco in the middle sixties was a very special\ | |
| 5 | \ time and place to be a part of. Maybe it meant something. Maybe not, in the\ | |
| 6 | \ long run... There was madness in any direction, at any hour. If not across the\ | |
| 7 | \ Bay, then up the Golden Gate or down 101 to Los Altos or La Honda... You could\ | |
| 8 | \ strike sparks anywhere. There was a fantastic universal sense that whatever we\ | |
| 9 | \ were doing was right, that we were winning...\n\nAnd that, I think, was the handle\ | |
| 10 | \ \u2014 that sense of inevitable victory over the forces of Old and Evil. Not in\ | |
| 11 | \ any mean or military sense; we didn't need that. Our energy would simply prevail.\ | |
| 12 | \ There was no point in fighting \u2014 on our side or theirs. We had all the\ | |
| 13 | \ momentum; we were riding the crest of a high and beautiful wave. So now, less\ | |
| 14 | \ than five years later, you can go up on a steep hill in Las Vegas and look West,\ | |
| 15 | \ and with the right kind of eyes you can almost see the high-water mark \u2014\ | |
| 16 | \ that place where the wave finally broke and rolled back." | |
| 17 | id: 21ac1347-68f1-4fe6-9718-ba6aaa4d36aa |
+0
-17
| 1 | author: Dr. Hunter S. Thompson | |
| 2 | content: "Strange memories on this nervous night in Las Vegas. Five years later? \ | |
| 3 | \ Six? It seems like a lifetime, or at least a Main Era \u2014 the kind of peak\ | |
| 4 | \ that never comes again. San Francisco in the middle sixties was a very special\ | |
| 5 | \ time and place to be a part of. Maybe it meant something. Maybe not, in the\ | |
| 6 | \ long run... There was madness in any direction, at any hour. If not across the\ | |
| 7 | \ Bay, then up the Golden Gate or down 101 to Los Altos or La Honda... You could\ | |
| 8 | \ strike sparks anywhere. There was a fantastic universal sense that whatever we\ | |
| 9 | \ were doing was right, that we were winning...\n\nAnd that, I think, was the handle\ | |
| 10 | \ \u2014 that sense of inevitable victory over the forces of Old and Evil. Not in\ | |
| 11 | \ any mean or military sense; we didn't need that. Our energy would simply prevail.\ | |
| 12 | \ There was no point in fighting \u2014 on our side or theirs. We had all the\ | |
| 13 | \ momentum; we were riding the crest of a high and beautiful wave. So now, less\ | |
| 14 | \ than five years later, you can go up on a steep hill in Las Vegas and look West,\ | |
| 15 | \ and with the right kind of eyes you can almost see the high-water mark \u2014\ | |
| 16 | \ that place where the wave finally broke and rolled back." | |
| 17 | id: 21ac1347-68f1-4fe6-9718-ba6aaa4d36aa |
| 1 | author: pastabagel | |
| 2 | content: The Blackberry is basically a corporate house-arrest ankle bracelet that | |
| 3 | prevents you from thinking about anything other than your job no matter where you | |
| 4 | are in the world. | |
| 5 | id: 21ed3c44-bd31-4536-8a08-ccf64602e76e |
+0
-5
| 1 | author: pastabagel | |
| 2 | content: The Blackberry is basically a corporate house-arrest ankle bracelet that | |
| 3 | prevents you from thinking about anything other than your job no matter where you | |
| 4 | are in the world. | |
| 5 | id: 21ed3c44-bd31-4536-8a08-ccf64602e76e |
| 1 | author: Thant Tessman | |
| 2 | content: 'Or here''s an even simpler indicator of how much C++ sucks: Print out the | |
| 3 | C++ Public Review Document. Have someone hold it about three feet above your | |
| 4 | head and then drop it. Thus you will be enlightened.' | |
| 5 | id: 22ae5156-3560-4e34-825f-0f398a0b5cc5 |
+0
-5
| 1 | author: Thant Tessman | |
| 2 | content: 'Or here''s an even simpler indicator of how much C++ sucks: Print out the | |
| 3 | C++ Public Review Document. Have someone hold it about three feet above your | |
| 4 | head and then drop it. Thus you will be enlightened.' | |
| 5 | id: 22ae5156-3560-4e34-825f-0f398a0b5cc5 |
| 1 | author: Joey Comeau | |
| 2 | content: When you correct someone's grammar, try to remember those rules are like | |
| 3 | the stars you see through a telescope, just pretty echoes of the long dead. | |
| 4 | id: 22f284ef-f422-4871-ab7e-c15fc9152f61 |
+0
-4
| 1 | author: Joey Comeau | |
| 2 | content: When you correct someone's grammar, try to remember those rules are like | |
| 3 | the stars you see through a telescope, just pretty echoes of the long dead. | |
| 4 | id: 22f284ef-f422-4871-ab7e-c15fc9152f61 |
| 1 | author: The Last Psychiatrist | |
| 2 | content: "Pop culture controls you even if you think you're separate from it. It is\ | |
| 3 | \ everywhere, from the clothes you wear to the language you use to the way you think.\ | |
| 4 | \ It is a viral pandemic that masks infection by pretending to be part of you. There's\ | |
| 5 | \ no cure. But if you know the structure of the virus, at least you can recognize\ | |
| 6 | \ the infection as not-you. \r\n\r\n\"No way, I'm not getting infected, I'm not\ | |
| 7 | \ exposing myself to all that trash. I'm going to think for myself.\"\r\n \r\nThat's\ | |
| 8 | \ the virus talking." | |
| 9 | id: 240a2c64-5f66-4be5-bed7-fae67f6da33f |
+0
-9
| 1 | author: The Last Psychiatrist | |
| 2 | content: "Pop culture controls you even if you think you're separate from it. It is\ | |
| 3 | \ everywhere, from the clothes you wear to the language you use to the way you think.\ | |
| 4 | \ It is a viral pandemic that masks infection by pretending to be part of you. There's\ | |
| 5 | \ no cure. But if you know the structure of the virus, at least you can recognize\ | |
| 6 | \ the infection as not-you. \r\n\r\n\"No way, I'm not getting infected, I'm not\ | |
| 7 | \ exposing myself to all that trash. I'm going to think for myself.\"\r\n \r\nThat's\ | |
| 8 | \ the virus talking." | |
| 9 | id: 240a2c64-5f66-4be5-bed7-fae67f6da33f |
| 1 | author: Thant Tessman | |
| 2 | content: Being really good at C++ is like being really good at using rocks to sharpen | |
| 3 | sticks. | |
| 4 | id: 24462d4b-6cc1-4237-a693-82acd8b95d28 |
+0
-4
| 1 | author: Thant Tessman | |
| 2 | content: Being really good at C++ is like being really good at using rocks to sharpen | |
| 3 | sticks. | |
| 4 | id: 24462d4b-6cc1-4237-a693-82acd8b95d28 |
| 1 | author: Johann Sebastian Bach | |
| 2 | content: There's nothing remarkable about it. All one has to do is hit the right keys | |
| 3 | at the right time and the instrument plays itself. | |
| 4 | id: 2510a963-d049-45e6-88c4-30dc08c4003a |
+0
-4
| 1 | author: Johann Sebastian Bach | |
| 2 | content: There's nothing remarkable about it. All one has to do is hit the right keys | |
| 3 | at the right time and the instrument plays itself. | |
| 4 | id: 2510a963-d049-45e6-88c4-30dc08c4003a |
| 1 | author: Neil Postman | |
| 2 | content: "Every technology has a prejudice. Like language itself, it predisposes us\ | |
| 3 | \ to favor and value certain perspectives and accomplishments. In a culture without\ | |
| 4 | \ writing, human memory is of the greatest importance, as are the proverbs, sayings\ | |
| 5 | \ and songs which contain the accumulated oral wisdom of centuries. That is why\ | |
| 6 | \ Solomon was thought to be the wisest of men. In Kings I we are told he knew 3,000\ | |
| 7 | \ proverbs. But in a culture with writing, such feats of memory are considered a\ | |
| 8 | \ waste of time, and proverbs are merely irrelevant fancies. The writing person\ | |
| 9 | \ favors logical organization and systematic analysis, not proverbs. The telegraphic\ | |
| 10 | \ person values speed, not introspection. The television person values immediacy,\ | |
| 11 | \ not history...\r\n\r\nEvery technology has a philosophy which is given expression\ | |
| 12 | \ in how the technology makes people use their minds, in what it makes us do with\ | |
| 13 | \ our bodies, in how it codifies the world, in which of our senses it amplifies,\ | |
| 14 | \ in which of our emotional and intellectual tendencies it disregards. This idea\ | |
| 15 | \ is the sum and substance of what the great Catholic prophet, Marshall McLuhan\ | |
| 16 | \ meant when he coined the famous sentence, \u201CThe medium is the message.\u201D" | |
| 17 | id: 25b8cdf6-dd5f-4e15-82ed-11a167dbaa78 |
+0
-17
| 1 | author: Neil Postman | |
| 2 | content: "Every technology has a prejudice. Like language itself, it predisposes us\ | |
| 3 | \ to favor and value certain perspectives and accomplishments. In a culture without\ | |
| 4 | \ writing, human memory is of the greatest importance, as are the proverbs, sayings\ | |
| 5 | \ and songs which contain the accumulated oral wisdom of centuries. That is why\ | |
| 6 | \ Solomon was thought to be the wisest of men. In Kings I we are told he knew 3,000\ | |
| 7 | \ proverbs. But in a culture with writing, such feats of memory are considered a\ | |
| 8 | \ waste of time, and proverbs are merely irrelevant fancies. The writing person\ | |
| 9 | \ favors logical organization and systematic analysis, not proverbs. The telegraphic\ | |
| 10 | \ person values speed, not introspection. The television person values immediacy,\ | |
| 11 | \ not history...\r\n\r\nEvery technology has a philosophy which is given expression\ | |
| 12 | \ in how the technology makes people use their minds, in what it makes us do with\ | |
| 13 | \ our bodies, in how it codifies the world, in which of our senses it amplifies,\ | |
| 14 | \ in which of our emotional and intellectual tendencies it disregards. This idea\ | |
| 15 | \ is the sum and substance of what the great Catholic prophet, Marshall McLuhan\ | |
| 16 | \ meant when he coined the famous sentence, \u201CThe medium is the message.\u201D" | |
| 17 | id: 25b8cdf6-dd5f-4e15-82ed-11a167dbaa78 |
| 1 | author: David Barbour | |
| 2 | content: I have no plans to learn UML before I die. I'm sure they'll be teaching it | |
| 3 | in hell. | |
| 4 | id: 25ed0a31-9458-4960-8862-14f00bbeb921 |
+0
-4
| 1 | author: David Barbour | |
| 2 | content: I have no plans to learn UML before I die. I'm sure they'll be teaching it | |
| 3 | in hell. | |
| 4 | id: 25ed0a31-9458-4960-8862-14f00bbeb921 |
| 1 | author: Neil Gaiman | |
| 2 | content: I was never afraid of dead folk. You know that? They never hurt you. So many | |
| 3 | things in this town can hurt you, but the dead don't hurt hurt you. Living people | |
| 4 | hurt you. They hurt you so bad. | |
| 5 | id: 25f52f00-d1d1-470a-b1e7-eaba8f8eb03d |
+0
-5
| 1 | author: Neil Gaiman | |
| 2 | content: I was never afraid of dead folk. You know that? They never hurt you. So many | |
| 3 | things in this town can hurt you, but the dead don't hurt hurt you. Living people | |
| 4 | hurt you. They hurt you so bad. | |
| 5 | id: 25f52f00-d1d1-470a-b1e7-eaba8f8eb03d |
| 1 | author: Neil Gaiman | |
| 2 | content: The house smelled musty and damp, and a little sweet, as if it were haunted | |
| 3 | by the ghosts of long-dead cookies. | |
| 4 | id: 27aea13e-9ca0-46ee-a34f-f117ffad88c6 |
+0
-4
| 1 | author: Neil Gaiman | |
| 2 | content: The house smelled musty and damp, and a little sweet, as if it were haunted | |
| 3 | by the ghosts of long-dead cookies. | |
| 4 | id: 27aea13e-9ca0-46ee-a34f-f117ffad88c6 |
| 1 | author: Maurice Blanchot | |
| 2 | content: "But what else results from this? Whoever acknowledges effective action in\ | |
| 3 | \ the thick of history as his essential task cannot prefer artistic action. Art\ | |
| 4 | \ acts poorly and little. It is clear that if Marx had followed the dreams of his\ | |
| 5 | \ youth and written the most beautiful novels in the world, he would have enchanted\ | |
| 6 | \ the world, but he would not have shaken it. Thus it is Capital that must be written\ | |
| 7 | \ and not War and Peace. We must not depict the murder of Caesar; we must be Brutus.\ | |
| 8 | \ These associations, these comparisons will appear absurd to contemplative minds.\ | |
| 9 | \ But as soon as art measures itself against action, immediate and pressing action\ | |
| 10 | \ can only put it in the wrong. It suffices to remember what H\xF6lderlin wrote\u2014\ | |
| 11 | H\xF6lderlin about whom it would not be enough to say that his fate was linked to\ | |
| 12 | \ poetry\u2019s, for he had no existence at all except in and for poetry. And yet,\ | |
| 13 | \ in 1799, speaking of the revolution which he saw imperiled, he wrote to his brother,\r\ | |
| 14 | \n\r\n> And if the kingdom of darkness erupts after all in full force, then let\ | |
| 15 | \ us throw our pens under the table and go in God\u2019s name where the need is\ | |
| 16 | \ greatest and our presence the most useful.\r\n\r\nArtistic activity, for him indeed\ | |
| 17 | \ who has chosen it, proves insufficient at the decisive hours\u2014those hours\ | |
| 18 | \ that ring every hour\u2014when \u201Cthe poet must complete his message by renouncing\ | |
| 19 | \ himself.\u201D\r\n" | |
| 20 | id: 28f0e703-045c-46ed-93f2-5a005fd0cce2 |
+0
-20
| 1 | author: Maurice Blanchot | |
| 2 | content: "But what else results from this? Whoever acknowledges effective action in\ | |
| 3 | \ the thick of history as his essential task cannot prefer artistic action. Art\ | |
| 4 | \ acts poorly and little. It is clear that if Marx had followed the dreams of his\ | |
| 5 | \ youth and written the most beautiful novels in the world, he would have enchanted\ | |
| 6 | \ the world, but he would not have shaken it. Thus it is Capital that must be written\ | |
| 7 | \ and not War and Peace. We must not depict the murder of Caesar; we must be Brutus.\ | |
| 8 | \ These associations, these comparisons will appear absurd to contemplative minds.\ | |
| 9 | \ But as soon as art measures itself against action, immediate and pressing action\ | |
| 10 | \ can only put it in the wrong. It suffices to remember what H\xF6lderlin wrote\u2014\ | |
| 11 | H\xF6lderlin about whom it would not be enough to say that his fate was linked to\ | |
| 12 | \ poetry\u2019s, for he had no existence at all except in and for poetry. And yet,\ | |
| 13 | \ in 1799, speaking of the revolution which he saw imperiled, he wrote to his brother,\r\ | |
| 14 | \n\r\n> And if the kingdom of darkness erupts after all in full force, then let\ | |
| 15 | \ us throw our pens under the table and go in God\u2019s name where the need is\ | |
| 16 | \ greatest and our presence the most useful.\r\n\r\nArtistic activity, for him indeed\ | |
| 17 | \ who has chosen it, proves insufficient at the decisive hours\u2014those hours\ | |
| 18 | \ that ring every hour\u2014when \u201Cthe poet must complete his message by renouncing\ | |
| 19 | \ himself.\u201D\r\n" | |
| 20 | id: 28f0e703-045c-46ed-93f2-5a005fd0cce2 |
| 1 | author: Neal Stephenson's Cryptonomicon | |
| 2 | content: Amy glances out the window; her hair, skin, and clothes take on a pronounced | |
| 3 | reddish tinge from Doppler effect as she drops out of the conversation at relativistic | |
| 4 | velocity. | |
| 5 | id: 2917e804-587b-4451-9a8d-6bd2c3074081 |
+0
-5
| 1 | author: Neal Stephenson's Cryptonomicon | |
| 2 | content: Amy glances out the window; her hair, skin, and clothes take on a pronounced | |
| 3 | reddish tinge from Doppler effect as she drops out of the conversation at relativistic | |
| 4 | velocity. | |
| 5 | id: 2917e804-587b-4451-9a8d-6bd2c3074081 |
| 1 | author: Marcus Aurelius | |
| 2 | content: You are not compelled to form any opinion about this matter before you, nor | |
| 3 | to disturb your peace of mind at all. Things in themselves have no power to extort | |
| 4 | a verdict from you. | |
| 5 | id: 2931e7b2-0b72-403d-9e26-d6a4113e0f94 |
+0
-5
| 1 | author: Marcus Aurelius | |
| 2 | content: You are not compelled to form any opinion about this matter before you, nor | |
| 3 | to disturb your peace of mind at all. Things in themselves have no power to extort | |
| 4 | a verdict from you. | |
| 5 | id: 2931e7b2-0b72-403d-9e26-d6a4113e0f94 |
| 1 | author: Ray Bradbury | |
| 2 | content: "For these beings, fall is the ever normal season, the only weather, there\ | |
| 3 | \ be no choice beyond. Where do they come from? The dust. Where do they go? The\ | |
| 4 | \ grave. Does blood stir their veins? No: the night wind. What ticks in their head?\ | |
| 5 | \ The worm. What speaks from their mouth? The toad. What sees from their eye? The\ | |
| 6 | \ snake. What hears with their ear? The abyss between the stars. They sift the human\ | |
| 7 | \ storm for souls, eat flesh of reason, fill tombs with sinners. They frenzy forth.\ | |
| 8 | \ In gusts they beetle-scurry, creep, thread, filter, motion, make all moons sullen,\ | |
| 9 | \ and surely cloud all clear-run waters. The spider-web hears them, trembles\u2014\ | |
| 10 | breaks. Such are the autumn people. Beware of them." | |
| 11 | id: 2960cd9e-0a99-47ab-8f4a-6fe44f83c4b2 |
+0
-11
| 1 | author: Ray Bradbury | |
| 2 | content: "For these beings, fall is the ever normal season, the only weather, there\ | |
| 3 | \ be no choice beyond. Where do they come from? The dust. Where do they go? The\ | |
| 4 | \ grave. Does blood stir their veins? No: the night wind. What ticks in their head?\ | |
| 5 | \ The worm. What speaks from their mouth? The toad. What sees from their eye? The\ | |
| 6 | \ snake. What hears with their ear? The abyss between the stars. They sift the human\ | |
| 7 | \ storm for souls, eat flesh of reason, fill tombs with sinners. They frenzy forth.\ | |
| 8 | \ In gusts they beetle-scurry, creep, thread, filter, motion, make all moons sullen,\ | |
| 9 | \ and surely cloud all clear-run waters. The spider-web hears them, trembles\u2014\ | |
| 10 | breaks. Such are the autumn people. Beware of them." | |
| 11 | id: 2960cd9e-0a99-47ab-8f4a-6fe44f83c4b2 |
| 1 | author: Marshall McLuhan | |
| 2 | content: Innovation for holders of conventional wisdom is not novelty but annihilation. | |
| 3 | id: 2972d4c4-499c-47d2-ae25-6de1ff4262f5 |
+0
-3
| 1 | author: Marshall McLuhan | |
| 2 | content: Innovation for holders of conventional wisdom is not novelty but annihilation. | |
| 3 | id: 2972d4c4-499c-47d2-ae25-6de1ff4262f5 |
| 1 | author: Kurt Vonnegut | |
| 2 | content: 'Oh, she says well, you''re not a poor man. You know, why don''t you go online | |
| 3 | and buy a hundred envelopes and put them in the closet? And so I pretend not to | |
| 4 | hear her. And go out to get an envelope because I''m going to have a hell of a good | |
| 5 | time in the process of buying one envelope. I meet a lot of people. And, see some | |
| 6 | great looking babes. And a fire engine goes by. And I give them the thumbs up. And, | |
| 7 | and ask a woman what kind of dog that is. And, and I don''t know. The moral of the | |
| 8 | story is, is we''re here on Earth to fart around. And, of course, the computers | |
| 9 | will do us out of that. And, what the computer people don''t realize, or they don''t | |
| 10 | care, is we''re dancing animals. You know, we love to move around. And, we''re not | |
| 11 | supposed to dance at all anymore. ' | |
| 12 | id: 2a1c25a2-6410-4cd9-b9c8-753bb2284718 |
+0
-12
| 1 | author: Kurt Vonnegut | |
| 2 | content: 'Oh, she says well, you''re not a poor man. You know, why don''t you go online | |
| 3 | and buy a hundred envelopes and put them in the closet? And so I pretend not to | |
| 4 | hear her. And go out to get an envelope because I''m going to have a hell of a good | |
| 5 | time in the process of buying one envelope. I meet a lot of people. And, see some | |
| 6 | great looking babes. And a fire engine goes by. And I give them the thumbs up. And, | |
| 7 | and ask a woman what kind of dog that is. And, and I don''t know. The moral of the | |
| 8 | story is, is we''re here on Earth to fart around. And, of course, the computers | |
| 9 | will do us out of that. And, what the computer people don''t realize, or they don''t | |
| 10 | care, is we''re dancing animals. You know, we love to move around. And, we''re not | |
| 11 | supposed to dance at all anymore. ' | |
| 12 | id: 2a1c25a2-6410-4cd9-b9c8-753bb2284718 |
| 1 | author: Urban Dictionary | |
| 2 | content: Ubuntu is an ancient African word, meaning "I can't configure Debian." | |
| 3 | id: 2a55935e-310c-4736-8126-0430d4b47036 |
+0
-3
| 1 | author: Urban Dictionary | |
| 2 | content: Ubuntu is an ancient African word, meaning "I can't configure Debian." | |
| 3 | id: 2a55935e-310c-4736-8126-0430d4b47036 |
| 1 | author: Peter Sellars | |
| 2 | content: The most important art in the last fifty years in this country is boring | |
| 3 | art. What is important about John Cage or Jackson Pollock is it's boring. | |
| 4 | id: 2a6ddee0-ed5b-436a-b86c-d7cd44c5a0a2 |
+0
-4
| 1 | author: Peter Sellars | |
| 2 | content: The most important art in the last fifty years in this country is boring | |
| 3 | art. What is important about John Cage or Jackson Pollock is it's boring. | |
| 4 | id: 2a6ddee0-ed5b-436a-b86c-d7cd44c5a0a2 |
| 1 | author: David Simon | |
| 2 | content: Albert Camus, a great humanist and existentialist voice, pointed out that | |
| 3 | to commit to a just cause with no hope of success is absurd. But then he also noted | |
| 4 | that not committing to a just cause is equally absurd. But only one choice offers | |
| 5 | the possibility for dignity. And dignity matters. | |
| 6 | id: 2a6f7d47-b0b9-4793-accc-9561716bfc7d |
+0
-6
| 1 | author: David Simon | |
| 2 | content: Albert Camus, a great humanist and existentialist voice, pointed out that | |
| 3 | to commit to a just cause with no hope of success is absurd. But then he also noted | |
| 4 | that not committing to a just cause is equally absurd. But only one choice offers | |
| 5 | the possibility for dignity. And dignity matters. | |
| 6 | id: 2a6f7d47-b0b9-4793-accc-9561716bfc7d |
| 1 | author: Bertrand Russell | |
| 2 | content: Men fear thought as they fear nothing else on earth, more than ruin, more | |
| 3 | even than death... Thought is subversive and revolutionary, destructive and terrible, | |
| 4 | thought is merciless to privilege, established institutions, and comfortable habit. | |
| 5 | Thought looks into the pit of hell and is not afraid. Thought is great and swift | |
| 6 | and free, the light of the world, and the chief glory of man. | |
| 7 | id: 2a911d00-faeb-424b-8fe0-30b4475ad43e |
+0
-7
| 1 | author: Bertrand Russell | |
| 2 | content: Men fear thought as they fear nothing else on earth, more than ruin, more | |
| 3 | even than death... Thought is subversive and revolutionary, destructive and terrible, | |
| 4 | thought is merciless to privilege, established institutions, and comfortable habit. | |
| 5 | Thought looks into the pit of hell and is not afraid. Thought is great and swift | |
| 6 | and free, the light of the world, and the chief glory of man. | |
| 7 | id: 2a911d00-faeb-424b-8fe0-30b4475ad43e |
| 1 | author: Eddie Kohler | |
| 2 | content: Computer science is good because it has two words and I like both of them. | |
| 3 | I also like "butt" and "futz" but you have no degree in futz butt. | |
| 4 | id: 2ad1b26e-5b70-4e22-9ec4-7de39391853b |
+0
-4
| 1 | author: Eddie Kohler | |
| 2 | content: Computer science is good because it has two words and I like both of them. | |
| 3 | I also like "butt" and "futz" but you have no degree in futz butt. | |
| 4 | id: 2ad1b26e-5b70-4e22-9ec4-7de39391853b |
| 1 | author: David A. Wollheim | |
| 2 | content: The tendency to believe that things never change, the inertia of daily existence, | |
| 3 | is a staple of living. It has always been a delusion. | |
| 4 | id: 2b151dcc-5600-47cd-b370-cb496f576a44 |
+0
-4
| 1 | author: David A. Wollheim | |
| 2 | content: The tendency to believe that things never change, the inertia of daily existence, | |
| 3 | is a staple of living. It has always been a delusion. | |
| 4 | id: 2b151dcc-5600-47cd-b370-cb496f576a44 |
| 1 | author: Federico Fellini | |
| 2 | content: Don't tell me what I'm doing. I don't want to know. | |
| 3 | id: 2b164f8e-1594-4a09-baae-eb67156a41fc |
+0
-3
| 1 | author: Federico Fellini | |
| 2 | content: Don't tell me what I'm doing. I don't want to know. | |
| 3 | id: 2b164f8e-1594-4a09-baae-eb67156a41fc |
| 1 | author: Jack Kerouac | |
| 2 | content: 'Came down from my | |
| 3 | ||
| 4 | ivory tower | |
| 5 | ||
| 6 | and found no world' | |
| 7 | id: 2be8d920-da25-4fcb-8011-132be00d2039 |
+0
-7
| 1 | author: Jack Kerouac | |
| 2 | content: 'Came down from my | |
| 3 | ||
| 4 | ivory tower | |
| 5 | ||
| 6 | and found no world' | |
| 7 | id: 2be8d920-da25-4fcb-8011-132be00d2039 |
| 1 | author: George Bernard Shaw | |
| 2 | content: 'Why not telegraph to London, I thought, for some music to review? Reviewing | |
| 3 | has one advantage over suicide. In suicide you take it out of yourself: in reviewing | |
| 4 | you take it out of other people.' | |
| 5 | id: 2c727cc5-e61d-49c8-a439-f1dbb7bce82d |
+0
-5
| 1 | author: George Bernard Shaw | |
| 2 | content: 'Why not telegraph to London, I thought, for some music to review? Reviewing | |
| 3 | has one advantage over suicide. In suicide you take it out of yourself: in reviewing | |
| 4 | you take it out of other people.' | |
| 5 | id: 2c727cc5-e61d-49c8-a439-f1dbb7bce82d |
| 1 | author: The Gospel of Thomas | |
| 2 | content: 'hotan etetnshanshope hmpovoein ov pe tetnaaf | |
| 3 | ||
| 4 | When you should come to be in the light, what shall you do?' | |
| 5 | id: 2c9dbad1-36f1-4e3e-bbc1-55219b15e992 |
+0
-5
| 1 | author: The Gospel of Thomas | |
| 2 | content: 'hotan etetnshanshope hmpovoein ov pe tetnaaf | |
| 3 | ||
| 4 | When you should come to be in the light, what shall you do?' | |
| 5 | id: 2c9dbad1-36f1-4e3e-bbc1-55219b15e992 |
| 1 | author: Bill Hicks | |
| 2 | content: By the way, if anyone here is in marketing or advertising... kill yourself. | |
| 3 | Thank you. Just planting seeds, planting seeds is all I'm doing. No joke here, really. | |
| 4 | Seriously, kill yourself. You have no rationalization for what you do. You are Satan's | |
| 5 | little helpers. ... Kill yourself now. | |
| 6 | id: 2d7a156b-4508-45b1-93c9-072994d04c17 |
+0
-6
| 1 | author: Bill Hicks | |
| 2 | content: By the way, if anyone here is in marketing or advertising... kill yourself. | |
| 3 | Thank you. Just planting seeds, planting seeds is all I'm doing. No joke here, really. | |
| 4 | Seriously, kill yourself. You have no rationalization for what you do. You are Satan's | |
| 5 | little helpers. ... Kill yourself now. | |
| 6 | id: 2d7a156b-4508-45b1-93c9-072994d04c17 |
| 1 | author: Margaret Cho | |
| 2 | content: Why should I observe the Sabbath when I could observe dick? | |
| 3 | id: 2d982c41-5288-4874-bd3d-de3bc39a5d27 |
+0
-3
| 1 | author: Margaret Cho | |
| 2 | content: Why should I observe the Sabbath when I could observe dick? | |
| 3 | id: 2d982c41-5288-4874-bd3d-de3bc39a5d27 |
| 1 | author: Neil Postman | |
| 2 | content: "(Paraphrased) questions to ask of a new technology:\r\n\r\n- What is the\ | |
| 3 | \ problem to which this technology is the solution?\r\n- Whose problem is it?\r\n\ | |
| 4 | - What new problems might result from solving this problem?\r\n- Which people and\ | |
| 5 | \ institutions might be harmed by this solution?\r\n- How does the new technology\ | |
| 6 | \ change our language, and what are the implications of that?\r\n- What people and\ | |
| 7 | \ institutions gain economic or politcal power because of the technological change?\r\ | |
| 8 | \n" | |
| 9 | id: 2e122633-1bb2-4f0b-8d84-c54e00498f39 |
+0
-9
| 1 | author: Neil Postman | |
| 2 | content: "(Paraphrased) questions to ask of a new technology:\r\n\r\n- What is the\ | |
| 3 | \ problem to which this technology is the solution?\r\n- Whose problem is it?\r\n\ | |
| 4 | - What new problems might result from solving this problem?\r\n- Which people and\ | |
| 5 | \ institutions might be harmed by this solution?\r\n- How does the new technology\ | |
| 6 | \ change our language, and what are the implications of that?\r\n- What people and\ | |
| 7 | \ institutions gain economic or politcal power because of the technological change?\r\ | |
| 8 | \n" | |
| 9 | id: 2e122633-1bb2-4f0b-8d84-c54e00498f39 |
| 1 | author: Manuel de Landa | |
| 2 | content: Idealists have it easy. Their reality is uniformly populated by appearances | |
| 3 | or phenomena, structured by linguistic representations or social conventions, so | |
| 4 | they can feel safe to engage in metaphysical speculation knowing that the contents | |
| 5 | of their world have been settled in advance. Realists, on the other hand, are committed | |
| 6 | to assert the autonomy of reality from the human mind, but then must struggle to | |
| 7 | define what inhabits that reality. | |
| 8 | id: 2e2472f0-07df-40d8-87ea-bbbc3c4dc2c3 |
+0
-8
| 1 | author: Manuel de Landa | |
| 2 | content: Idealists have it easy. Their reality is uniformly populated by appearances | |
| 3 | or phenomena, structured by linguistic representations or social conventions, so | |
| 4 | they can feel safe to engage in metaphysical speculation knowing that the contents | |
| 5 | of their world have been settled in advance. Realists, on the other hand, are committed | |
| 6 | to assert the autonomy of reality from the human mind, but then must struggle to | |
| 7 | define what inhabits that reality. | |
| 8 | id: 2e2472f0-07df-40d8-87ea-bbbc3c4dc2c3 |
| 1 | author: Charlie Stross | |
| 2 | content: '...as long as steampunk is nothing more than what happens when goths discover | |
| 3 | brown.' | |
| 4 | id: 2e30e4fa-9e7b-47bd-b7cf-4de64766a5a5 |
+0
-4
| 1 | author: Charlie Stross | |
| 2 | content: '...as long as steampunk is nothing more than what happens when goths discover | |
| 3 | brown.' | |
| 4 | id: 2e30e4fa-9e7b-47bd-b7cf-4de64766a5a5 |
| 1 | author: Jorge Luis Borges | |
| 2 | content: Nothing is built on stone; all is built on sand, but we must build as if | |
| 3 | the sand were stone. | |
| 4 | id: 2e3b8bbd-c85e-41e9-a29e-f86aee8c3cab |
+0
-4
| 1 | author: Jorge Luis Borges | |
| 2 | content: Nothing is built on stone; all is built on sand, but we must build as if | |
| 3 | the sand were stone. | |
| 4 | id: 2e3b8bbd-c85e-41e9-a29e-f86aee8c3cab |
| 1 | author: 'Louis C.K. | |
| 2 | ||
| 3 | ' | |
| 4 | content: "Offending people is a necessary and healthy act. Every time you say something\ | |
| 5 | \ that\u2019s offensive to another person you just caused a discussion. You just\ | |
| 6 | \ forced them to have to think.\n" | |
| 7 | id: 2e48c034-c977-43e4-9819-2260c6338671 |
+0
-7
| 1 | author: 'Louis C.K. | |
| 2 | ||
| 3 | ' | |
| 4 | content: "Offending people is a necessary and healthy act. Every time you say something\ | |
| 5 | \ that\u2019s offensive to another person you just caused a discussion. You just\ | |
| 6 | \ forced them to have to think.\n" | |
| 7 | id: 2e48c034-c977-43e4-9819-2260c6338671 |
| 1 | author: William E. H. Lecky | |
| 2 | content: There is no point in waiting. The train stopped running years ago. All the | |
| 3 | schedules, the brochures, the bright-colored posters full of lies, promise rides | |
| 4 | to a distant country that no longer exists. | |
| 5 | id: 2e5b3c3b-a329-4b29-bbe6-148f52b8ccea |
+0
-5
| 1 | author: William E. H. Lecky | |
| 2 | content: There is no point in waiting. The train stopped running years ago. All the | |
| 3 | schedules, the brochures, the bright-colored posters full of lies, promise rides | |
| 4 | to a distant country that no longer exists. | |
| 5 | id: 2e5b3c3b-a329-4b29-bbe6-148f52b8ccea |
| 1 | author: Jo Walton | |
| 2 | content: Peace means something different from 'not fighting'. Those aren't peace advocates, | |
| 3 | they're 'stop fighting' advocates. Peace is an active and complex thing and sometimes | |
| 4 | fighting is part of what it takes to get it. | |
| 5 | id: 2e6aaa68-bbe1-4110-b322-6d4be67106b3 |
+0
-5
| 1 | author: Jo Walton | |
| 2 | content: Peace means something different from 'not fighting'. Those aren't peace advocates, | |
| 3 | they're 'stop fighting' advocates. Peace is an active and complex thing and sometimes | |
| 4 | fighting is part of what it takes to get it. | |
| 5 | id: 2e6aaa68-bbe1-4110-b322-6d4be67106b3 |
| 1 | author: Bertrand Russell | |
| 2 | content: To be without some of the things you want is an indispensable part of happiness. | |
| 3 | id: 2ed7bd6f-7b37-4063-b5e4-ea487d321f22 |
+0
-3
| 1 | author: Bertrand Russell | |
| 2 | content: To be without some of the things you want is an indispensable part of happiness. | |
| 3 | id: 2ed7bd6f-7b37-4063-b5e4-ea487d321f22 |
| 1 | author: Kurt Vonnegut | |
| 2 | content: 'Thompson, if he is to be believed, has sampled the entire rainbow of legal | |
| 3 | and illegal drugs in heroic efforts to feel better than he does. As for the truth | |
| 4 | about his health: I have asked around about it. I am told that he appears to be | |
| 5 | strong and rosy, and steadily sane. But we will be doing what he wants us to do, | |
| 6 | I think, if we consider his exterior a sort of Dorian Gray facade. Inwardly, he | |
| 7 | is being eaten alive by tinhorn politicians. The disease is fatal. There is no known | |
| 8 | cure. The most we can do for the poor devil, it seems to me, is to name his disease | |
| 9 | in his honor. From this moment on, let all those who feel that Americans can be | |
| 10 | as easily led to beauty as to ugliness, to truth as to public relations, to joy | |
| 11 | as to bitterness, be said to be suffering from Hunter Thompson''s disease. I don''t | |
| 12 | have it this morning. It comes and goes. This morning I don''t have Hunter Thompson''s | |
| 13 | disease.' | |
| 14 | id: 2fb10ed1-40b3-40a1-a8ea-229ddc925941 |
+0
-14
| 1 | author: Kurt Vonnegut | |
| 2 | content: 'Thompson, if he is to be believed, has sampled the entire rainbow of legal | |
| 3 | and illegal drugs in heroic efforts to feel better than he does. As for the truth | |
| 4 | about his health: I have asked around about it. I am told that he appears to be | |
| 5 | strong and rosy, and steadily sane. But we will be doing what he wants us to do, | |
| 6 | I think, if we consider his exterior a sort of Dorian Gray facade. Inwardly, he | |
| 7 | is being eaten alive by tinhorn politicians. The disease is fatal. There is no known | |
| 8 | cure. The most we can do for the poor devil, it seems to me, is to name his disease | |
| 9 | in his honor. From this moment on, let all those who feel that Americans can be | |
| 10 | as easily led to beauty as to ugliness, to truth as to public relations, to joy | |
| 11 | as to bitterness, be said to be suffering from Hunter Thompson''s disease. I don''t | |
| 12 | have it this morning. It comes and goes. This morning I don''t have Hunter Thompson''s | |
| 13 | disease.' | |
| 14 | id: 2fb10ed1-40b3-40a1-a8ea-229ddc925941 |
| 1 | author: Steve Yegge | |
| 2 | content: Java is like a variant of the game of Tetris in which none of the pieces | |
| 3 | can fill gaps created by the other pieces, so all you can do is pile them up endlessly. | |
| 4 | id: 30392e16-d50f-4aea-9239-87226054ea5c |
+0
-4
| 1 | author: Steve Yegge | |
| 2 | content: Java is like a variant of the game of Tetris in which none of the pieces | |
| 3 | can fill gaps created by the other pieces, so all you can do is pile them up endlessly. | |
| 4 | id: 30392e16-d50f-4aea-9239-87226054ea5c |
| 1 | author: Heraclitus | |
| 2 | content: 'Metaballon anapautetai | |
| 3 | ||
| 4 | Even while it changes, it stands still.' | |
| 5 | id: 30f2aa4f-0dc6-49a3-b3cf-0ce67c8fd592 |
+0
-5
| 1 | author: Heraclitus | |
| 2 | content: 'Metaballon anapautetai | |
| 3 | ||
| 4 | Even while it changes, it stands still.' | |
| 5 | id: 30f2aa4f-0dc6-49a3-b3cf-0ce67c8fd592 |
| 1 | author: "Slavoj \u017Di\u017Eek\n" | |
| 2 | content: "The true ethical test is not only the readiness to save the victims, but\ | |
| 3 | \ also\u2014even more, perhaps\u2014the ruthless dedication to annihilating those\ | |
| 4 | \ who made them victims.\n" | |
| 5 | id: 3196ed32-320a-4cdd-b020-a9a4bb66a63a |
+0
-5
| 1 | author: "Slavoj \u017Di\u017Eek\n" | |
| 2 | content: "The true ethical test is not only the readiness to save the victims, but\ | |
| 3 | \ also\u2014even more, perhaps\u2014the ruthless dedication to annihilating those\ | |
| 4 | \ who made them victims.\n" | |
| 5 | id: 3196ed32-320a-4cdd-b020-a9a4bb66a63a |
| 1 | author: Alejandro Jodorowsky | |
| 2 | content: I like violence. I love violence! I hate the weak person who go to art and | |
| 3 | say "Oh, that hurt me... that image!" Why to make picture for that person? They | |
| 4 | are blind! Poetry is violent. This is the reality. There is so much in a violent | |
| 5 | world... they don't want to see that. I am in the middle of violence. I am in the | |
| 6 | middle of the screen of television now. There I am. | |
| 7 | id: 3199d4eb-68ef-4085-9f07-07a0d3f186c1 |
+0
-7
| 1 | author: Alejandro Jodorowsky | |
| 2 | content: I like violence. I love violence! I hate the weak person who go to art and | |
| 3 | say "Oh, that hurt me... that image!" Why to make picture for that person? They | |
| 4 | are blind! Poetry is violent. This is the reality. There is so much in a violent | |
| 5 | world... they don't want to see that. I am in the middle of violence. I am in the | |
| 6 | middle of the screen of television now. There I am. | |
| 7 | id: 3199d4eb-68ef-4085-9f07-07a0d3f186c1 |
| 1 | author: Umberto Eco, Foucault's Pendulum | |
| 2 | content: "One morning Amparo and I were driving along the coast after having attended\ | |
| 3 | \ a seminar on the class structure of the lumpenproletariat. I saw some votive offerings\ | |
| 4 | \ on the beach, little candles, white garlands. Amparo told me they were offerings\ | |
| 5 | \ to Yemanj\xE1, goddess of the waters. We stopped, and she got out and walked demurely\ | |
| 6 | \ onto the sand, stood a few moments in silence. I asked her if she believed in\ | |
| 7 | \ this. She retorted angrily: How could I think such a thing? Then she added, \"\ | |
| 8 | My grandmother used to bring me to the beach here, and she would pray to the goddess\ | |
| 9 | \ to make me grow up beautiful and good and happy. Who was that Italian philosopher\ | |
| 10 | \ who made that comment about black cats and coral horns? 'It's not true, but I\ | |
| 11 | \ believe in it'? Well, I don't believe in it, but it's true.\"" | |
| 12 | id: 3330bfb4-e9ff-4bf3-b5a9-c76c13adae8c |
+0
-12
| 1 | author: Umberto Eco, Foucault's Pendulum | |
| 2 | content: "One morning Amparo and I were driving along the coast after having attended\ | |
| 3 | \ a seminar on the class structure of the lumpenproletariat. I saw some votive offerings\ | |
| 4 | \ on the beach, little candles, white garlands. Amparo told me they were offerings\ | |
| 5 | \ to Yemanj\xE1, goddess of the waters. We stopped, and she got out and walked demurely\ | |
| 6 | \ onto the sand, stood a few moments in silence. I asked her if she believed in\ | |
| 7 | \ this. She retorted angrily: How could I think such a thing? Then she added, \"\ | |
| 8 | My grandmother used to bring me to the beach here, and she would pray to the goddess\ | |
| 9 | \ to make me grow up beautiful and good and happy. Who was that Italian philosopher\ | |
| 10 | \ who made that comment about black cats and coral horns? 'It's not true, but I\ | |
| 11 | \ believe in it'? Well, I don't believe in it, but it's true.\"" | |
| 12 | id: 3330bfb4-e9ff-4bf3-b5a9-c76c13adae8c |
| 1 | author: Catherine O'Hara | |
| 2 | content: Night time is really the best time to work. All the ideas are there to be | |
| 3 | yours because everyone else is asleep. | |
| 4 | id: 33480f24-440d-462f-83dd-db32f682b029 |
+0
-4
| 1 | author: Catherine O'Hara | |
| 2 | content: Night time is really the best time to work. All the ideas are there to be | |
| 3 | yours because everyone else is asleep. | |
| 4 | id: 33480f24-440d-462f-83dd-db32f682b029 |
| 1 | author: Abdal-Hakim Murad | |
| 2 | content: True religion invites us to become better people. False religion tells us | |
| 3 | that this has already occurred. | |
| 4 | id: 33eca3f7-5536-4236-be63-e5898dba50ef |
+0
-4
| 1 | author: Abdal-Hakim Murad | |
| 2 | content: True religion invites us to become better people. False religion tells us | |
| 3 | that this has already occurred. | |
| 4 | id: 33eca3f7-5536-4236-be63-e5898dba50ef |
| 1 | author: Esther Dyson | |
| 2 | content: Consumers are distressingly, disappointingly obtuse when it comes to their | |
| 3 | own personal privacy. | |
| 4 | id: 34cbd551-dc18-4fdd-b998-ef29454611c1 |
+0
-4
| 1 | author: Esther Dyson | |
| 2 | content: Consumers are distressingly, disappointingly obtuse when it comes to their | |
| 3 | own personal privacy. | |
| 4 | id: 34cbd551-dc18-4fdd-b998-ef29454611c1 |
| 1 | author: Ryan North | |
| 2 | content: Relationships are for the young and criminally insane. | |
| 3 | id: 34e72405-1447-48a0-bad4-dbadc06904c4 |
+0
-3
| 1 | author: Ryan North | |
| 2 | content: Relationships are for the young and criminally insane. | |
| 3 | id: 34e72405-1447-48a0-bad4-dbadc06904c4 |
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: '''Atheism'' is a miserable, pathetic stance of those who long for God but | |
| 3 | cannot find him (or who ''rebel against God''). A true atheist does not choose atheism: | |
| 4 | for him, the question itself is irrelevant.' | |
| 5 | id: 36430d65-271d-4224-9941-aa8b609943a9 |
+0
-5
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: '''Atheism'' is a miserable, pathetic stance of those who long for God but | |
| 3 | cannot find him (or who ''rebel against God''). A true atheist does not choose atheism: | |
| 4 | for him, the question itself is irrelevant.' | |
| 5 | id: 36430d65-271d-4224-9941-aa8b609943a9 |
| 1 | author: The Last Psychiatrist | |
| 2 | content: "Step 1\u2014 actually, there's only ever one step\u2014 focus precisely\ | |
| 3 | \ on the words." | |
| 4 | id: 36650ba2-a369-4974-b7d5-508660b8f007 |
+0
-4
| 1 | author: The Last Psychiatrist | |
| 2 | content: "Step 1\u2014 actually, there's only ever one step\u2014 focus precisely\ | |
| 3 | \ on the words." | |
| 4 | id: 36650ba2-a369-4974-b7d5-508660b8f007 |
| 1 | author: Alan Kay | |
| 2 | content: Being able to read a warning on a pill bottle or write about a summer vacation | |
| 3 | is not literacy and our society should not treat it so. | |
| 4 | id: 36721ac7-5f3e-4261-86c3-f4bef979d27b |
+0
-4
| 1 | author: Alan Kay | |
| 2 | content: Being able to read a warning on a pill bottle or write about a summer vacation | |
| 3 | is not literacy and our society should not treat it so. | |
| 4 | id: 36721ac7-5f3e-4261-86c3-f4bef979d27b |
| 1 | author: Paul Rand | |
| 2 | content: It is important to use your hands. This is what distinguishes you from a | |
| 3 | cow or a computer operator. | |
| 4 | id: 37bffce5-94e9-4207-a394-6bc0fecc12b2 |
+0
-4
| 1 | author: Paul Rand | |
| 2 | content: It is important to use your hands. This is what distinguishes you from a | |
| 3 | cow or a computer operator. | |
| 4 | id: 37bffce5-94e9-4207-a394-6bc0fecc12b2 |
| 1 | author: Wallace Sayre | |
| 2 | content: Academic politics is the most vicious and bitter form of politics, because | |
| 3 | the stakes are so low. | |
| 4 | id: 386b8bd4-fd81-43d1-a86c-d02f494abb29 |
+0
-4
| 1 | author: Wallace Sayre | |
| 2 | content: Academic politics is the most vicious and bitter form of politics, because | |
| 3 | the stakes are so low. | |
| 4 | id: 386b8bd4-fd81-43d1-a86c-d02f494abb29 |
| 1 | author: Haruki Murakami | |
| 2 | content: Having an object that symbolizes freedom might make a person happier than | |
| 3 | actually getting the freedom it represents. | |
| 4 | id: 38999754-0e2a-4abb-960f-8aaec6b960f3 |
+0
-4
| 1 | author: Haruki Murakami | |
| 2 | content: Having an object that symbolizes freedom might make a person happier than | |
| 3 | actually getting the freedom it represents. | |
| 4 | id: 38999754-0e2a-4abb-960f-8aaec6b960f3 |
| 1 | author: 'Spider Jerusalem | |
| 2 | ||
| 3 | Warren Ellis''s "Transmetropolitan"' | |
| 4 | content: 'The future is an inherently good thing, and we move into it one winter at | |
| 5 | a time. Things get better one winter at a time. So if you''re going to celebrate | |
| 6 | something, then have a drink on this: the world is, generally and on balance, a | |
| 7 | better place to live this year than it was last year. For instance, I didn''t have | |
| 8 | this gun last year.' | |
| 9 | id: 389c6bc8-aebe-4d70-bf66-39463e3fe3bd |
+0
-9
| 1 | author: 'Spider Jerusalem | |
| 2 | ||
| 3 | Warren Ellis''s "Transmetropolitan"' | |
| 4 | content: 'The future is an inherently good thing, and we move into it one winter at | |
| 5 | a time. Things get better one winter at a time. So if you''re going to celebrate | |
| 6 | something, then have a drink on this: the world is, generally and on balance, a | |
| 7 | better place to live this year than it was last year. For instance, I didn''t have | |
| 8 | this gun last year.' | |
| 9 | id: 389c6bc8-aebe-4d70-bf66-39463e3fe3bd |
| 1 | author: Ta-Nehisi Coates | |
| 2 | content: The fact that 'there are only a handful of bad cops' cuts no ice with me. | |
| 3 | If 'only a handful of McDonald's are spitting in your food,' you're not going to | |
| 4 | McDonald's. | |
| 5 | id: 38dabd07-ac3a-44cf-94c2-3f3f92534d47 |
+0
-5
| 1 | author: Ta-Nehisi Coates | |
| 2 | content: The fact that 'there are only a handful of bad cops' cuts no ice with me. | |
| 3 | If 'only a handful of McDonald's are spitting in your food,' you're not going to | |
| 4 | McDonald's. | |
| 5 | id: 38dabd07-ac3a-44cf-94c2-3f3f92534d47 |
| 1 | author: Delirium | |
| 2 | content: Sometimes I remember things everyone else has forgotten for ever and always. | |
| 3 | Does that ever happen to you? | |
| 4 | id: 39021d5e-6509-4ee5-94b2-47ec7428de4a |
+0
-4
| 1 | author: Delirium | |
| 2 | content: Sometimes I remember things everyone else has forgotten for ever and always. | |
| 3 | Does that ever happen to you? | |
| 4 | id: 39021d5e-6509-4ee5-94b2-47ec7428de4a |
| 1 | author: Umberto Eco, Foucault's Pendulum | |
| 2 | content: "Incredulity doesn't kill curiosity; it encourages it. Though distrustful\ | |
| 3 | \ of logical chains of ideas, I loved the polyphony of ideas. As long as you don't\ | |
| 4 | \ believe in them, the collision of two ideas \u2014 both false \u2014 can create\ | |
| 5 | \ a pleasing interval, a kind of diabolus in musica. I had no respect for some ideas\ | |
| 6 | \ people were willing to stake their lives on, but two or three ideas that I did\ | |
| 7 | \ not respect might still make a nice melody. Or have a good beat, and if it was\ | |
| 8 | \ jazz, all the better." | |
| 9 | id: 390f213f-86df-467e-82aa-7ad945eb0f55 |
+0
-9
| 1 | author: Umberto Eco, Foucault's Pendulum | |
| 2 | content: "Incredulity doesn't kill curiosity; it encourages it. Though distrustful\ | |
| 3 | \ of logical chains of ideas, I loved the polyphony of ideas. As long as you don't\ | |
| 4 | \ believe in them, the collision of two ideas \u2014 both false \u2014 can create\ | |
| 5 | \ a pleasing interval, a kind of diabolus in musica. I had no respect for some ideas\ | |
| 6 | \ people were willing to stake their lives on, but two or three ideas that I did\ | |
| 7 | \ not respect might still make a nice melody. Or have a good beat, and if it was\ | |
| 8 | \ jazz, all the better." | |
| 9 | id: 390f213f-86df-467e-82aa-7ad945eb0f55 |
| 1 | author: Thich Nhat Hanh, The Heart of the Buddha's Teaching | |
| 2 | content: Relatively speaking, there are right views and wrong views. But if we look | |
| 3 | more deeply we see that all views are wrong. | |
| 4 | id: 3916b701-f127-4183-8e81-e5dd3495127a |
+0
-4
| 1 | author: Thich Nhat Hanh, The Heart of the Buddha's Teaching | |
| 2 | content: Relatively speaking, there are right views and wrong views. But if we look | |
| 3 | more deeply we see that all views are wrong. | |
| 4 | id: 3916b701-f127-4183-8e81-e5dd3495127a |
| 1 | author: Paul Ford | |
| 2 | content: '[Plan 9] did not become the successor to Unix, but the ideas within it are | |
| 3 | reinvented, in a debased and half-considered form, about once an hour in the open | |
| 4 | source community.' | |
| 5 | id: 3965dfd6-d1e4-4dd8-9361-87e9b454e8e3 |
+0
-5
| 1 | author: Paul Ford | |
| 2 | content: '[Plan 9] did not become the successor to Unix, but the ideas within it are | |
| 3 | reinvented, in a debased and half-considered form, about once an hour in the open | |
| 4 | source community.' | |
| 5 | id: 3965dfd6-d1e4-4dd8-9361-87e9b454e8e3 |
| 1 | author: Orson Welles | |
| 2 | content: I don't pray because I don't want to bore God. | |
| 3 | id: 3a1e7d31-f4f3-4d4c-90b2-d5471d191941 |
+0
-3
| 1 | author: Orson Welles | |
| 2 | content: I don't pray because I don't want to bore God. | |
| 3 | id: 3a1e7d31-f4f3-4d4c-90b2-d5471d191941 |
| 1 | author: Vincent van Gogh | |
| 2 | content: Poetry surrounds us everywhere, but putting it on paper is, alas, not so | |
| 3 | easy as looking at it. | |
| 4 | id: 3a9ecb75-c623-4c78-ac94-a1bfe36966d6 |
+0
-4
| 1 | author: Vincent van Gogh | |
| 2 | content: Poetry surrounds us everywhere, but putting it on paper is, alas, not so | |
| 3 | easy as looking at it. | |
| 4 | id: 3a9ecb75-c623-4c78-ac94-a1bfe36966d6 |
| 1 | author: Mad Tom, Grant Morrison's The Invisibles | |
| 2 | content: People look at us and see the poor and the mad, but they're looking at us | |
| 3 | through the bars of their cages. There's a palace in your head, boy. Learn to live | |
| 4 | in it always. | |
| 5 | id: 3af0dfa7-b339-4a3e-9bc6-5fb86c30276b |
+0
-5
| 1 | author: Mad Tom, Grant Morrison's The Invisibles | |
| 2 | content: People look at us and see the poor and the mad, but they're looking at us | |
| 3 | through the bars of their cages. There's a palace in your head, boy. Learn to live | |
| 4 | in it always. | |
| 5 | id: 3af0dfa7-b339-4a3e-9bc6-5fb86c30276b |
| 1 | author: Jacques Lacan | |
| 2 | content: 'First off, let''s get rid of this average Joe, who does not exist. He is | |
| 3 | a statistical fiction. There are individuals, and that is all. When I hear people | |
| 4 | talking about the guy in the street, studies of public opinion, mass phenomena, | |
| 5 | and so on, I think of all the patients that I''ve seen on the couch in forty years | |
| 6 | of listening. None of them in any measure resembled the others, none of them had | |
| 7 | the same phobias and anxieties, the same way of talking, the same fear of not understanding. | |
| 8 | Who is the average Joe: me, you, my concierge, the president of the Republic?' | |
| 9 | id: 3b53abcf-408d-4334-9f7a-c19804ef0bcb |
+0
-9
| 1 | author: Jacques Lacan | |
| 2 | content: 'First off, let''s get rid of this average Joe, who does not exist. He is | |
| 3 | a statistical fiction. There are individuals, and that is all. When I hear people | |
| 4 | talking about the guy in the street, studies of public opinion, mass phenomena, | |
| 5 | and so on, I think of all the patients that I''ve seen on the couch in forty years | |
| 6 | of listening. None of them in any measure resembled the others, none of them had | |
| 7 | the same phobias and anxieties, the same way of talking, the same fear of not understanding. | |
| 8 | Who is the average Joe: me, you, my concierge, the president of the Republic?' | |
| 9 | id: 3b53abcf-408d-4334-9f7a-c19804ef0bcb |
| 1 | author: Gertrude Stein | |
| 2 | content: Everyone gets so much information all day long that they lose their common | |
| 3 | sense. | |
| 4 | id: 3b7cb313-5e2b-453a-83f3-3c6f8d0e241b |
+0
-4
| 1 | author: Gertrude Stein | |
| 2 | content: Everyone gets so much information all day long that they lose their common | |
| 3 | sense. | |
| 4 | id: 3b7cb313-5e2b-453a-83f3-3c6f8d0e241b |
| 1 | author: Thant Tessman | |
| 2 | content: OO is like the Bible in that which scripture is to be interpreted metaphorically, | |
| 3 | and which is to be interpreted literally, is entirely a function of the religious | |
| 4 | agenda of the commentator. My own advice is to keep in mind that the stuff of computer | |
| 5 | programs is nothing but metaphor. | |
| 6 | id: 3bbd67a5-9dc8-475e-bf96-4a1b97fb8e76 |
+0
-6
| 1 | author: Thant Tessman | |
| 2 | content: OO is like the Bible in that which scripture is to be interpreted metaphorically, | |
| 3 | and which is to be interpreted literally, is entirely a function of the religious | |
| 4 | agenda of the commentator. My own advice is to keep in mind that the stuff of computer | |
| 5 | programs is nothing but metaphor. | |
| 6 | id: 3bbd67a5-9dc8-475e-bf96-4a1b97fb8e76 |
| 1 | author: Richard P. Gabriel | |
| 2 | content: All significant programming languages are expressively, conceptually, and | |
| 3 | aesthetically equivalent to Fortran and assembly language. | |
| 4 | id: 3c4e44eb-3910-404c-a3d0-15540e30f32b |
+0
-4
| 1 | author: Richard P. Gabriel | |
| 2 | content: All significant programming languages are expressively, conceptually, and | |
| 3 | aesthetically equivalent to Fortran and assembly language. | |
| 4 | id: 3c4e44eb-3910-404c-a3d0-15540e30f32b |
| 1 | author: Miyamoto Musashi | |
| 2 | content: "The primary thing when you take a sword in your hands is your intention\ | |
| 3 | \ to cut the enemy, whatever the means. Whenever you parry, hit, spring, strike\ | |
| 4 | \ or touch the enemy\u2019s cutting sword, you must cut the enemy in the same movement.\ | |
| 5 | \ It is essential to attain this. If you think only of hitting, springing, striking\ | |
| 6 | \ or touching the enemy, you will not be able actually to cut him." | |
| 7 | id: 3c56fe3c-1fcb-48a8-a0e1-d36f0fee7e80 |
+0
-7
| 1 | author: Miyamoto Musashi | |
| 2 | content: "The primary thing when you take a sword in your hands is your intention\ | |
| 3 | \ to cut the enemy, whatever the means. Whenever you parry, hit, spring, strike\ | |
| 4 | \ or touch the enemy\u2019s cutting sword, you must cut the enemy in the same movement.\ | |
| 5 | \ It is essential to attain this. If you think only of hitting, springing, striking\ | |
| 6 | \ or touching the enemy, you will not be able actually to cut him." | |
| 7 | id: 3c56fe3c-1fcb-48a8-a0e1-d36f0fee7e80 |
| 1 | author: Umberto Eco | |
| 2 | content: A narrator should not supply interpretations of his work; otherwise he would | |
| 3 | not have written a novel, which is a machine for generating interpretations. | |
| 4 | id: 3c67f18e-910a-46dd-840e-815eeb744efa |
+0
-4
| 1 | author: Umberto Eco | |
| 2 | content: A narrator should not supply interpretations of his work; otherwise he would | |
| 3 | not have written a novel, which is a machine for generating interpretations. | |
| 4 | id: 3c67f18e-910a-46dd-840e-815eeb744efa |
| 1 | author: Pastabagel | |
| 2 | content: "The world is my museum, displaying my collections on loan. The James Savages\ | |
| 3 | \ of the world are merely curators.\r\n\r\nAs I am the curator of their things,\ | |
| 4 | \ and thus together we all share the world." | |
| 5 | id: 3c91414a-b55b-4ba8-8829-25766eab272e |
+0
-5
| 1 | author: Pastabagel | |
| 2 | content: "The world is my museum, displaying my collections on loan. The James Savages\ | |
| 3 | \ of the world are merely curators.\r\n\r\nAs I am the curator of their things,\ | |
| 4 | \ and thus together we all share the world." | |
| 5 | id: 3c91414a-b55b-4ba8-8829-25766eab272e |
| 1 | author: E.E. Cummings | |
| 2 | content: "my advice to all young people who wish to become poets is: do something\ | |
| 3 | \ easy, like learning how to blow up the world\u2014unless you're not only willing,\ | |
| 4 | \ but glad, to feel and work and fight till you die. \nDoes this sound dismal?\ | |
| 5 | \ It isn't. \nIt's the most wonderful life on earth. \nOr so I feel." | |
| 6 | id: 3c9c9e96-e785-4246-b34d-dfee3bb1467c |
+0
-6
| 1 | author: E.E. Cummings | |
| 2 | content: "my advice to all young people who wish to become poets is: do something\ | |
| 3 | \ easy, like learning how to blow up the world\u2014unless you're not only willing,\ | |
| 4 | \ but glad, to feel and work and fight till you die. \nDoes this sound dismal?\ | |
| 5 | \ It isn't. \nIt's the most wonderful life on earth. \nOr so I feel." | |
| 6 | id: 3c9c9e96-e785-4246-b34d-dfee3bb1467c |
| 1 | author: Mel Brooks | |
| 2 | content: Tragedy is when I cut my finger. Comedy is when you fall down an open manhole | |
| 3 | cover and die. | |
| 4 | id: 3d096faa-cced-4f43-b43d-0e4b8b828cb9 |
+0
-4
| 1 | author: Mel Brooks | |
| 2 | content: Tragedy is when I cut my finger. Comedy is when you fall down an open manhole | |
| 3 | cover and die. | |
| 4 | id: 3d096faa-cced-4f43-b43d-0e4b8b828cb9 |
| 1 | author: Woody Allen | |
| 2 | content: I don't want to achieve immortality through my work ... I want to achieve | |
| 3 | it through not dying. | |
| 4 | id: 3e391c3c-7c5c-4f89-97eb-182d323b15c5 |
+0
-4
| 1 | author: Woody Allen | |
| 2 | content: I don't want to achieve immortality through my work ... I want to achieve | |
| 3 | it through not dying. | |
| 4 | id: 3e391c3c-7c5c-4f89-97eb-182d323b15c5 |
| 1 | author: Delirium | |
| 2 | content: Not knowing everything is all that makes it okay, sometimes. | |
| 3 | id: 3f4fd4db-3b3b-4143-8914-017e25fa578c |
+0
-3
| 1 | author: Delirium | |
| 2 | content: Not knowing everything is all that makes it okay, sometimes. | |
| 3 | id: 3f4fd4db-3b3b-4143-8914-017e25fa578c |
| 1 | author: Ralph Waldo Emerson | |
| 2 | content: Man is a god, in ruins | |
| 3 | id: 404486f5-31f4-4ae8-ac6d-11a7ce176e82 |
+0
-3
| 1 | author: Ralph Waldo Emerson | |
| 2 | content: Man is a god, in ruins | |
| 3 | id: 404486f5-31f4-4ae8-ac6d-11a7ce176e82 |
| 1 | author: Niccolo Machiavelli | |
| 2 | content: '...men may second their fortune, but cannot oppose it; that they may weave | |
| 3 | its warp, but cannot break it. Yet they should never give up, because there is always | |
| 4 | hope, though they know not the end and move towards it along roads which cross one | |
| 5 | another and as yet are unexplored; and since there is hope, they should not despair, | |
| 6 | no matter what fortune brings or in what travail they find themselves.' | |
| 7 | id: 40c70947-257a-4cf9-9b62-e783e238c1b4 |
+0
-7
| 1 | author: Niccolo Machiavelli | |
| 2 | content: '...men may second their fortune, but cannot oppose it; that they may weave | |
| 3 | its warp, but cannot break it. Yet they should never give up, because there is always | |
| 4 | hope, though they know not the end and move towards it along roads which cross one | |
| 5 | another and as yet are unexplored; and since there is hope, they should not despair, | |
| 6 | no matter what fortune brings or in what travail they find themselves.' | |
| 7 | id: 40c70947-257a-4cf9-9b62-e783e238c1b4 |
| 1 | author: Claire Wolfe | |
| 2 | content: America is at that awkward stage. It's too late to work within the system, | |
| 3 | but too early to shoot the bastards. | |
| 4 | id: 41c5f555-aef7-473f-abe3-be1008a250de |
+0
-4
| 1 | author: Claire Wolfe | |
| 2 | content: America is at that awkward stage. It's too late to work within the system, | |
| 3 | but too early to shoot the bastards. | |
| 4 | id: 41c5f555-aef7-473f-abe3-be1008a250de |
| 1 | author: John Cage | |
| 2 | content: If you develop an ear for sounds that are musical it is like developing an | |
| 3 | ego. You begin to refuse sounds that are not musical and that way cut yourself off | |
| 4 | from a good deal of experience. | |
| 5 | id: 42fa8ab2-7878-451b-b565-5bfa41a91d6f |
+0
-5
| 1 | author: John Cage | |
| 2 | content: If you develop an ear for sounds that are musical it is like developing an | |
| 3 | ego. You begin to refuse sounds that are not musical and that way cut yourself off | |
| 4 | from a good deal of experience. | |
| 5 | id: 42fa8ab2-7878-451b-b565-5bfa41a91d6f |
| 1 | author: Antonio Gramsci | |
| 2 | content: I hate the indifferent. I believe that living means taking sides. Those who | |
| 3 | really live cannot help being a citizen and a partisan. Indifference and apathy | |
| 4 | are parasitism, perversion, not life. That is why I hate the indifferent. | |
| 5 | id: 431df26c-1cf3-480e-91a8-402e47122c20 |
+0
-5
| 1 | author: Antonio Gramsci | |
| 2 | content: I hate the indifferent. I believe that living means taking sides. Those who | |
| 3 | really live cannot help being a citizen and a partisan. Indifference and apathy | |
| 4 | are parasitism, perversion, not life. That is why I hate the indifferent. | |
| 5 | id: 431df26c-1cf3-480e-91a8-402e47122c20 |
| 1 | author: 'Star Trek: The Next Generation' | |
| 2 | content: You will never come up against a greater adversary than your own potential. | |
| 3 | id: 438bb1c4-c4e9-4b92-b28f-44c80333b083 |
+0
-3
| 1 | author: 'Star Trek: The Next Generation' | |
| 2 | content: You will never come up against a greater adversary than your own potential. | |
| 3 | id: 438bb1c4-c4e9-4b92-b28f-44c80333b083 |
| 1 | author: supposedly seen on a bulletin board at Fermi National Accelerator Laboratory | |
| 2 | content: Never apply a Star Trek solution to a Babylon 5 problem. | |
| 3 | id: 43d8b144-1b49-42d1-a558-5dea1fad426f |
+0
-3
| 1 | author: supposedly seen on a bulletin board at Fermi National Accelerator Laboratory | |
| 2 | content: Never apply a Star Trek solution to a Babylon 5 problem. | |
| 3 | id: 43d8b144-1b49-42d1-a558-5dea1fad426f |
| 1 | author: George Carlin | |
| 2 | content: Nobody questions things anymore. Nobody questions things. Everybody's too | |
| 3 | fat and happy. Everybody's got a cell phone that will make pancakes and rub their | |
| 4 | balls now. Way too fucking prosperous for our own good. Way too fucking prosperous. | |
| 5 | We've been bought off and silenced by toys and gizmos. | |
| 6 | id: 4449ce76-ef07-4fc4-90ef-14b8bd75137b |
+0
-6
| 1 | author: George Carlin | |
| 2 | content: Nobody questions things anymore. Nobody questions things. Everybody's too | |
| 3 | fat and happy. Everybody's got a cell phone that will make pancakes and rub their | |
| 4 | balls now. Way too fucking prosperous for our own good. Way too fucking prosperous. | |
| 5 | We've been bought off and silenced by toys and gizmos. | |
| 6 | id: 4449ce76-ef07-4fc4-90ef-14b8bd75137b |
| 1 | author: John Hodgman | |
| 2 | content: Generally speaking, I think it is fair to say that I am a friend to the creatures | |
| 3 | of the earth when I am not busy eating them or wearing them. | |
| 4 | id: 446de410-f071-45c6-8372-e8bbfb6be27e |
+0
-4
| 1 | author: John Hodgman | |
| 2 | content: Generally speaking, I think it is fair to say that I am a friend to the creatures | |
| 3 | of the earth when I am not busy eating them or wearing them. | |
| 4 | id: 446de410-f071-45c6-8372-e8bbfb6be27e |
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: Love, for me, is not sentimental love. True love is cold love. True love | |
| 3 | is cold without mercy. | |
| 4 | id: 453838ee-8ecd-4718-900c-0cc9d63a732a |
+0
-4
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: Love, for me, is not sentimental love. True love is cold love. True love | |
| 3 | is cold without mercy. | |
| 4 | id: 453838ee-8ecd-4718-900c-0cc9d63a732a |
| 1 | author: Steve Wozniak | |
| 2 | content: All the best people in life seem to like Linux. | |
| 3 | id: 456ed4bd-8b1b-4199-a30d-4e151e48253b |
+0
-3
| 1 | author: Steve Wozniak | |
| 2 | content: All the best people in life seem to like Linux. | |
| 3 | id: 456ed4bd-8b1b-4199-a30d-4e151e48253b |
| 1 | author: why the lucky stiff | |
| 2 | content: Python keeps trying to shed its functional skin, only to reveal its acid | |
| 3 | wash jeans underneath. Ironed and starched and pegged. | |
| 4 | id: 45717b80-2766-4144-a7de-77b38e24bba9 |
+0
-4
| 1 | author: why the lucky stiff | |
| 2 | content: Python keeps trying to shed its functional skin, only to reveal its acid | |
| 3 | wash jeans underneath. Ironed and starched and pegged. | |
| 4 | id: 45717b80-2766-4144-a7de-77b38e24bba9 |
| 1 | author: Rita Ferrandino | |
| 2 | content: Just as playing Dungeons & Dragons doesn't turn a kid into a wizard, pretending | |
| 3 | to be a homicidal maniac online doesn't make a man a killer. But determining what | |
| 4 | it does make him is one of the biggest ethical dilemmas facing modern society. | |
| 5 | id: 459f0c59-62cd-4d84-9a38-d3e9a7bc755f |
+0
-5
| 1 | author: Rita Ferrandino | |
| 2 | content: Just as playing Dungeons & Dragons doesn't turn a kid into a wizard, pretending | |
| 3 | to be a homicidal maniac online doesn't make a man a killer. But determining what | |
| 4 | it does make him is one of the biggest ethical dilemmas facing modern society. | |
| 5 | id: 459f0c59-62cd-4d84-9a38-d3e9a7bc755f |
| 1 | author: Carl Sagan | |
| 2 | content: "I worry that, especially as the Millennium edges nearer, pseudoscience and\ | |
| 3 | \ superstition will seem year by year more tempting, the siren song of unreason\ | |
| 4 | \ more sonorous and attractive. Where have we heard it before? Whenever our ethnic\ | |
| 5 | \ or national prejudices are aroused, in times of scarcity, during challenges to\ | |
| 6 | \ national self-esteem or nerve, when we agonize about our diminished cosmic place\ | |
| 7 | \ and purpose, or when fanaticism is bubbling up around us\u2014then, habits of\ | |
| 8 | \ thought familiar from ages past reach for the controls.\nThe candle flame gutters.\ | |
| 9 | \ Its little pool of light trembles. Darkness gathers. The demons begin to stir." | |
| 10 | id: 45b8c98d-20f6-4457-9362-b34f724475d4 |
+0
-10
| 1 | author: Carl Sagan | |
| 2 | content: "I worry that, especially as the Millennium edges nearer, pseudoscience and\ | |
| 3 | \ superstition will seem year by year more tempting, the siren song of unreason\ | |
| 4 | \ more sonorous and attractive. Where have we heard it before? Whenever our ethnic\ | |
| 5 | \ or national prejudices are aroused, in times of scarcity, during challenges to\ | |
| 6 | \ national self-esteem or nerve, when we agonize about our diminished cosmic place\ | |
| 7 | \ and purpose, or when fanaticism is bubbling up around us\u2014then, habits of\ | |
| 8 | \ thought familiar from ages past reach for the controls.\nThe candle flame gutters.\ | |
| 9 | \ Its little pool of light trembles. Darkness gathers. The demons begin to stir." | |
| 10 | id: 45b8c98d-20f6-4457-9362-b34f724475d4 |
| 1 | author: Neil Gaiman's Sandman | |
| 2 | content: It was then that [she] noticed that she had absent-mindedly transformed into | |
| 3 | a hundred and eleven perfect, tiny multicoloured fish. Each fish sang a different | |
| 4 | song. | |
| 5 | id: 462824c4-5afd-46f8-89cc-0a9badbeb8e3 |
+0
-5
| 1 | author: Neil Gaiman's Sandman | |
| 2 | content: It was then that [she] noticed that she had absent-mindedly transformed into | |
| 3 | a hundred and eleven perfect, tiny multicoloured fish. Each fish sang a different | |
| 4 | song. | |
| 5 | id: 462824c4-5afd-46f8-89cc-0a9badbeb8e3 |
| 1 | author: Autrijus Tang | |
| 2 | content: Haskell is faster than C++, more concise than Perl, more regular than Python, | |
| 3 | more flexible than Ruby, more typeful than C#, more robust than Java, and has absolutely | |
| 4 | nothing in common with PHP. | |
| 5 | id: 47148b13-e77c-4d42-a098-b5c2291e10cf |
+0
-5
| 1 | author: Autrijus Tang | |
| 2 | content: Haskell is faster than C++, more concise than Perl, more regular than Python, | |
| 3 | more flexible than Ruby, more typeful than C#, more robust than Java, and has absolutely | |
| 4 | nothing in common with PHP. | |
| 5 | id: 47148b13-e77c-4d42-a098-b5c2291e10cf |
| 1 | author: Erik Naggum | |
| 2 | content: 'there is only one solution: do not use Microsoft products. do not expose | |
| 3 | yourself to anything they do. the day will come when it is much more important in | |
| 4 | presidential campaigns and to carreers in general that you have not used Microsoft | |
| 5 | than that you have not taken certain drugs. the day will come when we figure out | |
| 6 | which planet Bill Gates was thrown out of and then we can go blow it up. in the | |
| 7 | meantime, resistance is not futile. only the weak of mind will be assimilated, and | |
| 8 | they are no loss, anyway.' | |
| 9 | id: 475a39ac-9f04-471e-b56f-db2289d5b016 |
+0
-9
| 1 | author: Erik Naggum | |
| 2 | content: 'there is only one solution: do not use Microsoft products. do not expose | |
| 3 | yourself to anything they do. the day will come when it is much more important in | |
| 4 | presidential campaigns and to carreers in general that you have not used Microsoft | |
| 5 | than that you have not taken certain drugs. the day will come when we figure out | |
| 6 | which planet Bill Gates was thrown out of and then we can go blow it up. in the | |
| 7 | meantime, resistance is not futile. only the weak of mind will be assimilated, and | |
| 8 | they are no loss, anyway.' | |
| 9 | id: 475a39ac-9f04-471e-b56f-db2289d5b016 |
| 1 | author: rpg | |
| 2 | content: Abstraction is layering ignorance on top of reality. | |
| 3 | id: 47d6d482-a8d5-4c83-b6f6-4ca8871f5c09 |
+0
-3
| 1 | author: rpg | |
| 2 | content: Abstraction is layering ignorance on top of reality. | |
| 3 | id: 47d6d482-a8d5-4c83-b6f6-4ca8871f5c09 |
| 1 | author: Buckminster Fuller | |
| 2 | content: When I am working on a problem, I never think about beauty. I only think | |
| 3 | about how to solve the problem. But when I have finished, if the solution is not | |
| 4 | beautiful, I know it is wrong. | |
| 5 | id: 48535827-c8ed-4de8-97e9-684a6c15adfb |
+0
-5
| 1 | author: Buckminster Fuller | |
| 2 | content: When I am working on a problem, I never think about beauty. I only think | |
| 3 | about how to solve the problem. But when I have finished, if the solution is not | |
| 4 | beautiful, I know it is wrong. | |
| 5 | id: 48535827-c8ed-4de8-97e9-684a6c15adfb |
| 1 | author: monetizeyourcat | |
| 2 | content: 'i like how "Philosoraptor" attempts to connote something being wacky and | |
| 3 | avant-garde by linking two of the most overrated things in the world: to wit a bunch | |
| 4 | of pathetic little animals that fed exclusively on putrid ancient carrion and produced | |
| 5 | nothing of interest to any reasonable person before dying unlamented in a ditch | |
| 6 | somewhere, and velociraptors' | |
| 7 | id: 48ef5e79-317e-4bbc-bf1a-544b48dadab8 |
+0
-7
| 1 | author: monetizeyourcat | |
| 2 | content: 'i like how "Philosoraptor" attempts to connote something being wacky and | |
| 3 | avant-garde by linking two of the most overrated things in the world: to wit a bunch | |
| 4 | of pathetic little animals that fed exclusively on putrid ancient carrion and produced | |
| 5 | nothing of interest to any reasonable person before dying unlamented in a ditch | |
| 6 | somewhere, and velociraptors' | |
| 7 | id: 48ef5e79-317e-4bbc-bf1a-544b48dadab8 |
| 1 | author: Anonymous | |
| 2 | content: It's kinda sad that the only way to make someone go out and see or do something | |
| 3 | beautiful is by ending the god damn world. | |
| 4 | id: 49506e13-b43d-4f21-83f4-79c0f1477e38 |
+0
-4
| 1 | author: Anonymous | |
| 2 | content: It's kinda sad that the only way to make someone go out and see or do something | |
| 3 | beautiful is by ending the god damn world. | |
| 4 | id: 49506e13-b43d-4f21-83f4-79c0f1477e38 |
| 1 | author: Emerson Cod | |
| 2 | content: The truth ain't like puppies, a bunch of them running around, you pick your | |
| 3 | favorite. One truth and it has come a-knockin'. | |
| 4 | id: 4a5b7298-fd7f-4045-8a18-98ce954608dd |
+0
-4
| 1 | author: Emerson Cod | |
| 2 | content: The truth ain't like puppies, a bunch of them running around, you pick your | |
| 3 | favorite. One truth and it has come a-knockin'. | |
| 4 | id: 4a5b7298-fd7f-4045-8a18-98ce954608dd |
| 1 | author: Doctor Who | |
| 2 | content: '"I love old things. They make me feel sad." | |
| 3 | ||
| 4 | "What''s good about sad?" | |
| 5 | ||
| 6 | "It''s happy for deep people."' | |
| 7 | id: 4a6ecfbd-e506-4241-9d49-dbb215af2ba4 |
+0
-7
| 1 | author: Doctor Who | |
| 2 | content: '"I love old things. They make me feel sad." | |
| 3 | ||
| 4 | "What''s good about sad?" | |
| 5 | ||
| 6 | "It''s happy for deep people."' | |
| 7 | id: 4a6ecfbd-e506-4241-9d49-dbb215af2ba4 |
| 1 | author: David Foster Wallace | |
| 2 | content: "An ad that pretends to be art is \u2014 at absolute best \u2014 like somebody\ | |
| 3 | \ who smiles warmly at you only because he wants something from you. This is dishonest,\ | |
| 4 | \ but what's sinister is the cumulative effect that such dishonesty has on us: since\ | |
| 5 | \ it offers a perfect facsimile or simulacrum of goodwill without goodwill's real\ | |
| 6 | \ spirit, it messes with our heads and eventually starts upping our defenses even\ | |
| 7 | \ in cases of genuine smiles and real art and true goodwill. It makes us feel confused\ | |
| 8 | \ and lonely and impotent and angry and scared. It causes despair." | |
| 9 | id: 4ac0713d-01fe-4375-94e1-1054816e2afb |
+0
-9
| 1 | author: David Foster Wallace | |
| 2 | content: "An ad that pretends to be art is \u2014 at absolute best \u2014 like somebody\ | |
| 3 | \ who smiles warmly at you only because he wants something from you. This is dishonest,\ | |
| 4 | \ but what's sinister is the cumulative effect that such dishonesty has on us: since\ | |
| 5 | \ it offers a perfect facsimile or simulacrum of goodwill without goodwill's real\ | |
| 6 | \ spirit, it messes with our heads and eventually starts upping our defenses even\ | |
| 7 | \ in cases of genuine smiles and real art and true goodwill. It makes us feel confused\ | |
| 8 | \ and lonely and impotent and angry and scared. It causes despair." | |
| 9 | id: 4ac0713d-01fe-4375-94e1-1054816e2afb |
| 1 | author: Tim O'Brien | |
| 2 | content: A true war story is never moral. It does not instruct, nor encourage virtue, | |
| 3 | nor suggest models of proper human behavior, nor restrain men from doing the things | |
| 4 | men have always done. If a story seems moral, do not believe it. If at the end of | |
| 5 | a war story you feel uplifted, or if you feel that some small bit of rectitude has | |
| 6 | been salvaged from the larger waste, then you have been made the victim of a very | |
| 7 | old and terrible lie. There is no rectitude whatsoever. There is no virtue. As a | |
| 8 | first rule of thumb, therefore, you can tell a true war story by its absolute and | |
| 9 | uncompromising allegiance to obscenity and evil. | |
| 10 | id: 4b1f993c-eb89-4cb9-95c6-2d1d14faa6bb |
+0
-10
| 1 | author: Tim O'Brien | |
| 2 | content: A true war story is never moral. It does not instruct, nor encourage virtue, | |
| 3 | nor suggest models of proper human behavior, nor restrain men from doing the things | |
| 4 | men have always done. If a story seems moral, do not believe it. If at the end of | |
| 5 | a war story you feel uplifted, or if you feel that some small bit of rectitude has | |
| 6 | been salvaged from the larger waste, then you have been made the victim of a very | |
| 7 | old and terrible lie. There is no rectitude whatsoever. There is no virtue. As a | |
| 8 | first rule of thumb, therefore, you can tell a true war story by its absolute and | |
| 9 | uncompromising allegiance to obscenity and evil. | |
| 10 | id: 4b1f993c-eb89-4cb9-95c6-2d1d14faa6bb |
| 1 | author: Antonio Gramsci | |
| 2 | content: 'The old world is dying away, and the new world struggles to come forth: | |
| 3 | now is the time of monsters.' | |
| 4 | id: 4bc8a5c1-441d-476d-9e0f-cbc4a73ca495 |
+0
-4
| 1 | author: Antonio Gramsci | |
| 2 | content: 'The old world is dying away, and the new world struggles to come forth: | |
| 3 | now is the time of monsters.' | |
| 4 | id: 4bc8a5c1-441d-476d-9e0f-cbc4a73ca495 |
| 1 | author: pastabagel | |
| 2 | content: It wouldn't be hard to extinguish Apple from the marketplace. Apple's products | |
| 3 | aren't really that good. Yes, a lot of people buy Apple products. But a lot of people | |
| 4 | also read The Secret and watch Glee. I wouldn't put a lot of stock in what the masses | |
| 5 | think. | |
| 6 | id: 4be06fb2-e7a9-4467-909a-5999fa705b89 |
+0
-6
| 1 | author: pastabagel | |
| 2 | content: It wouldn't be hard to extinguish Apple from the marketplace. Apple's products | |
| 3 | aren't really that good. Yes, a lot of people buy Apple products. But a lot of people | |
| 4 | also read The Secret and watch Glee. I wouldn't put a lot of stock in what the masses | |
| 5 | think. | |
| 6 | id: 4be06fb2-e7a9-4467-909a-5999fa705b89 |
| 1 | author: Roland Barthes | |
| 2 | content: 'Language is a skin: I rub my language against the other. It is as if I had | |
| 3 | words instead of fingers, or fingers at the tip of my words. My language trembles | |
| 4 | with desire.' | |
| 5 | id: 4c274062-ab9e-42c4-8598-7b89fdaee73e |
+0
-5
| 1 | author: Roland Barthes | |
| 2 | content: 'Language is a skin: I rub my language against the other. It is as if I had | |
| 3 | words instead of fingers, or fingers at the tip of my words. My language trembles | |
| 4 | with desire.' | |
| 5 | id: 4c274062-ab9e-42c4-8598-7b89fdaee73e |
| 1 | author: J. L. Baudry | |
| 2 | content: For while there is clearly a mask, there is nothing behind it; it is a surface | |
| 3 | which conceals nothing but itself, and yet in so far as it suggests there is something | |
| 4 | behind it, prevents us from considering it as surface. | |
| 5 | id: 4c315c86-5f00-4f3b-b51f-8159ad4068df |
+0
-5
| 1 | author: J. L. Baudry | |
| 2 | content: For while there is clearly a mask, there is nothing behind it; it is a surface | |
| 3 | which conceals nothing but itself, and yet in so far as it suggests there is something | |
| 4 | behind it, prevents us from considering it as surface. | |
| 5 | id: 4c315c86-5f00-4f3b-b51f-8159ad4068df |
| 1 | author: Lynda Barry | |
| 2 | content: "I don\u2019t think there\u2019s any other reason we have art than to save\ | |
| 3 | \ us, the way our liver is there to keep us alive. I have come to regard the arts\ | |
| 4 | \ as external organs. They have always been as critical to me as my kidneys are.\ | |
| 5 | \ It\u2019s like a dialysis machine you draw yourself." | |
| 6 | id: 4cb999a2-93a7-440f-ba62-6cf9941ada50 |
+0
-6
| 1 | author: Lynda Barry | |
| 2 | content: "I don\u2019t think there\u2019s any other reason we have art than to save\ | |
| 3 | \ us, the way our liver is there to keep us alive. I have come to regard the arts\ | |
| 4 | \ as external organs. They have always been as critical to me as my kidneys are.\ | |
| 5 | \ It\u2019s like a dialysis machine you draw yourself." | |
| 6 | id: 4cb999a2-93a7-440f-ba62-6cf9941ada50 |
| 1 | author: 'Gilles Deleuze | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'There''s no need to fear or hope, but only to look for new weapons. | |
| 5 | ||
| 6 | ' | |
| 7 | id: 4d579513-65ff-4270-889b-60ee6bf9d5fb |
+0
-7
| 1 | author: 'Gilles Deleuze | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'There''s no need to fear or hope, but only to look for new weapons. | |
| 5 | ||
| 6 | ' | |
| 7 | id: 4d579513-65ff-4270-889b-60ee6bf9d5fb |
| 1 | author: Robert Heinlein | |
| 2 | content: Anyone who cannot cope with mathematics is not fully human. At best he is | |
| 3 | a tolerable subhuman who has learned to wear shoes, bathe, and not make messes in | |
| 4 | the house. | |
| 5 | id: 4e729aca-23ef-481a-b2e4-7b058b8741c2 |
+0
-5
| 1 | author: Robert Heinlein | |
| 2 | content: Anyone who cannot cope with mathematics is not fully human. At best he is | |
| 3 | a tolerable subhuman who has learned to wear shoes, bathe, and not make messes in | |
| 4 | the house. | |
| 5 | id: 4e729aca-23ef-481a-b2e4-7b058b8741c2 |
| 1 | author: Aleister Crowley | |
| 2 | content: All life is conflict. Every breath that you draw represents a victory in | |
| 3 | the struggle of the whole Universe. | |
| 4 | id: 4e947b23-62f1-4d23-8bff-6ddf59e6dd96 |
+0
-4
| 1 | author: Aleister Crowley | |
| 2 | content: All life is conflict. Every breath that you draw represents a victory in | |
| 3 | the struggle of the whole Universe. | |
| 4 | id: 4e947b23-62f1-4d23-8bff-6ddf59e6dd96 |
| 1 | author: Emil Cioran | |
| 2 | content: "The 'west' \u2014 what curse has fallen upon it that at the term of its\ | |
| 3 | \ trajectory it produces only these businessmen, these shopkeepers, these racketeers\ | |
| 4 | \ with their blank stares and atrophied smiles... is it with such vermin as this\ | |
| 5 | \ that a civilization so delicate and so complex must come to an end?" | |
| 6 | id: 4ea2526a-8c89-4468-97e4-f261810752e7 |
+0
-6
| 1 | author: Emil Cioran | |
| 2 | content: "The 'west' \u2014 what curse has fallen upon it that at the term of its\ | |
| 3 | \ trajectory it produces only these businessmen, these shopkeepers, these racketeers\ | |
| 4 | \ with their blank stares and atrophied smiles... is it with such vermin as this\ | |
| 5 | \ that a civilization so delicate and so complex must come to an end?" | |
| 6 | id: 4ea2526a-8c89-4468-97e4-f261810752e7 |
| 1 | author: Jack Brown | |
| 2 | content: Lord, grant me the serenity to accept the things I cannot change, the courage | |
| 3 | to change the things I can and the wisdom to hide the bodies of those people I had | |
| 4 | to kill because they pissed me off. | |
| 5 | id: 4f54af0c-7744-4cb0-87b9-611afb9be2d5 |
+0
-5
| 1 | author: Jack Brown | |
| 2 | content: Lord, grant me the serenity to accept the things I cannot change, the courage | |
| 3 | to change the things I can and the wisdom to hide the bodies of those people I had | |
| 4 | to kill because they pissed me off. | |
| 5 | id: 4f54af0c-7744-4cb0-87b9-611afb9be2d5 |
| 1 | author: Richard Feynman | |
| 2 | content: 'Science is like sex: sometimes something useful comes out, but that''s not | |
| 3 | why we''re doing it.' | |
| 4 | id: 4f602194-0bb9-4e94-a4c9-1a2b0b07f3c4 |
+0
-4
| 1 | author: Richard Feynman | |
| 2 | content: 'Science is like sex: sometimes something useful comes out, but that''s not | |
| 3 | why we''re doing it.' | |
| 4 | id: 4f602194-0bb9-4e94-a4c9-1a2b0b07f3c4 |
| 1 | author: Warren Ellis | |
| 2 | content: We're deathly afraid of that stabbing word 'pretentious,' the word that students | |
| 3 | use to curse each other's ambition. It's a young person's word, a shortcut-to-thinking | |
| 4 | word. I'm a big fan of pretension. It means 'an aspiration or intention that may | |
| 5 | or may not reach fulfillment.' It doesn't mean failing upward. It means trying to | |
| 6 | exceed your grasp. Which is how things grow. | |
| 7 | id: 5066e36a-a02e-4e09-99d9-c8508f146654 |
+0
-7
| 1 | author: Warren Ellis | |
| 2 | content: We're deathly afraid of that stabbing word 'pretentious,' the word that students | |
| 3 | use to curse each other's ambition. It's a young person's word, a shortcut-to-thinking | |
| 4 | word. I'm a big fan of pretension. It means 'an aspiration or intention that may | |
| 5 | or may not reach fulfillment.' It doesn't mean failing upward. It means trying to | |
| 6 | exceed your grasp. Which is how things grow. | |
| 7 | id: 5066e36a-a02e-4e09-99d9-c8508f146654 |
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: 'I believe in clear-cut positions. I think that the most arrogant position | |
| 3 | is this apparent, multidisciplinary modesty of "what I am saying now is not unconditional, | |
| 4 | it is just a hypothesis," and so on. It really is a most arrogant position. I think | |
| 5 | that the only way to be honest and expose yourself to criticism is to state clearly | |
| 6 | and dogmatically where you are. You must take the risk and have a position. ' | |
| 7 | id: 50f1ffc8-ad00-451b-830e-0597850d8732 |
+0
-7
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: 'I believe in clear-cut positions. I think that the most arrogant position | |
| 3 | is this apparent, multidisciplinary modesty of "what I am saying now is not unconditional, | |
| 4 | it is just a hypothesis," and so on. It really is a most arrogant position. I think | |
| 5 | that the only way to be honest and expose yourself to criticism is to state clearly | |
| 6 | and dogmatically where you are. You must take the risk and have a position. ' | |
| 7 | id: 50f1ffc8-ad00-451b-830e-0597850d8732 |
| 1 | author: E.W. Dijkstra | |
| 2 | content: "Needless to say, this vision of what computing science is about is not universally\ | |
| 3 | \ applauded. On the contrary, it has met widespread\u2014and sometimes even violent\u2014\ | |
| 4 | opposition from ... the subculture of the compulsive programmer, whose ethics prescribe\ | |
| 5 | \ that one silly idea and a month of frantic coding should suffice to make him a\ | |
| 6 | \ life-long millionaire." | |
| 7 | id: 50ff5e41-601a-4ada-9a97-8bedadc2529d |
+0
-7
| 1 | author: E.W. Dijkstra | |
| 2 | content: "Needless to say, this vision of what computing science is about is not universally\ | |
| 3 | \ applauded. On the contrary, it has met widespread\u2014and sometimes even violent\u2014\ | |
| 4 | opposition from ... the subculture of the compulsive programmer, whose ethics prescribe\ | |
| 5 | \ that one silly idea and a month of frantic coding should suffice to make him a\ | |
| 6 | \ life-long millionaire." | |
| 7 | id: 50ff5e41-601a-4ada-9a97-8bedadc2529d |
| 1 | author: They Might Be Giants | |
| 2 | content: We can't be silent, 'cause they might be giants, and what are we going to | |
| 3 | do unless they are? | |
| 4 | id: 5108b98b-1fa6-44ca-97f2-ed0433cfc5cf |
+0
-4
| 1 | author: They Might Be Giants | |
| 2 | content: We can't be silent, 'cause they might be giants, and what are we going to | |
| 3 | do unless they are? | |
| 4 | id: 5108b98b-1fa6-44ca-97f2-ed0433cfc5cf |
| 1 | author: Carl Jung | |
| 2 | content: One of the most difficult tasks men can perform, however much others may | |
| 3 | despise it, is the invention of good games and it cannot be done by men out of touch | |
| 4 | with their instinctive selves. | |
| 5 | id: 5145b8c5-a7fe-4228-aacb-a448e998e432 |
+0
-5
| 1 | author: Carl Jung | |
| 2 | content: One of the most difficult tasks men can perform, however much others may | |
| 3 | despise it, is the invention of good games and it cannot be done by men out of touch | |
| 4 | with their instinctive selves. | |
| 5 | id: 5145b8c5-a7fe-4228-aacb-a448e998e432 |
| 1 | author: They Might Be Giants, "Don't Let's Start" | |
| 2 | content: 'No one in the world ever gets what they want and that is beautiful | |
| 3 | ||
| 4 | Everybody dies frustrated and sad and that is beautiful.' | |
| 5 | id: 5177fe8c-9008-4ae3-be04-e2b1fa70018b |
+0
-5
| 1 | author: They Might Be Giants, "Don't Let's Start" | |
| 2 | content: 'No one in the world ever gets what they want and that is beautiful | |
| 3 | ||
| 4 | Everybody dies frustrated and sad and that is beautiful.' | |
| 5 | id: 5177fe8c-9008-4ae3-be04-e2b1fa70018b |
| 1 | author: "Andr\xE9 Breton" | |
| 2 | content: Surrealism aims at the total transformation of the mind and all that resembles | |
| 3 | it. | |
| 4 | id: 51987f01-c205-4d05-980f-71266717f458 |
+0
-4
| 1 | author: "Andr\xE9 Breton" | |
| 2 | content: Surrealism aims at the total transformation of the mind and all that resembles | |
| 3 | it. | |
| 4 | id: 51987f01-c205-4d05-980f-71266717f458 |
| 1 | author: Marshall McLuhan | |
| 2 | content: We're driving faster and faster into the future, trying to steer by using | |
| 3 | only the rear-view mirror. | |
| 4 | id: 51b33111-a82d-49b4-a4b5-a1d358bdcdb3 |
+0
-4
| 1 | author: Marshall McLuhan | |
| 2 | content: We're driving faster and faster into the future, trying to steer by using | |
| 3 | only the rear-view mirror. | |
| 4 | id: 51b33111-a82d-49b4-a4b5-a1d358bdcdb3 |
| 1 | author: John Rogers | |
| 2 | content: 'There are two novels that can change a bookish fourteen-year old''s life: | |
| 3 | The Lord of the Rings and Atlas Shrugged. One is a childish fantasy that often engenders | |
| 4 | a lifelong obsession with its unbelievable heroes, leading to an emotionally stunted, | |
| 5 | socially crippled adulthood, unable to deal with the real world. The other, of course, | |
| 6 | involves orcs.' | |
| 7 | id: 51ee1a20-00e3-4955-980a-dcb8d756008c |
+0
-7
| 1 | author: John Rogers | |
| 2 | content: 'There are two novels that can change a bookish fourteen-year old''s life: | |
| 3 | The Lord of the Rings and Atlas Shrugged. One is a childish fantasy that often engenders | |
| 4 | a lifelong obsession with its unbelievable heroes, leading to an emotionally stunted, | |
| 5 | socially crippled adulthood, unable to deal with the real world. The other, of course, | |
| 6 | involves orcs.' | |
| 7 | id: 51ee1a20-00e3-4955-980a-dcb8d756008c |
| 1 | author: Alejandro Jodorowsky | |
| 2 | content: Kill superheroes! Tell your own dreams. | |
| 3 | id: 51f8f202-e6fd-4e80-a22d-39a2fd5b5869 |
+0
-3
| 1 | author: Alejandro Jodorowsky | |
| 2 | content: Kill superheroes! Tell your own dreams. | |
| 3 | id: 51f8f202-e6fd-4e80-a22d-39a2fd5b5869 |
| 1 | author: Groucho Marx | |
| 2 | content: Those are my principles, and if you don't like them... well, I have others. | |
| 3 | id: 52758708-871b-4c9e-9d8b-0287fa9e827f |
+0
-3
| 1 | author: Groucho Marx | |
| 2 | content: Those are my principles, and if you don't like them... well, I have others. | |
| 3 | id: 52758708-871b-4c9e-9d8b-0287fa9e827f |
| 1 | author: George Santayana | |
| 2 | content: There are books in which the footnotes, or the comments scrawled by some | |
| 3 | reader's hand in the margin, are more interesting than the text. The world is one | |
| 4 | of those books. | |
| 5 | id: 529aa7e1-1315-4cd1-8d67-85adf089084e |
+0
-5
| 1 | author: George Santayana | |
| 2 | content: There are books in which the footnotes, or the comments scrawled by some | |
| 3 | reader's hand in the margin, are more interesting than the text. The world is one | |
| 4 | of those books. | |
| 5 | id: 529aa7e1-1315-4cd1-8d67-85adf089084e |
| 1 | author: Alfred N. Whitehead | |
| 2 | content: '"Necessity is the mother of invention" is a silly proverb. "Necessity is | |
| 3 | the mother of futile dodges" is much closer to the truth. The basis of growth of | |
| 4 | modern invention is science, and science is almost wholly the outgrowth of pleasurable | |
| 5 | intellectual curiosity.' | |
| 6 | id: 52e8c614-c348-4214-bbff-5a611b924190 |
+0
-6
| 1 | author: Alfred N. Whitehead | |
| 2 | content: '"Necessity is the mother of invention" is a silly proverb. "Necessity is | |
| 3 | the mother of futile dodges" is much closer to the truth. The basis of growth of | |
| 4 | modern invention is science, and science is almost wholly the outgrowth of pleasurable | |
| 5 | intellectual curiosity.' | |
| 6 | id: 52e8c614-c348-4214-bbff-5a611b924190 |
| 1 | author: Le Cercle Rouge | |
| 2 | content: All men are guilty. They're born innocent, but it doesn't last. | |
| 3 | id: 54625e5f-9ed8-4d04-a485-be040fbf467c |
+0
-3
| 1 | author: Le Cercle Rouge | |
| 2 | content: All men are guilty. They're born innocent, but it doesn't last. | |
| 3 | id: 54625e5f-9ed8-4d04-a485-be040fbf467c |
| 1 | author: Ron Minnich | |
| 2 | content: You want to make your way in the CS field? Simple. Calculate rough time of | |
| 3 | amnesia (hell, 10 years is plenty, probably 10 months is plenty), go to the dusty | |
| 4 | archives, dig out something fun, and go for it. It's worked for many people, and | |
| 5 | it can work for you. | |
| 6 | id: 549afeaf-4b17-418b-800d-ae12e6f89d66 |
+0
-6
| 1 | author: Ron Minnich | |
| 2 | content: You want to make your way in the CS field? Simple. Calculate rough time of | |
| 3 | amnesia (hell, 10 years is plenty, probably 10 months is plenty), go to the dusty | |
| 4 | archives, dig out something fun, and go for it. It's worked for many people, and | |
| 5 | it can work for you. | |
| 6 | id: 549afeaf-4b17-418b-800d-ae12e6f89d66 |
| 1 | author: Jerry "Tycho" Holkins | |
| 2 | content: People seemed to like this better, but only marginally so - the way one might | |
| 3 | prefer to be stabbed than shot. Optimally, one isn't stabbed or shot. Optimally, | |
| 4 | one eats some cake! But there are times when cake is not available, and instead | |
| 5 | we are destroyed. This is the deep poetry of the universe. | |
| 6 | id: 54d57888-e66f-4950-8f92-dbc4ec9f91fa |
+0
-6
| 1 | author: Jerry "Tycho" Holkins | |
| 2 | content: People seemed to like this better, but only marginally so - the way one might | |
| 3 | prefer to be stabbed than shot. Optimally, one isn't stabbed or shot. Optimally, | |
| 4 | one eats some cake! But there are times when cake is not available, and instead | |
| 5 | we are destroyed. This is the deep poetry of the universe. | |
| 6 | id: 54d57888-e66f-4950-8f92-dbc4ec9f91fa |
| 1 | author: "Slavoj \u017Di\u017Eek\n" | |
| 2 | content: "Yeah, because I'm extremely romantic here. You know what is my fear? This\ | |
| 3 | \ postmodern, permissive, pragmatic etiquette towards sex. It's horrible. They claim\ | |
| 4 | \ sex is healthy; it's good for the heart, for blood circulation, it relaxes you.\ | |
| 5 | \ They even go into how kissing is also good because it develops the muscles here\u2014\ | |
| 6 | this is horrible, my God! It's no longer that absolute passion. I like this idea\ | |
| 7 | \ of sex as part of love, you know: 'I'm ready to sell my mother into slavery just\ | |
| 8 | \ to fuck you for ever.' There is something nice, transcendent, about it. I remain\ | |
| 9 | \ incurably romantic.\n" | |
| 10 | id: 55402a31-05b0-4f41-beaa-e39cc5e9edc8 |
+0
-10
| 1 | author: "Slavoj \u017Di\u017Eek\n" | |
| 2 | content: "Yeah, because I'm extremely romantic here. You know what is my fear? This\ | |
| 3 | \ postmodern, permissive, pragmatic etiquette towards sex. It's horrible. They claim\ | |
| 4 | \ sex is healthy; it's good for the heart, for blood circulation, it relaxes you.\ | |
| 5 | \ They even go into how kissing is also good because it develops the muscles here\u2014\ | |
| 6 | this is horrible, my God! It's no longer that absolute passion. I like this idea\ | |
| 7 | \ of sex as part of love, you know: 'I'm ready to sell my mother into slavery just\ | |
| 8 | \ to fuck you for ever.' There is something nice, transcendent, about it. I remain\ | |
| 9 | \ incurably romantic.\n" | |
| 10 | id: 55402a31-05b0-4f41-beaa-e39cc5e9edc8 |
| 1 | author: Charles Baudelaire | |
| 2 | content: Do not look for my heart any more; the beasts have eaten it. | |
| 3 | id: 55a7517d-10a8-45ba-bfba-d7a25fd1b41e |
+0
-3
| 1 | author: Charles Baudelaire | |
| 2 | content: Do not look for my heart any more; the beasts have eaten it. | |
| 3 | id: 55a7517d-10a8-45ba-bfba-d7a25fd1b41e |
| 1 | author: Brian Eno | |
| 2 | content: "Stop thinking about art works as objects, and start thinking about them\ | |
| 3 | \ as triggers for experiences. (Roy Ascott's phrase.) That solves a lot of problems:\ | |
| 4 | \ we don't have to argue whether photographs are art, or whether performances are\ | |
| 5 | \ art, or whether Carl Andre's bricks or Andrew Serranos's piss or Little Richard's\ | |
| 6 | \ 'Long Tall Sally' are art, because we say, 'Art is something that happens, a process,\ | |
| 7 | \ not a quality, and all sorts of things can make it happen.' ... [W]hat makes a\ | |
| 8 | \ work of art 'good' for you is not something that is already 'inside' it, but something\ | |
| 9 | \ that happens inside you \u2014 so the value of the work lies in the degree to\ | |
| 10 | \ which it can help you have the kind of experience that you call art." | |
| 11 | id: 55b25373-b1ad-4285-94b5-7989482fd5e1 |
+0
-11
| 1 | author: Brian Eno | |
| 2 | content: "Stop thinking about art works as objects, and start thinking about them\ | |
| 3 | \ as triggers for experiences. (Roy Ascott's phrase.) That solves a lot of problems:\ | |
| 4 | \ we don't have to argue whether photographs are art, or whether performances are\ | |
| 5 | \ art, or whether Carl Andre's bricks or Andrew Serranos's piss or Little Richard's\ | |
| 6 | \ 'Long Tall Sally' are art, because we say, 'Art is something that happens, a process,\ | |
| 7 | \ not a quality, and all sorts of things can make it happen.' ... [W]hat makes a\ | |
| 8 | \ work of art 'good' for you is not something that is already 'inside' it, but something\ | |
| 9 | \ that happens inside you \u2014 so the value of the work lies in the degree to\ | |
| 10 | \ which it can help you have the kind of experience that you call art." | |
| 11 | id: 55b25373-b1ad-4285-94b5-7989482fd5e1 |
| 1 | author: Haruki Murakami, Kafka on the Shore | |
| 2 | content: People are drawn deeper into tragedy not by their defects but by their virtues. | |
| 3 | Sophocles' Oedipus Rex being a great example. Oedipus is drawn into tragedy not | |
| 4 | because of laziness or stupidity, but because of his courage and honesty. So an | |
| 5 | inevitable irony results. | |
| 6 | id: 56c82cb8-922b-4fa3-b306-32f4bba18543 |
+0
-6
| 1 | author: Haruki Murakami, Kafka on the Shore | |
| 2 | content: People are drawn deeper into tragedy not by their defects but by their virtues. | |
| 3 | Sophocles' Oedipus Rex being a great example. Oedipus is drawn into tragedy not | |
| 4 | because of laziness or stupidity, but because of his courage and honesty. So an | |
| 5 | inevitable irony results. | |
| 6 | id: 56c82cb8-922b-4fa3-b306-32f4bba18543 |
| 1 | author: William Morris | |
| 2 | content: "Worthy work carries with it the hope of pleasure in rest, the hope of the\ | |
| 3 | \ pleasure in our using what it makes, and the hope of pleasure in our daily creative\ | |
| 4 | \ skill. All other work but this is worthless; it is slaves' work \u2014 mere toiling\ | |
| 5 | \ to live, that we may live to toil." | |
| 6 | id: 56f2b8c6-11fc-43fe-99e6-4782beca5d9d |
+0
-6
| 1 | author: William Morris | |
| 2 | content: "Worthy work carries with it the hope of pleasure in rest, the hope of the\ | |
| 3 | \ pleasure in our using what it makes, and the hope of pleasure in our daily creative\ | |
| 4 | \ skill. All other work but this is worthless; it is slaves' work \u2014 mere toiling\ | |
| 5 | \ to live, that we may live to toil." | |
| 6 | id: 56f2b8c6-11fc-43fe-99e6-4782beca5d9d |
| 1 | author: Umberto Eco | |
| 2 | content: '...semiotics is in principle the discipline studying everything which can | |
| 3 | be used in order to lie.' | |
| 4 | id: 57241033-21b2-46a4-aa1b-0d77f041e505 |
+0
-4
| 1 | author: Umberto Eco | |
| 2 | content: '...semiotics is in principle the discipline studying everything which can | |
| 3 | be used in order to lie.' | |
| 4 | id: 57241033-21b2-46a4-aa1b-0d77f041e505 |
| 1 | author: Bruce Schneier | |
| 2 | content: The surest defense against terrorism is to refuse to be terrorized. | |
| 3 | id: 5752c931-c442-4e2d-bfb6-2e842208c5c3 |
+0
-3
| 1 | author: Bruce Schneier | |
| 2 | content: The surest defense against terrorism is to refuse to be terrorized. | |
| 3 | id: 5752c931-c442-4e2d-bfb6-2e842208c5c3 |
| 1 | author: Philip K. Dick | |
| 2 | content: It is sometimes an appropriate response to reality to go insane. | |
| 3 | id: 57562bc1-5c36-448b-98e5-1c3e9020e511 |
+0
-3
| 1 | author: Philip K. Dick | |
| 2 | content: It is sometimes an appropriate response to reality to go insane. | |
| 3 | id: 57562bc1-5c36-448b-98e5-1c3e9020e511 |
| 1 | author: Frank Lloyd Wright | |
| 2 | content: Early in life I had to choose between honest arrogance and hypocritical humility. | |
| 3 | I chose honest arrogance and have seen no occasion to change. | |
| 4 | id: 57e5d5bb-2847-4f7a-bb91-029aa4e8887b |
+0
-4
| 1 | author: Frank Lloyd Wright | |
| 2 | content: Early in life I had to choose between honest arrogance and hypocritical humility. | |
| 3 | I chose honest arrogance and have seen no occasion to change. | |
| 4 | id: 57e5d5bb-2847-4f7a-bb91-029aa4e8887b |
| 1 | author: Anonymous | |
| 2 | content: Hell is other people's Perl. | |
| 3 | id: 58aa8275-b537-42e1-a87f-d13ae16e56e3 |
+0
-3
| 1 | author: Anonymous | |
| 2 | content: Hell is other people's Perl. | |
| 3 | id: 58aa8275-b537-42e1-a87f-d13ae16e56e3 |
| 1 | author: Keith Johnstone | |
| 2 | content: People think of good and bad teachers as engaged in the same activity, as | |
| 3 | if education was a substance, and that bad teachers supply a little of the substance, | |
| 4 | and good teachers supply a lot. This makes it difficult to understand that education | |
| 5 | can be a destructive process, and that bad teachers are wrecking talent, and that | |
| 6 | good and bad teachers are engaged in opposite activities. | |
| 7 | id: 59efd5c7-11f9-47d8-aa3a-aa99fceef0f8 |
+0
-7
| 1 | author: Keith Johnstone | |
| 2 | content: People think of good and bad teachers as engaged in the same activity, as | |
| 3 | if education was a substance, and that bad teachers supply a little of the substance, | |
| 4 | and good teachers supply a lot. This makes it difficult to understand that education | |
| 5 | can be a destructive process, and that bad teachers are wrecking talent, and that | |
| 6 | good and bad teachers are engaged in opposite activities. | |
| 7 | id: 59efd5c7-11f9-47d8-aa3a-aa99fceef0f8 |
| 1 | author: Buttercup Festival | |
| 2 | content: Sleep is an appointment kept by the sane. | |
| 3 | id: 59f04596-d03c-4d89-b692-9664d098bee2 |
+0
-3
| 1 | author: Buttercup Festival | |
| 2 | content: Sleep is an appointment kept by the sane. | |
| 3 | id: 59f04596-d03c-4d89-b692-9664d098bee2 |
| 1 | author: Neil Gaiman | |
| 2 | content: Whenever I do things because I want to do it and because it seems fun or | |
| 3 | interesting and so on and so forth, it almost always works. And it almost always | |
| 4 | winds up more than paying for itself. Whenever I do things for the money, not only | |
| 5 | does it prove a headache and a pain in the neck and come with all sorts of awful | |
| 6 | things attached, but I normally don't wind up getting the money, either. So, after | |
| 7 | a while, you do sort of start to learn [to] just forget about the things where people | |
| 8 | come to you and dangle huge wads of cash in front of you. Go for the one that seems | |
| 9 | interesting because, even if it all falls apart, you've got something interesting | |
| 10 | out of it. Whereas, the other way, you normally wind up getting absolutely nothing | |
| 11 | out of it. | |
| 12 | id: 5a1d8747-66fa-4ef0-bf79-e6c6214f7a25 |
+0
-12
| 1 | author: Neil Gaiman | |
| 2 | content: Whenever I do things because I want to do it and because it seems fun or | |
| 3 | interesting and so on and so forth, it almost always works. And it almost always | |
| 4 | winds up more than paying for itself. Whenever I do things for the money, not only | |
| 5 | does it prove a headache and a pain in the neck and come with all sorts of awful | |
| 6 | things attached, but I normally don't wind up getting the money, either. So, after | |
| 7 | a while, you do sort of start to learn [to] just forget about the things where people | |
| 8 | come to you and dangle huge wads of cash in front of you. Go for the one that seems | |
| 9 | interesting because, even if it all falls apart, you've got something interesting | |
| 10 | out of it. Whereas, the other way, you normally wind up getting absolutely nothing | |
| 11 | out of it. | |
| 12 | id: 5a1d8747-66fa-4ef0-bf79-e6c6214f7a25 |
| 1 | author: Buckminster Fuller | |
| 2 | content: We must do away with the absolutely specious notion that everybody has to | |
| 3 | earn a living. It is a fact today that one in ten thousand of us can make a technological | |
| 4 | breakthrough capable of supporting all the rest. The youth of today are absolutely | |
| 5 | right in recognizing this nonsense of earning a living. We keep inventing jobs because | |
| 6 | of this false idea that everybody has to be employed at some kind of drudgery because, | |
| 7 | according to Malthusian-Darwinian theory, he must justify his right to exist. So | |
| 8 | we have inspectors of inspectors and people making instruments for inspectors to | |
| 9 | inspect inspectors. The true business of people should be to go back to school and | |
| 10 | think about whatever it was they were thinking about before somebody came along | |
| 11 | and told them they had to earn a living. | |
| 12 | id: 5a1fed84-6250-45cb-8895-b24dffb2a6a7 |
+0
-12
| 1 | author: Buckminster Fuller | |
| 2 | content: We must do away with the absolutely specious notion that everybody has to | |
| 3 | earn a living. It is a fact today that one in ten thousand of us can make a technological | |
| 4 | breakthrough capable of supporting all the rest. The youth of today are absolutely | |
| 5 | right in recognizing this nonsense of earning a living. We keep inventing jobs because | |
| 6 | of this false idea that everybody has to be employed at some kind of drudgery because, | |
| 7 | according to Malthusian-Darwinian theory, he must justify his right to exist. So | |
| 8 | we have inspectors of inspectors and people making instruments for inspectors to | |
| 9 | inspect inspectors. The true business of people should be to go back to school and | |
| 10 | think about whatever it was they were thinking about before somebody came along | |
| 11 | and told them they had to earn a living. | |
| 12 | id: 5a1fed84-6250-45cb-8895-b24dffb2a6a7 |
| 1 | author: Don Delillo | |
| 2 | content: She has her console and her random access memory. I have my nitwit piece | |
| 3 | of paper. But I want something to pass between us. | |
| 4 | id: 5a81e8ba-78b5-4763-9248-806e36e0fc07 |
+0
-4
| 1 | author: Don Delillo | |
| 2 | content: She has her console and her random access memory. I have my nitwit piece | |
| 3 | of paper. But I want something to pass between us. | |
| 4 | id: 5a81e8ba-78b5-4763-9248-806e36e0fc07 |
| 1 | author: Juan Carlo | |
| 2 | content: "If you can\u2019t express something in an interesting fashion via the language\ | |
| 3 | \ of game mechanics, then you shouldn\u2019t be making a game. Instead, you should\ | |
| 4 | \ be expressing those ideas via some other medium." | |
| 5 | id: 5ba6b7ec-534b-4250-b715-65f5fe70d474 |
+0
-5
| 1 | author: Juan Carlo | |
| 2 | content: "If you can\u2019t express something in an interesting fashion via the language\ | |
| 3 | \ of game mechanics, then you shouldn\u2019t be making a game. Instead, you should\ | |
| 4 | \ be expressing those ideas via some other medium." | |
| 5 | id: 5ba6b7ec-534b-4250-b715-65f5fe70d474 |
| 1 | author: Edsger Dijkstra | |
| 2 | content: Beware of "the real world". A speaker's appeal to it is always an invitation | |
| 3 | not to challenge his tacit assumptions. | |
| 4 | id: 5bded6ea-dd02-427e-a7ac-5f25c33c1ebb |
+0
-4
| 1 | author: Edsger Dijkstra | |
| 2 | content: Beware of "the real world". A speaker's appeal to it is always an invitation | |
| 3 | not to challenge his tacit assumptions. | |
| 4 | id: 5bded6ea-dd02-427e-a7ac-5f25c33c1ebb |
| 1 | author: Haruki Murakami | |
| 2 | content: Whether you take the doughnut hole as a blank space or as an entity unto | |
| 3 | itself is a purely metaphysical question and does not affect the taste of the doughnut | |
| 4 | one bit. | |
| 5 | id: 5c083dac-91a9-4a1c-aca4-a35d012884e0 |
+0
-5
| 1 | author: Haruki Murakami | |
| 2 | content: Whether you take the doughnut hole as a blank space or as an entity unto | |
| 3 | itself is a purely metaphysical question and does not affect the taste of the doughnut | |
| 4 | one bit. | |
| 5 | id: 5c083dac-91a9-4a1c-aca4-a35d012884e0 |
| 1 | author: Neil Gaiman | |
| 2 | content: 'I was reading a book (about interjections, oddly enough) yesterday which | |
| 3 | included the phrase "In these days of political correctness..." talking about no | |
| 4 | longer making jokes that denigrated people for their culture or for the colour of | |
| 5 | their skin. And I thought, "That''s not actually anything to do with ''political | |
| 6 | correctness''. That''s just treating other people with respect." | |
| 7 | ||
| 8 | ||
| 9 | Which made me oddly happy. I started imagining a world in which we replaced the | |
| 10 | phrase "politically correct" wherever we could with "treating other people with | |
| 11 | respect", and it made me smile. | |
| 12 | ||
| 13 | ||
| 14 | You should try it. It''s peculiarly enlightening. | |
| 15 | ||
| 16 | ||
| 17 | I know what you''re thinking now. You''re thinking "Oh my god, that''s treating | |
| 18 | other people with respect gone mad!" | |
| 19 | ||
| 20 | ' | |
| 21 | id: 5c58aa7d-6d8a-46bb-aff9-894132cb6366 |
+0
-21
| 1 | author: Neil Gaiman | |
| 2 | content: 'I was reading a book (about interjections, oddly enough) yesterday which | |
| 3 | included the phrase "In these days of political correctness..." talking about no | |
| 4 | longer making jokes that denigrated people for their culture or for the colour of | |
| 5 | their skin. And I thought, "That''s not actually anything to do with ''political | |
| 6 | correctness''. That''s just treating other people with respect." | |
| 7 | ||
| 8 | ||
| 9 | Which made me oddly happy. I started imagining a world in which we replaced the | |
| 10 | phrase "politically correct" wherever we could with "treating other people with | |
| 11 | respect", and it made me smile. | |
| 12 | ||
| 13 | ||
| 14 | You should try it. It''s peculiarly enlightening. | |
| 15 | ||
| 16 | ||
| 17 | I know what you''re thinking now. You''re thinking "Oh my god, that''s treating | |
| 18 | other people with respect gone mad!" | |
| 19 | ||
| 20 | ' | |
| 21 | id: 5c58aa7d-6d8a-46bb-aff9-894132cb6366 |
| 1 | author: St. Augustine | |
| 2 | content: The good Christian should beware of mathematicians and all those who make | |
| 3 | empty prophecies. That danger already exists that mathematicians have made a covenant | |
| 4 | with the devil to darken the spirit and confine man to the bonds of Hell. | |
| 5 | id: 5ca95297-1712-4a17-acf4-bda6af4f605f |
+0
-5
| 1 | author: St. Augustine | |
| 2 | content: The good Christian should beware of mathematicians and all those who make | |
| 3 | empty prophecies. That danger already exists that mathematicians have made a covenant | |
| 4 | with the devil to darken the spirit and confine man to the bonds of Hell. | |
| 5 | id: 5ca95297-1712-4a17-acf4-bda6af4f605f |
| 1 | author: Paul Romer | |
| 2 | content: In advanced economies, recipes are more valuable than cooking. | |
| 3 | id: 5cc85b15-d6b5-43c0-ba79-5d8ce9723653 |
+0
-3
| 1 | author: Paul Romer | |
| 2 | content: In advanced economies, recipes are more valuable than cooking. | |
| 3 | id: 5cc85b15-d6b5-43c0-ba79-5d8ce9723653 |
| 1 | author: Roland Barthes | |
| 2 | content: Bourgeois ideology is an ideology which refuses to allow itself to be identified | |
| 3 | as an ideology by presenting itself as neutral, impartial, universal, objective | |
| 4 | and value-free. | |
| 5 | id: 5cd5a770-1a22-476c-b5f8-2b8ea26108cc |
+0
-5
| 1 | author: Roland Barthes | |
| 2 | content: Bourgeois ideology is an ideology which refuses to allow itself to be identified | |
| 3 | as an ideology by presenting itself as neutral, impartial, universal, objective | |
| 4 | and value-free. | |
| 5 | id: 5cd5a770-1a22-476c-b5f8-2b8ea26108cc |
| 1 | author: Ignignokt, Aqua Teen Hunger Force | |
| 2 | content: Just say "here" and we'll consider the word "here" to be short for "Here | |
| 3 | I am, rock you like a hurricane." | |
| 4 | id: 5da4917c-778f-454f-b39a-3458a2edf538 |
+0
-4
| 1 | author: Ignignokt, Aqua Teen Hunger Force | |
| 2 | content: Just say "here" and we'll consider the word "here" to be short for "Here | |
| 3 | I am, rock you like a hurricane." | |
| 4 | id: 5da4917c-778f-454f-b39a-3458a2edf538 |
| 1 | author: Jorge Luis Borges | |
| 2 | content: There are people who barely feel poetry, and they are generally dedicated | |
| 3 | to teaching it. | |
| 4 | id: 5dc8bc37-d21f-4e38-a84c-4506fa95e383 |
+0
-4
| 1 | author: Jorge Luis Borges | |
| 2 | content: There are people who barely feel poetry, and they are generally dedicated | |
| 3 | to teaching it. | |
| 4 | id: 5dc8bc37-d21f-4e38-a84c-4506fa95e383 |
| 1 | author: John Carmack | |
| 2 | content: Some cynical people think that every activity must revolve around the mighty | |
| 3 | dollar, and that anyone saying otherwise is just attempting to delude the public. | |
| 4 | I will probably never be able to convice them that that isn't always the case, but | |
| 5 | I do have the satisfaction of knowing that I live in a less dingy world than they | |
| 6 | do. | |
| 7 | id: 5e2231bc-e253-4b2b-b6ca-e98e2c7e7c29 |
+0
-7
| 1 | author: John Carmack | |
| 2 | content: Some cynical people think that every activity must revolve around the mighty | |
| 3 | dollar, and that anyone saying otherwise is just attempting to delude the public. | |
| 4 | I will probably never be able to convice them that that isn't always the case, but | |
| 5 | I do have the satisfaction of knowing that I live in a less dingy world than they | |
| 6 | do. | |
| 7 | id: 5e2231bc-e253-4b2b-b6ca-e98e2c7e7c29 |
| 1 | author: William Deresiewicz | |
| 2 | content: "Facebook's very premise\u2014and promise\u2014is that it makes our friendship\ | |
| 3 | \ circles visible. There they are, my friends, all in the same place. Except, of\ | |
| 4 | \ course, they're not in the same place, or, rather, they're not my friends. They're\ | |
| 5 | \ simulacra of my friends, little dehydrated packets of images and information,\ | |
| 6 | \ no more my friends than a set of baseball cards is the New York Mets." | |
| 7 | id: 5e966ce3-19dc-42f7-84b6-86667d9a8ee1 |
+0
-7
| 1 | author: William Deresiewicz | |
| 2 | content: "Facebook's very premise\u2014and promise\u2014is that it makes our friendship\ | |
| 3 | \ circles visible. There they are, my friends, all in the same place. Except, of\ | |
| 4 | \ course, they're not in the same place, or, rather, they're not my friends. They're\ | |
| 5 | \ simulacra of my friends, little dehydrated packets of images and information,\ | |
| 6 | \ no more my friends than a set of baseball cards is the New York Mets." | |
| 7 | id: 5e966ce3-19dc-42f7-84b6-86667d9a8ee1 |
| 1 | author: Frank Herbert | |
| 2 | content: It is shocking to find how many people do not believe they can learn, and | |
| 3 | how many more believe learning to be difficult. | |
| 4 | id: 5eb4d36a-872e-4cdb-b507-e3232ff9f4e4 |
+0
-4
| 1 | author: Frank Herbert | |
| 2 | content: It is shocking to find how many people do not believe they can learn, and | |
| 3 | how many more believe learning to be difficult. | |
| 4 | id: 5eb4d36a-872e-4cdb-b507-e3232ff9f4e4 |
| 1 | author: Umberto Eco | |
| 2 | content: I don't miss my youth. I'm glad I had one, but I wouldn't like to start over. | |
| 3 | id: 5f08a6f2-cf5e-4193-917d-820ecb574ce5 |
+0
-3
| 1 | author: Umberto Eco | |
| 2 | content: I don't miss my youth. I'm glad I had one, but I wouldn't like to start over. | |
| 3 | id: 5f08a6f2-cf5e-4193-917d-820ecb574ce5 |
| 1 | author: Stewart Brand | |
| 2 | content: Whenever I hear the word "share" I would reach for a gun if I had one. "Share" | |
| 3 | is frequently followed by the word "feelings," and I have enough of my own thank | |
| 4 | you; please do us both a favor and repress yours. | |
| 5 | id: 5f3273aa-a6ba-41a2-bd91-eb6f7ffafa42 |
+0
-5
| 1 | author: Stewart Brand | |
| 2 | content: Whenever I hear the word "share" I would reach for a gun if I had one. "Share" | |
| 3 | is frequently followed by the word "feelings," and I have enough of my own thank | |
| 4 | you; please do us both a favor and repress yours. | |
| 5 | id: 5f3273aa-a6ba-41a2-bd91-eb6f7ffafa42 |
| 1 | author: Marshall McLuhan | |
| 2 | content: I don't know who discovered water, but it wasn't a fish. | |
| 3 | id: 5f67e6b5-aa42-478b-acff-3a171affdf0f |
+0
-3
| 1 | author: Marshall McLuhan | |
| 2 | content: I don't know who discovered water, but it wasn't a fish. | |
| 3 | id: 5f67e6b5-aa42-478b-acff-3a171affdf0f |
| 1 | author: John Cage | |
| 2 | content: "Q. \"Do you think everything works out for the best?\" \nA. \"Maybe not\ | |
| 3 | \ the best, but everything works out to something.\"" | |
| 4 | id: 5f77f255-cb6b-40e5-be01-bdeed2a81767 |
+0
-4
| 1 | author: John Cage | |
| 2 | content: "Q. \"Do you think everything works out for the best?\" \nA. \"Maybe not\ | |
| 3 | \ the best, but everything works out to something.\"" | |
| 4 | id: 5f77f255-cb6b-40e5-be01-bdeed2a81767 |
| 1 | author: Brad Pitt | |
| 2 | content: I've got a few men I respect very much and one would be Frank Gehry. He said | |
| 3 | to me, 'If you know where it's going, it's not worth doing.' That's become like | |
| 4 | a mantra for me. That's the life of the artist. | |
| 5 | id: 5fced641-1a9c-432e-b67b-a9cb62867879 |
| 1 | author: Brad Pitt | |
| 2 | content: I've got a few men I respect very much and one would be Frank Gehry. He said | |
| 3 | to me, 'If you know where it's going, it's not worth doing.' That's become like | |
| 4 | a mantra for me. That's the life of the artist. | |
| 5 | id: 5fced641-1a9c-432e-b67b-a9cb62867879 |
| 1 | author: Rainer Maria Rilke | |
| 2 | content: Perhaps all the dragons in our lives are princesses who are only waiting | |
| 3 | to see us act, just once, with beauty and courage. Perhaps everything that frightens | |
| 4 | us is, in its deepest essence, something helpless that wants our love. | |
| 5 | id: 6003fa0a-2fee-4e79-9c6c-9058fc2d182f |
+0
-5
| 1 | author: Rainer Maria Rilke | |
| 2 | content: Perhaps all the dragons in our lives are princesses who are only waiting | |
| 3 | to see us act, just once, with beauty and courage. Perhaps everything that frightens | |
| 4 | us is, in its deepest essence, something helpless that wants our love. | |
| 5 | id: 6003fa0a-2fee-4e79-9c6c-9058fc2d182f |
| 1 | author: Prince | |
| 2 | content: The internet's completely over. ...all these computers and digital gadgets | |
| 3 | are no good. They just fill your head with numbers and that can't be good for you. | |
| 4 | id: 60aa5b47-3dc2-411d-8865-aeab2528df6e |
+0
-4
| 1 | author: Prince | |
| 2 | content: The internet's completely over. ...all these computers and digital gadgets | |
| 3 | are no good. They just fill your head with numbers and that can't be good for you. | |
| 4 | id: 60aa5b47-3dc2-411d-8865-aeab2528df6e |
| 1 | author: Edwin Way Teale, quoted by Carl Sagan | |
| 2 | content: It is morally as bad not to care whether a thing is true or not, so long | |
| 3 | as it makes you feel good, as it is not to care how you got your money, so long | |
| 4 | as you have got it. | |
| 5 | id: 60b95515-5bdf-49f3-a060-1a4699ae329e |
+0
-5
| 1 | author: Edwin Way Teale, quoted by Carl Sagan | |
| 2 | content: It is morally as bad not to care whether a thing is true or not, so long | |
| 3 | as it makes you feel good, as it is not to care how you got your money, so long | |
| 4 | as you have got it. | |
| 5 | id: 60b95515-5bdf-49f3-a060-1a4699ae329e |
| 1 | author: Alejandro Jodorowsky | |
| 2 | content: "I do not want that the man conquers space \nIn the ships of NASA \nThese\ | |
| 3 | \ concentration camps of the spirit \nThese gigantic freezers vomiting the imperialism\ | |
| 4 | \ \nThese slaughters of plundering and plunder \nThis arrogance of bronze and\ | |
| 5 | \ thirst \nThis eunuchoid science \nNot the dribble of transistorised and riveted\ | |
| 6 | \ hulks \nThe divine one \nThe delirious one \nThe superb one \nCHAOS \nUNIVERSAL\ | |
| 7 | \ \nI want magical entities, vibrating vehicles \nTo prolong to be to it abyss\ | |
| 8 | \ \nLike fish of a timeless ocean. I want \nJewels, mechanics as perfect as the\ | |
| 9 | \ heart \nWomb-ships anterooms \nRebirth into other dimensions \nI want whore-ships\ | |
| 10 | \ driven \nBy the sperm of passionate ejaculations \nIn an engine of flesh \n\ | |
| 11 | I want rockets complex and secret, \nHumming-bird ornithopters, \nSipping the\ | |
| 12 | \ thousand-year-old nectar of dwarf stars...\n" | |
| 13 | id: 60c512b8-e076-44f9-b945-8cb754e39d2c |
+0
-13
| 1 | author: Alejandro Jodorowsky | |
| 2 | content: "I do not want that the man conquers space \nIn the ships of NASA \nThese\ | |
| 3 | \ concentration camps of the spirit \nThese gigantic freezers vomiting the imperialism\ | |
| 4 | \ \nThese slaughters of plundering and plunder \nThis arrogance of bronze and\ | |
| 5 | \ thirst \nThis eunuchoid science \nNot the dribble of transistorised and riveted\ | |
| 6 | \ hulks \nThe divine one \nThe delirious one \nThe superb one \nCHAOS \nUNIVERSAL\ | |
| 7 | \ \nI want magical entities, vibrating vehicles \nTo prolong to be to it abyss\ | |
| 8 | \ \nLike fish of a timeless ocean. I want \nJewels, mechanics as perfect as the\ | |
| 9 | \ heart \nWomb-ships anterooms \nRebirth into other dimensions \nI want whore-ships\ | |
| 10 | \ driven \nBy the sperm of passionate ejaculations \nIn an engine of flesh \n\ | |
| 11 | I want rockets complex and secret, \nHumming-bird ornithopters, \nSipping the\ | |
| 12 | \ thousand-year-old nectar of dwarf stars...\n" | |
| 13 | id: 60c512b8-e076-44f9-b945-8cb754e39d2c |
| 1 | author: Casey McCann | |
| 2 | content: Java seems to have been designed to strike a careful balance between making | |
| 3 | the type system as obstructive as possible while minimizing any actual guarantees | |
| 4 | of correctness. | |
| 5 | id: 60d71e02-a8ac-4ff3-884b-e52b92038162 |
+0
-5
| 1 | author: Casey McCann | |
| 2 | content: Java seems to have been designed to strike a careful balance between making | |
| 3 | the type system as obstructive as possible while minimizing any actual guarantees | |
| 4 | of correctness. | |
| 5 | id: 60d71e02-a8ac-4ff3-884b-e52b92038162 |
| 1 | author: "Werner Herzog\r\n" | |
| 2 | content: I am so used to plunging into the unknown that any other surroundings and | |
| 3 | form of existence strike me as exotic and unsuitable for human beings. | |
| 4 | id: 61d0735d-d228-435c-a0ca-92ebe7f9bd57 |
+0
-4
| 1 | author: "Werner Herzog\r\n" | |
| 2 | content: I am so used to plunging into the unknown that any other surroundings and | |
| 3 | form of existence strike me as exotic and unsuitable for human beings. | |
| 4 | id: 61d0735d-d228-435c-a0ca-92ebe7f9bd57 |
| 1 | author: Friederich Nietzsche | |
| 2 | content: There is not sufficient love and goodness in the world to permit us to give | |
| 3 | some of it away to imaginary beings. | |
| 4 | id: 621b2230-6fd0-49f6-a5ff-cd57bc4fc909 |
+0
-4
| 1 | author: Friederich Nietzsche | |
| 2 | content: There is not sufficient love and goodness in the world to permit us to give | |
| 3 | some of it away to imaginary beings. | |
| 4 | id: 621b2230-6fd0-49f6-a5ff-cd57bc4fc909 |
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: The only emotion which doesn't decieve is anxiety. All other emotions are | |
| 3 | fake. | |
| 4 | id: 62950ff2-c46b-407d-8b09-ab9bf030e150 |
+0
-4
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: The only emotion which doesn't decieve is anxiety. All other emotions are | |
| 3 | fake. | |
| 4 | id: 62950ff2-c46b-407d-8b09-ab9bf030e150 |
| 1 | author: Hunter S. Thompson | |
| 2 | content: "That is the problem with this rich and anguished generation. Somewhere a\ | |
| 3 | \ long time ago they fell in love with the idea that politicians\u2014even the slickest\ | |
| 4 | \ and brightest presidential candidates\u2014were real heroes and truly exciting\ | |
| 5 | \ people. That is wrong on its face. They are mainly dull people with corrupt instincts\ | |
| 6 | \ and criminal children." | |
| 7 | id: 62fe26de-89b9-4d9e-9107-2a838bc13cf3 |
+0
-7
| 1 | author: Hunter S. Thompson | |
| 2 | content: "That is the problem with this rich and anguished generation. Somewhere a\ | |
| 3 | \ long time ago they fell in love with the idea that politicians\u2014even the slickest\ | |
| 4 | \ and brightest presidential candidates\u2014were real heroes and truly exciting\ | |
| 5 | \ people. That is wrong on its face. They are mainly dull people with corrupt instincts\ | |
| 6 | \ and criminal children." | |
| 7 | id: 62fe26de-89b9-4d9e-9107-2a838bc13cf3 |
| 1 | author: Spider, from Neil Gaiman's Anansi Boys | |
| 2 | content: Things. They came up. That's what things do. They come up. I can't be expected | |
| 3 | to keep track of them all. | |
| 4 | id: 63767a22-fdc7-41b2-bdc1-65fad2807cc1 |
+0
-4
| 1 | author: Spider, from Neil Gaiman's Anansi Boys | |
| 2 | content: Things. They came up. That's what things do. They come up. I can't be expected | |
| 3 | to keep track of them all. | |
| 4 | id: 63767a22-fdc7-41b2-bdc1-65fad2807cc1 |
| 1 | author: Mark Dominus | |
| 2 | content: 'A functor F takes each type T and maps it to a new type FT. A burrito is | |
| 3 | like a functor: it takes a type, like meat or beans, and turns it into a new type, | |
| 4 | like beef burrito or bean burrito.' | |
| 5 | id: 63b66560-8b8a-4502-9197-25f0f18f65fd |
+0
-5
| 1 | author: Mark Dominus | |
| 2 | content: 'A functor F takes each type T and maps it to a new type FT. A burrito is | |
| 3 | like a functor: it takes a type, like meat or beans, and turns it into a new type, | |
| 4 | like beef burrito or bean burrito.' | |
| 5 | id: 63b66560-8b8a-4502-9197-25f0f18f65fd |
| 1 | author: Neil Gaiman's Anansi Boys | |
| 2 | content: '"You''re no help," he told the lime. This was unfair. It was only a lime; | |
| 3 | there was nothing special about it at all. It was doing the best it could.' | |
| 4 | id: 63ccd35e-efa1-4964-9c55-a3b33e6900e6 |
+0
-4
| 1 | author: Neil Gaiman's Anansi Boys | |
| 2 | content: '"You''re no help," he told the lime. This was unfair. It was only a lime; | |
| 3 | there was nothing special about it at all. It was doing the best it could.' | |
| 4 | id: 63ccd35e-efa1-4964-9c55-a3b33e6900e6 |
| 1 | author: R.A. Lafferty | |
| 2 | content: 'Things are set up as contraries that are not even in the same category. | |
| 3 | Listen to me: the opposite of radical is superficial; the opposite of liberal is | |
| 4 | stingy; the opposite of conservative is destructive. Thus I will describe myself | |
| 5 | as a radical conservative liberal; but certain of the tainted red fish will swear | |
| 6 | that there can be no such fish as that. Beware of those who use words to mean their | |
| 7 | opposites. At the same time have pity on them, for usually this trick is their only | |
| 8 | stock in trade.' | |
| 9 | id: 63df4b56-4755-4607-a172-bb83fc57c751 |
+0
-9
| 1 | author: R.A. Lafferty | |
| 2 | content: 'Things are set up as contraries that are not even in the same category. | |
| 3 | Listen to me: the opposite of radical is superficial; the opposite of liberal is | |
| 4 | stingy; the opposite of conservative is destructive. Thus I will describe myself | |
| 5 | as a radical conservative liberal; but certain of the tainted red fish will swear | |
| 6 | that there can be no such fish as that. Beware of those who use words to mean their | |
| 7 | opposites. At the same time have pity on them, for usually this trick is their only | |
| 8 | stock in trade.' | |
| 9 | id: 63df4b56-4755-4607-a172-bb83fc57c751 |
| 1 | author: Richard Feynman | |
| 2 | content: "You can know the name of a bird in all the languages of the world, but when\ | |
| 3 | \ you're finished, you'll know absolutely nothing whatever about the bird... So\ | |
| 4 | \ let's look at the bird and see what it's doing \u2014 that's what counts. I learned\ | |
| 5 | \ very early the difference between knowing the name of something and knowing something." | |
| 6 | id: 63e4cd25-7850-44c9-a751-d560f04d4e03 |
+0
-6
| 1 | author: Richard Feynman | |
| 2 | content: "You can know the name of a bird in all the languages of the world, but when\ | |
| 3 | \ you're finished, you'll know absolutely nothing whatever about the bird... So\ | |
| 4 | \ let's look at the bird and see what it's doing \u2014 that's what counts. I learned\ | |
| 5 | \ very early the difference between knowing the name of something and knowing something." | |
| 6 | id: 63e4cd25-7850-44c9-a751-d560f04d4e03 |
| 1 | author: Patricia Lockwood | |
| 2 | content: "I see no reason to make a distinction, because I\u2019m not some sort of\ | |
| 3 | \ taxonomy psycho. Honestly, when I think of the question \"what is poetry\" I picture\ | |
| 4 | \ Linnaeus and David Lehman absolutely making out, hands up each other\u2019s shirts,\ | |
| 5 | \ while everyone who participates in modern American poetry watches." | |
| 6 | id: 63e9c9e5-8a1e-45c4-8a25-cdc3200b7f0f |
+0
-6
| 1 | author: Patricia Lockwood | |
| 2 | content: "I see no reason to make a distinction, because I\u2019m not some sort of\ | |
| 3 | \ taxonomy psycho. Honestly, when I think of the question \"what is poetry\" I picture\ | |
| 4 | \ Linnaeus and David Lehman absolutely making out, hands up each other\u2019s shirts,\ | |
| 5 | \ while everyone who participates in modern American poetry watches." | |
| 6 | id: 63e9c9e5-8a1e-45c4-8a25-cdc3200b7f0f |
| 1 | author: 'Rev. Ivan Stang | |
| 2 | ||
| 3 | High Weirdness By Mail' | |
| 4 | content: If you sincerely desire a truly well-rounded education, you must study the | |
| 5 | extremists, the obscure and "nutty". You need the balance! Your poor brain is already | |
| 6 | being impregnated with middle-of-the-road crap, twenty-four hours a day, no matter | |
| 7 | what. Network TV, newspapers, radio, magazines at the supermarket... even if you | |
| 8 | never watch, read, listen, or leave your house, even if you are deaf and blind, | |
| 9 | the telepathic pressure alone of the uncountable normals surrounding you will insure | |
| 10 | that you are automatically well-grounded in consensus reality. | |
| 11 | id: 640efdf1-1759-410f-8725-01fcb2c1716a |
+0
-11
| 1 | author: 'Rev. Ivan Stang | |
| 2 | ||
| 3 | High Weirdness By Mail' | |
| 4 | content: If you sincerely desire a truly well-rounded education, you must study the | |
| 5 | extremists, the obscure and "nutty". You need the balance! Your poor brain is already | |
| 6 | being impregnated with middle-of-the-road crap, twenty-four hours a day, no matter | |
| 7 | what. Network TV, newspapers, radio, magazines at the supermarket... even if you | |
| 8 | never watch, read, listen, or leave your house, even if you are deaf and blind, | |
| 9 | the telepathic pressure alone of the uncountable normals surrounding you will insure | |
| 10 | that you are automatically well-grounded in consensus reality. | |
| 11 | id: 640efdf1-1759-410f-8725-01fcb2c1716a |
| 1 | author: George Bernard Shaw | |
| 2 | content: '... that power of accurate observation which is commonly called cynicism | |
| 3 | by those who have not got it.' | |
| 4 | id: 64bbc3df-712e-4cf0-9d43-47444faf8702 |
+0
-4
| 1 | author: George Bernard Shaw | |
| 2 | content: '... that power of accurate observation which is commonly called cynicism | |
| 3 | by those who have not got it.' | |
| 4 | id: 64bbc3df-712e-4cf0-9d43-47444faf8702 |
| 1 | author: Tom Stoppard | |
| 2 | content: We're more of the love, blood and rhetoric school. Well, we can do you blood | |
| 3 | and love without the rhetoric, and we can do you blood and rhetoric without the | |
| 4 | love, and we can do you all three concurrent or consecutive. But we can't give you | |
| 5 | love and rhetoric without the blood. Blood is compulsory. They're all blood, you | |
| 6 | see. | |
| 7 | id: 64fcdd58-f679-4faf-95d1-bbddaed719c0 |
+0
-7
| 1 | author: Tom Stoppard | |
| 2 | content: We're more of the love, blood and rhetoric school. Well, we can do you blood | |
| 3 | and love without the rhetoric, and we can do you blood and rhetoric without the | |
| 4 | love, and we can do you all three concurrent or consecutive. But we can't give you | |
| 5 | love and rhetoric without the blood. Blood is compulsory. They're all blood, you | |
| 6 | see. | |
| 7 | id: 64fcdd58-f679-4faf-95d1-bbddaed719c0 |
| 1 | author: Thomas Pynchon | |
| 2 | content: The object of life is to make sure you die a weird death. To make sure that, | |
| 3 | however it finds you, it finds you under very weird circumstances. | |
| 4 | id: 6549ccf8-d820-4475-853d-dfdec9839753 |
+0
-4
| 1 | author: Thomas Pynchon | |
| 2 | content: The object of life is to make sure you die a weird death. To make sure that, | |
| 3 | however it finds you, it finds you under very weird circumstances. | |
| 4 | id: 6549ccf8-d820-4475-853d-dfdec9839753 |
| 1 | author: Jean Louis Agassiz | |
| 2 | content: I cannot afford to waste my time making money. | |
| 3 | id: 663c0b70-c89a-4117-b3d4-5bc48ca75886 |
+0
-3
| 1 | author: Jean Louis Agassiz | |
| 2 | content: I cannot afford to waste my time making money. | |
| 3 | id: 663c0b70-c89a-4117-b3d4-5bc48ca75886 |
| 1 | author: Charles Darwin | |
| 2 | content: But I am very poorly today and very stupid and hate everybody and everything. | |
| 3 | id: 6800ad75-8907-4c1e-a0b9-ccd23f76b2c4 |
+0
-3
| 1 | author: Charles Darwin | |
| 2 | content: But I am very poorly today and very stupid and hate everybody and everything. | |
| 3 | id: 6800ad75-8907-4c1e-a0b9-ccd23f76b2c4 |
| 1 | author: Hayao Miyazaki | |
| 2 | content: "The concept of portraying evil and then destroying it\u2014I know this is\ | |
| 3 | \ considered mainstream, but I think it is rotten. This idea that whenever something\ | |
| 4 | \ evil happens someone particular can be blamed and punished for it, in life and\ | |
| 5 | \ in politics is hopeless." | |
| 6 | id: 68396614-ef44-42c7-adbe-f51444a959c3 |
+0
-6
| 1 | author: Hayao Miyazaki | |
| 2 | content: "The concept of portraying evil and then destroying it\u2014I know this is\ | |
| 3 | \ considered mainstream, but I think it is rotten. This idea that whenever something\ | |
| 4 | \ evil happens someone particular can be blamed and punished for it, in life and\ | |
| 5 | \ in politics is hopeless." | |
| 6 | id: 68396614-ef44-42c7-adbe-f51444a959c3 |
| 1 | author: Adam Carr | |
| 2 | content: I am never gratuitously rude. My rudeness is carefully calibrated to the | |
| 3 | stupidity and obtuseness of the people I am dealing with. | |
| 4 | id: 68bdf91e-f195-4390-a9aa-699cc436df55 |
+0
-4
| 1 | author: Adam Carr | |
| 2 | content: I am never gratuitously rude. My rudeness is carefully calibrated to the | |
| 3 | stupidity and obtuseness of the people I am dealing with. | |
| 4 | id: 68bdf91e-f195-4390-a9aa-699cc436df55 |
| 1 | author: Vincent van Gogh | |
| 2 | content: "That God of the clergymen, He is for me as dead as a doornail. But am I\ | |
| 3 | \ an atheist for all that? The clergymen consider me as such\u2014be it so; but\ | |
| 4 | \ I love, and how could I feel love if I did not live, and if others did not live,\ | |
| 5 | \ and then, if we live, there is something mysterious in that. Now call that God,\ | |
| 6 | \ or human nature or whatever you like, but there is something which I cannot define\ | |
| 7 | \ systematically, though it is very much alive and very real, and see, that is God,\ | |
| 8 | \ or as good as God. To believe in God for me is to feel that there is a God, not\ | |
| 9 | \ a dead one, or a stuffed one, but a living one, who with irresistible force urges\ | |
| 10 | \ us toward aimer encore; that is my opinion." | |
| 11 | id: 68d478b6-f379-4e7e-8cfa-7e3e8cbb619f |
+0
-11
| 1 | author: Vincent van Gogh | |
| 2 | content: "That God of the clergymen, He is for me as dead as a doornail. But am I\ | |
| 3 | \ an atheist for all that? The clergymen consider me as such\u2014be it so; but\ | |
| 4 | \ I love, and how could I feel love if I did not live, and if others did not live,\ | |
| 5 | \ and then, if we live, there is something mysterious in that. Now call that God,\ | |
| 6 | \ or human nature or whatever you like, but there is something which I cannot define\ | |
| 7 | \ systematically, though it is very much alive and very real, and see, that is God,\ | |
| 8 | \ or as good as God. To believe in God for me is to feel that there is a God, not\ | |
| 9 | \ a dead one, or a stuffed one, but a living one, who with irresistible force urges\ | |
| 10 | \ us toward aimer encore; that is my opinion." | |
| 11 | id: 68d478b6-f379-4e7e-8cfa-7e3e8cbb619f |
| 1 | author: Shanley Kane | |
| 2 | content: 'The technology industry sees itself as in rebellion against corporate America: | |
| 3 | not corrupt, not buttoned-up, not empty. In fact, a tech company can be as corrupt, | |
| 4 | soulless, and empty as any corporation, but being unprofessional helps us maintain | |
| 5 | the belief that we are somehow different from Wall Street.' | |
| 6 | id: 68f0657d-b1da-438b-beda-3dcb91c9b696 |
+0
-6
| 1 | author: Shanley Kane | |
| 2 | content: 'The technology industry sees itself as in rebellion against corporate America: | |
| 3 | not corrupt, not buttoned-up, not empty. In fact, a tech company can be as corrupt, | |
| 4 | soulless, and empty as any corporation, but being unprofessional helps us maintain | |
| 5 | the belief that we are somehow different from Wall Street.' | |
| 6 | id: 68f0657d-b1da-438b-beda-3dcb91c9b696 |
| 1 | author: Baldrick, Blackadder | |
| 2 | content: I can't see the point in the theatre. All that sex and violence. I get enough | |
| 3 | of that at home. Apart from the sex, of course. | |
| 4 | id: 6910424e-e3ca-4863-874c-6bdc3de2b971 |
+0
-4
| 1 | author: Baldrick, Blackadder | |
| 2 | content: I can't see the point in the theatre. All that sex and violence. I get enough | |
| 3 | of that at home. Apart from the sex, of course. | |
| 4 | id: 6910424e-e3ca-4863-874c-6bdc3de2b971 |
| 1 | author: "China M\xEDeville" | |
| 2 | content: Part of the appeal of the fantastic is taking ridiculous ideas very seriously | |
| 3 | and pretending they're not absurd. | |
| 4 | id: 69497488-9b28-4078-8eec-3cd8ca1dece7 |
+0
-4
| 1 | author: "China M\xEDeville" | |
| 2 | content: Part of the appeal of the fantastic is taking ridiculous ideas very seriously | |
| 3 | and pretending they're not absurd. | |
| 4 | id: 69497488-9b28-4078-8eec-3cd8ca1dece7 |
| 1 | author: Italo Calvino | |
| 2 | content: Cities, like dreams, are made of desires and fears, even if the thread of | |
| 3 | their discourse is secret, their rules are absurd, their perspectives deceitful, | |
| 4 | and everything conceals something else. | |
| 5 | id: 695d043d-366f-4918-965b-7423bc1934f8 |
+0
-5
| 1 | author: Italo Calvino | |
| 2 | content: Cities, like dreams, are made of desires and fears, even if the thread of | |
| 3 | their discourse is secret, their rules are absurd, their perspectives deceitful, | |
| 4 | and everything conceals something else. | |
| 5 | id: 695d043d-366f-4918-965b-7423bc1934f8 |
| 1 | author: Phil Wadler | |
| 2 | content: 'The essence of XML is this: the problem it solves is not hard, and it does | |
| 3 | not solve the problem well.' | |
| 4 | id: 6961f263-9f6b-4835-91ef-1938e65fe196 |
+0
-4
| 1 | author: Phil Wadler | |
| 2 | content: 'The essence of XML is this: the problem it solves is not hard, and it does | |
| 3 | not solve the problem well.' | |
| 4 | id: 6961f263-9f6b-4835-91ef-1938e65fe196 |
| 1 | author: Yossi Kreinin | |
| 2 | content: A person who was exposed to machines and doesn't hate them is either an idiot | |
| 3 | or is completely devoid of soul! Step back, the child of Satan! | |
| 4 | id: 69a8ea42-8db5-48aa-bb7b-da0b5b38d45a |
+0
-4
| 1 | author: Yossi Kreinin | |
| 2 | content: A person who was exposed to machines and doesn't hate them is either an idiot | |
| 3 | or is completely devoid of soul! Step back, the child of Satan! | |
| 4 | id: 69a8ea42-8db5-48aa-bb7b-da0b5b38d45a |
| 1 | author: Jamie "jwz" Zawinski, xkeycaps source | |
| 2 | content: '`/* I''d just like to take this moment to point out that C has all the expressive | |
| 3 | power of two dixie cups and a string. */`' | |
| 4 | id: 6a4c2063-1aae-467f-abe8-f82c050f6abe |
+0
-4
| 1 | author: Jamie "jwz" Zawinski, xkeycaps source | |
| 2 | content: '`/* I''d just like to take this moment to point out that C has all the expressive | |
| 3 | power of two dixie cups and a string. */`' | |
| 4 | id: 6a4c2063-1aae-467f-abe8-f82c050f6abe |
| 1 | author: Ted Nelson | |
| 2 | content: "In 1974, computers were oppressive devices\r\nin far-off airconditioned\ | |
| 3 | \ places. Now you can be oppressed by computers in your own living room." | |
| 4 | id: 6b33aca0-c6a9-4af0-a572-48fd133880c8 |
+0
-4
| 1 | author: Ted Nelson | |
| 2 | content: "In 1974, computers were oppressive devices\r\nin far-off airconditioned\ | |
| 3 | \ places. Now you can be oppressed by computers in your own living room." | |
| 4 | id: 6b33aca0-c6a9-4af0-a572-48fd133880c8 |
| 1 | author: Thomas Pynchon | |
| 2 | content: If they can get you asking the wrong questions, they don't have to worry | |
| 3 | about answers. | |
| 4 | id: 6b59018c-563b-40d2-806a-46f5ed57bc7b |
+0
-4
| 1 | author: Thomas Pynchon | |
| 2 | content: If they can get you asking the wrong questions, they don't have to worry | |
| 3 | about answers. | |
| 4 | id: 6b59018c-563b-40d2-806a-46f5ed57bc7b |
| 1 | author: Alan Kay | |
| 2 | content: Java is the most distressing thing to happen to computing since MS-DOS. | |
| 3 | id: 6bf1cb6f-8727-4b64-88a1-7c08b8faa922 |
+0
-3
| 1 | author: Alan Kay | |
| 2 | content: Java is the most distressing thing to happen to computing since MS-DOS. | |
| 3 | id: 6bf1cb6f-8727-4b64-88a1-7c08b8faa922 |
| 1 | author: John le Carre | |
| 2 | content: 'Coming home from very lonely places, all of us go a little mad: whether | |
| 3 | from great personal success, or just an all-night drive, we are the sole survivors | |
| 4 | of a world no one else has ever seen.' | |
| 5 | id: 6c07f356-70aa-432b-97a1-0edfd0148944 |
+0
-5
| 1 | author: John le Carre | |
| 2 | content: 'Coming home from very lonely places, all of us go a little mad: whether | |
| 3 | from great personal success, or just an all-night drive, we are the sole survivors | |
| 4 | of a world no one else has ever seen.' | |
| 5 | id: 6c07f356-70aa-432b-97a1-0edfd0148944 |
| 1 | author: '"Ecclesiastes"' | |
| 2 | content: "The simulacrum is never that which conceals the truth\u2014it is the truth\ | |
| 3 | \ which conceals that there is none.\nThe simulacrum is true." | |
| 4 | id: 6c2d4bd6-95e1-4eff-bd92-bd125bc6a2fb |
+0
-4
| 1 | author: '"Ecclesiastes"' | |
| 2 | content: "The simulacrum is never that which conceals the truth\u2014it is the truth\ | |
| 3 | \ which conceals that there is none.\nThe simulacrum is true." | |
| 4 | id: 6c2d4bd6-95e1-4eff-bd92-bd125bc6a2fb |
| 1 | author: The poet Treherne in G.K. Chesterton's The Trees of Pride | |
| 2 | content: Show... when you next sit in judgement, a little mercy to some wretched man | |
| 3 | who drinks and robs because he must drink beer to taste it, and take it to drink | |
| 4 | it. Have compassion on the next batch of poor thieves, who have to hold things in | |
| 5 | order to have them. But if you ever find me [the poet] stealing one small farthing, | |
| 6 | when I can shut my eyes and see the city of El Dorado, then ... show me no mercy, | |
| 7 | for I shall deserve none. | |
| 8 | id: 6c7f27cc-a21d-450d-b819-cde50f3fa07e |
+0
-8
| 1 | author: The poet Treherne in G.K. Chesterton's The Trees of Pride | |
| 2 | content: Show... when you next sit in judgement, a little mercy to some wretched man | |
| 3 | who drinks and robs because he must drink beer to taste it, and take it to drink | |
| 4 | it. Have compassion on the next batch of poor thieves, who have to hold things in | |
| 5 | order to have them. But if you ever find me [the poet] stealing one small farthing, | |
| 6 | when I can shut my eyes and see the city of El Dorado, then ... show me no mercy, | |
| 7 | for I shall deserve none. | |
| 8 | id: 6c7f27cc-a21d-450d-b819-cde50f3fa07e |
| 1 | author: John Waters | |
| 2 | content: "When I was young there were beatniks. Hippies. Punks. Gangsters. Now you\u2019\ | |
| 3 | re a hacktivist. Which I would probably be if I was 20. Shuttin\u2019 down MasterCard.\ | |
| 4 | \ But there\u2019s no look to that lifestyle! Besides just wearing a bad outfit\ | |
| 5 | \ with bad posture. Has WikiLeaks caused a look? No! I\u2019m mad about that. If\ | |
| 6 | \ your kid comes out of the bedroom and says he just shut down the government, it\ | |
| 7 | \ seems to me he should at least have an outfit for that." | |
| 8 | id: 6dbcc0b9-90b3-438b-9a13-4ebf03bd6310 |
+0
-8
| 1 | author: John Waters | |
| 2 | content: "When I was young there were beatniks. Hippies. Punks. Gangsters. Now you\u2019\ | |
| 3 | re a hacktivist. Which I would probably be if I was 20. Shuttin\u2019 down MasterCard.\ | |
| 4 | \ But there\u2019s no look to that lifestyle! Besides just wearing a bad outfit\ | |
| 5 | \ with bad posture. Has WikiLeaks caused a look? No! I\u2019m mad about that. If\ | |
| 6 | \ your kid comes out of the bedroom and says he just shut down the government, it\ | |
| 7 | \ seems to me he should at least have an outfit for that." | |
| 8 | id: 6dbcc0b9-90b3-438b-9a13-4ebf03bd6310 |
| 1 | author: Humphrey Bogart | |
| 2 | content: I should never have switched from scotch to martinis. | |
| 3 | id: 6df5dbdc-7239-47f2-8050-8d09c434eb5a |
+0
-3
| 1 | author: Humphrey Bogart | |
| 2 | content: I should never have switched from scotch to martinis. | |
| 3 | id: 6df5dbdc-7239-47f2-8050-8d09c434eb5a |
| 1 | author: Spock, Star Trek | |
| 2 | content: After a time, you may find that having is not so pleasing a thing, after | |
| 3 | all, as wanting. It is not logical, but it is often true. | |
| 4 | id: 6e049cc4-3483-40ec-ba73-9dfcfc003296 |
+0
-4
| 1 | author: Spock, Star Trek | |
| 2 | content: After a time, you may find that having is not so pleasing a thing, after | |
| 3 | all, as wanting. It is not logical, but it is often true. | |
| 4 | id: 6e049cc4-3483-40ec-ba73-9dfcfc003296 |
| 1 | author: Greg Egan | |
| 2 | content: I'd tried caffeine a few times; it made me believe I was focused and energetic, | |
| 3 | but it turned my judgment to shit. Widespread use of caffeine explains a lot about | |
| 4 | the twentieth century. | |
| 5 | id: 6e56fd35-cb43-4f5a-affc-38347435bed8 |
+0
-5
| 1 | author: Greg Egan | |
| 2 | content: I'd tried caffeine a few times; it made me believe I was focused and energetic, | |
| 3 | but it turned my judgment to shit. Widespread use of caffeine explains a lot about | |
| 4 | the twentieth century. | |
| 5 | id: 6e56fd35-cb43-4f5a-affc-38347435bed8 |
| 1 | author: mjl | |
| 2 | content: I recommend the linux people to call it "GNU / Linux" instead of "GNU/Linux". | |
| 3 | never hurts to distance yourself from GNU. | |
| 4 | id: 6e8ad8f7-241c-4786-a837-49ae5ee29405 |
+0
-4
| 1 | author: mjl | |
| 2 | content: I recommend the linux people to call it "GNU / Linux" instead of "GNU/Linux". | |
| 3 | never hurts to distance yourself from GNU. | |
| 4 | id: 6e8ad8f7-241c-4786-a837-49ae5ee29405 |
| 1 | author: Roland Barthes | |
| 2 | content: The bastard form of mass culture is humiliated repetition... always new books, | |
| 3 | new programs, new films, new items, but always the same meaning. | |
| 4 | id: 6edc91cd-be74-4503-83d9-fe11f2555d0f |
+0
-4
| 1 | author: Roland Barthes | |
| 2 | content: The bastard form of mass culture is humiliated repetition... always new books, | |
| 3 | new programs, new films, new items, but always the same meaning. | |
| 4 | id: 6edc91cd-be74-4503-83d9-fe11f2555d0f |
| 1 | author: Neil Gaiman | |
| 2 | content: It's not hard to own something. Or everything. You just have to know that | |
| 3 | it's yours, and then be willing to let it go. | |
| 4 | id: 6f074f69-ce47-4e8e-849d-0733dfec5511 |
+0
-4
| 1 | author: Neil Gaiman | |
| 2 | content: It's not hard to own something. Or everything. You just have to know that | |
| 3 | it's yours, and then be willing to let it go. | |
| 4 | id: 6f074f69-ce47-4e8e-849d-0733dfec5511 |
| 1 | author: Philip Greenspun | |
| 2 | content: SQL, Lisp, and Haskell are the only programming languages that I've seen | |
| 3 | where one spends more time thinking than typing. | |
| 4 | id: 6f2de207-ef73-4a3d-9c3a-6b686bbbc5f4 |
+0
-4
| 1 | author: Philip Greenspun | |
| 2 | content: SQL, Lisp, and Haskell are the only programming languages that I've seen | |
| 3 | where one spends more time thinking than typing. | |
| 4 | id: 6f2de207-ef73-4a3d-9c3a-6b686bbbc5f4 |
| 1 | author: Aleksandr Solzhenitsyn | |
| 2 | content: If only there were evil people somewhere committing evil deeds, and it were | |
| 3 | necessary only to separate them from the rest of us and destroy them. But the line | |
| 4 | dividing good and evil cuts through the heart of every human being. And who is willing | |
| 5 | to destroy a piece of his own heart? | |
| 6 | id: 6f3a5cb9-f355-44cd-88d1-458f8f0a4810 |
+0
-6
| 1 | author: Aleksandr Solzhenitsyn | |
| 2 | content: If only there were evil people somewhere committing evil deeds, and it were | |
| 3 | necessary only to separate them from the rest of us and destroy them. But the line | |
| 4 | dividing good and evil cuts through the heart of every human being. And who is willing | |
| 5 | to destroy a piece of his own heart? | |
| 6 | id: 6f3a5cb9-f355-44cd-88d1-458f8f0a4810 |
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: 'I am not human. I am a monster, I claim. It''s not that I have a mask of | |
| 3 | a theoretician, and beneath I am a more human person: I like chocolate cake, I like | |
| 4 | this, I like that, and so on, which makes me human. I rather prefer myself as somebody | |
| 5 | who, not to offend others, pretends, plays that he is human.' | |
| 6 | id: 705fa4e5-a226-486f-8285-73ca4badcc9f |
+0
-6
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: 'I am not human. I am a monster, I claim. It''s not that I have a mask of | |
| 3 | a theoretician, and beneath I am a more human person: I like chocolate cake, I like | |
| 4 | this, I like that, and so on, which makes me human. I rather prefer myself as somebody | |
| 5 | who, not to offend others, pretends, plays that he is human.' | |
| 6 | id: 705fa4e5-a226-486f-8285-73ca4badcc9f |
| 1 | author: Jorge Luis Borges | |
| 2 | content: Not a single star will be left in the night. The night will not be left. | |
| 3 | I will die and, with me, the weight of the intolerable universe. I shall erase the | |
| 4 | pyramids, the medallions, the continents and faces. I shall erase the accumulated | |
| 5 | past. I shall make dust of history, dust of dust. Now I am looking on the final | |
| 6 | sunset. I am hearing the last bird. I bequeath nothingness to no one. | |
| 7 | id: 71ce3656-2d21-4f49-ac84-da01d24b9b08 |
+0
-7
| 1 | author: Jorge Luis Borges | |
| 2 | content: Not a single star will be left in the night. The night will not be left. | |
| 3 | I will die and, with me, the weight of the intolerable universe. I shall erase the | |
| 4 | pyramids, the medallions, the continents and faces. I shall erase the accumulated | |
| 5 | past. I shall make dust of history, dust of dust. Now I am looking on the final | |
| 6 | sunset. I am hearing the last bird. I bequeath nothingness to no one. | |
| 7 | id: 71ce3656-2d21-4f49-ac84-da01d24b9b08 |
| 1 | author: anonymous | |
| 2 | content: 'Happiness is given way too much importance these days. Why not go for greatness? | |
| 3 | ||
| 4 | ||
| 5 | Chimps are happy. I will not settle for that.' | |
| 6 | id: 724d9fe6-998d-4305-8ac2-f16c24bea5cb |
+0
-6
| 1 | author: anonymous | |
| 2 | content: 'Happiness is given way too much importance these days. Why not go for greatness? | |
| 3 | ||
| 4 | ||
| 5 | Chimps are happy. I will not settle for that.' | |
| 6 | id: 724d9fe6-998d-4305-8ac2-f16c24bea5cb |
| 1 | author: George Orwell | |
| 2 | content: The nationalist not only does not disapprove of atrocities committed by his | |
| 3 | own side, but he has a remarkable capacity for not even hearing about them. | |
| 4 | id: 72685287-6673-4d99-9371-236b848d1105 |
+0
-4
| 1 | author: George Orwell | |
| 2 | content: The nationalist not only does not disapprove of atrocities committed by his | |
| 3 | own side, but he has a remarkable capacity for not even hearing about them. | |
| 4 | id: 72685287-6673-4d99-9371-236b848d1105 |
| 1 | author: William S. Burroughs | |
| 2 | content: There is no line between the 'real world' and 'world of myth and symbol.' | |
| 3 | Objects, sensations, hit with the impact of hallucination. | |
| 4 | id: 72760fc2-ff6f-4103-8f61-b7aa3c0c2023 |
+0
-4
| 1 | author: William S. Burroughs | |
| 2 | content: There is no line between the 'real world' and 'world of myth and symbol.' | |
| 3 | Objects, sensations, hit with the impact of hallucination. | |
| 4 | id: 72760fc2-ff6f-4103-8f61-b7aa3c0c2023 |
| 1 | author: Grant Morrison | |
| 2 | content: Otherwise, I know I'm often wasting my breath and electronic ink saying this, | |
| 3 | but the "real-world" is a pretty weird place where lots of inexplicable things happen | |
| 4 | all the time, and I like to catch the flavor of that too. It just seems more modern | |
| 5 | and authentic to me as a storyteller. The "real world" doesn't come with the neat | |
| 6 | thee-act structures and resolutions we love to impose on it, and if repeated doses | |
| 7 | of movie and TV-storytelling have convinced anyone that it does, it's time to get | |
| 8 | out and about a bit. The real world is filled with ghost stories, non sequiturs, | |
| 9 | inexplicable mysteries, dead ends and absurdities, and I think it's cool to season | |
| 10 | our comfortable fictions with at least a little taste of what actual reality is | |
| 11 | like. | |
| 12 | id: 72efe536-fd33-4c33-a9a3-5b2b2af1961b |
+0
-12
| 1 | author: Grant Morrison | |
| 2 | content: Otherwise, I know I'm often wasting my breath and electronic ink saying this, | |
| 3 | but the "real-world" is a pretty weird place where lots of inexplicable things happen | |
| 4 | all the time, and I like to catch the flavor of that too. It just seems more modern | |
| 5 | and authentic to me as a storyteller. The "real world" doesn't come with the neat | |
| 6 | thee-act structures and resolutions we love to impose on it, and if repeated doses | |
| 7 | of movie and TV-storytelling have convinced anyone that it does, it's time to get | |
| 8 | out and about a bit. The real world is filled with ghost stories, non sequiturs, | |
| 9 | inexplicable mysteries, dead ends and absurdities, and I think it's cool to season | |
| 10 | our comfortable fictions with at least a little taste of what actual reality is | |
| 11 | like. | |
| 12 | id: 72efe536-fd33-4c33-a9a3-5b2b2af1961b |
| 1 | author: Mark Twain | |
| 2 | content: I am the only man living who understands human nature; God has put me in | |
| 3 | charge of this branch office; when I retire there will be no-one to take my place. | |
| 4 | I shall keep on doing my duty, for when I get over on the other side, I shall use | |
| 5 | my influence to have the human race drowned again, and this time drowned good. No | |
| 6 | omissions. No Ark. | |
| 7 | id: 73854cfa-4296-4666-8751-53f929278fb0 |
| 1 | author: Mark Twain | |
| 2 | content: I am the only man living who understands human nature; God has put me in | |
| 3 | charge of this branch office; when I retire there will be no-one to take my place. | |
| 4 | I shall keep on doing my duty, for when I get over on the other side, I shall use | |
| 5 | my influence to have the human race drowned again, and this time drowned good. No | |
| 6 | omissions. No Ark. | |
| 7 | id: 73854cfa-4296-4666-8751-53f929278fb0 |
| 1 | author: Ursula K. Le Guin | |
| 2 | content: Fantasy is true, of course. It isn't factual, but it is true. Children know | |
| 3 | that. Adults know it too, and that is precisely why many of them are afraid of fantasy. | |
| 4 | They know that its truth challenges, even threatens, all that is false, all that | |
| 5 | is phony, unnecessary, and trivial... They are afraid of dragons, because they are | |
| 6 | afraid of freedom. | |
| 7 | id: 738e0a9b-3fc3-425c-a75b-e5ae54ded723 |
+0
-7
| 1 | author: Ursula K. Le Guin | |
| 2 | content: Fantasy is true, of course. It isn't factual, but it is true. Children know | |
| 3 | that. Adults know it too, and that is precisely why many of them are afraid of fantasy. | |
| 4 | They know that its truth challenges, even threatens, all that is false, all that | |
| 5 | is phony, unnecessary, and trivial... They are afraid of dragons, because they are | |
| 6 | afraid of freedom. | |
| 7 | id: 738e0a9b-3fc3-425c-a75b-e5ae54ded723 |
| 1 | author: Michel Foucault | |
| 2 | content: I don't feel that it is necessary to know exactly what I am. The main interest | |
| 3 | in life and work is to become someone else that you were not in the beginning. | |
| 4 | id: 73ea31dc-a987-4a8b-9387-92125d0ac2d3 |
+0
-4
| 1 | author: Michel Foucault | |
| 2 | content: I don't feel that it is necessary to know exactly what I am. The main interest | |
| 3 | in life and work is to become someone else that you were not in the beginning. | |
| 4 | id: 73ea31dc-a987-4a8b-9387-92125d0ac2d3 |
| 1 | author: why the lucky stiff | |
| 2 | content: the other perfect thing would be if the Internet could be hand written. If | |
| 3 | I ever get a time machine, I'm going to go back and smash the Gutenberg press so | |
| 4 | that when the Internet arrives, it'll be transcribed by monks the way GOD INTENDED. | |
| 5 | id: 74d305d7-2eb9-43aa-97d6-37a5ca944552 |
+0
-5
| 1 | author: why the lucky stiff | |
| 2 | content: the other perfect thing would be if the Internet could be hand written. If | |
| 3 | I ever get a time machine, I'm going to go back and smash the Gutenberg press so | |
| 4 | that when the Internet arrives, it'll be transcribed by monks the way GOD INTENDED. | |
| 5 | id: 74d305d7-2eb9-43aa-97d6-37a5ca944552 |
| 1 | author: R. D. Laing | |
| 2 | content: I am very interested in words, and what we have words for and what we haven't | |
| 3 | got words for. For instance, the word "paranoia." It always seems very strange to | |
| 4 | me that we have this word which means, in effect, that someone feels that he is | |
| 5 | being persecuted when the people who are persecuting him don't think that he is. | |
| 6 | But we haven't got a word for the condition in which you are persecuting someone | |
| 7 | without realizing it, which I would have thought is as serious a condition as the | |
| 8 | other, and certainly no less common. | |
| 9 | id: 751cf1ee-15f6-464b-a732-168c339b852c |
+0
-9
| 1 | author: R. D. Laing | |
| 2 | content: I am very interested in words, and what we have words for and what we haven't | |
| 3 | got words for. For instance, the word "paranoia." It always seems very strange to | |
| 4 | me that we have this word which means, in effect, that someone feels that he is | |
| 5 | being persecuted when the people who are persecuting him don't think that he is. | |
| 6 | But we haven't got a word for the condition in which you are persecuting someone | |
| 7 | without realizing it, which I would have thought is as serious a condition as the | |
| 8 | other, and certainly no less common. | |
| 9 | id: 751cf1ee-15f6-464b-a732-168c339b852c |
| 1 | author: Jorge Luis Borges | |
| 2 | content: '...mirrors and copulation are abominable, since they both multiply the numbers | |
| 3 | of man.' | |
| 4 | id: 759ad26c-713e-4fcd-83cb-5299c9ace2cc |
+0
-4
| 1 | author: Jorge Luis Borges | |
| 2 | content: '...mirrors and copulation are abominable, since they both multiply the numbers | |
| 3 | of man.' | |
| 4 | id: 759ad26c-713e-4fcd-83cb-5299c9ace2cc |
| 1 | author: John von Neumann | |
| 2 | content: In mathematics you don't understand things. You just get used to them. | |
| 3 | id: 75c3c833-ec67-42c8-b9c8-3c53abde9059 |
+0
-3
| 1 | author: John von Neumann | |
| 2 | content: In mathematics you don't understand things. You just get used to them. | |
| 3 | id: 75c3c833-ec67-42c8-b9c8-3c53abde9059 |
| 1 | author: Neal Stephenson | |
| 2 | content: I've lost two girlfriends and a job by reading an ingredients label out loud, | |
| 3 | with annotations, at the wrong time. | |
| 4 | id: 75d2570a-c8a8-4e3c-b73a-e283fc6a990c |
+0
-4
| 1 | author: Neal Stephenson | |
| 2 | content: I've lost two girlfriends and a job by reading an ingredients label out loud, | |
| 3 | with annotations, at the wrong time. | |
| 4 | id: 75d2570a-c8a8-4e3c-b73a-e283fc6a990c |
| 1 | author: Jameson (1981) | |
| 2 | content: '...the data of one narrative line are radically impoverished by their rewriting | |
| 3 | according to the paradigm of another narrative, which is taken as the former''s | |
| 4 | masture code or ur-narrative and proposed as the ultimate hidden or unconscious | |
| 5 | meaning of the first one.' | |
| 6 | id: 75e17812-7c6b-4f77-93b1-a4832e6f4462 |
+0
-6
| 1 | author: Jameson (1981) | |
| 2 | content: '...the data of one narrative line are radically impoverished by their rewriting | |
| 3 | according to the paradigm of another narrative, which is taken as the former''s | |
| 4 | masture code or ur-narrative and proposed as the ultimate hidden or unconscious | |
| 5 | meaning of the first one.' | |
| 6 | id: 75e17812-7c6b-4f77-93b1-a4832e6f4462 |
| 1 | author: 'Warren Ellis | |
| 2 | ||
| 3 | ' | |
| 4 | content: "Dance like you\u2019re stamping on a human face forever, love like you\u2019\ | |
| 5 | ve been in a serious car crash that minced the front of your brain, stab like no\ | |
| 6 | \ one can arrest you, and live like there\u2019s no such thing as God.\n" | |
| 7 | id: 7635262e-4247-4111-8294-c362ad974923 |
+0
-7
| 1 | author: 'Warren Ellis | |
| 2 | ||
| 3 | ' | |
| 4 | content: "Dance like you\u2019re stamping on a human face forever, love like you\u2019\ | |
| 5 | ve been in a serious car crash that minced the front of your brain, stab like no\ | |
| 6 | \ one can arrest you, and live like there\u2019s no such thing as God.\n" | |
| 7 | id: 7635262e-4247-4111-8294-c362ad974923 |
| 1 | author: Andrew Plotkin | |
| 2 | content: When you have eliminated the impossible, whatever remains, however improbable, | |
| 3 | must have been caused by an incompetent grad student. | |
| 4 | id: 763f8745-a7a5-4408-977e-4c60fbe8b884 |
+0
-4
| 1 | author: Andrew Plotkin | |
| 2 | content: When you have eliminated the impossible, whatever remains, however improbable, | |
| 3 | must have been caused by an incompetent grad student. | |
| 4 | id: 763f8745-a7a5-4408-977e-4c60fbe8b884 |
| 1 | author: Barnabas, Neil Gaiman's Sandman | |
| 2 | content: I would feel infinitely more comfortable in your presence if you would agree | |
| 3 | to treat gravity as a law, rather than one of a number of suggested options. | |
| 4 | id: 77146e6d-0b07-41b0-ba52-1faf86a3145e |
+0
-4
| 1 | author: Barnabas, Neil Gaiman's Sandman | |
| 2 | content: I would feel infinitely more comfortable in your presence if you would agree | |
| 3 | to treat gravity as a law, rather than one of a number of suggested options. | |
| 4 | id: 77146e6d-0b07-41b0-ba52-1faf86a3145e |
| 1 | author: "G. Luk\xE1cs" | |
| 2 | content: So, Kafka was a realist after all. | |
| 3 | id: 778e5fbb-9e8a-424c-bfb0-cf2a57f4c043 |
+0
-3
| 1 | author: "G. Luk\xE1cs" | |
| 2 | content: So, Kafka was a realist after all. | |
| 3 | id: 778e5fbb-9e8a-424c-bfb0-cf2a57f4c043 |
| 1 | author: Isaac Newton | |
| 2 | content: Truth is ever to be found in simplicity, and not in the multiplicity and | |
| 3 | confusion of things. | |
| 4 | id: 7819c8a2-5a0d-446c-9e5f-316117c191a3 |
+0
-4
| 1 | author: Isaac Newton | |
| 2 | content: Truth is ever to be found in simplicity, and not in the multiplicity and | |
| 3 | confusion of things. | |
| 4 | id: 7819c8a2-5a0d-446c-9e5f-316117c191a3 |
| 1 | author: Elisha Cooper | |
| 2 | content: What cures paranoia? Maybe cured meats. | |
| 3 | id: 78782b4d-9837-4a0c-95df-41f89db927ea |
+0
-3
| 1 | author: Elisha Cooper | |
| 2 | content: What cures paranoia? Maybe cured meats. | |
| 3 | id: 78782b4d-9837-4a0c-95df-41f89db927ea |
| 1 | author: kryptkpr | |
| 2 | content: Comparing a computer language to a human language is like comparing an operating | |
| 3 | system kernel to a popcorn kernel. | |
| 4 | id: 78b9b87b-9ee3-4bc9-9831-06b32c4ede1a |
+0
-4
| 1 | author: kryptkpr | |
| 2 | content: Comparing a computer language to a human language is like comparing an operating | |
| 3 | system kernel to a popcorn kernel. | |
| 4 | id: 78b9b87b-9ee3-4bc9-9831-06b32c4ede1a |
| 1 | author: Jack Halberstam | |
| 2 | content: Monsters are meaning machines. They can represent gender, race, nationality, | |
| 3 | class, and sexuality in one body. And even within these divisions of identity, the | |
| 4 | monster can still be broken down. Dracula, for example, can be read as aristocrat, | |
| 5 | a symbol of the masses; he is predator and yet feminine, he is consumer and producer, | |
| 6 | he is parasite and host, he is homosexual and heterosexual, he is even a lesbian. | |
| 7 | Monsters and the Gothic fiction that creates them are therefore technologies, narrative | |
| 8 | technologies that produce the perfect figure for negative identity. Monsters have | |
| 9 | to be everything the human is not and, in producing the negative of human, these | |
| 10 | novels make way for the invention of human as white, male, middle class, and heterosexual. | |
| 11 | id: 78f7144c-fd08-4d2b-9e18-2c371b3bd3f0 |
+0
-11
| 1 | author: Jack Halberstam | |
| 2 | content: Monsters are meaning machines. They can represent gender, race, nationality, | |
| 3 | class, and sexuality in one body. And even within these divisions of identity, the | |
| 4 | monster can still be broken down. Dracula, for example, can be read as aristocrat, | |
| 5 | a symbol of the masses; he is predator and yet feminine, he is consumer and producer, | |
| 6 | he is parasite and host, he is homosexual and heterosexual, he is even a lesbian. | |
| 7 | Monsters and the Gothic fiction that creates them are therefore technologies, narrative | |
| 8 | technologies that produce the perfect figure for negative identity. Monsters have | |
| 9 | to be everything the human is not and, in producing the negative of human, these | |
| 10 | novels make way for the invention of human as white, male, middle class, and heterosexual. | |
| 11 | id: 78f7144c-fd08-4d2b-9e18-2c371b3bd3f0 |
| 1 | author: Ursula K. Le Guin | |
| 2 | content: The novelist says in words what cannot be said in words. | |
| 3 | id: 79baed13-fd32-459a-b917-809291ca8e1f |
+0
-3
| 1 | author: Ursula K. Le Guin | |
| 2 | content: The novelist says in words what cannot be said in words. | |
| 3 | id: 79baed13-fd32-459a-b917-809291ca8e1f |
| 1 | author: verycooltrash | |
| 2 | content: geek culture is so fascinating, it's like a contest of who can cram more | |
| 3 | pieces of popular media into the gaping void where a personality should be | |
| 4 | id: 79e4eb41-ec7e-4da9-bb60-b731f1b8bcf3 |
+0
-4
| 1 | author: verycooltrash | |
| 2 | content: geek culture is so fascinating, it's like a contest of who can cram more | |
| 3 | pieces of popular media into the gaping void where a personality should be | |
| 4 | id: 79e4eb41-ec7e-4da9-bb60-b731f1b8bcf3 |
| 1 | author: Matthias Felleisen | |
| 2 | content: I always tell my students that Scheme is my second favorite programming language. | |
| 3 | After they recover from this statement, they naturally always ask what my favorite | |
| 4 | language is, to which I respond with "I am still working on it." That is, really | |
| 5 | experienced programmers always try to improve on their major mode of thought. | |
| 6 | id: 7a3738b4-e779-4653-94b2-c626f275e071 |
+0
-6
| 1 | author: Matthias Felleisen | |
| 2 | content: I always tell my students that Scheme is my second favorite programming language. | |
| 3 | After they recover from this statement, they naturally always ask what my favorite | |
| 4 | language is, to which I respond with "I am still working on it." That is, really | |
| 5 | experienced programmers always try to improve on their major mode of thought. | |
| 6 | id: 7a3738b4-e779-4653-94b2-c626f275e071 |
| 1 | author: The Eskimo Cookbook | |
| 2 | content: 'Recipe for Loon Soup: Do not make loon soup.' | |
| 3 | id: 7a53dcfe-df86-484e-94e5-c5374ffa6cc3 |
+0
-3
| 1 | author: The Eskimo Cookbook | |
| 2 | content: 'Recipe for Loon Soup: Do not make loon soup.' | |
| 3 | id: 7a53dcfe-df86-484e-94e5-c5374ffa6cc3 |
| 1 | author: Carl Jung | |
| 2 | content: The creation of something new is not accomplished by the intellect but by | |
| 3 | the play instinct acting from inner necessity. The creative mind plays with the | |
| 4 | objects it loves. | |
| 5 | id: 7a6a3a6c-54bf-495d-823a-9467aee1d83c |
+0
-5
| 1 | author: Carl Jung | |
| 2 | content: The creation of something new is not accomplished by the intellect but by | |
| 3 | the play instinct acting from inner necessity. The creative mind plays with the | |
| 4 | objects it loves. | |
| 5 | id: 7a6a3a6c-54bf-495d-823a-9467aee1d83c |
| 1 | author: Morgan Parker | |
| 2 | content: "That\u2019s the best thing about language: every time you use a word you\ | |
| 3 | \ are summoning so many other things\u2014all the times that word has ever been\ | |
| 4 | \ used. I know this sounds a little psychedelic, but maybe I have an ancestor one\ | |
| 5 | \ hundred years ago who used this word that I choose to write now. What does it\ | |
| 6 | \ mean that everything that we are writing is recycled? Words are full of ghosts.\ | |
| 7 | \ Poetry is full of ghosts." | |
| 8 | id: 7a87ae16-b48d-48a7-a791-e2382c414b04 |
+0
-8
| 1 | author: Morgan Parker | |
| 2 | content: "That\u2019s the best thing about language: every time you use a word you\ | |
| 3 | \ are summoning so many other things\u2014all the times that word has ever been\ | |
| 4 | \ used. I know this sounds a little psychedelic, but maybe I have an ancestor one\ | |
| 5 | \ hundred years ago who used this word that I choose to write now. What does it\ | |
| 6 | \ mean that everything that we are writing is recycled? Words are full of ghosts.\ | |
| 7 | \ Poetry is full of ghosts." | |
| 8 | id: 7a87ae16-b48d-48a7-a791-e2382c414b04 |
| 1 | author: Teresa Nielsen Hayden | |
| 2 | content: Plot is a literary convention. Story is a force of nature. | |
| 3 | id: 7b24e5b2-d390-41a6-be54-aac9eda15a5b |
+0
-3
| 1 | author: Teresa Nielsen Hayden | |
| 2 | content: Plot is a literary convention. Story is a force of nature. | |
| 3 | id: 7b24e5b2-d390-41a6-be54-aac9eda15a5b |
| 1 | author: John Barth | |
| 2 | content: "...It's in words that the magic is\u2014Abracadabra, Open Sesame, and the\ | |
| 3 | \ rest\u2014but the real magic words in one story aren't magical in the next. The\ | |
| 4 | \ real magic is to understand which words work, and when, and for what; the trick\ | |
| 5 | \ is to learn the trick.\n...And those words are made from the letters of our alphabet:\ | |
| 6 | \ a couple-dozen squiggles we can draw with the pen. This is the key! And the treasure,\ | |
| 7 | \ too, if we can only get our hands on it! It's as if\u2014as if the key to the\ | |
| 8 | \ treasure *is* the treasure!" | |
| 9 | id: 7b7c3ecb-3712-425c-90a7-d1e81174d79a |
+0
-9
| 1 | author: John Barth | |
| 2 | content: "...It's in words that the magic is\u2014Abracadabra, Open Sesame, and the\ | |
| 3 | \ rest\u2014but the real magic words in one story aren't magical in the next. The\ | |
| 4 | \ real magic is to understand which words work, and when, and for what; the trick\ | |
| 5 | \ is to learn the trick.\n...And those words are made from the letters of our alphabet:\ | |
| 6 | \ a couple-dozen squiggles we can draw with the pen. This is the key! And the treasure,\ | |
| 7 | \ too, if we can only get our hands on it! It's as if\u2014as if the key to the\ | |
| 8 | \ treasure *is* the treasure!" | |
| 9 | id: 7b7c3ecb-3712-425c-90a7-d1e81174d79a |
| 1 | author: Ben Croshaw | |
| 2 | content: '...also, I''d like you to leave now because you fill me with disgust.' | |
| 3 | id: 7b9ca2ae-6925-49d8-a57d-4f336fa10ca2 |
+0
-3
| 1 | author: Ben Croshaw | |
| 2 | content: '...also, I''d like you to leave now because you fill me with disgust.' | |
| 3 | id: 7b9ca2ae-6925-49d8-a57d-4f336fa10ca2 |
| 1 | author: Matthias Felleisen | |
| 2 | content: '1. I have done my share of semantics. | |
| 3 | ||
| 4 | 2. I am doing my share of systems building. | |
| 5 | ||
| 6 | 3. And I really wish that I could say 1 and 2 are related.' | |
| 7 | id: 7bfd455d-559d-4669-b5f0-f9fa252b25a4 |
+0
-7
| 1 | author: Matthias Felleisen | |
| 2 | content: '1. I have done my share of semantics. | |
| 3 | ||
| 4 | 2. I am doing my share of systems building. | |
| 5 | ||
| 6 | 3. And I really wish that I could say 1 and 2 are related.' | |
| 7 | id: 7bfd455d-559d-4669-b5f0-f9fa252b25a4 |
| 1 | author: The Last Psychiatrist | |
| 2 | content: It's very difficult/impossible to raise a kid to be in the system, yet teach | |
| 3 | him also to fight against that system "sometimes." That was one of the problems | |
| 4 | with OWS, you can't shut down Wall Street if you have two credit cards in your back | |
| 5 | pocket. The only way to do this is if you try, on purpose, to raise your kid to | |
| 6 | be a little bit sociopathic. I realize that this seems like strange advice coming | |
| 7 | from a psychiatrist, but I'm not a very good psychiatrist. Also, I drink. | |
| 8 | id: 7c8cb32a-5fd6-42ac-983e-e02ef472cf5a |
+0
-8
| 1 | author: The Last Psychiatrist | |
| 2 | content: It's very difficult/impossible to raise a kid to be in the system, yet teach | |
| 3 | him also to fight against that system "sometimes." That was one of the problems | |
| 4 | with OWS, you can't shut down Wall Street if you have two credit cards in your back | |
| 5 | pocket. The only way to do this is if you try, on purpose, to raise your kid to | |
| 6 | be a little bit sociopathic. I realize that this seems like strange advice coming | |
| 7 | from a psychiatrist, but I'm not a very good psychiatrist. Also, I drink. | |
| 8 | id: 7c8cb32a-5fd6-42ac-983e-e02ef472cf5a |
| 1 | author: Erik Naggum | |
| 2 | content: this is my workbench, dammit, it's not a pretty box to impress people with | |
| 3 | graphics and sounds. when I work at this system up to 12 hours a day, I'm profoundly | |
| 4 | uninterested in what user interface a novice user would prefer. | |
| 5 | id: 7d153e42-7b37-483b-a1bd-c96eed931e52 |
+0
-5
| 1 | author: Erik Naggum | |
| 2 | content: this is my workbench, dammit, it's not a pretty box to impress people with | |
| 3 | graphics and sounds. when I work at this system up to 12 hours a day, I'm profoundly | |
| 4 | uninterested in what user interface a novice user would prefer. | |
| 5 | id: 7d153e42-7b37-483b-a1bd-c96eed931e52 |
| 1 | author: Aleister Crowley | |
| 2 | content: Sit still. Stop thinking. Shut up. Get out! | |
| 3 | id: 7d1c5c96-a2e4-4d8b-b416-ff6795397deb |
+0
-3
| 1 | author: Aleister Crowley | |
| 2 | content: Sit still. Stop thinking. Shut up. Get out! | |
| 3 | id: 7d1c5c96-a2e4-4d8b-b416-ff6795397deb |
| 1 | author: viro | |
| 2 | content: People do have a right to put their code under whatever license they like. | |
| 3 | Now, I won't use the stuff I don't have a source for unless I have exceptionally | |
| 4 | good reason to believe that authors of that stuff are among the few percents of | |
| 5 | programmers who can find their arse without outside help. But that has nothing to | |
| 6 | do with licensing or any moral considerations and everything to the fact that I | |
| 7 | know what kind of crap most of the software is. | |
| 8 | id: 7d2ef52d-04b6-4061-aea4-9dd32ed1dcf8 |
| 1 | author: viro | |
| 2 | content: People do have a right to put their code under whatever license they like. | |
| 3 | Now, I won't use the stuff I don't have a source for unless I have exceptionally | |
| 4 | good reason to believe that authors of that stuff are among the few percents of | |
| 5 | programmers who can find their arse without outside help. But that has nothing to | |
| 6 | do with licensing or any moral considerations and everything to the fact that I | |
| 7 | know what kind of crap most of the software is. | |
| 8 | id: 7d2ef52d-04b6-4061-aea4-9dd32ed1dcf8 |
| 1 | author: Albert Einstein | |
| 2 | content: I believe in Spinoza's God, who reveals himself in the lawful harmony of | |
| 3 | all that exists, but not in a God who concerns himself with the fate and the doings | |
| 4 | of mankind. | |
| 5 | id: 7e404d03-5cdb-4d36-be2d-7b8196382421 |
+0
-5
| 1 | author: Albert Einstein | |
| 2 | content: I believe in Spinoza's God, who reveals himself in the lawful harmony of | |
| 3 | all that exists, but not in a God who concerns himself with the fate and the doings | |
| 4 | of mankind. | |
| 5 | id: 7e404d03-5cdb-4d36-be2d-7b8196382421 |
| 1 | author: 'John Tanner | |
| 2 | ||
| 3 | G.B. Shaw''s "Man and Superman"' | |
| 4 | content: 'Every man is a revolutionist concerning the thing he understands. For example, | |
| 5 | every person who has mastered a profession is a sceptic concerning it, and consequently | |
| 6 | a revolutionist. | |
| 7 | ||
| 8 | Every genuine religious person is a heretic and therefore a revolutionist.' | |
| 9 | id: 7e51a3e2-4147-445b-9abf-f957628189bc |
+0
-9
| 1 | author: 'John Tanner | |
| 2 | ||
| 3 | G.B. Shaw''s "Man and Superman"' | |
| 4 | content: 'Every man is a revolutionist concerning the thing he understands. For example, | |
| 5 | every person who has mastered a profession is a sceptic concerning it, and consequently | |
| 6 | a revolutionist. | |
| 7 | ||
| 8 | Every genuine religious person is a heretic and therefore a revolutionist.' | |
| 9 | id: 7e51a3e2-4147-445b-9abf-f957628189bc |
| 1 | author: J.G. Ballard | |
| 2 | content: "We live in a world ruled by fictions of every kind \u2014 mass merchandising,\ | |
| 3 | \ advertising, politics conducted as a branch of advertising, the instant translation\ | |
| 4 | \ of science and technology into popular imagery, the increasing blurring and intermingling\ | |
| 5 | \ of identities within the realm of consumer goods, the preempting of any free or\ | |
| 6 | \ original imaginative response to experience by the television screen. We live\ | |
| 7 | \ inside an enormous novel. For the writer in particular it is less and less necessary\ | |
| 8 | \ for him to invent the fictional content of his novel. The fiction is already there.\ | |
| 9 | \ The writer\u2019s task is to invent the reality." | |
| 10 | id: 7e8f9c54-6154-4388-ba6b-80d2671ec429 |
+0
-10
| 1 | author: J.G. Ballard | |
| 2 | content: "We live in a world ruled by fictions of every kind \u2014 mass merchandising,\ | |
| 3 | \ advertising, politics conducted as a branch of advertising, the instant translation\ | |
| 4 | \ of science and technology into popular imagery, the increasing blurring and intermingling\ | |
| 5 | \ of identities within the realm of consumer goods, the preempting of any free or\ | |
| 6 | \ original imaginative response to experience by the television screen. We live\ | |
| 7 | \ inside an enormous novel. For the writer in particular it is less and less necessary\ | |
| 8 | \ for him to invent the fictional content of his novel. The fiction is already there.\ | |
| 9 | \ The writer\u2019s task is to invent the reality." | |
| 10 | id: 7e8f9c54-6154-4388-ba6b-80d2671ec429 |
| 1 | author: Jean Anouilh | |
| 2 | content: Tragedy is restful, and the reason is that hope, that foul, deceitful thing, | |
| 3 | has no part in it. | |
| 4 | id: 7eda7221-a6a2-4272-bc52-e15ab8de7b42 |
+0
-4
| 1 | author: Jean Anouilh | |
| 2 | content: Tragedy is restful, and the reason is that hope, that foul, deceitful thing, | |
| 3 | has no part in it. | |
| 4 | id: 7eda7221-a6a2-4272-bc52-e15ab8de7b42 |
| 1 | author: Lao Russell | |
| 2 | content: The glory of becoming a transcendent being is the only reason for living. | |
| 3 | id: 7f74466c-dc64-4ed6-8f67-90750e5113d2 |
+0
-3
| 1 | author: Lao Russell | |
| 2 | content: The glory of becoming a transcendent being is the only reason for living. | |
| 3 | id: 7f74466c-dc64-4ed6-8f67-90750e5113d2 |
| 1 | author: Lord Dunsany | |
| 2 | content: All we who write put me in mind of sailors hastily making rafts upon doomed | |
| 3 | ships. When we break up under the heavy years and go down into eternity with all | |
| 4 | that is ours our thoughts like small lost rafts float on awhile upon Oblivion's | |
| 5 | sea. They will not carry much over those tides, our names and a phrase or two and | |
| 6 | little else. | |
| 7 | id: 7f7a8af3-5e31-4d16-a7a7-c9bfc1a457c0 |
+0
-7
| 1 | author: Lord Dunsany | |
| 2 | content: All we who write put me in mind of sailors hastily making rafts upon doomed | |
| 3 | ships. When we break up under the heavy years and go down into eternity with all | |
| 4 | that is ours our thoughts like small lost rafts float on awhile upon Oblivion's | |
| 5 | sea. They will not carry much over those tides, our names and a phrase or two and | |
| 6 | little else. | |
| 7 | id: 7f7a8af3-5e31-4d16-a7a7-c9bfc1a457c0 |
| 1 | author: Terror Island | |
| 2 | content: '"Still, all''s well that ends well." | |
| 3 | ||
| 4 | ||
| 5 | "This didn''t end well." | |
| 6 | ||
| 7 | ||
| 8 | "That makes my remark irrelevant, not false."' | |
| 9 | id: 7fd3d5e3-0d6e-4581-936a-27d47a675b4f |
+0
-9
| 1 | author: Terror Island | |
| 2 | content: '"Still, all''s well that ends well." | |
| 3 | ||
| 4 | ||
| 5 | "This didn''t end well." | |
| 6 | ||
| 7 | ||
| 8 | "That makes my remark irrelevant, not false."' | |
| 9 | id: 7fd3d5e3-0d6e-4581-936a-27d47a675b4f |
| 1 | author: Friederich Nietzsche | |
| 2 | content: 'They call you heartless: but you have a heart, and I love you for being | |
| 3 | ashamed to show it.' | |
| 4 | id: 8045b0c9-1055-4179-8b8b-4c4aec1be5ff |
+0
-4
| 1 | author: Friederich Nietzsche | |
| 2 | content: 'They call you heartless: but you have a heart, and I love you for being | |
| 3 | ashamed to show it.' | |
| 4 | id: 8045b0c9-1055-4179-8b8b-4c4aec1be5ff |
| 1 | author: Kevin Slavin | |
| 2 | content: Google has facts. Cities have secrets. | |
| 3 | id: 80a3f7d1-e3c9-4204-bf04-d680ed2c58bf |
+0
-3
| 1 | author: Kevin Slavin | |
| 2 | content: Google has facts. Cities have secrets. | |
| 3 | id: 80a3f7d1-e3c9-4204-bf04-d680ed2c58bf |
| 1 | author: 'Hugh MacLeod | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'Ignore everybody. The more original your idea is, the less good advice other | |
| 5 | people will be able to give you. | |
| 6 | ||
| 7 | ' | |
| 8 | id: 80df62fc-597c-4970-b480-b98d1bd57409 |
+0
-8
| 1 | author: 'Hugh MacLeod | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'Ignore everybody. The more original your idea is, the less good advice other | |
| 5 | people will be able to give you. | |
| 6 | ||
| 7 | ' | |
| 8 | id: 80df62fc-597c-4970-b480-b98d1bd57409 |
| 1 | author: The Last Psychiatrist | |
| 2 | content: President Bush knew we were fucked by history, right? He got there day 1, | |
| 3 | opened the Book, and was like, fuck me, this is what's really going on...? And then | |
| 4 | he looked at America and said, these fucktards couldn't find Iraq on a map of Iraq | |
| 5 | labeled 'Iraq', no way are these Raymond loving motherfuckers going to understand | |
| 6 | anything about labor costs and the inevitability of falling foreign reserve accumulation. | |
| 7 | Let's go with 'WMDs.'" A decade of historical analysis later and the deepest anyone's | |
| 8 | been able to go is, "they lied, it's really about oil!!!!!!!!!!!!!!!!!!" Jesus, | |
| 9 | what asshats. Now every time poor Obama looks over his speeches he has to say, "no | |
| 10 | good, too many syllables." | |
| 11 | id: 813c3a50-df12-4098-b4e0-e879313e5414 |
+0
-11
| 1 | author: The Last Psychiatrist | |
| 2 | content: President Bush knew we were fucked by history, right? He got there day 1, | |
| 3 | opened the Book, and was like, fuck me, this is what's really going on...? And then | |
| 4 | he looked at America and said, these fucktards couldn't find Iraq on a map of Iraq | |
| 5 | labeled 'Iraq', no way are these Raymond loving motherfuckers going to understand | |
| 6 | anything about labor costs and the inevitability of falling foreign reserve accumulation. | |
| 7 | Let's go with 'WMDs.'" A decade of historical analysis later and the deepest anyone's | |
| 8 | been able to go is, "they lied, it's really about oil!!!!!!!!!!!!!!!!!!" Jesus, | |
| 9 | what asshats. Now every time poor Obama looks over his speeches he has to say, "no | |
| 10 | good, too many syllables." | |
| 11 | id: 813c3a50-df12-4098-b4e0-e879313e5414 |
| 1 | author: Charles Ives | |
| 2 | content: Beauty in music is too often confused with something that lets the ears lie | |
| 3 | back in an easy chair. | |
| 4 | id: 81618feb-98af-4e82-8d30-d01943436709 |
+0
-4
| 1 | author: Charles Ives | |
| 2 | content: Beauty in music is too often confused with something that lets the ears lie | |
| 3 | back in an easy chair. | |
| 4 | id: 81618feb-98af-4e82-8d30-d01943436709 |
| 1 | author: Warren Ellis | |
| 2 | content: What I like to do is take that video of David Lynch talking about the horror | |
| 3 | of watching films "on your fucking telephone" and watch it on my fucking telephone, | |
| 4 | and then I think about things like why, in Britain, we call the television the telly | |
| 5 | but we call the telephone the phone, and that maybe we should have called the television | |
| 6 | the vision, except of course that they were once called televisors, so we could | |
| 7 | have called it the visor, which is actually kind of nice, and in Spain they're still | |
| 8 | called televisors so why the fuck not, and also it occurs to me that once upon a | |
| 9 | time people could listen to concerts over the telephone, and now we can make phone | |
| 10 | calls through our televisions, and given that "film," "television" and "phone" are | |
| 11 | now words that denote spaces around things rather than the things they originally | |
| 12 | defined, I think I'll watch a film on anything I like and all devices are now called | |
| 13 | "scopes" until further notice. | |
| 14 | id: 817ca594-6f92-40bb-9a65-6604002a18e1 |
+0
-14
| 1 | author: Warren Ellis | |
| 2 | content: What I like to do is take that video of David Lynch talking about the horror | |
| 3 | of watching films "on your fucking telephone" and watch it on my fucking telephone, | |
| 4 | and then I think about things like why, in Britain, we call the television the telly | |
| 5 | but we call the telephone the phone, and that maybe we should have called the television | |
| 6 | the vision, except of course that they were once called televisors, so we could | |
| 7 | have called it the visor, which is actually kind of nice, and in Spain they're still | |
| 8 | called televisors so why the fuck not, and also it occurs to me that once upon a | |
| 9 | time people could listen to concerts over the telephone, and now we can make phone | |
| 10 | calls through our televisions, and given that "film," "television" and "phone" are | |
| 11 | now words that denote spaces around things rather than the things they originally | |
| 12 | defined, I think I'll watch a film on anything I like and all devices are now called | |
| 13 | "scopes" until further notice. | |
| 14 | id: 817ca594-6f92-40bb-9a65-6604002a18e1 |
| 1 | author: Jean Baudrillard | |
| 2 | content: Since the world drifts into delirium, we must adopt a delirious point of | |
| 3 | view. | |
| 4 | id: 81cef66c-5583-4367-92f6-2a724871d26c |
+0
-4
| 1 | author: Jean Baudrillard | |
| 2 | content: Since the world drifts into delirium, we must adopt a delirious point of | |
| 3 | view. | |
| 4 | id: 81cef66c-5583-4367-92f6-2a724871d26c |
| 1 | author: Autolycus, Shakespeare's The Winter's Tale | |
| 2 | content: Though I am not naturally honest, I am sometimes so by chance. | |
| 3 | id: 828118cc-0077-4c38-bbda-e5e748b4a49c |
+0
-3
| 1 | author: Autolycus, Shakespeare's The Winter's Tale | |
| 2 | content: Though I am not naturally honest, I am sometimes so by chance. | |
| 3 | id: 828118cc-0077-4c38-bbda-e5e748b4a49c |
| 1 | author: Jean Baudrillard | |
| 2 | content: We live in a world where there is more and more information, and less and | |
| 3 | less meaning. | |
| 4 | id: 833c47e9-bb1c-4ffc-94e3-5d896008df52 |
+0
-4
| 1 | author: Jean Baudrillard | |
| 2 | content: We live in a world where there is more and more information, and less and | |
| 3 | less meaning. | |
| 4 | id: 833c47e9-bb1c-4ffc-94e3-5d896008df52 |
| 1 | author: Banksy | |
| 2 | content: All artists are willing to suffer for their work. But why are so few prepared | |
| 3 | to learn to draw? | |
| 4 | id: 8399f9b1-d709-4e39-b06e-bcf6f1cbfe92 |
+0
-4
| 1 | author: Banksy | |
| 2 | content: All artists are willing to suffer for their work. But why are so few prepared | |
| 3 | to learn to draw? | |
| 4 | id: 8399f9b1-d709-4e39-b06e-bcf6f1cbfe92 |
| 1 | author: Karl Lagerfeld | |
| 2 | content: My thing is to work more than the others to show them how useless they are. | |
| 3 | id: 84b7469a-c7f9-4d47-b156-7d7bd8882ea1 |
+0
-3
| 1 | author: Karl Lagerfeld | |
| 2 | content: My thing is to work more than the others to show them how useless they are. | |
| 3 | id: 84b7469a-c7f9-4d47-b156-7d7bd8882ea1 |
| 1 | author: Haruki Murakami, Kafka on the Shore | |
| 2 | content: "\"Gays, lebians, straights, feminists, fascist pigs, communists, Hare Krishnas\u2014\ | |
| 3 | none of them bother me. I don't care what banner they raise. But what I can't stand\ | |
| 4 | \ are hollow people. When I'm with them I just can't bear it, and wind up saying\ | |
| 5 | \ things I shouldn't. With those women\u2014I should've just let it slide... But\ | |
| 6 | \ I can't do that. I say things I shouldn't do things I shouldn't do. I can't control\ | |
| 7 | \ myself. That's one of my weak points. Do you know why that's a weak point of mine?\"\ | |
| 8 | \n\n\"'Cause if you take every single person who lacks imagination seriously, there's\ | |
| 9 | \ no end to it,\" I say.\n\n\"That's it,\" Oshima says. He taps his temple lightly\ | |
| 10 | \ with the eraser of the pencil. \"But there's one thing I want you to remember,\ | |
| 11 | \ Kafka. ... Narrow minds devoid of imagination. Intolerance, theories cut off from\ | |
| 12 | \ reality, empty terminology, usurped ideals, inflexible systems. Those are the\ | |
| 13 | \ things that really frighten me. What I absolutely fear and loathe. Of course it's\ | |
| 14 | \ important to know what's right and wrong. Individual errors in judgment can usually\ | |
| 15 | \ be corrected. As long as you have the courage to admit mistakes, things can be\ | |
| 16 | \ turned around. But intolerant, narrow minds with no imagination are like parasites\ | |
| 17 | \ that transform the host, change form, and continue to thrive. They're a lost cause,\ | |
| 18 | \ and I don't want anyone like that coming in here.\"" | |
| 19 | id: 8529d66b-b124-48d9-b7d8-3d2a1e03dab9 |
+0
-19
| 1 | author: Haruki Murakami, Kafka on the Shore | |
| 2 | content: "\"Gays, lebians, straights, feminists, fascist pigs, communists, Hare Krishnas\u2014\ | |
| 3 | none of them bother me. I don't care what banner they raise. But what I can't stand\ | |
| 4 | \ are hollow people. When I'm with them I just can't bear it, and wind up saying\ | |
| 5 | \ things I shouldn't. With those women\u2014I should've just let it slide... But\ | |
| 6 | \ I can't do that. I say things I shouldn't do things I shouldn't do. I can't control\ | |
| 7 | \ myself. That's one of my weak points. Do you know why that's a weak point of mine?\"\ | |
| 8 | \n\n\"'Cause if you take every single person who lacks imagination seriously, there's\ | |
| 9 | \ no end to it,\" I say.\n\n\"That's it,\" Oshima says. He taps his temple lightly\ | |
| 10 | \ with the eraser of the pencil. \"But there's one thing I want you to remember,\ | |
| 11 | \ Kafka. ... Narrow minds devoid of imagination. Intolerance, theories cut off from\ | |
| 12 | \ reality, empty terminology, usurped ideals, inflexible systems. Those are the\ | |
| 13 | \ things that really frighten me. What I absolutely fear and loathe. Of course it's\ | |
| 14 | \ important to know what's right and wrong. Individual errors in judgment can usually\ | |
| 15 | \ be corrected. As long as you have the courage to admit mistakes, things can be\ | |
| 16 | \ turned around. But intolerant, narrow minds with no imagination are like parasites\ | |
| 17 | \ that transform the host, change form, and continue to thrive. They're a lost cause,\ | |
| 18 | \ and I don't want anyone like that coming in here.\"" | |
| 19 | id: 8529d66b-b124-48d9-b7d8-3d2a1e03dab9 |
| 1 | author: Vincent van Gogh | |
| 2 | content: Let's not forget that the little emotions are the great captains of our lives | |
| 3 | and we obey them without realizing it. | |
| 4 | id: 85603918-94c5-4c3f-91b8-91974f629996 |
+0
-4
| 1 | author: Vincent van Gogh | |
| 2 | content: Let's not forget that the little emotions are the great captains of our lives | |
| 3 | and we obey them without realizing it. | |
| 4 | id: 85603918-94c5-4c3f-91b8-91974f629996 |
| 1 | author: Douglas Adams | |
| 2 | content: Zaphod, whatever happens from now on, I just want you to know, I respect | |
| 3 | you. Only not very much. | |
| 4 | id: 85dc9139-1dae-4919-8985-3cc25eb69857 |
+0
-4
| 1 | author: Douglas Adams | |
| 2 | content: Zaphod, whatever happens from now on, I just want you to know, I respect | |
| 3 | you. Only not very much. | |
| 4 | id: 85dc9139-1dae-4919-8985-3cc25eb69857 |
| 1 | author: H.L. Mencken | |
| 2 | content: The basic fact about human existence is not that it is a tragedy, but that | |
| 3 | it is a bore. It is not so much a war as an endless standing in line. | |
| 4 | id: 86515065-25d0-4a08-993d-b3424be72eef |
+0
-4
| 1 | author: H.L. Mencken | |
| 2 | content: The basic fact about human existence is not that it is a tragedy, but that | |
| 3 | it is a bore. It is not so much a war as an endless standing in line. | |
| 4 | id: 86515065-25d0-4a08-993d-b3424be72eef |
| 1 | author: Walter Russell | |
| 2 | content: Mediocrity is self-inflicted and genius is self-bestowed. | |
| 3 | id: 86a0d139-344f-45ca-b66d-9f9f43ac9628 |
+0
-3
| 1 | author: Walter Russell | |
| 2 | content: Mediocrity is self-inflicted and genius is self-bestowed. | |
| 3 | id: 86a0d139-344f-45ca-b66d-9f9f43ac9628 |
| 1 | author: Alan Perlis | |
| 2 | content: The best book on programming for the layman is "Alice in Wonderland"; but | |
| 3 | that's because it's the best book on anything for the layman. | |
| 4 | id: 871a1618-471a-4ca5-ace2-86304ef2035c |
+0
-4
| 1 | author: Alan Perlis | |
| 2 | content: The best book on programming for the layman is "Alice in Wonderland"; but | |
| 3 | that's because it's the best book on anything for the layman. | |
| 4 | id: 871a1618-471a-4ca5-ace2-86304ef2035c |
| 1 | author: Gaston Bachelard | |
| 2 | content: "Maybe it is a good thing for us to keep a few dreams of a house that we\ | |
| 3 | \ shall live in later, always later, so much later, in fact, that we shall not have\ | |
| 4 | \ time to achieve it. For a house that was final, one that stood in symmetrical\ | |
| 5 | \ relation to the house we were born in, would lead to thoughts\u2014serious, sad\ | |
| 6 | \ thoughts\u2014and not to dreams. It is better to live in a state of impermanence\ | |
| 7 | \ than in one of finality." | |
| 8 | id: 87889f66-31b4-4396-94f0-3c73f89a11c9 |
+0
-8
| 1 | author: Gaston Bachelard | |
| 2 | content: "Maybe it is a good thing for us to keep a few dreams of a house that we\ | |
| 3 | \ shall live in later, always later, so much later, in fact, that we shall not have\ | |
| 4 | \ time to achieve it. For a house that was final, one that stood in symmetrical\ | |
| 5 | \ relation to the house we were born in, would lead to thoughts\u2014serious, sad\ | |
| 6 | \ thoughts\u2014and not to dreams. It is better to live in a state of impermanence\ | |
| 7 | \ than in one of finality." | |
| 8 | id: 87889f66-31b4-4396-94f0-3c73f89a11c9 |
| 1 | author: Paul Ford | |
| 2 | content: Smalltalk was deeply inspired by LISP. Everything was deeply inspired by | |
| 3 | LISP, because it's so fundamental. People either learned it, and were inspired, | |
| 4 | or refused to learn it, and reinvented it in half-assed form. | |
| 5 | id: 87cb523b-3505-4283-b2d6-19b20ea41d97 |
+0
-5
| 1 | author: Paul Ford | |
| 2 | content: Smalltalk was deeply inspired by LISP. Everything was deeply inspired by | |
| 3 | LISP, because it's so fundamental. People either learned it, and were inspired, | |
| 4 | or refused to learn it, and reinvented it in half-assed form. | |
| 5 | id: 87cb523b-3505-4283-b2d6-19b20ea41d97 |
| 1 | author: John Carmack | |
| 2 | content: It is not that uncommon for the cost of an abstraction to outweigh the benefit | |
| 3 | it delivers. Kill one today! | |
| 4 | id: 8807b040-a33a-4a90-a399-d2573b3fbe49 |
+0
-4
| 1 | author: John Carmack | |
| 2 | content: It is not that uncommon for the cost of an abstraction to outweigh the benefit | |
| 3 | it delivers. Kill one today! | |
| 4 | id: 8807b040-a33a-4a90-a399-d2573b3fbe49 |
| 1 | author: "Slavoj \u017Di\u017Eek\n" | |
| 2 | content: "Cinema is the ultimate pervert art. It doesn't give you what you desire\u2014\ | |
| 3 | it tells you how to desire.\n" | |
| 4 | id: 88370cf1-b038-4dcb-8168-92d2faddf363 |
+0
-4
| 1 | author: "Slavoj \u017Di\u017Eek\n" | |
| 2 | content: "Cinema is the ultimate pervert art. It doesn't give you what you desire\u2014\ | |
| 3 | it tells you how to desire.\n" | |
| 4 | id: 88370cf1-b038-4dcb-8168-92d2faddf363 |
| 1 | author: 'Sir Thomas Beecham | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'The function of music is to release us from the tyranny of conscious thought. | |
| 5 | ||
| 6 | ' | |
| 7 | id: 88e2bd56-688b-48e9-8085-7a1185672e68 |
+0
-7
| 1 | author: 'Sir Thomas Beecham | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'The function of music is to release us from the tyranny of conscious thought. | |
| 5 | ||
| 6 | ' | |
| 7 | id: 88e2bd56-688b-48e9-8085-7a1185672e68 |
| 1 | author: pjdelport | |
| 2 | content: YO DAWG I HERD YOU LIKE CARS SO WE PUT A PAIR IN YO CAR SO YOU CAN CAR WHILE | |
| 3 | YOU CAR | |
| 4 | id: 88fcf494-c758-4075-82f3-3357328fe0cb |
| 1 | author: pjdelport | |
| 2 | content: YO DAWG I HERD YOU LIKE CARS SO WE PUT A PAIR IN YO CAR SO YOU CAN CAR WHILE | |
| 3 | YOU CAR | |
| 4 | id: 88fcf494-c758-4075-82f3-3357328fe0cb |
| 1 | author: Joe Versus the Volcano | |
| 2 | content: My father says that almost the whole world is asleep. Everybody you know. | |
| 3 | Everybody you see. Everybody you talk to. He says that only a few people are awake | |
| 4 | and they live in a state of constant total amazement. | |
| 5 | id: 893cbe00-123a-4a4e-b299-3d851e6913c6 |
+0
-5
| 1 | author: Joe Versus the Volcano | |
| 2 | content: My father says that almost the whole world is asleep. Everybody you know. | |
| 3 | Everybody you see. Everybody you talk to. He says that only a few people are awake | |
| 4 | and they live in a state of constant total amazement. | |
| 5 | id: 893cbe00-123a-4a4e-b299-3d851e6913c6 |
| 1 | author: Friederich Nietzsche, unpublished note | |
| 2 | content: 'For what purpose humanity is there should not even concern us: why you are | |
| 3 | there, that you should ask yourself: and if you have no ready answer, then set for | |
| 4 | yourself goals, high and noble goals, and perish in pursuit of them! I know of no | |
| 5 | better life purpose than to perish in attempting the great and the impossible...' | |
| 6 | id: 8a11725d-1b77-41a1-afdd-8f0d261c282a |
+0
-6
| 1 | author: Friederich Nietzsche, unpublished note | |
| 2 | content: 'For what purpose humanity is there should not even concern us: why you are | |
| 3 | there, that you should ask yourself: and if you have no ready answer, then set for | |
| 4 | yourself goals, high and noble goals, and perish in pursuit of them! I know of no | |
| 5 | better life purpose than to perish in attempting the great and the impossible...' | |
| 6 | id: 8a11725d-1b77-41a1-afdd-8f0d261c282a |
| 1 | author: Umberto Eco | |
| 2 | content: '...in a story the actors of course take part in the action, but the actors | |
| 3 | are the embodiment of the actants, which might be described as the narrative roles | |
| 4 | through which the actors can pass, perhaps changing their function in the plot structure.' | |
| 5 | id: 8a3cc3a3-16cb-4da5-bbe2-c3c4b3b95655 |
+0
-5
| 1 | author: Umberto Eco | |
| 2 | content: '...in a story the actors of course take part in the action, but the actors | |
| 3 | are the embodiment of the actants, which might be described as the narrative roles | |
| 4 | through which the actors can pass, perhaps changing their function in the plot structure.' | |
| 5 | id: 8a3cc3a3-16cb-4da5-bbe2-c3c4b3b95655 |
| 1 | author: orbsteve | |
| 2 | content: "the difference between video games and pornography is ... that one is a\ | |
| 3 | \ highly commercial medium of highly disputed (and disputable) artistic merit which\ | |
| 4 | \ is largely dominated by male power fantasies and characterized by shoddy acting,\ | |
| 5 | \ laughable dialogue, and two-dimensional plots that many people simply skip past\ | |
| 6 | \ to get to the action and which is perpetually at the center of a media shitstorm\ | |
| 7 | \ for its graphic and often outright puerile content, and in which women always\ | |
| 8 | \ have unfeasibly massive hooters quivering beneath bizarre and scanty costumes,\ | |
| 9 | \ but which is rabidly defended by a massive fanbase who range from the fairly reasonable\ | |
| 10 | \ to the clearly deranged who loyally purchase tickets to conventions at which they\ | |
| 11 | \ awkwardly photograph themselves crooking their arms around real human women wearing\ | |
| 12 | \ aforementioned bizarre and scanty costumes with a minimum of self-awareness or\ | |
| 13 | \ -reflection\r\n\r\nwhereas the other is my horse, who i have named \"pornography\"\ | |
| 14 | \ for reasons i shall reveal to neither man nor god. PORNOGRAPHY AWAY" | |
| 15 | id: 8a67ee6c-5693-41cb-82e6-3bfbebda026d |
+0
-15
| 1 | author: orbsteve | |
| 2 | content: "the difference between video games and pornography is ... that one is a\ | |
| 3 | \ highly commercial medium of highly disputed (and disputable) artistic merit which\ | |
| 4 | \ is largely dominated by male power fantasies and characterized by shoddy acting,\ | |
| 5 | \ laughable dialogue, and two-dimensional plots that many people simply skip past\ | |
| 6 | \ to get to the action and which is perpetually at the center of a media shitstorm\ | |
| 7 | \ for its graphic and often outright puerile content, and in which women always\ | |
| 8 | \ have unfeasibly massive hooters quivering beneath bizarre and scanty costumes,\ | |
| 9 | \ but which is rabidly defended by a massive fanbase who range from the fairly reasonable\ | |
| 10 | \ to the clearly deranged who loyally purchase tickets to conventions at which they\ | |
| 11 | \ awkwardly photograph themselves crooking their arms around real human women wearing\ | |
| 12 | \ aforementioned bizarre and scanty costumes with a minimum of self-awareness or\ | |
| 13 | \ -reflection\r\n\r\nwhereas the other is my horse, who i have named \"pornography\"\ | |
| 14 | \ for reasons i shall reveal to neither man nor god. PORNOGRAPHY AWAY" | |
| 15 | id: 8a67ee6c-5693-41cb-82e6-3bfbebda026d |
| 1 | author: Hamlet | |
| 2 | content: You are not noble in reason, infinite in faculty, like an angel in your actions, | |
| 3 | or especially moving in your form. However, you are a real piece of work. | |
| 4 | id: 8a6f9fea-66aa-4b82-a2b9-3e7a016c2baa |
| 1 | author: Hamlet | |
| 2 | content: You are not noble in reason, infinite in faculty, like an angel in your actions, | |
| 3 | or especially moving in your form. However, you are a real piece of work. | |
| 4 | id: 8a6f9fea-66aa-4b82-a2b9-3e7a016c2baa |
| 1 | author: Douglas Hofstatder | |
| 2 | content: '[He] reveals that he has never had Recipe Cake. This is a delicious cake | |
| 3 | whose batter is made out of the best cake recipes (if you use pie recipes, it won''t | |
| 4 | taste nearly as good). The best results are had if the recipes are printed in French, | |
| 5 | in Baskerville Roman. A preponderance of accents aigus lends a deliciously piquant | |
| 6 | aroma to the cake.' | |
| 7 | id: 8aa3e034-2fed-4a4e-a101-e2c3c739558c |
+0
-7
| 1 | author: Douglas Hofstatder | |
| 2 | content: '[He] reveals that he has never had Recipe Cake. This is a delicious cake | |
| 3 | whose batter is made out of the best cake recipes (if you use pie recipes, it won''t | |
| 4 | taste nearly as good). The best results are had if the recipes are printed in French, | |
| 5 | in Baskerville Roman. A preponderance of accents aigus lends a deliciously piquant | |
| 6 | aroma to the cake.' | |
| 7 | id: 8aa3e034-2fed-4a4e-a101-e2c3c739558c |
| 1 | author: Andrea Dworkin | |
| 2 | content: Men develop a strong loyalty to violence. Men must come to terms with violence | |
| 3 | because it is the prime component of male identity. Institutionalized in sports, | |
| 4 | the military, acculturated sexuality, the history and mythology of heroism, it is | |
| 5 | taught to boys until they become its advocates-men, not women. Men become advocates | |
| 6 | of that which they most fear. In mastery of fear they experience freedom. Men transform | |
| 7 | their fear of male violence into a metaphysical commitment to male violence. Violence | |
| 8 | itself becomes the central definition of any experience that is profound and significant. | |
| 9 | id: 8ac6c79e-4204-4ec3-8627-a3c1db6ed775 |
+0
-9
| 1 | author: Andrea Dworkin | |
| 2 | content: Men develop a strong loyalty to violence. Men must come to terms with violence | |
| 3 | because it is the prime component of male identity. Institutionalized in sports, | |
| 4 | the military, acculturated sexuality, the history and mythology of heroism, it is | |
| 5 | taught to boys until they become its advocates-men, not women. Men become advocates | |
| 6 | of that which they most fear. In mastery of fear they experience freedom. Men transform | |
| 7 | their fear of male violence into a metaphysical commitment to male violence. Violence | |
| 8 | itself becomes the central definition of any experience that is profound and significant. | |
| 9 | id: 8ac6c79e-4204-4ec3-8627-a3c1db6ed775 |
| 1 | author: Erica Jong | |
| 2 | content: People don't complete us. We complete ourselves. If we haven't the power | |
| 3 | to complete ourselves, the search for love becomes a search for self-annihilation, | |
| 4 | and then we try to convince ourselves that self-annihilation is love. | |
| 5 | id: 8b75b80e-d43d-4b1d-9fec-d3562b54a0c9 |
+0
-5
| 1 | author: Erica Jong | |
| 2 | content: People don't complete us. We complete ourselves. If we haven't the power | |
| 3 | to complete ourselves, the search for love becomes a search for self-annihilation, | |
| 4 | and then we try to convince ourselves that self-annihilation is love. | |
| 5 | id: 8b75b80e-d43d-4b1d-9fec-d3562b54a0c9 |
| 1 | author: John Campbell, Pictures for Sad Children | |
| 2 | content: Nerds do not redefine adulthood. They waste it. | |
| 3 | id: 8c49ae36-7e06-4d97-a8cc-cc4e7fdc986b |
+0
-3
| 1 | author: John Campbell, Pictures for Sad Children | |
| 2 | content: Nerds do not redefine adulthood. They waste it. | |
| 3 | id: 8c49ae36-7e06-4d97-a8cc-cc4e7fdc986b |
| 1 | author: Andrew Plotkin | |
| 2 | content: '"Recursion: see ''Recursion''" is a very old joke. It''s also a stinking | |
| 3 | lie. The correct definition is: Recursion: If you know what recursion is, just remember | |
| 4 | the answer. Otherwise, locate someone who is standing closer to Douglas Hofstadter | |
| 5 | than you are, and ask him/her what recursion is.' | |
| 6 | id: 8c8bf44d-2b7e-49d1-8808-bcdc814b399a |
+0
-6
| 1 | author: Andrew Plotkin | |
| 2 | content: '"Recursion: see ''Recursion''" is a very old joke. It''s also a stinking | |
| 3 | lie. The correct definition is: Recursion: If you know what recursion is, just remember | |
| 4 | the answer. Otherwise, locate someone who is standing closer to Douglas Hofstadter | |
| 5 | than you are, and ask him/her what recursion is.' | |
| 6 | id: 8c8bf44d-2b7e-49d1-8808-bcdc814b399a |
| 1 | author: Friedrich Nietzsche | |
| 2 | content: One must have chaos in oneself to give birth to a dancing star. | |
| 3 | id: 8c9596aa-3f73-4f49-b3db-7230b895e05d |
+0
-3
| 1 | author: Friedrich Nietzsche | |
| 2 | content: One must have chaos in oneself to give birth to a dancing star. | |
| 3 | id: 8c9596aa-3f73-4f49-b3db-7230b895e05d |
| 1 | author: Tiny Carl Jung | |
| 2 | content: Just received a letter from my Tiny Shadow half. We've been out of touch | |
| 3 | for ages; it's nice to hear the inverse of my thoughts again. | |
| 4 | id: 8c9c51a3-8bbc-4130-b3f9-e4ad34742f7a |
+0
-4
| 1 | author: Tiny Carl Jung | |
| 2 | content: Just received a letter from my Tiny Shadow half. We've been out of touch | |
| 3 | for ages; it's nice to hear the inverse of my thoughts again. | |
| 4 | id: 8c9c51a3-8bbc-4130-b3f9-e4ad34742f7a |
| 1 | author: Erik Naggum | |
| 2 | content: languages shape the way we think, or don't. | |
| 3 | id: 8d2a1846-a4b0-4c3a-8a3d-88db93b282f1 |
+0
-3
| 1 | author: Erik Naggum | |
| 2 | content: languages shape the way we think, or don't. | |
| 3 | id: 8d2a1846-a4b0-4c3a-8a3d-88db93b282f1 |
| 1 | author: Machiavelli | |
| 2 | content: '...since love and fear can hardly exist together, if we must choose between | |
| 3 | them, it is far safer to be feared than to be loved.' | |
| 4 | id: 8d946a97-7248-4273-98b6-a832725d01a1 |
+0
-4
| 1 | author: Machiavelli | |
| 2 | content: '...since love and fear can hardly exist together, if we must choose between | |
| 3 | them, it is far safer to be feared than to be loved.' | |
| 4 | id: 8d946a97-7248-4273-98b6-a832725d01a1 |
| 1 | author: Warren Ellis | |
| 2 | content: Everyone's looking for someone to blame. Society. Culture. Hollywood. Predators. | |
| 3 | Looking everywhere but the right place. Children are very simple, Mr. Jerusalem. | |
| 4 | Very easy devices to break, or assemble wrong. You want to know who did this to | |
| 5 | these kids? Only their parents. That's the thing no one wants to hear. Every time | |
| 6 | you stop thinking about how you're treating your kid, you make one of these. It | |
| 7 | really is as simple as that. It's got nothing to do with the failure of the society | |
| 8 | or any of that. It's got everything to do with the responsibility of making a human. | |
| 9 | id: 8dc1a3a9-edb0-4f3a-ac4f-0190ce430829 |
+0
-9
| 1 | author: Warren Ellis | |
| 2 | content: Everyone's looking for someone to blame. Society. Culture. Hollywood. Predators. | |
| 3 | Looking everywhere but the right place. Children are very simple, Mr. Jerusalem. | |
| 4 | Very easy devices to break, or assemble wrong. You want to know who did this to | |
| 5 | these kids? Only their parents. That's the thing no one wants to hear. Every time | |
| 6 | you stop thinking about how you're treating your kid, you make one of these. It | |
| 7 | really is as simple as that. It's got nothing to do with the failure of the society | |
| 8 | or any of that. It's got everything to do with the responsibility of making a human. | |
| 9 | id: 8dc1a3a9-edb0-4f3a-ac4f-0190ce430829 |
| 1 | author: Graham Chapman | |
| 2 | content: You know, there are many people in the country today who, through no fault | |
| 3 | of their own, are sane. Some of them were born sane. Some of them became sane later | |
| 4 | in their lives. It is up to people like you and me who are out of our tiny little | |
| 5 | minds to try and help these people overcome their sanity. You can start in small | |
| 6 | ways with ping-pong ball eyes and a funny voice and then you can paint half of your | |
| 7 | body red and the other half green and then you can jump up and down in a bowl of | |
| 8 | treacle going "squawk, squawk, squawk..." And then you can go "Neurhhh! Neurhhh!" | |
| 9 | and then you can roll around on the floor going "pting pting pting"... | |
| 10 | id: 8e9ace03-df69-4d18-bf74-922f38e0da70 |
+0
-10
| 1 | author: Graham Chapman | |
| 2 | content: You know, there are many people in the country today who, through no fault | |
| 3 | of their own, are sane. Some of them were born sane. Some of them became sane later | |
| 4 | in their lives. It is up to people like you and me who are out of our tiny little | |
| 5 | minds to try and help these people overcome their sanity. You can start in small | |
| 6 | ways with ping-pong ball eyes and a funny voice and then you can paint half of your | |
| 7 | body red and the other half green and then you can jump up and down in a bowl of | |
| 8 | treacle going "squawk, squawk, squawk..." And then you can go "Neurhhh! Neurhhh!" | |
| 9 | and then you can roll around on the floor going "pting pting pting"... | |
| 10 | id: 8e9ace03-df69-4d18-bf74-922f38e0da70 |
| 1 | author: Werner Herzog | |
| 2 | content: The kinds of landscape I try to find in my films... exist only in our dreams. | |
| 3 | For me a true landscape is not just a representation of a desert or a forest. It | |
| 4 | shows an inner state of mind, literally inner landscapes, and it is the human soul | |
| 5 | that is visible through the landscapes presented in my films. | |
| 6 | id: 8f662f3a-8bbe-4da6-9992-d1ab3aacba94 |
+0
-6
| 1 | author: Werner Herzog | |
| 2 | content: The kinds of landscape I try to find in my films... exist only in our dreams. | |
| 3 | For me a true landscape is not just a representation of a desert or a forest. It | |
| 4 | shows an inner state of mind, literally inner landscapes, and it is the human soul | |
| 5 | that is visible through the landscapes presented in my films. | |
| 6 | id: 8f662f3a-8bbe-4da6-9992-d1ab3aacba94 |
| 1 | author: Penny Arcade | |
| 2 | content: I tried to break down the essential position for him. "You're arguing for | |
| 3 | a universe with fewer waffles in it," I said. "I'm prepared to call that cowardice." | |
| 4 | id: 8fe68d8b-03df-4df1-bf8e-2c78ade62150 |
+0
-4
| 1 | author: Penny Arcade | |
| 2 | content: I tried to break down the essential position for him. "You're arguing for | |
| 3 | a universe with fewer waffles in it," I said. "I'm prepared to call that cowardice." | |
| 4 | id: 8fe68d8b-03df-4df1-bf8e-2c78ade62150 |
| 1 | author: Turkish proverb | |
| 2 | content: Coffee should be hot as hell, black as death, and gulped greatly from a cadaver-hued | |
| 3 | earthenware mug while listening to nightmarish glitch techno through big fuck-off | |
| 4 | headphones and staring out the window at fall-colored ash leaves shuddering in low-horizon | |
| 5 | sunlight as window drafts under your ugly desk refrigerate your feet. | |
| 6 | id: 908e2964-904e-4b96-9c3d-9b3c5a0b354f |
+0
-6
| 1 | author: Turkish proverb | |
| 2 | content: Coffee should be hot as hell, black as death, and gulped greatly from a cadaver-hued | |
| 3 | earthenware mug while listening to nightmarish glitch techno through big fuck-off | |
| 4 | headphones and staring out the window at fall-colored ash leaves shuddering in low-horizon | |
| 5 | sunlight as window drafts under your ugly desk refrigerate your feet. | |
| 6 | id: 908e2964-904e-4b96-9c3d-9b3c5a0b354f |
| 1 | author: Marshall McLuhan | |
| 2 | content: The future masters of technology will have to be lighthearted and intelligent. | |
| 3 | The machine easily masters the grim and dumb. | |
| 4 | id: 916c47a0-f162-48ad-bcd8-5e9f08195d95 |
+0
-4
| 1 | author: Marshall McLuhan | |
| 2 | content: The future masters of technology will have to be lighthearted and intelligent. | |
| 3 | The machine easily masters the grim and dumb. | |
| 4 | id: 916c47a0-f162-48ad-bcd8-5e9f08195d95 |
| 1 | author: Bertrand Russell | |
| 2 | content: The secret of happiness is to face the fact that the world is horrible, horrible, | |
| 3 | horrible. | |
| 4 | id: 92458624-08fd-4e7c-9625-7183af0322ab |
+0
-4
| 1 | author: Bertrand Russell | |
| 2 | content: The secret of happiness is to face the fact that the world is horrible, horrible, | |
| 3 | horrible. | |
| 4 | id: 92458624-08fd-4e7c-9625-7183af0322ab |
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: What if, however, humans exceed animals in their capacity for violence precisely | |
| 3 | because they speak? As Hegel was already well aware, there is something violent | |
| 4 | in the very symbolisation of a thing, which equals its mortification. This violence | |
| 5 | operates at multiple levels. Language simplifies the designated thing, reducing | |
| 6 | it to a single feature. It dismembers the thing, destroying its organic unity, treating | |
| 7 | its parts and properties as autonomous. It inserts the thing into a field of meaning | |
| 8 | which is ultimately external to it. When we name gold "gold," we violently extract | |
| 9 | a metal from its natural texture, investing into it our dreams of wealth, power, | |
| 10 | spiritual purity, and so on, which have nothing whatsoever to do with the immediate | |
| 11 | reality of gold. | |
| 12 | id: 928735f8-394f-4c21-8fa5-5fdbe270d71c |
+0
-12
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: What if, however, humans exceed animals in their capacity for violence precisely | |
| 3 | because they speak? As Hegel was already well aware, there is something violent | |
| 4 | in the very symbolisation of a thing, which equals its mortification. This violence | |
| 5 | operates at multiple levels. Language simplifies the designated thing, reducing | |
| 6 | it to a single feature. It dismembers the thing, destroying its organic unity, treating | |
| 7 | its parts and properties as autonomous. It inserts the thing into a field of meaning | |
| 8 | which is ultimately external to it. When we name gold "gold," we violently extract | |
| 9 | a metal from its natural texture, investing into it our dreams of wealth, power, | |
| 10 | spiritual purity, and so on, which have nothing whatsoever to do with the immediate | |
| 11 | reality of gold. | |
| 12 | id: 928735f8-394f-4c21-8fa5-5fdbe270d71c |
| 1 | author: 'Sid, York, and Stephen | |
| 2 | ||
| 3 | Terror Island' | |
| 4 | content: '"...[they] switched over to revisionist astrology." | |
| 5 | ||
| 6 | "What''s that?" | |
| 7 | ||
| 8 | "Astronomy." | |
| 9 | ||
| 10 | "Oh, I''ve heard of that. It''s like regular astrology, except it''s actually a | |
| 11 | science."' | |
| 12 | id: 92fceb39-fbae-4f69-9505-73cf6dd9fd0e |
+0
-12
| 1 | author: 'Sid, York, and Stephen | |
| 2 | ||
| 3 | Terror Island' | |
| 4 | content: '"...[they] switched over to revisionist astrology." | |
| 5 | ||
| 6 | "What''s that?" | |
| 7 | ||
| 8 | "Astronomy." | |
| 9 | ||
| 10 | "Oh, I''ve heard of that. It''s like regular astrology, except it''s actually a | |
| 11 | science."' | |
| 12 | id: 92fceb39-fbae-4f69-9505-73cf6dd9fd0e |
| 1 | author: G.K. Chesterton | |
| 2 | content: '[The American] had lately been much alone. He was not unhappy, for he resembled | |
| 3 | his great countryman, Walt Whitman, in carrying a kind of universe with him like | |
| 4 | an open umbrella; but he was not only alone, but lonely.' | |
| 5 | id: 9306bd20-dd2a-4231-b13d-57ca0737d5b2 |
+0
-5
| 1 | author: G.K. Chesterton | |
| 2 | content: '[The American] had lately been much alone. He was not unhappy, for he resembled | |
| 3 | his great countryman, Walt Whitman, in carrying a kind of universe with him like | |
| 4 | an open umbrella; but he was not only alone, but lonely.' | |
| 5 | id: 9306bd20-dd2a-4231-b13d-57ca0737d5b2 |
| 1 | author: John Cage | |
| 2 | content: "\"Cultivate in yourself a grand similarity\r\ | |
| 3 | \n with the chaos of the surrounding ether.\r\ | |
| 4 | \n Unloose your mind and set your\r\ | |
| 5 | \n spirit free. Be still as if\r\ | |
| 6 | \n you had no soul.\"" | |
| 7 | id: 9320d493-ee71-4b85-be1a-95305da80a7c |
+0
-7
| 1 | author: John Cage | |
| 2 | content: "\"Cultivate in yourself a grand similarity\r\ | |
| 3 | \n with the chaos of the surrounding ether.\r\ | |
| 4 | \n Unloose your mind and set your\r\ | |
| 5 | \n spirit free. Be still as if\r\ | |
| 6 | \n you had no soul.\"" | |
| 7 | id: 9320d493-ee71-4b85-be1a-95305da80a7c |
| 1 | author: Rudyard Kipling | |
| 2 | content: '...but the wildest of all the wild animals was the Cat. He walked by himself, | |
| 3 | and all places were alike to him.' | |
| 4 | id: 93245a89-493c-4927-a571-6bfa1a998f35 |
+0
-4
| 1 | author: Rudyard Kipling | |
| 2 | content: '...but the wildest of all the wild animals was the Cat. He walked by himself, | |
| 3 | and all places were alike to him.' | |
| 4 | id: 93245a89-493c-4927-a571-6bfa1a998f35 |
| 1 | author: Wolfgang Pauli | |
| 2 | content: Some people have very sensitive corns, and the only way to live with them | |
| 3 | is to step on those corns until they are used to it. | |
| 4 | id: 932ccfc5-50a9-400e-bb7e-5a08a4540f3d |
+0
-4
| 1 | author: Wolfgang Pauli | |
| 2 | content: Some people have very sensitive corns, and the only way to live with them | |
| 3 | is to step on those corns until they are used to it. | |
| 4 | id: 932ccfc5-50a9-400e-bb7e-5a08a4540f3d |
| 1 | author: Neil Gaiman | |
| 2 | content: It's why supporting freedom of speech so often involves defending the indefensible, | |
| 3 | and is, often uncomfortably, the right thing to do. | |
| 4 | id: 934ec046-6b5d-4299-931e-a45bbc8887bf |
+0
-4
| 1 | author: Neil Gaiman | |
| 2 | content: It's why supporting freedom of speech so often involves defending the indefensible, | |
| 3 | and is, often uncomfortably, the right thing to do. | |
| 4 | id: 934ec046-6b5d-4299-931e-a45bbc8887bf |
| 1 | author: Robert P. Abelson, *Statistics as Principles Argument* | |
| 2 | content: "The famous mathematical sociologist Paul Lazarfeld once said, \"You never\ | |
| 3 | \ understand a phenomenon unless you can make it go away.\" We might add, \"or unless\ | |
| 4 | \ you can reverse its direction.\"\r\n\r\nPsychologist William McGuire (1983, 1989)\ | |
| 5 | \ suggested as one of many ways to develop new hypotheses that you can take some\ | |
| 6 | \ seemingly obvious relationship and imagine conditions where its opposite would\ | |
| 7 | \ hold." | |
| 8 | id: 9357b38a-1c98-45b9-9af7-78cc4cf8ae83 |
+0
-8
| 1 | author: Robert P. Abelson, *Statistics as Principles Argument* | |
| 2 | content: "The famous mathematical sociologist Paul Lazarfeld once said, \"You never\ | |
| 3 | \ understand a phenomenon unless you can make it go away.\" We might add, \"or unless\ | |
| 4 | \ you can reverse its direction.\"\r\n\r\nPsychologist William McGuire (1983, 1989)\ | |
| 5 | \ suggested as one of many ways to develop new hypotheses that you can take some\ | |
| 6 | \ seemingly obvious relationship and imagine conditions where its opposite would\ | |
| 7 | \ hold." | |
| 8 | id: 9357b38a-1c98-45b9-9af7-78cc4cf8ae83 |
| 1 | author: Antonio Gramsci | |
| 2 | content: "_La mia praticità consiste in questo: nel sapere che a battere la\ | |
| 3 | \ testa contro il muro è la testa a rompersi e non il muro._\r\n\r\nMy practicality\ | |
| 4 | \ consists of this: in the knowledge that if you beat your head against the wall,\ | |
| 5 | \ it is your head that breaks and not the wall." | |
| 6 | id: 93925025-0123-4607-a7ad-b3807e9abc6d |
+0
-6
| 1 | author: Antonio Gramsci | |
| 2 | content: "_La mia praticità consiste in questo: nel sapere che a battere la\ | |
| 3 | \ testa contro il muro è la testa a rompersi e non il muro._\r\n\r\nMy practicality\ | |
| 4 | \ consists of this: in the knowledge that if you beat your head against the wall,\ | |
| 5 | \ it is your head that breaks and not the wall." | |
| 6 | id: 93925025-0123-4607-a7ad-b3807e9abc6d |
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: My relationship towards tulips is inherently Lynchian. I think they are disgusting. | |
| 3 | Just imagine. Aren't these some kind of, how do you call it, vagina dentata, dental | |
| 4 | vaginas threatening to swallow you? I think that flowers are something inherently | |
| 5 | disgusting. I mean, are people aware what a horrible thing these flowers are? I | |
| 6 | mean, basically it's an open invitation to all insects and bees, "Come and screw | |
| 7 | me," you know? I think that flowers should be forbidden to children. | |
| 8 | id: 939f4949-0b2b-4a55-b86b-030609743abb |
+0
-8
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: My relationship towards tulips is inherently Lynchian. I think they are disgusting. | |
| 3 | Just imagine. Aren't these some kind of, how do you call it, vagina dentata, dental | |
| 4 | vaginas threatening to swallow you? I think that flowers are something inherently | |
| 5 | disgusting. I mean, are people aware what a horrible thing these flowers are? I | |
| 6 | mean, basically it's an open invitation to all insects and bees, "Come and screw | |
| 7 | me," you know? I think that flowers should be forbidden to children. | |
| 8 | id: 939f4949-0b2b-4a55-b86b-030609743abb |
| 1 | author: Neil Gaiman, "How To Talk To Girls At Parties" | |
| 2 | content: You know... I think there's a thing. When you've gone as far as you dare. | |
| 3 | And if you go any further, you wouldn't be you anymore? You'd be the person who'd | |
| 4 | done that? The places you just can't go... I think that happened to me tonight. | |
| 5 | id: 94527d5d-91de-40f4-bd78-f2f9bc7981a1 |
+0
-5
| 1 | author: Neil Gaiman, "How To Talk To Girls At Parties" | |
| 2 | content: You know... I think there's a thing. When you've gone as far as you dare. | |
| 3 | And if you go any further, you wouldn't be you anymore? You'd be the person who'd | |
| 4 | done that? The places you just can't go... I think that happened to me tonight. | |
| 5 | id: 94527d5d-91de-40f4-bd78-f2f9bc7981a1 |
| 1 | author: Federico Fellini | |
| 2 | content: 'I don''t believe in total freedom for the artist. Left on his own, free | |
| 3 | to do anything he likes, the artist ends up doing nothing at all. If there''s one | |
| 4 | thing that''s dangerous for an artist, it''s precisely this question of total freedom, | |
| 5 | waiting for inspiration and the rest of it. ' | |
| 6 | id: 948211bd-a768-423e-89ee-262d4471f3aa |
+0
-6
| 1 | author: Federico Fellini | |
| 2 | content: 'I don''t believe in total freedom for the artist. Left on his own, free | |
| 3 | to do anything he likes, the artist ends up doing nothing at all. If there''s one | |
| 4 | thing that''s dangerous for an artist, it''s precisely this question of total freedom, | |
| 5 | waiting for inspiration and the rest of it. ' | |
| 6 | id: 948211bd-a768-423e-89ee-262d4471f3aa |
| 1 | author: viro | |
| 2 | content: All software sucks, be it open-source [or] proprietary. The only question | |
| 3 | is what can be done with particular instance of suckage, and that's where having | |
| 4 | the source matters. | |
| 5 | id: 949a224e-9164-4883-a626-e8a935b0859e |
+0
-5
| 1 | author: viro | |
| 2 | content: All software sucks, be it open-source [or] proprietary. The only question | |
| 3 | is what can be done with particular instance of suckage, and that's where having | |
| 4 | the source matters. | |
| 5 | id: 949a224e-9164-4883-a626-e8a935b0859e |
| 1 | author: "Cesare Pavese, *Dialoghi con Leuc\xF2*" | |
| 2 | content: "A true revelation, it seems to me, will only emerge from stubborn concentration\ | |
| 3 | \ on a solitary problem. I am not in league with inventors or adventurers, nor with\ | |
| 4 | \ travelers to exotic destinations. The surest\u2014also the quickest\u2014way to\ | |
| 5 | \ awake the sense of wonder in ourselves is to look intently, undeterred, at a single\ | |
| 6 | \ object. Sudenly, miraculously, it will reveal itself as something we have never\ | |
| 7 | \ seen before." | |
| 8 | id: 96581468-640a-4ffc-a0ba-b6985ec0c2ba |
+0
-8
| 1 | author: "Cesare Pavese, *Dialoghi con Leuc\xF2*" | |
| 2 | content: "A true revelation, it seems to me, will only emerge from stubborn concentration\ | |
| 3 | \ on a solitary problem. I am not in league with inventors or adventurers, nor with\ | |
| 4 | \ travelers to exotic destinations. The surest\u2014also the quickest\u2014way to\ | |
| 5 | \ awake the sense of wonder in ourselves is to look intently, undeterred, at a single\ | |
| 6 | \ object. Sudenly, miraculously, it will reveal itself as something we have never\ | |
| 7 | \ seen before." | |
| 8 | id: 96581468-640a-4ffc-a0ba-b6985ec0c2ba |
| 1 | author: Georges Bataille | |
| 2 | content: Leave the possible to those who love it. | |
| 3 | id: 96a39a25-b9b3-4e22-9aea-1913ad123352 |
+0
-3
| 1 | author: Georges Bataille | |
| 2 | content: Leave the possible to those who love it. | |
| 3 | id: 96a39a25-b9b3-4e22-9aea-1913ad123352 |
| 1 | author: Matt Groening | |
| 2 | content: Yes, being an adult is a drag, but the orgasms are terrific. | |
| 3 | id: 976557c6-0008-41c3-b1e8-da8593adf3d5 |
+0
-3
| 1 | author: Matt Groening | |
| 2 | content: Yes, being an adult is a drag, but the orgasms are terrific. | |
| 3 | id: 976557c6-0008-41c3-b1e8-da8593adf3d5 |
| 1 | author: Tiki Bar TV | |
| 2 | content: '"Linux is... a version of Windows... it''s full of holes, and viruses... | |
| 3 | it''s terrible." | |
| 4 | ||
| 5 | ||
| 6 | "Mmm... sounds like my ex-wife."' | |
| 7 | id: 97e63856-a03c-428a-8f16-4721a4976750 |
+0
-7
| 1 | author: Tiki Bar TV | |
| 2 | content: '"Linux is... a version of Windows... it''s full of holes, and viruses... | |
| 3 | it''s terrible." | |
| 4 | ||
| 5 | ||
| 6 | "Mmm... sounds like my ex-wife."' | |
| 7 | id: 97e63856-a03c-428a-8f16-4721a4976750 |
| 1 | author: Italo Calvino | |
| 2 | content: I haven't been very clear, this isn't really how I had thought of it... but | |
| 3 | before my thoughts can turn into spoken words they have to go through an empty space | |
| 4 | and they come out false. | |
| 5 | id: 981d033d-1702-4de2-9406-b8b909942c97 |
+0
-5
| 1 | author: Italo Calvino | |
| 2 | content: I haven't been very clear, this isn't really how I had thought of it... but | |
| 3 | before my thoughts can turn into spoken words they have to go through an empty space | |
| 4 | and they come out false. | |
| 5 | id: 981d033d-1702-4de2-9406-b8b909942c97 |
| 1 | author: George Orwell | |
| 2 | content: There are some ideas so wrong that only a very intelligent person could believe | |
| 3 | in them. | |
| 4 | id: 98ee6c06-24e7-4588-a61b-47e915276529 |
+0
-4
| 1 | author: George Orwell | |
| 2 | content: There are some ideas so wrong that only a very intelligent person could believe | |
| 3 | in them. | |
| 4 | id: 98ee6c06-24e7-4588-a61b-47e915276529 |
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: "This, precisely, is the line of reasoning we should reject; let us take\ | |
| 3 | \ the extreme case, a mortal and violent struggle against a Fascist enemy. Should\ | |
| 4 | \ we show respect for the abyss of the radical Otherness of Hitler's personality\ | |
| 5 | \ beneath all his evil acts? It is here that we should apply Christ's famous words\ | |
| 6 | \ about how he has come to bring the sword and division, not unity and peace: out\ | |
| 7 | \ of our very love for humanity, including (whatever remains of) the humanity of\ | |
| 8 | \ the Nazis themselves, we should fight them in an absolutely ruthless and disrespectful\ | |
| 9 | \ way. In short, the Jewish saying often quoted apropos of the Holocaust ('When\ | |
| 10 | \ somebody saves one man from death, he saves the whole of humanity') should be\ | |
| 11 | \ supplemented with: 'When somebody kills just one true enemy of humanity, he (not\ | |
| 12 | \ not kills, but saves) the whole of humanity.' The true ethical test is not only\ | |
| 13 | \ the readiness to save victims, but also\u2014even more, perhaps\u2014the ruthless\ | |
| 14 | \ dedication to annihilating those who made them victims." | |
| 15 | id: 9907f79f-b081-41c0-97f0-589fd18eb1bc |
+0
-15
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: "This, precisely, is the line of reasoning we should reject; let us take\ | |
| 3 | \ the extreme case, a mortal and violent struggle against a Fascist enemy. Should\ | |
| 4 | \ we show respect for the abyss of the radical Otherness of Hitler's personality\ | |
| 5 | \ beneath all his evil acts? It is here that we should apply Christ's famous words\ | |
| 6 | \ about how he has come to bring the sword and division, not unity and peace: out\ | |
| 7 | \ of our very love for humanity, including (whatever remains of) the humanity of\ | |
| 8 | \ the Nazis themselves, we should fight them in an absolutely ruthless and disrespectful\ | |
| 9 | \ way. In short, the Jewish saying often quoted apropos of the Holocaust ('When\ | |
| 10 | \ somebody saves one man from death, he saves the whole of humanity') should be\ | |
| 11 | \ supplemented with: 'When somebody kills just one true enemy of humanity, he (not\ | |
| 12 | \ not kills, but saves) the whole of humanity.' The true ethical test is not only\ | |
| 13 | \ the readiness to save victims, but also\u2014even more, perhaps\u2014the ruthless\ | |
| 14 | \ dedication to annihilating those who made them victims." | |
| 15 | id: 9907f79f-b081-41c0-97f0-589fd18eb1bc |
| 1 | author: Numair Faraz | |
| 2 | content: 'As for us regular people: love, peace, happiness. Pick one.' | |
| 3 | id: 991a5633-0fd9-43ae-a0c0-7457fd73b85f |
+0
-3
| 1 | author: Numair Faraz | |
| 2 | content: 'As for us regular people: love, peace, happiness. Pick one.' | |
| 3 | id: 991a5633-0fd9-43ae-a0c0-7457fd73b85f |
| 1 | author: Jean Baudrillard | |
| 2 | content: 'Driving is a spectacular form of amnesia. Everything is to be discovered, | |
| 3 | everything to be obliterated. Admittedly, there is the primal shock of the deserts | |
| 4 | and the dazzle of California, but when this is gone, the secondary brilliance of | |
| 5 | the journey begins, that of the excessive, pitiless distance, the infinity of anonymous | |
| 6 | faces and distances, or of certain miraculous geological formations, which ultimately | |
| 7 | testify to no human will, while keeping intact an image of upheaval. This form of | |
| 8 | travel admits of no exceptions: when it runs up against a known face, a familiar | |
| 9 | landscape, or some decipherable message, the spell is broken: the amnesic, ascetic, | |
| 10 | asymptotic charm of disappearance succumbs to affect and worldly semiology.' | |
| 11 | id: 996b7a72-4c08-4855-b02a-3d5db3162109 |
+0
-11
| 1 | author: Jean Baudrillard | |
| 2 | content: 'Driving is a spectacular form of amnesia. Everything is to be discovered, | |
| 3 | everything to be obliterated. Admittedly, there is the primal shock of the deserts | |
| 4 | and the dazzle of California, but when this is gone, the secondary brilliance of | |
| 5 | the journey begins, that of the excessive, pitiless distance, the infinity of anonymous | |
| 6 | faces and distances, or of certain miraculous geological formations, which ultimately | |
| 7 | testify to no human will, while keeping intact an image of upheaval. This form of | |
| 8 | travel admits of no exceptions: when it runs up against a known face, a familiar | |
| 9 | landscape, or some decipherable message, the spell is broken: the amnesic, ascetic, | |
| 10 | asymptotic charm of disappearance succumbs to affect and worldly semiology.' | |
| 11 | id: 996b7a72-4c08-4855-b02a-3d5db3162109 |
| 1 | author: Philip Greenspun | |
| 2 | content: Not to put too fine a point on it, but I think you are fucked. | |
| 3 | id: 9a354ebe-57a6-48ac-8786-23e109bbe92c |
+0
-3
| 1 | author: Philip Greenspun | |
| 2 | content: Not to put too fine a point on it, but I think you are fucked. | |
| 3 | id: 9a354ebe-57a6-48ac-8786-23e109bbe92c |
| 1 | author: Umberto Eco, *The Name of The Rose* | |
| 2 | content: 'Until then I had thought each book spoke of the things, human or divine, | |
| 3 | that lie outside books. Now I realized that not infrequently books speak of books: | |
| 4 | it is as if they spoke among themselves. In the light of this reflection, the library | |
| 5 | seemed all the more disturbing to me. It was then the place of a long, centuries-old | |
| 6 | murmuring, an imperceptible dialogue between one parchment and another, a living | |
| 7 | thing, a receptacle of powers not to be ruled by a human mind, a treausre of secrets | |
| 8 | emanated by many minds, surviving the death of those who had produced them or had | |
| 9 | been their conveyors.' | |
| 10 | id: 9ab65b95-226a-4f89-adfc-fb6b6f7dd187 |
+0
-10
| 1 | author: Umberto Eco, *The Name of The Rose* | |
| 2 | content: 'Until then I had thought each book spoke of the things, human or divine, | |
| 3 | that lie outside books. Now I realized that not infrequently books speak of books: | |
| 4 | it is as if they spoke among themselves. In the light of this reflection, the library | |
| 5 | seemed all the more disturbing to me. It was then the place of a long, centuries-old | |
| 6 | murmuring, an imperceptible dialogue between one parchment and another, a living | |
| 7 | thing, a receptacle of powers not to be ruled by a human mind, a treausre of secrets | |
| 8 | emanated by many minds, surviving the death of those who had produced them or had | |
| 9 | been their conveyors.' | |
| 10 | id: 9ab65b95-226a-4f89-adfc-fb6b6f7dd187 |
| 1 | author: Alex Cox | |
| 2 | content: I have been a working film director (REPO MAN, WALKER, etc) for twenty-odd | |
| 3 | years, and copyright law has never worked in my favour - only in the favour of massive | |
| 4 | corporations such as Universal / Vivendi, which seize even the "so-called inalienable | |
| 5 | rights of authors." Patent and copyright laws are a fraud perpetrated by corporations | |
| 6 | and governments against the actual producers of creative work. The independent filmmaker's | |
| 7 | rule of thumb is always, if Jack Valenti's in favour of it, I'm against it. | |
| 8 | id: 9ad9e66b-361f-407f-b289-ad097c81f6c4 |
+0
-8
| 1 | author: Alex Cox | |
| 2 | content: I have been a working film director (REPO MAN, WALKER, etc) for twenty-odd | |
| 3 | years, and copyright law has never worked in my favour - only in the favour of massive | |
| 4 | corporations such as Universal / Vivendi, which seize even the "so-called inalienable | |
| 5 | rights of authors." Patent and copyright laws are a fraud perpetrated by corporations | |
| 6 | and governments against the actual producers of creative work. The independent filmmaker's | |
| 7 | rule of thumb is always, if Jack Valenti's in favour of it, I'm against it. | |
| 8 | id: 9ad9e66b-361f-407f-b289-ad097c81f6c4 |
| 1 | author: G.K. Chesterton | |
| 2 | content: "He knows that there are in the soul tints more bewildering, more numberless\ | |
| 3 | \ and\r\nmore nameless, than the colours of an autumn forest... Yet he seriously\ | |
| 4 | \ believes\r\nthat these things can every one of them, in all their tones and semi-tones,\ | |
| 5 | \ in\r\nall their blends and unions, be accurately represented by an arbitrary system\ | |
| 6 | \ of\r\ngrunts and squeals. He believes that an ordinary civilised stockbroker can\ | |
| 7 | \ really\r\nproduce out of his own inside, noises which denote all the mysteries\ | |
| 8 | \ of memory\r\nand all the agonies of desire." | |
| 9 | id: 9b026084-94e3-4df6-bf01-956be174b65e |
+0
-9
| 1 | author: G.K. Chesterton | |
| 2 | content: "He knows that there are in the soul tints more bewildering, more numberless\ | |
| 3 | \ and\r\nmore nameless, than the colours of an autumn forest... Yet he seriously\ | |
| 4 | \ believes\r\nthat these things can every one of them, in all their tones and semi-tones,\ | |
| 5 | \ in\r\nall their blends and unions, be accurately represented by an arbitrary system\ | |
| 6 | \ of\r\ngrunts and squeals. He believes that an ordinary civilised stockbroker can\ | |
| 7 | \ really\r\nproduce out of his own inside, noises which denote all the mysteries\ | |
| 8 | \ of memory\r\nand all the agonies of desire." | |
| 9 | id: 9b026084-94e3-4df6-bf01-956be174b65e |
| 1 | author: Hunter S. Thompson | |
| 2 | content: "Maybe this is all pure gibberish\u2014a product of the demented imagination\ | |
| 3 | \ of a lazy drunken hillbilly with a heart full of hate who has found out a way\ | |
| 4 | \ to live out there where the real winds blow - to sleep late, have fun, get wild,\ | |
| 5 | \ drink whiskey and ride fast on empty streets with nothing in mind except falling\ | |
| 6 | \ in love and not getting arrested...\nRes ipsa loquitur. Let the good times roll." | |
| 7 | id: 9bf0700a-d442-40a6-80a8-a41a214a9554 |
+0
-7
| 1 | author: Hunter S. Thompson | |
| 2 | content: "Maybe this is all pure gibberish\u2014a product of the demented imagination\ | |
| 3 | \ of a lazy drunken hillbilly with a heart full of hate who has found out a way\ | |
| 4 | \ to live out there where the real winds blow - to sleep late, have fun, get wild,\ | |
| 5 | \ drink whiskey and ride fast on empty streets with nothing in mind except falling\ | |
| 6 | \ in love and not getting arrested...\nRes ipsa loquitur. Let the good times roll." | |
| 7 | id: 9bf0700a-d442-40a6-80a8-a41a214a9554 |
| 1 | author: Sean Yamamoto | |
| 2 | content: The uneducated public will have lower standards than what a serious photographer | |
| 3 | will have. That's normal; they don't know any better. A true artist is judging his/her | |
| 4 | images on a professional level (and if not, someone else certainly will). This is | |
| 5 | a public who will pay thousands in finance charges annually on various credit card | |
| 6 | bills and balk at putting a $50 piece of art in a $25 frame. An $80 opera ticket | |
| 7 | is not justifiable, although a $150 seat for an NFL football game is. | |
| 8 | id: 9c0658b7-09d8-417d-bb57-92f8e62cc332 |
+0
-8
| 1 | author: Sean Yamamoto | |
| 2 | content: The uneducated public will have lower standards than what a serious photographer | |
| 3 | will have. That's normal; they don't know any better. A true artist is judging his/her | |
| 4 | images on a professional level (and if not, someone else certainly will). This is | |
| 5 | a public who will pay thousands in finance charges annually on various credit card | |
| 6 | bills and balk at putting a $50 piece of art in a $25 frame. An $80 opera ticket | |
| 7 | is not justifiable, although a $150 seat for an NFL football game is. | |
| 8 | id: 9c0658b7-09d8-417d-bb57-92f8e62cc332 |
| 1 | author: Arnold Edinborough | |
| 2 | content: Curiosity is the very basis of education and if you tell me that curiosity | |
| 3 | killed the cat, I say only the cat died nobly. | |
| 4 | id: 9c0feb48-563f-4e27-9429-bda63bea33d7 |
+0
-4
| 1 | author: Arnold Edinborough | |
| 2 | content: Curiosity is the very basis of education and if you tell me that curiosity | |
| 3 | killed the cat, I say only the cat died nobly. | |
| 4 | id: 9c0feb48-563f-4e27-9429-bda63bea33d7 |
| 1 | author: James Gosling | |
| 2 | content: I look at most of these social sites and I go, "Oh, jeez, that's all kinds | |
| 3 | of boring." | |
| 4 | id: 9d19f041-5ba9-4a28-a0e2-fd630d730913 |
+0
-4
| 1 | author: James Gosling | |
| 2 | content: I look at most of these social sites and I go, "Oh, jeez, that's all kinds | |
| 3 | of boring." | |
| 4 | id: 9d19f041-5ba9-4a28-a0e2-fd630d730913 |
| 1 | author: 'jerkcity | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'Grok is a word meaning "I''m fat, I have a huge U.C. Berkeley beard, and | |
| 5 | I''m afraid to hit on girls." | |
| 6 | ||
| 7 | ' | |
| 8 | id: 9d4539a0-58c9-4653-a610-963ffe55ce0c |
+0
-8
| 1 | author: 'jerkcity | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'Grok is a word meaning "I''m fat, I have a huge U.C. Berkeley beard, and | |
| 5 | I''m afraid to hit on girls." | |
| 6 | ||
| 7 | ' | |
| 8 | id: 9d4539a0-58c9-4653-a610-963ffe55ce0c |
| 1 | author: Thomas Jefferson | |
| 2 | content: Nothing can now be believed which is seen in a newspaper. Truth itself becomes | |
| 3 | suspicious by being put into that polluted vehicle. | |
| 4 | id: 9d6abe26-2ccd-46cf-9cc8-888f014c0e7c |
+0
-4
| 1 | author: Thomas Jefferson | |
| 2 | content: Nothing can now be believed which is seen in a newspaper. Truth itself becomes | |
| 3 | suspicious by being put into that polluted vehicle. | |
| 4 | id: 9d6abe26-2ccd-46cf-9cc8-888f014c0e7c |
| 1 | author: Anonymous | |
| 2 | content: 'The fortune cookie said: Only count the blessed moments of life. | |
| 3 | ||
| 4 | ||
| 5 | The pessimist mathematician reasoned: The cursed moments are uncountable.' | |
| 6 | id: 9d8cc6da-3618-47c2-a7e3-cc5670b60302 |
+0
-6
| 1 | author: Anonymous | |
| 2 | content: 'The fortune cookie said: Only count the blessed moments of life. | |
| 3 | ||
| 4 | ||
| 5 | The pessimist mathematician reasoned: The cursed moments are uncountable.' | |
| 6 | id: 9d8cc6da-3618-47c2-a7e3-cc5670b60302 |
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: "The only solution to this deadlock is to posit a kind of pre-ontological\ | |
| 3 | \ perturbation/inversion/disturbance _within nirvana itself_\u2014that is to say,\ | |
| 4 | \ prior to the split between nirvana and false appearance\u2014so that the Absolute\ | |
| 5 | \ itself (the cosmic Force, or whatever it is called) gets radically perverted.\ | |
| 6 | \ The traces of this inversion are discernible even in pop-cultural New Age icons\ | |
| 7 | \ like Darth Vader from _Star Wars_: in the idea that the truly evil people are\ | |
| 8 | \ those who have gained access to the Force that enables us to reach the true realm\ | |
| 9 | \ beyond false material reality, but then perverted/misused this Force, employing\ | |
| 10 | \ it for bad, evil ends. What, however, if this fall into perversion is original,\ | |
| 11 | \ the original monstrous cut/excess, and the opposition between nirvana and desire\ | |
| 12 | \ for false appearances is there to conceal this monstrosity?" | |
| 13 | id: 9d91b692-f5e4-4653-b30a-c1aa524b0f0d |
+0
-13
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: "The only solution to this deadlock is to posit a kind of pre-ontological\ | |
| 3 | \ perturbation/inversion/disturbance _within nirvana itself_\u2014that is to say,\ | |
| 4 | \ prior to the split between nirvana and false appearance\u2014so that the Absolute\ | |
| 5 | \ itself (the cosmic Force, or whatever it is called) gets radically perverted.\ | |
| 6 | \ The traces of this inversion are discernible even in pop-cultural New Age icons\ | |
| 7 | \ like Darth Vader from _Star Wars_: in the idea that the truly evil people are\ | |
| 8 | \ those who have gained access to the Force that enables us to reach the true realm\ | |
| 9 | \ beyond false material reality, but then perverted/misused this Force, employing\ | |
| 10 | \ it for bad, evil ends. What, however, if this fall into perversion is original,\ | |
| 11 | \ the original monstrous cut/excess, and the opposition between nirvana and desire\ | |
| 12 | \ for false appearances is there to conceal this monstrosity?" | |
| 13 | id: 9d91b692-f5e4-4653-b30a-c1aa524b0f0d |
| 1 | author: Steve Yegge | |
| 2 | content: So you can write Java code that's object-oriented but C-like using arrays, | |
| 3 | vectors, linked lists, hashtables, and a minimal sprinkling of classes. Or you can | |
| 4 | spend years creating mountains of class hierarchies and volumes of UML in a heroic | |
| 5 | effort to tell people stories about all the great code you're going to write someday. | |
| 6 | id: 9e7a4e43-f6d4-4994-aeb0-2c9ebe6c4977 |
+0
-6
| 1 | author: Steve Yegge | |
| 2 | content: So you can write Java code that's object-oriented but C-like using arrays, | |
| 3 | vectors, linked lists, hashtables, and a minimal sprinkling of classes. Or you can | |
| 4 | spend years creating mountains of class hierarchies and volumes of UML in a heroic | |
| 5 | effort to tell people stories about all the great code you're going to write someday. | |
| 6 | id: 9e7a4e43-f6d4-4994-aeb0-2c9ebe6c4977 |
| 1 | author: Pablo Picasso | |
| 2 | content: 'The artist is a receptacle for emotions that come from all over the place: | |
| 3 | from the sky, from the earth, from a scrap of paper, from a passing shape...' | |
| 4 | id: 9ea2182e-d6d6-400e-997a-ac927138efbb |
+0
-4
| 1 | author: Pablo Picasso | |
| 2 | content: 'The artist is a receptacle for emotions that come from all over the place: | |
| 3 | from the sky, from the earth, from a scrap of paper, from a passing shape...' | |
| 4 | id: 9ea2182e-d6d6-400e-997a-ac927138efbb |
| 1 | author: Marshall Berman | |
| 2 | content: 'Now we must confront somethimg even more perplexing: next to the Communist | |
| 3 | Manifesto, the whole body of capitalist apologetics, from Adam Ferguson to Milton | |
| 4 | Friedman is remarkably pale and empty of life. The celebrants of capitalism tell | |
| 5 | us surprisingly little of its infinite horizons, its revolutionary audacity, its | |
| 6 | dynamic creativity, its adventurousness and romance, its capacity to make men not | |
| 7 | only more comfortable but more alive.' | |
| 8 | id: 9fd9ea69-dabf-40e0-8e75-9129708ace3d |
+0
-8
| 1 | author: Marshall Berman | |
| 2 | content: 'Now we must confront somethimg even more perplexing: next to the Communist | |
| 3 | Manifesto, the whole body of capitalist apologetics, from Adam Ferguson to Milton | |
| 4 | Friedman is remarkably pale and empty of life. The celebrants of capitalism tell | |
| 5 | us surprisingly little of its infinite horizons, its revolutionary audacity, its | |
| 6 | dynamic creativity, its adventurousness and romance, its capacity to make men not | |
| 7 | only more comfortable but more alive.' | |
| 8 | id: 9fd9ea69-dabf-40e0-8e75-9129708ace3d |
| 1 | author: Tom Robbins | |
| 2 | content: Humanity has advanced, when it has advanced, not because it has been sober, | |
| 3 | responsible, and cautious, but because it has been playful, rebellious, and immature. | |
| 4 | id: a033b6d8-f9b9-4953-8485-f5f1801aac89 |
+0
-4
| 1 | author: Tom Robbins | |
| 2 | content: Humanity has advanced, when it has advanced, not because it has been sober, | |
| 3 | responsible, and cautious, but because it has been playful, rebellious, and immature. | |
| 4 | id: a033b6d8-f9b9-4953-8485-f5f1801aac89 |
| 1 | author: William Butler Yeats | |
| 2 | content: I know that Bertrand Russell must, seeing that he is such a featherhead, | |
| 3 | be wrong about everything, but as I have no mathematics I cannot prove it. | |
| 4 | id: a0c43e56-96c8-4862-a25b-cd3d9504e5ab |
+0
-4
| 1 | author: William Butler Yeats | |
| 2 | content: I know that Bertrand Russell must, seeing that he is such a featherhead, | |
| 3 | be wrong about everything, but as I have no mathematics I cannot prove it. | |
| 4 | id: a0c43e56-96c8-4862-a25b-cd3d9504e5ab |
| 1 | author: Lily Tomlin | |
| 2 | content: If love is the answer, could you please rephrase the question? | |
| 3 | id: a0d37991-dfda-4316-9918-88459cad54b7 |
+0
-3
| 1 | author: Lily Tomlin | |
| 2 | content: If love is the answer, could you please rephrase the question? | |
| 3 | id: a0d37991-dfda-4316-9918-88459cad54b7 |
| 1 | author: Werner Herzog | |
| 2 | content: Civilization is like a thin layer of ice upon a deep ocean of chaos and darkness. | |
| 3 | id: a0dd6514-4b6e-4208-bd17-38abaf98b24f |
+0
-3
| 1 | author: Werner Herzog | |
| 2 | content: Civilization is like a thin layer of ice upon a deep ocean of chaos and darkness. | |
| 3 | id: a0dd6514-4b6e-4208-bd17-38abaf98b24f |
| 1 | author: Haruki Murakami, paraphrasing Tolstoy | |
| 2 | content: Happiness is an allegory, unhappiness is a story. | |
| 3 | id: a0f962a7-6d15-4233-baca-f651f2dc5e1d |
+0
-3
| 1 | author: Haruki Murakami, paraphrasing Tolstoy | |
| 2 | content: Happiness is an allegory, unhappiness is a story. | |
| 3 | id: a0f962a7-6d15-4233-baca-f651f2dc5e1d |
| 1 | author: Jorge Luis Borges | |
| 2 | content: 'Que el cielo exista, aunque mi lugar sea el infierno. | |
| 3 | ||
| 4 | ||
| 5 | May heaven exist, even if my place is hell.' | |
| 6 | id: a12c60a1-f625-4a68-a9eb-95f6c74a2ca7 |
+0
-6
| 1 | author: Jorge Luis Borges | |
| 2 | content: 'Que el cielo exista, aunque mi lugar sea el infierno. | |
| 3 | ||
| 4 | ||
| 5 | May heaven exist, even if my place is hell.' | |
| 6 | id: a12c60a1-f625-4a68-a9eb-95f6c74a2ca7 |
| 1 | author: Phil Greenspun | |
| 2 | content: My first week as an electrical engineering and computer science graduate | |
| 3 | student I asked a professor for help with a problem. He talked to me for a bit and | |
| 4 | then said "You're having trouble with this problem because you don't know anything | |
| 5 | and you're not working very hard." | |
| 6 | id: a1bb890a-7d8d-4fc2-92c9-d9b3f0b6133d |
+0
-6
| 1 | author: Phil Greenspun | |
| 2 | content: My first week as an electrical engineering and computer science graduate | |
| 3 | student I asked a professor for help with a problem. He talked to me for a bit and | |
| 4 | then said "You're having trouble with this problem because you don't know anything | |
| 5 | and you're not working very hard." | |
| 6 | id: a1bb890a-7d8d-4fc2-92c9-d9b3f0b6133d |
| 1 | author: Clive Bell | |
| 2 | content: 'Only reason can convince of those three fundamental truths without a recognition | |
| 3 | of which there can be no effective liberty: that what we believe is not necessarily | |
| 4 | true; that what we like is not necessarily good; and that all questions are open.' | |
| 5 | id: a1cb9050-23fd-4379-b21f-573873f69cee |
+0
-5
| 1 | author: Clive Bell | |
| 2 | content: 'Only reason can convince of those three fundamental truths without a recognition | |
| 3 | of which there can be no effective liberty: that what we believe is not necessarily | |
| 4 | true; that what we like is not necessarily good; and that all questions are open.' | |
| 5 | id: a1cb9050-23fd-4379-b21f-573873f69cee |
| 1 | author: Edgar Allen Poe | |
| 2 | content: They who dream by day are cognizant of many things which escape those who | |
| 3 | dream only by night. | |
| 4 | id: a2cee0be-0c59-4cb8-a2c8-f70de87af751 |
+0
-4
| 1 | author: Edgar Allen Poe | |
| 2 | content: They who dream by day are cognizant of many things which escape those who | |
| 3 | dream only by night. | |
| 4 | id: a2cee0be-0c59-4cb8-a2c8-f70de87af751 |
| 1 | author: The Gospel of Thomas | |
| 2 | content: 'Then the Lord himself spoke and said: "If you can grasp what is meant by | |
| 3 | this, you will be delivered from the fear of Endings. So do not cease from searching. | |
| 4 | Yet, remember this; when you find that for which you are looking, you will at first | |
| 5 | be struck with horror and amazement. But after the horror will come understanding; | |
| 6 | and in the end you will find yourself to be set apart, and honoured above them all."' | |
| 7 | id: a32134b6-0b6a-46c2-bb19-7990f5732d4a |
+0
-7
| 1 | author: The Gospel of Thomas | |
| 2 | content: 'Then the Lord himself spoke and said: "If you can grasp what is meant by | |
| 3 | this, you will be delivered from the fear of Endings. So do not cease from searching. | |
| 4 | Yet, remember this; when you find that for which you are looking, you will at first | |
| 5 | be struck with horror and amazement. But after the horror will come understanding; | |
| 6 | and in the end you will find yourself to be set apart, and honoured above them all."' | |
| 7 | id: a32134b6-0b6a-46c2-bb19-7990f5732d4a |
| 1 | author: James Watson | |
| 2 | content: One could not be a successful scientist without realizing that, in contrast | |
| 3 | to the popular conception supported by newspapers and mothers of scientists, a goodly | |
| 4 | number of scientists are not only narrow-minded and dull, but also just stupid. | |
| 5 | id: a40c5bdb-6ad0-450a-b64d-d323fdc0da99 |
+0
-5
| 1 | author: James Watson | |
| 2 | content: One could not be a successful scientist without realizing that, in contrast | |
| 3 | to the popular conception supported by newspapers and mothers of scientists, a goodly | |
| 4 | number of scientists are not only narrow-minded and dull, but also just stupid. | |
| 5 | id: a40c5bdb-6ad0-450a-b64d-d323fdc0da99 |
| 1 | author: Flannery O'Connor | |
| 2 | content: The truth does not change according to our ability to stomach it. | |
| 3 | id: a413422c-76c7-4307-a938-e2384a06c3e3 |
+0
-3
| 1 | author: Flannery O'Connor | |
| 2 | content: The truth does not change according to our ability to stomach it. | |
| 3 | id: a413422c-76c7-4307-a938-e2384a06c3e3 |
| 1 | author: Charles Darwin | |
| 2 | content: There is grandeur in this view of life, with its several powers, having been | |
| 3 | originally breathed into a few forms or into one; and that, whilst this planet has | |
| 4 | gone cycling on according to the fixed law of gravity, from so simple a beginning | |
| 5 | endless forms most beautiful and most wonderful have been, and are being, evolved. | |
| 6 | id: a4202c73-2d3d-4268-8524-26daed889fc5 |
+0
-6
| 1 | author: Charles Darwin | |
| 2 | content: There is grandeur in this view of life, with its several powers, having been | |
| 3 | originally breathed into a few forms or into one; and that, whilst this planet has | |
| 4 | gone cycling on according to the fixed law of gravity, from so simple a beginning | |
| 5 | endless forms most beautiful and most wonderful have been, and are being, evolved. | |
| 6 | id: a4202c73-2d3d-4268-8524-26daed889fc5 |
| 1 | author: Robert Heinlein | |
| 2 | content: A human being should be able to change a diaper, plan an invasion, butcher | |
| 3 | a hog, conn a ship, design a building, write a sonnet, balance accounts, build a | |
| 4 | wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, | |
| 5 | solve equations, analyze a new problem, pitch manure, program a computer, cook a | |
| 6 | tasty meal, fight efficiently, die gallantly. Specialization is for insects. | |
| 7 | id: a588e6b8-2a90-4cd8-9fbc-95e348c213b0 |
+0
-7
| 1 | author: Robert Heinlein | |
| 2 | content: A human being should be able to change a diaper, plan an invasion, butcher | |
| 3 | a hog, conn a ship, design a building, write a sonnet, balance accounts, build a | |
| 4 | wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, | |
| 5 | solve equations, analyze a new problem, pitch manure, program a computer, cook a | |
| 6 | tasty meal, fight efficiently, die gallantly. Specialization is for insects. | |
| 7 | id: a588e6b8-2a90-4cd8-9fbc-95e348c213b0 |
| 1 | author: Melvin Jules Bukiet | |
| 2 | content: And there you have several miracles, first among them the wonder of a three-dimensional | |
| 3 | volume where black squiggles on white paper create worlds. | |
| 4 | id: a5c8a22b-5dfb-4154-913c-a112832b2099 |
+0
-4
| 1 | author: Melvin Jules Bukiet | |
| 2 | content: And there you have several miracles, first among them the wonder of a three-dimensional | |
| 3 | volume where black squiggles on white paper create worlds. | |
| 4 | id: a5c8a22b-5dfb-4154-913c-a112832b2099 |
| 1 | author: Carl Sagan | |
| 2 | content: For small creatures such as we the vastness is bearable only through love. | |
| 3 | id: a60726a1-7cd7-4e53-b7e7-9e8f0bca8d06 |
+0
-3
| 1 | author: Carl Sagan | |
| 2 | content: For small creatures such as we the vastness is bearable only through love. | |
| 3 | id: a60726a1-7cd7-4e53-b7e7-9e8f0bca8d06 |
| 1 | author: Buckminster Fuller | |
| 2 | content: I have been a deliberate half-century-fused inciter of a cool-headed, natural, | |
| 3 | gestation-rate-paced revolution, armed with physically demonstrable livingry levers | |
| 4 | with which altogether to elevate all humanity to realization of an inherently sustainable, | |
| 5 | satisfactory-to-all, ever higher standard of living. Critical threshold-crossing | |
| 6 | of the inevitable revolution is already underway. | |
| 7 | id: a6959b04-ab6c-4373-87f8-1261f190a640 |
+0
-7
| 1 | author: Buckminster Fuller | |
| 2 | content: I have been a deliberate half-century-fused inciter of a cool-headed, natural, | |
| 3 | gestation-rate-paced revolution, armed with physically demonstrable livingry levers | |
| 4 | with which altogether to elevate all humanity to realization of an inherently sustainable, | |
| 5 | satisfactory-to-all, ever higher standard of living. Critical threshold-crossing | |
| 6 | of the inevitable revolution is already underway. | |
| 7 | id: a6959b04-ab6c-4373-87f8-1261f190a640 |
| 1 | author: 'Penn Jillette | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'You must defend people you disagree with, it is how you find out what your | |
| 5 | principles really are. | |
| 6 | ||
| 7 | ' | |
| 8 | id: a75e8987-24a8-49b5-9337-9ff7edf340ea |
+0
-8
| 1 | author: 'Penn Jillette | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'You must defend people you disagree with, it is how you find out what your | |
| 5 | principles really are. | |
| 6 | ||
| 7 | ' | |
| 8 | id: a75e8987-24a8-49b5-9337-9ff7edf340ea |
| 1 | author: Kobayashi Issa, translated by R.H. Blythe | |
| 2 | content: Yes my little snail climb up the fujiyama but slowly slowly | |
| 3 | id: a7fed9c8-6626-4a61-b09b-0427fcb96920 |
+0
-3
| 1 | author: Kobayashi Issa, translated by R.H. Blythe | |
| 2 | content: Yes my little snail climb up the fujiyama but slowly slowly | |
| 3 | id: a7fed9c8-6626-4a61-b09b-0427fcb96920 |
| 1 | author: John Waters | |
| 2 | content: "My idea of rich is that you can buy every book you ever want without looking\ | |
| 3 | \ at the price and you\u2019re never around assholes. That\u2019s the two things\ | |
| 4 | \ to really fight for in life." | |
| 5 | id: a8898f33-5114-4c48-a686-b991d99142d8 |
+0
-5
| 1 | author: John Waters | |
| 2 | content: "My idea of rich is that you can buy every book you ever want without looking\ | |
| 3 | \ at the price and you\u2019re never around assholes. That\u2019s the two things\ | |
| 4 | \ to really fight for in life." | |
| 5 | id: a8898f33-5114-4c48-a686-b991d99142d8 |
| 1 | author: Donald Knuth | |
| 2 | content: Whenever the C++ language designers had two competing ideas as to how they | |
| 3 | should solve some problem, they said, "OK, we'll do them both". So the language | |
| 4 | is too baroque for my taste. | |
| 5 | id: a88e555a-803a-4d0d-bbc3-b8fe8f7bdb54 |
+0
-5
| 1 | author: Donald Knuth | |
| 2 | content: Whenever the C++ language designers had two competing ideas as to how they | |
| 3 | should solve some problem, they said, "OK, we'll do them both". So the language | |
| 4 | is too baroque for my taste. | |
| 5 | id: a88e555a-803a-4d0d-bbc3-b8fe8f7bdb54 |
| 1 | author: Alan Perlis | |
| 2 | content: A language that doesn't affect the way you think about programming, is not | |
| 3 | worth knowing. | |
| 4 | id: a8aac974-9249-4eb1-a47e-86c087475669 |
+0
-4
| 1 | author: Alan Perlis | |
| 2 | content: A language that doesn't affect the way you think about programming, is not | |
| 3 | worth knowing. | |
| 4 | id: a8aac974-9249-4eb1-a47e-86c087475669 |
| 1 | author: Donald Knuth | |
| 2 | content: You're bound to be unhappy if you optimize everything. | |
| 3 | id: aa6361db-5828-4264-843d-da976dd8eea2 |
+0
-3
| 1 | author: Donald Knuth | |
| 2 | content: You're bound to be unhappy if you optimize everything. | |
| 3 | id: aa6361db-5828-4264-843d-da976dd8eea2 |
| 1 | author: G.K. Chesterton | |
| 2 | content: Without education, we are in a horrible and deadly danger of taking educated | |
| 3 | people seriously. | |
| 4 | id: aa63d9cb-2fb4-4314-9ca9-ff3708808556 |
+0
-4
| 1 | author: G.K. Chesterton | |
| 2 | content: Without education, we are in a horrible and deadly danger of taking educated | |
| 3 | people seriously. | |
| 4 | id: aa63d9cb-2fb4-4314-9ca9-ff3708808556 |
| 1 | author: Friedrich Nietzsche | |
| 2 | content: That immense framework and planking of concepts to which the needy man clings | |
| 3 | his whole life long in order to preserve himself is nothing but a scaffolding and | |
| 4 | toy for the most audacious feats of the liberated intellect. And when it smashes | |
| 5 | this framework to pieces, throws it into confusion, and puts it back together in | |
| 6 | an ironic fashion, pairing the most alien things and separating the closest, it | |
| 7 | is demonstrating that he has no need of these makeshits of indigence and that it | |
| 8 | will not be guided by intuitions rather than by concepts. There is no regular path | |
| 9 | which leads from these intutions into the land of ghostly schemata, the land of | |
| 10 | abstractions. There exists no word for these intuitions; when man sees them he grows | |
| 11 | dumb, or else he speaks only in forbidden metaphors and in unheard-of combinations | |
| 12 | of concepts. He does this so that by shattering and mocking the old conceptual barriers | |
| 13 | he may at least correspond creatively to the impression of the powerful present | |
| 14 | intuition. | |
| 15 | id: aa7f07db-a0ae-4885-92f6-ff7448544265 |
+0
-15
| 1 | author: Friedrich Nietzsche | |
| 2 | content: That immense framework and planking of concepts to which the needy man clings | |
| 3 | his whole life long in order to preserve himself is nothing but a scaffolding and | |
| 4 | toy for the most audacious feats of the liberated intellect. And when it smashes | |
| 5 | this framework to pieces, throws it into confusion, and puts it back together in | |
| 6 | an ironic fashion, pairing the most alien things and separating the closest, it | |
| 7 | is demonstrating that he has no need of these makeshits of indigence and that it | |
| 8 | will not be guided by intuitions rather than by concepts. There is no regular path | |
| 9 | which leads from these intutions into the land of ghostly schemata, the land of | |
| 10 | abstractions. There exists no word for these intuitions; when man sees them he grows | |
| 11 | dumb, or else he speaks only in forbidden metaphors and in unheard-of combinations | |
| 12 | of concepts. He does this so that by shattering and mocking the old conceptual barriers | |
| 13 | he may at least correspond creatively to the impression of the powerful present | |
| 14 | intuition. | |
| 15 | id: aa7f07db-a0ae-4885-92f6-ff7448544265 |
| 1 | author: Christian Neukirchen (?) | |
| 2 | content: Writing doesn't actually take that long. It's the long stretches of procrastinating | |
| 3 | that take up most of your time. | |
| 4 | id: aaea163c-968e-49b5-addc-cd2f7f07826b |
+0
-4
| 1 | author: Christian Neukirchen (?) | |
| 2 | content: Writing doesn't actually take that long. It's the long stretches of procrastinating | |
| 3 | that take up most of your time. | |
| 4 | id: aaea163c-968e-49b5-addc-cd2f7f07826b |
| 1 | author: Bill Hicks | |
| 2 | content: "The world is like a ride in an amusement park. And when you choose to go\ | |
| 3 | \ on it you think it's real because that's how powerful our minds are. And the ride\ | |
| 4 | \ goes up and down and round and round. It has thrills and chills and it's very\ | |
| 5 | \ brightly coloured and it's very loud and it's fun, for a while. Some people have\ | |
| 6 | \ been on the ride for a long time and they begin to question: \"Is this real, or\ | |
| 7 | \ is this just a ride?\" And other people have remembered, and they come back to\ | |
| 8 | \ us, they say, \"Hey, don't worry, don't be afraid, ever, because this is just\ | |
| 9 | \ a ride.\"\r\n\r\nAnd we kill those people." | |
| 10 | id: ab1cf0fe-79de-4512-a572-1879b21e559f |
+0
-10
| 1 | author: Bill Hicks | |
| 2 | content: "The world is like a ride in an amusement park. And when you choose to go\ | |
| 3 | \ on it you think it's real because that's how powerful our minds are. And the ride\ | |
| 4 | \ goes up and down and round and round. It has thrills and chills and it's very\ | |
| 5 | \ brightly coloured and it's very loud and it's fun, for a while. Some people have\ | |
| 6 | \ been on the ride for a long time and they begin to question: \"Is this real, or\ | |
| 7 | \ is this just a ride?\" And other people have remembered, and they come back to\ | |
| 8 | \ us, they say, \"Hey, don't worry, don't be afraid, ever, because this is just\ | |
| 9 | \ a ride.\"\r\n\r\nAnd we kill those people." | |
| 10 | id: ab1cf0fe-79de-4512-a572-1879b21e559f |
| 1 | author: Marshall McLuhan | |
| 2 | content: World War III is a guerrilla information war with no division between military | |
| 3 | and civilian participation. | |
| 4 | id: ab2de6db-1216-4a8e-aed4-1e65ea3f21ac |
+0
-4
| 1 | author: Marshall McLuhan | |
| 2 | content: World War III is a guerrilla information war with no division between military | |
| 3 | and civilian participation. | |
| 4 | id: ab2de6db-1216-4a8e-aed4-1e65ea3f21ac |
| 1 | author: David Foster Wallace | |
| 2 | content: I'm concerned about today's kids. These kids should be out drinking beer | |
| 3 | and seeing films and having panty raids and losing virginities and writhing to suggestive | |
| 4 | music, not making up long, sad, convoluted stories. | |
| 5 | id: ab6a59c1-da0e-40ca-98c7-c0b7df15a679 |
+0
-5
| 1 | author: David Foster Wallace | |
| 2 | content: I'm concerned about today's kids. These kids should be out drinking beer | |
| 3 | and seeing films and having panty raids and losing virginities and writhing to suggestive | |
| 4 | music, not making up long, sad, convoluted stories. | |
| 5 | id: ab6a59c1-da0e-40ca-98c7-c0b7df15a679 |
| 1 | author: Thant Tessman | |
| 2 | content: (Of course SML does have its weaknesses, but by comparison, a discussion | |
| 3 | of C++'s strengths and flaws always sounds like an argument about whether one should | |
| 4 | face north or east when one is sacrificing one's goat to the rain god.) | |
| 5 | id: ac10e7df-0dcc-4271-95fc-a49bd22a5dd9 |
+0
-5
| 1 | author: Thant Tessman | |
| 2 | content: (Of course SML does have its weaknesses, but by comparison, a discussion | |
| 3 | of C++'s strengths and flaws always sounds like an argument about whether one should | |
| 4 | face north or east when one is sacrificing one's goat to the rain god.) | |
| 5 | id: ac10e7df-0dcc-4271-95fc-a49bd22a5dd9 |
| 1 | author: Mark Twain | |
| 2 | content: I haven't any right to criticize books, and I don't do it except when I hate | |
| 3 | them. I often want to criticize Jane Austen, but her books madden me so that I can't | |
| 4 | conceal my frenzy from the reader; and therefore I have to stop every time I begin. | |
| 5 | Every time I read Pride and Prejudice I want to dig her up and beat her over the | |
| 6 | skull with her own shin-bone. | |
| 7 | id: ac663b60-ae95-4810-9ed5-d554417a9a75 |
+0
-7
| 1 | author: Mark Twain | |
| 2 | content: I haven't any right to criticize books, and I don't do it except when I hate | |
| 3 | them. I often want to criticize Jane Austen, but her books madden me so that I can't | |
| 4 | conceal my frenzy from the reader; and therefore I have to stop every time I begin. | |
| 5 | Every time I read Pride and Prejudice I want to dig her up and beat her over the | |
| 6 | skull with her own shin-bone. | |
| 7 | id: ac663b60-ae95-4810-9ed5-d554417a9a75 |
| 1 | author: 'Spider Jerusalem | |
| 2 | ||
| 3 | Warren Ellis''s "Transmetropolitan"' | |
| 4 | content: Did you ever want to set someone's head on fire, just to see what it looked | |
| 5 | like? Did you ever stand in the street and think to yourself, I could make that | |
| 6 | nun go blind just by giving her a kiss? Did you ever lay out plans for stitching | |
| 7 | babies and stray cats into a Perfect New Human? Did you ever stand naked surrounded | |
| 8 | by people who want your gleaming sperm, squirting frankincense, soma and testosterone | |
| 9 | from every pore? If so, then you're the bastard who stole my drugs Friday night. | |
| 10 | And I'll find you. Oh, yes. | |
| 11 | id: ac959d47-39f8-4148-9883-eaf20a0cb251 |
+0
-11
| 1 | author: 'Spider Jerusalem | |
| 2 | ||
| 3 | Warren Ellis''s "Transmetropolitan"' | |
| 4 | content: Did you ever want to set someone's head on fire, just to see what it looked | |
| 5 | like? Did you ever stand in the street and think to yourself, I could make that | |
| 6 | nun go blind just by giving her a kiss? Did you ever lay out plans for stitching | |
| 7 | babies and stray cats into a Perfect New Human? Did you ever stand naked surrounded | |
| 8 | by people who want your gleaming sperm, squirting frankincense, soma and testosterone | |
| 9 | from every pore? If so, then you're the bastard who stole my drugs Friday night. | |
| 10 | And I'll find you. Oh, yes. | |
| 11 | id: ac959d47-39f8-4148-9883-eaf20a0cb251 |
| 1 | author: run4yourlives | |
| 2 | content: We fear 1984 while living Brave New World. | |
| 3 | id: ade2b69b-b877-425e-ad99-0bb31224355d |
+0
-3
| 1 | author: run4yourlives | |
| 2 | content: We fear 1984 while living Brave New World. | |
| 3 | id: ade2b69b-b877-425e-ad99-0bb31224355d |
| 1 | author: Jack Shedd | |
| 2 | content: 'But I want no part in [photographs]. I don''t want to stare at some photo | |
| 3 | of me at 21 when I''m 50 and contemplate everything I was, or could have been. I | |
| 4 | don''t want to have to drown in partial truths, grasping at a falling memory to | |
| 5 | paint in details. I''d rather either remember, or not. Rather know, or forget. I''d | |
| 6 | rather be able to molt my life as it goes, letting the useless bits drop away as | |
| 7 | the important becomes more dear. | |
| 8 | ||
| 9 | ||
| 10 | When I reach backwards into my life, I want to know what I find to have been defining. | |
| 11 | To have been something I couldn''t shake, couldn''t let go of. I want to forget | |
| 12 | the pointless birthday parties, and the group shots at the bars where so-and-so | |
| 13 | is making that face she makes, and I''m half-drunk, and look that''s what''s his | |
| 14 | face that guy who dated whoever that is. I want to reach and find the things I couldn''t | |
| 15 | photograph: the moments I knew, the moments we forgot; the street sign all lit up | |
| 16 | with sun as our car drove towards home; the view of the skyline when I left; the | |
| 17 | dodge balls as they barreled towards me; the way it felt to run in the rain, drunk | |
| 18 | and mad, screeching towards the bar like a five-year old on a sugar high. | |
| 19 | ||
| 20 | ||
| 21 | I''d rather be able to forget, so that I can remember.' | |
| 22 | id: ae2222f9-985b-4af3-a8df-7b90bc84b1d9 |
+0
-22
| 1 | author: Jack Shedd | |
| 2 | content: 'But I want no part in [photographs]. I don''t want to stare at some photo | |
| 3 | of me at 21 when I''m 50 and contemplate everything I was, or could have been. I | |
| 4 | don''t want to have to drown in partial truths, grasping at a falling memory to | |
| 5 | paint in details. I''d rather either remember, or not. Rather know, or forget. I''d | |
| 6 | rather be able to molt my life as it goes, letting the useless bits drop away as | |
| 7 | the important becomes more dear. | |
| 8 | ||
| 9 | ||
| 10 | When I reach backwards into my life, I want to know what I find to have been defining. | |
| 11 | To have been something I couldn''t shake, couldn''t let go of. I want to forget | |
| 12 | the pointless birthday parties, and the group shots at the bars where so-and-so | |
| 13 | is making that face she makes, and I''m half-drunk, and look that''s what''s his | |
| 14 | face that guy who dated whoever that is. I want to reach and find the things I couldn''t | |
| 15 | photograph: the moments I knew, the moments we forgot; the street sign all lit up | |
| 16 | with sun as our car drove towards home; the view of the skyline when I left; the | |
| 17 | dodge balls as they barreled towards me; the way it felt to run in the rain, drunk | |
| 18 | and mad, screeching towards the bar like a five-year old on a sugar high. | |
| 19 | ||
| 20 | ||
| 21 | I''d rather be able to forget, so that I can remember.' | |
| 22 | id: ae2222f9-985b-4af3-a8df-7b90bc84b1d9 |
| 1 | author: E.W. Dijkstra | |
| 2 | content: 'The major attraction of the modern elixirs is that they relieve their consumers | |
| 3 | from the obligation of being precise by presenting an interface too fuzzy to be | |
| 4 | precise in: by suppressing the symptoms of impotence they create an illusion of | |
| 5 | power.' | |
| 6 | id: ae40b7a7-6e3b-4df4-b176-23064b1a83a0 |
+0
-6
| 1 | author: E.W. Dijkstra | |
| 2 | content: 'The major attraction of the modern elixirs is that they relieve their consumers | |
| 3 | from the obligation of being precise by presenting an interface too fuzzy to be | |
| 4 | precise in: by suppressing the symptoms of impotence they create an illusion of | |
| 5 | power.' | |
| 6 | id: ae40b7a7-6e3b-4df4-b176-23064b1a83a0 |
| 1 | author: M. C. Escher | |
| 2 | content: What I give form to in daylight is only one per cent of what I have seen | |
| 3 | in darkness. | |
| 4 | id: ae5ce901-762a-4c74-93aa-c41c5d19f644 |
+0
-4
| 1 | author: M. C. Escher | |
| 2 | content: What I give form to in daylight is only one per cent of what I have seen | |
| 3 | in darkness. | |
| 4 | id: ae5ce901-762a-4c74-93aa-c41c5d19f644 |
| 1 | author: Robert Pirsig | |
| 2 | content: The truth knocks on the door and you say, Go away, I'm looking for the truth, | |
| 3 | and so it goes away. Puzzling. | |
| 4 | id: ae6f1494-33dc-41a4-a808-2fbadf12f7f0 |
+0
-4
| 1 | author: Robert Pirsig | |
| 2 | content: The truth knocks on the door and you say, Go away, I'm looking for the truth, | |
| 3 | and so it goes away. Puzzling. | |
| 4 | id: ae6f1494-33dc-41a4-a808-2fbadf12f7f0 |
| 1 | author: Stephen Fry | |
| 2 | content: I can't pretend to be much of a judge of poetry. I'm an English teacher, | |
| 3 | not a homosexual. | |
| 4 | id: ae8b1d2c-7c2d-4f97-b8c3-2331269bcb74 |
+0
-4
| 1 | author: Stephen Fry | |
| 2 | content: I can't pretend to be much of a judge of poetry. I'm an English teacher, | |
| 3 | not a homosexual. | |
| 4 | id: ae8b1d2c-7c2d-4f97-b8c3-2331269bcb74 |
| 1 | author: Mark Rosenfelder | |
| 2 | content: Libertarianism strikes me as if someone (let's call her "Ayn Rand") sat down | |
| 3 | to create the Un-Communism. | |
| 4 | id: aec1a44c-9d31-49b2-82b4-9b9d8af33013 |
+0
-4
| 1 | author: Mark Rosenfelder | |
| 2 | content: Libertarianism strikes me as if someone (let's call her "Ayn Rand") sat down | |
| 3 | to create the Un-Communism. | |
| 4 | id: aec1a44c-9d31-49b2-82b4-9b9d8af33013 |
| 1 | author: Robert Graves | |
| 2 | content: There's no money in poetry, but there's no poetry in money, either. | |
| 3 | id: b087a7a2-34c5-4beb-8e1d-858cb69ed9b5 |
+0
-3
| 1 | author: Robert Graves | |
| 2 | content: There's no money in poetry, but there's no poetry in money, either. | |
| 3 | id: b087a7a2-34c5-4beb-8e1d-858cb69ed9b5 |
| 1 | author: Charles Mackay | |
| 2 | content: There is scarcely an occurrence in nature which, happening at a certain time, | |
| 3 | is not looked upon by some persons as a prognosticator either of good or evil. The | |
| 4 | latter are in the greatest number, so much more ingenious are we in tormenting ourselves | |
| 5 | than in discovering reasons for enjoyment in the things that surround us. | |
| 6 | id: b1169ac9-fd46-4eb4-aa1d-76b006af5581 |
+0
-6
| 1 | author: Charles Mackay | |
| 2 | content: There is scarcely an occurrence in nature which, happening at a certain time, | |
| 3 | is not looked upon by some persons as a prognosticator either of good or evil. The | |
| 4 | latter are in the greatest number, so much more ingenious are we in tormenting ourselves | |
| 5 | than in discovering reasons for enjoyment in the things that surround us. | |
| 6 | id: b1169ac9-fd46-4eb4-aa1d-76b006af5581 |
| 1 | author: The Simpsons | |
| 2 | content: '"Come on, Homer. Japan will be fun! You liked Rashomon." | |
| 3 | ||
| 4 | "That''s not how I remember it!"' | |
| 5 | id: b29763f1-b803-4256-b12d-c5ef09ac4a6b |
+0
-5
| 1 | author: The Simpsons | |
| 2 | content: '"Come on, Homer. Japan will be fun! You liked Rashomon." | |
| 3 | ||
| 4 | "That''s not how I remember it!"' | |
| 5 | id: b29763f1-b803-4256-b12d-c5ef09ac4a6b |
| 1 | author: Henri Matisse | |
| 2 | content: I don't paint things. I only paint the difference between things. | |
| 3 | id: b47c4567-dd90-4851-b670-f3d44a03ce24 |
+0
-3
| 1 | author: Henri Matisse | |
| 2 | content: I don't paint things. I only paint the difference between things. | |
| 3 | id: b47c4567-dd90-4851-b670-f3d44a03ce24 |
| 1 | author: Bob Black | |
| 2 | content: A libertarian is just a Republican who takes drugs. | |
| 3 | id: b4f95a41-52fa-48f9-99a5-eebf0bd1d3b6 |
+0
-3
| 1 | author: Bob Black | |
| 2 | content: A libertarian is just a Republican who takes drugs. | |
| 3 | id: b4f95a41-52fa-48f9-99a5-eebf0bd1d3b6 |
| 1 | author: Kieran Egan | |
| 2 | content: We don't actually think about our institutions. We think through them. We | |
| 3 | take for granted the institutions that surround us, and they frame the ways we think | |
| 4 | about the world. | |
| 5 | id: b5a573ff-75a5-4a9e-8b3c-b456f434c5f7 |
+0
-5
| 1 | author: Kieran Egan | |
| 2 | content: We don't actually think about our institutions. We think through them. We | |
| 3 | take for granted the institutions that surround us, and they frame the ways we think | |
| 4 | about the world. | |
| 5 | id: b5a573ff-75a5-4a9e-8b3c-b456f434c5f7 |
| 1 | author: 'Gilles Deleuze | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'Never believe that a smooth space will suffice to save us. | |
| 5 | ||
| 6 | ' | |
| 7 | id: b5c4fe93-1fd5-4c32-972b-ecd8f21eee7c |
+0
-7
| 1 | author: 'Gilles Deleuze | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'Never believe that a smooth space will suffice to save us. | |
| 5 | ||
| 6 | ' | |
| 7 | id: b5c4fe93-1fd5-4c32-972b-ecd8f21eee7c |
| 1 | author: G.K. Chesterton | |
| 2 | content: If you'd take your head home and boil it for a turnip, it might be useful. | |
| 3 | I can't say. But it might. | |
| 4 | id: b61a0c3c-3cff-4377-9cbc-d40ae217cd18 |
+0
-4
| 1 | author: G.K. Chesterton | |
| 2 | content: If you'd take your head home and boil it for a turnip, it might be useful. | |
| 3 | I can't say. But it might. | |
| 4 | id: b61a0c3c-3cff-4377-9cbc-d40ae217cd18 |
| 1 | author: Asterios Polyp, by David Mazzucchelli | |
| 2 | content: I don't like drawing from life. Things are always in the wrong place. | |
| 3 | id: b6743090-a39c-4a0d-ac2a-31fe50f149a7 |
+0
-3
| 1 | author: Asterios Polyp, by David Mazzucchelli | |
| 2 | content: I don't like drawing from life. Things are always in the wrong place. | |
| 3 | id: b6743090-a39c-4a0d-ac2a-31fe50f149a7 |
| 1 | author: Garrett Hardin | |
| 2 | content: "Society does not need more children; but it does need more loved children.\ | |
| 3 | \ Quite literally, we cannot afford unloved children\u2014but we pay heavily for\ | |
| 4 | \ them every day. There should not be the slightest communal concern when a woman\ | |
| 5 | \ elects to destroy the life of her thousandth-of-an-ounce embryo. But all society\ | |
| 6 | \ should rise up in alarm when it hears that a baby that is not wanted is about\ | |
| 7 | \ to be born." | |
| 8 | id: b682d375-32fa-4cbe-8627-a74238e91bb2 |
+0
-8
| 1 | author: Garrett Hardin | |
| 2 | content: "Society does not need more children; but it does need more loved children.\ | |
| 3 | \ Quite literally, we cannot afford unloved children\u2014but we pay heavily for\ | |
| 4 | \ them every day. There should not be the slightest communal concern when a woman\ | |
| 5 | \ elects to destroy the life of her thousandth-of-an-ounce embryo. But all society\ | |
| 6 | \ should rise up in alarm when it hears that a baby that is not wanted is about\ | |
| 7 | \ to be born." | |
| 8 | id: b682d375-32fa-4cbe-8627-a74238e91bb2 |
| 1 | author: Erik Naggum | |
| 2 | content: Life is too long to know C++ well. | |
| 3 | id: b68327c5-37bf-4836-ada0-502f9adeadeb |
+0
-3
| 1 | author: Erik Naggum | |
| 2 | content: Life is too long to know C++ well. | |
| 3 | id: b68327c5-37bf-4836-ada0-502f9adeadeb |
| 1 | author: Peyton `Simon` Jones | |
| 2 | content: 'Our biggest mistake: using the scary term "monad" rather than "warm fuzzy | |
| 3 | thing".' | |
| 4 | id: b6d026db-e8e4-4730-b52c-af50f25ae678 |
+0
-4
| 1 | author: Peyton `Simon` Jones | |
| 2 | content: 'Our biggest mistake: using the scary term "monad" rather than "warm fuzzy | |
| 3 | thing".' | |
| 4 | id: b6d026db-e8e4-4730-b52c-af50f25ae678 |
| 1 | author: Heraclitus | |
| 2 | content: Latent structure is master of obvious structure. | |
| 3 | id: b6d1bcfe-be21-4e35-b8ed-022cf109c104 |
+0
-3
| 1 | author: Heraclitus | |
| 2 | content: Latent structure is master of obvious structure. | |
| 3 | id: b6d1bcfe-be21-4e35-b8ed-022cf109c104 |
| 1 | author: Bruce Sterling | |
| 2 | content: "And, yeah, by the way, Microsoft, Apple, Cisco, Google et al, they are all\ | |
| 3 | \ the blood brothers of Huawei in China\u2014because they are intelligence assets\ | |
| 4 | \ posing as commercial operations. They are surveillance marketers. They give you\ | |
| 5 | \ free stuff in order to spy on you and pass that info along the value chain. Personal\ | |
| 6 | \ computers can have users, but social media has livestock." | |
| 7 | id: b6ea9321-1e4e-496a-b669-ffbe470362c3 |
+0
-7
| 1 | author: Bruce Sterling | |
| 2 | content: "And, yeah, by the way, Microsoft, Apple, Cisco, Google et al, they are all\ | |
| 3 | \ the blood brothers of Huawei in China\u2014because they are intelligence assets\ | |
| 4 | \ posing as commercial operations. They are surveillance marketers. They give you\ | |
| 5 | \ free stuff in order to spy on you and pass that info along the value chain. Personal\ | |
| 6 | \ computers can have users, but social media has livestock." | |
| 7 | id: b6ea9321-1e4e-496a-b669-ffbe470362c3 |
| 1 | author: Konstantin Lopushansky's Visitor to a Museum | |
| 2 | content: "\"What is it, a temple? What's it called?\" \r\n\"Nothing. It's by the\ | |
| 3 | \ village, behind the reservation.\" \r\n\"Will they let me in?\" \r\n\"No.\"\ | |
| 4 | \ \r\n\"What do I need to do to get in?\" \r\n\"You have to pray.\" \r\n\"Knock\ | |
| 5 | \ on the wall?\" \r\n\"Knock and repeat the words.\" \r\n\"What words?\" \r\n\ | |
| 6 | \"'Let me out of here.' You say it many times.\" \r\n\"Is that it?\" \r\n\"That's\ | |
| 7 | \ it. We have only one prayer.\" " | |
| 8 | id: b6fdd82b-b702-4d6f-bc32-4f57dceb4c98 |
+0
-8
| 1 | author: Konstantin Lopushansky's Visitor to a Museum | |
| 2 | content: "\"What is it, a temple? What's it called?\" \r\n\"Nothing. It's by the\ | |
| 3 | \ village, behind the reservation.\" \r\n\"Will they let me in?\" \r\n\"No.\"\ | |
| 4 | \ \r\n\"What do I need to do to get in?\" \r\n\"You have to pray.\" \r\n\"Knock\ | |
| 5 | \ on the wall?\" \r\n\"Knock and repeat the words.\" \r\n\"What words?\" \r\n\ | |
| 6 | \"'Let me out of here.' You say it many times.\" \r\n\"Is that it?\" \r\n\"That's\ | |
| 7 | \ it. We have only one prayer.\" " | |
| 8 | id: b6fdd82b-b702-4d6f-bc32-4f57dceb4c98 |
| 1 | author: "Andr\xE9 Breton" | |
| 2 | content: Let us not mince words... the marvelous is always beautiful, anything marvelous | |
| 3 | is beautiful, in fact, only the marvelous is beautiful. | |
| 4 | id: b71aad62-20fe-42a2-a586-16ed6f4046e3 |
+0
-4
| 1 | author: "Andr\xE9 Breton" | |
| 2 | content: Let us not mince words... the marvelous is always beautiful, anything marvelous | |
| 3 | is beautiful, in fact, only the marvelous is beautiful. | |
| 4 | id: b71aad62-20fe-42a2-a586-16ed6f4046e3 |
| 1 | author: Friedrich Nietzsche | |
| 2 | content: The individual has always had to struggle to keep from being overwhelmed | |
| 3 | by the tribe. If you try it, you will be lonely often, and sometimes frightened. | |
| 4 | But no price is too high to pay for the privilege of owning yourself. | |
| 5 | id: b77cbeb5-5e19-4405-bde3-f9eb421646fa |
+0
-5
| 1 | author: Friedrich Nietzsche | |
| 2 | content: The individual has always had to struggle to keep from being overwhelmed | |
| 3 | by the tribe. If you try it, you will be lonely often, and sometimes frightened. | |
| 4 | But no price is too high to pay for the privilege of owning yourself. | |
| 5 | id: b77cbeb5-5e19-4405-bde3-f9eb421646fa |
| 1 | author: Alfred North Whitehead | |
| 2 | content: In the study of ideas, it is necessary to remember that insistence on hard-headed | |
| 3 | clarity issues from sentimental feeling, as it were a mist, cloaking the perplexities | |
| 4 | of fact. Insistence on clarity at all costs is based on sheer superstition as the | |
| 5 | mode in which human intelligence functions. Our reasonings grasp at straws for premises | |
| 6 | and float on gossamers for deduction. | |
| 7 | id: b7e1d0ef-c0b7-4b9f-8ff3-5f3ae2d531c0 |
+0
-7
| 1 | author: Alfred North Whitehead | |
| 2 | content: In the study of ideas, it is necessary to remember that insistence on hard-headed | |
| 3 | clarity issues from sentimental feeling, as it were a mist, cloaking the perplexities | |
| 4 | of fact. Insistence on clarity at all costs is based on sheer superstition as the | |
| 5 | mode in which human intelligence functions. Our reasonings grasp at straws for premises | |
| 6 | and float on gossamers for deduction. | |
| 7 | id: b7e1d0ef-c0b7-4b9f-8ff3-5f3ae2d531c0 |
| 1 | author: "Ikky\u016B\n" | |
| 2 | content: "After I\u2019m gone, some of you will seclude yourselves in the forests\ | |
| 3 | \ and mountains to meditate, while others may drink rice wine and enjoy the company\ | |
| 4 | \ of women. Both kinds of Zen are fine, but if some become professional clerics,\ | |
| 5 | \ babbling about \"Zen as the Way,\" they are my enemies.\n" | |
| 6 | id: b7ea086e-f18c-4527-9ba8-eac9928e77fe |
| 1 | author: "Ikky\u016B\n" | |
| 2 | content: "After I\u2019m gone, some of you will seclude yourselves in the forests\ | |
| 3 | \ and mountains to meditate, while others may drink rice wine and enjoy the company\ | |
| 4 | \ of women. Both kinds of Zen are fine, but if some become professional clerics,\ | |
| 5 | \ babbling about \"Zen as the Way,\" they are my enemies.\n" | |
| 6 | id: b7ea086e-f18c-4527-9ba8-eac9928e77fe |
| 1 | author: Mitch Hedberg | |
| 2 | content: I haven't slept for ten days, because that would be too long. | |
| 3 | id: b866a788-3109-4454-be00-250be7dcf1c7 |
+0
-3
| 1 | author: Mitch Hedberg | |
| 2 | content: I haven't slept for ten days, because that would be too long. | |
| 3 | id: b866a788-3109-4454-be00-250be7dcf1c7 |
| 1 | author: Asterios Polyp, by David Mazzucchelli | |
| 2 | content: "Don't act so superior \u2014 language is just a mask." | |
| 3 | id: b89b664d-df7d-4d0c-ac57-ab93e1e38989 |
+0
-3
| 1 | author: Asterios Polyp, by David Mazzucchelli | |
| 2 | content: "Don't act so superior \u2014 language is just a mask." | |
| 3 | id: b89b664d-df7d-4d0c-ac57-ab93e1e38989 |
| 1 | author: Lick My Jesus | |
| 2 | content: We should follow this trail. And also "blaze" it. | |
| 3 | id: b8abfc1a-eca1-4c6e-a606-734c920606dd |
+0
-3
| 1 | author: Lick My Jesus | |
| 2 | content: We should follow this trail. And also "blaze" it. | |
| 3 | id: b8abfc1a-eca1-4c6e-a606-734c920606dd |
| 1 | author: Ivan Illich | |
| 2 | content: "Machines which ape people are tending to encroach on every aspect of people's\ | |
| 3 | \ lives, and that such machines force people to behave like machines. The new electronic\ | |
| 4 | \ devices do indeed have the power to force people to \"communicate\" with them\ | |
| 5 | \ and with each other on the terms of the machine. Whatever structurally does not\ | |
| 6 | \ fit the logic of machines is effectively filtered from a culture dominated by\ | |
| 7 | \ their use.\r\n\r\nThe machine-like behaviour of people chained to electronics\ | |
| 8 | \ constitutes a degradation of their well-being and of their dignity which, for\ | |
| 9 | \ most people in the long run, becomes intolerable. Observations of the sickening\ | |
| 10 | \ effect of programmed environments show that people in them become indolent, impotent,\ | |
| 11 | \ narcissistic and apolitical. The political process breaks down, because people\ | |
| 12 | \ cease to be able to govern themselves; they demand to be managed.\r\n" | |
| 13 | id: b8f87167-2da4-4b3a-b65e-83f1afb3954f |
+0
-13
| 1 | author: Ivan Illich | |
| 2 | content: "Machines which ape people are tending to encroach on every aspect of people's\ | |
| 3 | \ lives, and that such machines force people to behave like machines. The new electronic\ | |
| 4 | \ devices do indeed have the power to force people to \"communicate\" with them\ | |
| 5 | \ and with each other on the terms of the machine. Whatever structurally does not\ | |
| 6 | \ fit the logic of machines is effectively filtered from a culture dominated by\ | |
| 7 | \ their use.\r\n\r\nThe machine-like behaviour of people chained to electronics\ | |
| 8 | \ constitutes a degradation of their well-being and of their dignity which, for\ | |
| 9 | \ most people in the long run, becomes intolerable. Observations of the sickening\ | |
| 10 | \ effect of programmed environments show that people in them become indolent, impotent,\ | |
| 11 | \ narcissistic and apolitical. The political process breaks down, because people\ | |
| 12 | \ cease to be able to govern themselves; they demand to be managed.\r\n" | |
| 13 | id: b8f87167-2da4-4b3a-b65e-83f1afb3954f |
| 1 | author: David Edwards | |
| 2 | content: The truth is that we are only potentially homo sapiens. We are set apart | |
| 3 | from the animals precisely by the fact that we are born without any clear guide | |
| 4 | as to how to deal adequately with the problems of our human condition. The great | |
| 5 | marvel and misery of humanity is this capacity for bewilderment. This is not, of | |
| 6 | course, to deny that human being have instincts; it is to affirm the fact that each | |
| 7 | of us is required to find our own non-instinctual answers to the problems of life, | |
| 8 | free and happiness (instinct is silent in the face of all the above questions). | |
| 9 | The sum total of answers we give to the problem of our relationship with the universe, | |
| 10 | we call religion. | |
| 11 | id: b92d25fd-8a44-4e2f-9c70-234f4fd60043 |
+0
-11
| 1 | author: David Edwards | |
| 2 | content: The truth is that we are only potentially homo sapiens. We are set apart | |
| 3 | from the animals precisely by the fact that we are born without any clear guide | |
| 4 | as to how to deal adequately with the problems of our human condition. The great | |
| 5 | marvel and misery of humanity is this capacity for bewilderment. This is not, of | |
| 6 | course, to deny that human being have instincts; it is to affirm the fact that each | |
| 7 | of us is required to find our own non-instinctual answers to the problems of life, | |
| 8 | free and happiness (instinct is silent in the face of all the above questions). | |
| 9 | The sum total of answers we give to the problem of our relationship with the universe, | |
| 10 | we call religion. | |
| 11 | id: b92d25fd-8a44-4e2f-9c70-234f4fd60043 |
| 1 | author: lordsteeb | |
| 2 | content: 'please destroy nerds. it''s not difficult. be smarter or stronger or more | |
| 3 | graceful or more kind. be more able to love. the next time that you feel called | |
| 4 | upon to defend video games as an art form do literally anything else instead. do | |
| 5 | not say awesome or epic or otherwise engage with the vacuous shorthand of the nerd | |
| 6 | tribe. please understand that it is not immediately the best thing you have ever | |
| 7 | seen when two cultural references that you understand are forced into proximity: | |
| 8 | batman and the predator. star wars and minecraft. mario and grindhouse films. | |
| 9 | ||
| 10 | ||
| 11 | reject nerds and flex on nerdfighters. do not allow a person to infect hiphop with | |
| 12 | their vile chiptunes. do not abide the nerd who holds up his consumerist fantasias | |
| 13 | as valid cultural icons. do not allow the nerds to cluster or they will eventually | |
| 14 | spore subreddits. suffer not the nerd to "fap". creepshame a nerd, imo. | |
| 15 | ||
| 16 | ||
| 17 | reestablish the distinction between "nerdy" and "smart" through harsh words and | |
| 18 | hard work. | |
| 19 | ||
| 20 | ||
| 21 | please, | |
| 22 | ||
| 23 | ||
| 24 | help me destroy nerds' | |
| 25 | id: b97718d2-b489-4e79-8bff-37ba952cd792 |
+0
-25
| 1 | author: lordsteeb | |
| 2 | content: 'please destroy nerds. it''s not difficult. be smarter or stronger or more | |
| 3 | graceful or more kind. be more able to love. the next time that you feel called | |
| 4 | upon to defend video games as an art form do literally anything else instead. do | |
| 5 | not say awesome or epic or otherwise engage with the vacuous shorthand of the nerd | |
| 6 | tribe. please understand that it is not immediately the best thing you have ever | |
| 7 | seen when two cultural references that you understand are forced into proximity: | |
| 8 | batman and the predator. star wars and minecraft. mario and grindhouse films. | |
| 9 | ||
| 10 | ||
| 11 | reject nerds and flex on nerdfighters. do not allow a person to infect hiphop with | |
| 12 | their vile chiptunes. do not abide the nerd who holds up his consumerist fantasias | |
| 13 | as valid cultural icons. do not allow the nerds to cluster or they will eventually | |
| 14 | spore subreddits. suffer not the nerd to "fap". creepshame a nerd, imo. | |
| 15 | ||
| 16 | ||
| 17 | reestablish the distinction between "nerdy" and "smart" through harsh words and | |
| 18 | hard work. | |
| 19 | ||
| 20 | ||
| 21 | please, | |
| 22 | ||
| 23 | ||
| 24 | help me destroy nerds' | |
| 25 | id: b97718d2-b489-4e79-8bff-37ba952cd792 |
| 1 | author: Mattie Brice | |
| 2 | content: "The conversation of what is and isn\u2019t a game is often, intentionally\ | |
| 3 | \ or not, used to assign value to already established gaming conventions that benefit\ | |
| 4 | \ the established system and marginalize works that do not look like it, and therefore\ | |
| 5 | \ threaten it." | |
| 6 | id: bb4da75f-6f2f-43b1-bbbf-dbb54aba04dd |
+0
-6
| 1 | author: Mattie Brice | |
| 2 | content: "The conversation of what is and isn\u2019t a game is often, intentionally\ | |
| 3 | \ or not, used to assign value to already established gaming conventions that benefit\ | |
| 4 | \ the established system and marginalize works that do not look like it, and therefore\ | |
| 5 | \ threaten it." | |
| 6 | id: bb4da75f-6f2f-43b1-bbbf-dbb54aba04dd |
| 1 | author: Robert Anton Wilson | |
| 2 | content: It only takes 20 years for a liberal to become a conservative without changing | |
| 3 | a single idea. | |
| 4 | id: bc0755d8-d9fa-4698-af58-b6cbfe96aac4 |
+0
-4
| 1 | author: Robert Anton Wilson | |
| 2 | content: It only takes 20 years for a liberal to become a conservative without changing | |
| 3 | a single idea. | |
| 4 | id: bc0755d8-d9fa-4698-af58-b6cbfe96aac4 |
| 1 | author: Jorge Luis Borges | |
| 2 | content: Writing is nothing more than a guided dream. | |
| 3 | id: bc966260-5bf0-4fc8-9143-3454b96ad8a9 |
+0
-3
| 1 | author: Jorge Luis Borges | |
| 2 | content: Writing is nothing more than a guided dream. | |
| 3 | id: bc966260-5bf0-4fc8-9143-3454b96ad8a9 |
| 1 | author: C.A.R. Hoare | |
| 2 | content: 'There are two ways of constructing a software design: One way is to make | |
| 3 | it so simple that there are obviously no deficiencies, and the other way is to make | |
| 4 | it so complicated that there are no obvious deficiencies. The first method is far | |
| 5 | more difficult.' | |
| 6 | id: bcbb30ba-489c-4ebe-b98f-92f8df0491c2 |
+0
-6
| 1 | author: C.A.R. Hoare | |
| 2 | content: 'There are two ways of constructing a software design: One way is to make | |
| 3 | it so simple that there are obviously no deficiencies, and the other way is to make | |
| 4 | it so complicated that there are no obvious deficiencies. The first method is far | |
| 5 | more difficult.' | |
| 6 | id: bcbb30ba-489c-4ebe-b98f-92f8df0491c2 |
| 1 | author: Silvio Berlusconi | |
| 2 | content: God save us from imbeciles. | |
| 3 | id: bcda135a-15d1-45f0-ac53-97bccd97de4b |
+0
-3
| 1 | author: Silvio Berlusconi | |
| 2 | content: God save us from imbeciles. | |
| 3 | id: bcda135a-15d1-45f0-ac53-97bccd97de4b |
| 1 | author: Gregory Vlastos | |
| 2 | content: A machine is as distinctively and brilliantly and expressively human as a | |
| 3 | violin sonata or a theorem in Euclid. | |
| 4 | id: be29a71a-0be9-4a99-8044-fc59c62b0b92 |
+0
-4
| 1 | author: Gregory Vlastos | |
| 2 | content: A machine is as distinctively and brilliantly and expressively human as a | |
| 3 | violin sonata or a theorem in Euclid. | |
| 4 | id: be29a71a-0be9-4a99-8044-fc59c62b0b92 |
| 1 | author: Billy Idol | |
| 2 | content: Jesus died for somebody's sins, but not mine. | |
| 3 | id: be48e55a-5f75-4b5e-ad9d-ba8bdccd1fec |
+0
-3
| 1 | author: Billy Idol | |
| 2 | content: Jesus died for somebody's sins, but not mine. | |
| 3 | id: be48e55a-5f75-4b5e-ad9d-ba8bdccd1fec |
| 1 | author: Jorge Luis Borges | |
| 2 | content: In general, every country has the language it deserves. | |
| 3 | id: be959780-98cf-449c-b19f-dc579687ae64 |
+0
-3
| 1 | author: Jorge Luis Borges | |
| 2 | content: In general, every country has the language it deserves. | |
| 3 | id: be959780-98cf-449c-b19f-dc579687ae64 |
| 1 | author: Mark Twain | |
| 2 | content: To be good is to be lonesome. | |
| 3 | id: bede1e46-6517-4b6e-85d4-efcf861a3770 |
| 1 | author: Mark Twain | |
| 2 | content: To be good is to be lonesome. | |
| 3 | id: bede1e46-6517-4b6e-85d4-efcf861a3770 |
| 1 | author: Terry Pratchett | |
| 2 | content: "He'd noticed that sex bore some resemblance to cookery: It fascinated people,\ | |
| 3 | \ they sometimes bought books full of complicated recipes and interesting pictures,\ | |
| 4 | \ and sometimes when they were really hungry they created vast banquets in their\ | |
| 5 | \ imagination\u2014but at the end of the day they'd settle quite happily for egg\ | |
| 6 | \ and chips, if it was well done and maybe had a slice of tomato." | |
| 7 | id: bef8761d-3696-46f6-adcc-1ccaaf26b9af |
+0
-7
| 1 | author: Terry Pratchett | |
| 2 | content: "He'd noticed that sex bore some resemblance to cookery: It fascinated people,\ | |
| 3 | \ they sometimes bought books full of complicated recipes and interesting pictures,\ | |
| 4 | \ and sometimes when they were really hungry they created vast banquets in their\ | |
| 5 | \ imagination\u2014but at the end of the day they'd settle quite happily for egg\ | |
| 6 | \ and chips, if it was well done and maybe had a slice of tomato." | |
| 7 | id: bef8761d-3696-46f6-adcc-1ccaaf26b9af |
| 1 | author: Neil Postman | |
| 2 | content: We must remember that Galileo merely said that the language of _nature_ is | |
| 3 | written in mathematics. He did not say _everything_ is. And even the truth about | |
| 4 | nature need not be expressed in mathematics. For most of human history, the language | |
| 5 | of nature has been the language of myth and ritual. These forms, one might add, | |
| 6 | had the virtues of leaving nature unthreatened and of encouraging the belief that | |
| 7 | human beings are part of it. It hardly befits a people who stand ready to blow up | |
| 8 | the planet to praise themselves too vigorously for having found the true way to | |
| 9 | talk about nature. | |
| 10 | id: bf8dbca8-6704-4cc3-8e2e-715537ebe76f |
+0
-10
| 1 | author: Neil Postman | |
| 2 | content: We must remember that Galileo merely said that the language of _nature_ is | |
| 3 | written in mathematics. He did not say _everything_ is. And even the truth about | |
| 4 | nature need not be expressed in mathematics. For most of human history, the language | |
| 5 | of nature has been the language of myth and ritual. These forms, one might add, | |
| 6 | had the virtues of leaving nature unthreatened and of encouraging the belief that | |
| 7 | human beings are part of it. It hardly befits a people who stand ready to blow up | |
| 8 | the planet to praise themselves too vigorously for having found the true way to | |
| 9 | talk about nature. | |
| 10 | id: bf8dbca8-6704-4cc3-8e2e-715537ebe76f |
| 1 | author: Lick My Jesus | |
| 2 | content: Ahh, my eyes! They burn like single mothers in hell! | |
| 3 | id: c071a96f-715c-4473-8510-44a8890038f1 |
+0
-3
| 1 | author: Lick My Jesus | |
| 2 | content: Ahh, my eyes! They burn like single mothers in hell! | |
| 3 | id: c071a96f-715c-4473-8510-44a8890038f1 |
| 1 | author: Rob Pike | |
| 2 | content: Object-oriented design is the roman numerals of computing. | |
| 3 | id: c0c57634-9536-4154-b20a-a290ed5c6e13 |
+0
-3
| 1 | author: Rob Pike | |
| 2 | content: Object-oriented design is the roman numerals of computing. | |
| 3 | id: c0c57634-9536-4154-b20a-a290ed5c6e13 |
| 1 | author: Crash and Wallace Wells in Scott Pilgrim's Precious Little Life | |
| 2 | content: '"This song is for the guy who keeps yelling from the balcony, and it''s | |
| 3 | called ''We Hate You, Please Die.''" | |
| 4 | ||
| 5 | ||
| 6 | "Sweet! A song for ME!"' | |
| 7 | id: c0d0dea7-65e3-4a2f-adc7-621129af6bce |
+0
-7
| 1 | author: Crash and Wallace Wells in Scott Pilgrim's Precious Little Life | |
| 2 | content: '"This song is for the guy who keeps yelling from the balcony, and it''s | |
| 3 | called ''We Hate You, Please Die.''" | |
| 4 | ||
| 5 | ||
| 6 | "Sweet! A song for ME!"' | |
| 7 | id: c0d0dea7-65e3-4a2f-adc7-621129af6bce |
| 1 | author: The Storyteller | |
| 2 | content: I am a teller of stories, a weaver of dreams. I can dance, sing, and in the | |
| 3 | right weather I can stand on my head. I know seven words of Latin, I have a little | |
| 4 | magic, and a trick or two. I know the proper way to meet a Dragon, I can fight dirty | |
| 5 | but not fair, I once swallowed thirty oysters in a minute. I am not domestic, I | |
| 6 | am a luxury, and in that sense, necessary. | |
| 7 | id: c0d8c09b-5cd6-44b7-acfb-a973e7064e95 |
+0
-7
| 1 | author: The Storyteller | |
| 2 | content: I am a teller of stories, a weaver of dreams. I can dance, sing, and in the | |
| 3 | right weather I can stand on my head. I know seven words of Latin, I have a little | |
| 4 | magic, and a trick or two. I know the proper way to meet a Dragon, I can fight dirty | |
| 5 | but not fair, I once swallowed thirty oysters in a minute. I am not domestic, I | |
| 6 | am a luxury, and in that sense, necessary. | |
| 7 | id: c0d8c09b-5cd6-44b7-acfb-a973e7064e95 |
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: What if the way we perceive a problem is already part of the problem? | |
| 3 | id: c19397cc-78ba-419d-90d5-ba1e0ab4cf7e |
+0
-3
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: What if the way we perceive a problem is already part of the problem? | |
| 3 | id: c19397cc-78ba-419d-90d5-ba1e0ab4cf7e |
| 1 | author: Alan Greenspan | |
| 2 | content: If I have made myself clear, you must have misunderstood me. | |
| 3 | id: c1ec0161-c7bd-4d6f-bbbd-5202f4c094a5 |
+0
-3
| 1 | author: Alan Greenspan | |
| 2 | content: If I have made myself clear, you must have misunderstood me. | |
| 3 | id: c1ec0161-c7bd-4d6f-bbbd-5202f4c094a5 |
| 1 | author: J.R.R. Tolkien | |
| 2 | content: Perilous to us all are the devices of an art deeper than that which we possess | |
| 3 | ourselves. | |
| 4 | id: c1f8401f-0730-4544-9183-9032da46ec78 |
+0
-4
| 1 | author: J.R.R. Tolkien | |
| 2 | content: Perilous to us all are the devices of an art deeper than that which we possess | |
| 3 | ourselves. | |
| 4 | id: c1f8401f-0730-4544-9183-9032da46ec78 |
| 1 | author: Red Elvises, "Sad Cowboy Song" | |
| 2 | content: 'She done me wrong, | |
| 3 | ||
| 4 | but at least she done me.' | |
| 5 | id: c2a284d0-d4a1-482c-8d56-dc9a32c5077c |
+0
-5
| 1 | author: Red Elvises, "Sad Cowboy Song" | |
| 2 | content: 'She done me wrong, | |
| 3 | ||
| 4 | but at least she done me.' | |
| 5 | id: c2a284d0-d4a1-482c-8d56-dc9a32c5077c |
| 1 | author: Warren Ellis | |
| 2 | content: Okay, you know how some Christians believe there's a thing called the Rapture | |
| 3 | where God will sweep them up into a magical place where everything is beautiful | |
| 4 | and they will live forever? The Singularity is sort of like that, except that you | |
| 5 | replace "God" in the above sentence with "Siri." | |
| 6 | id: c35f68a8-ff72-4c53-8cac-7a1c3f1ae4e7 |
+0
-6
| 1 | author: Warren Ellis | |
| 2 | content: Okay, you know how some Christians believe there's a thing called the Rapture | |
| 3 | where God will sweep them up into a magical place where everything is beautiful | |
| 4 | and they will live forever? The Singularity is sort of like that, except that you | |
| 5 | replace "God" in the above sentence with "Siri." | |
| 6 | id: c35f68a8-ff72-4c53-8cac-7a1c3f1ae4e7 |
| 1 | author: Alan Kay | |
| 2 | content: As my wife once remarked to Vice President Al Gore, the "haves and havenots" | |
| 3 | of the future will not be caused so much by being connected or not to the Internet, | |
| 4 | since most important content is already available in public libraries, free and | |
| 5 | open to all. the real haves and have-nots are those who have or have not acquired | |
| 6 | the discernment to search for and make use of high content wherever it may be found. | |
| 7 | id: c36314b1-b37b-4996-a2aa-050521ed5a4f |
+0
-7
| 1 | author: Alan Kay | |
| 2 | content: As my wife once remarked to Vice President Al Gore, the "haves and havenots" | |
| 3 | of the future will not be caused so much by being connected or not to the Internet, | |
| 4 | since most important content is already available in public libraries, free and | |
| 5 | open to all. the real haves and have-nots are those who have or have not acquired | |
| 6 | the discernment to search for and make use of high content wherever it may be found. | |
| 7 | id: c36314b1-b37b-4996-a2aa-050521ed5a4f |
| 1 | author: Henry Louis Mencken | |
| 2 | content: Every normal man must be tempted at times to spit upon his hands, hoist the | |
| 3 | black flag, and begin slitting throats. | |
| 4 | id: c3ce9100-240c-4199-bf93-4372ac1691b1 |
+0
-4
| 1 | author: Henry Louis Mencken | |
| 2 | content: Every normal man must be tempted at times to spit upon his hands, hoist the | |
| 3 | black flag, and begin slitting throats. | |
| 4 | id: c3ce9100-240c-4199-bf93-4372ac1691b1 |
| 1 | author: Dr. Samuel Johnson | |
| 2 | content: The true measure of a man is how he treats someone who can do him absolutely | |
| 3 | no good. | |
| 4 | id: c4e9cf9a-9587-4efc-9de4-c2341b55e249 |
+0
-4
| 1 | author: Dr. Samuel Johnson | |
| 2 | content: The true measure of a man is how he treats someone who can do him absolutely | |
| 3 | no good. | |
| 4 | id: c4e9cf9a-9587-4efc-9de4-c2341b55e249 |
| 1 | author: Ludwig Wittgenstein | |
| 2 | content: 'The solution of philosophical problems can be compared with a gift in a | |
| 3 | fairy tale: in the magic castle it appears enchanted and if you look at it outside | |
| 4 | in daylight it is nothing but an ordinary bit of iron.' | |
| 5 | id: c556e52c-43fe-48b0-9dd8-0be2d7ebb8e4 |
+0
-5
| 1 | author: Ludwig Wittgenstein | |
| 2 | content: 'The solution of philosophical problems can be compared with a gift in a | |
| 3 | fairy tale: in the magic castle it appears enchanted and if you look at it outside | |
| 4 | in daylight it is nothing but an ordinary bit of iron.' | |
| 5 | id: c556e52c-43fe-48b0-9dd8-0be2d7ebb8e4 |
| 1 | author: Bill Bailey | |
| 2 | content: Marijuana? It's harmless, really, unless you fashion it into a club and beat | |
| 3 | someone over the head with it. | |
| 4 | id: c5a1842b-6117-4b8f-8461-df8767f95186 |
+0
-4
| 1 | author: Bill Bailey | |
| 2 | content: Marijuana? It's harmless, really, unless you fashion it into a club and beat | |
| 3 | someone over the head with it. | |
| 4 | id: c5a1842b-6117-4b8f-8461-df8767f95186 |
| 1 | author: E.E. Cummings | |
| 2 | content: 'since feeling is first | |
| 3 | ||
| 4 | who pays any attention | |
| 5 | ||
| 6 | to the syntax of things | |
| 7 | ||
| 8 | will never wholly kiss you;' | |
| 9 | id: c5c5d859-358f-4fe2-a8b1-2e2f986c0d86 |
+0
-9
| 1 | author: E.E. Cummings | |
| 2 | content: 'since feeling is first | |
| 3 | ||
| 4 | who pays any attention | |
| 5 | ||
| 6 | to the syntax of things | |
| 7 | ||
| 8 | will never wholly kiss you;' | |
| 9 | id: c5c5d859-358f-4fe2-a8b1-2e2f986c0d86 |
| 1 | author: Hanlon's Razor | |
| 2 | content: Never attribute to malice that which can be adequately explained by stupidity. | |
| 3 | id: c630afb2-8c1a-40a3-b406-034c5d788b26 |
+0
-3
| 1 | author: Hanlon's Razor | |
| 2 | content: Never attribute to malice that which can be adequately explained by stupidity. | |
| 3 | id: c630afb2-8c1a-40a3-b406-034c5d788b26 |
| 1 | author: Italo Calvino | |
| 2 | content: "\"Il giorno in cui conoscer\xF2 tutti gli emblemi... riucir\xF2 a possedere\ | |
| 3 | \ il mio impero, finalmente?\"\n\"Sire, non le credere; quel giorno sarai tu stesso\ | |
| 4 | \ emblema tra gli emblemi.\"" | |
| 5 | id: c686222e-df82-4e65-ae4c-b4bbba7d6b9d |
+0
-5
| 1 | author: Italo Calvino | |
| 2 | content: "\"Il giorno in cui conoscer\xF2 tutti gli emblemi... riucir\xF2 a possedere\ | |
| 3 | \ il mio impero, finalmente?\"\n\"Sire, non le credere; quel giorno sarai tu stesso\ | |
| 4 | \ emblema tra gli emblemi.\"" | |
| 5 | id: c686222e-df82-4e65-ae4c-b4bbba7d6b9d |
| 1 | author: Neil Gaiman | |
| 2 | content: I love religion. I could make up religions all day. I sort of think that | |
| 3 | in an ideal world I'd like to be a religion designer. I'd like people come up to | |
| 4 | me and say, "I need a religion." I'd go talk to them for awhile, and I'd design | |
| 5 | a religion for them. That would be a great job. There's a need for people like that. | |
| 6 | Fortunately, seeing that one can't actually do it, I get paid for sort of making | |
| 7 | them up anyway. | |
| 8 | id: c6a7a154-1258-49e4-83ef-cb219808b821 |
+0
-8
| 1 | author: Neil Gaiman | |
| 2 | content: I love religion. I could make up religions all day. I sort of think that | |
| 3 | in an ideal world I'd like to be a religion designer. I'd like people come up to | |
| 4 | me and say, "I need a religion." I'd go talk to them for awhile, and I'd design | |
| 5 | a religion for them. That would be a great job. There's a need for people like that. | |
| 6 | Fortunately, seeing that one can't actually do it, I get paid for sort of making | |
| 7 | them up anyway. | |
| 8 | id: c6a7a154-1258-49e4-83ef-cb219808b821 |
| 1 | author: Marshall McLuhan | |
| 2 | content: there is absolutely no inevitability as long as there is a willingness to | |
| 3 | contemplate what is happening | |
| 4 | id: c700ac61-bd0f-48dd-90c9-1c562d40ba9f |
+0
-4
| 1 | author: Marshall McLuhan | |
| 2 | content: there is absolutely no inevitability as long as there is a willingness to | |
| 3 | contemplate what is happening | |
| 4 | id: c700ac61-bd0f-48dd-90c9-1c562d40ba9f |
| 1 | author: Dostoevsky | |
| 2 | content: We sometimes encounter people, even perfect strangers, who begin to interest | |
| 3 | us at first sight, somehow suddenly, all at once, before a word has been spoken. | |
| 4 | id: c75ff883-70c0-4dfd-af35-318c341b2132 |
+0
-4
| 1 | author: Dostoevsky | |
| 2 | content: We sometimes encounter people, even perfect strangers, who begin to interest | |
| 3 | us at first sight, somehow suddenly, all at once, before a word has been spoken. | |
| 4 | id: c75ff883-70c0-4dfd-af35-318c341b2132 |
| 1 | author: Dr. Cox | |
| 2 | content: '...do you know any women who hate themselves enough to actually date me?' | |
| 3 | id: c7f02e22-fb48-43fb-a455-9121fe0a7dac |
| 1 | author: Dr. Cox | |
| 2 | content: '...do you know any women who hate themselves enough to actually date me?' | |
| 3 | id: c7f02e22-fb48-43fb-a455-9121fe0a7dac |
| 1 | author: Groucho Marx | |
| 2 | content: I find television very educating. Every time somebody turns on the set, I | |
| 3 | go into the other room and read a book. | |
| 4 | id: c7f332a3-6ab5-47df-873b-8ccf1ec440d5 |
+0
-4
| 1 | author: Groucho Marx | |
| 2 | content: I find television very educating. Every time somebody turns on the set, I | |
| 3 | go into the other room and read a book. | |
| 4 | id: c7f332a3-6ab5-47df-873b-8ccf1ec440d5 |
| 1 | author: Mark Andrejevic | |
| 2 | content: '...conspiracy theory, despite its infinite productivity, remains a failure | |
| 3 | of the imagination that corresponds to an inability to think, in the current instance, | |
| 4 | outside the horizons of capitalism.' | |
| 5 | id: c8ad3a3e-2dc9-4232-8102-39d7b4b89bad |
+0
-5
| 1 | author: Mark Andrejevic | |
| 2 | content: '...conspiracy theory, despite its infinite productivity, remains a failure | |
| 3 | of the imagination that corresponds to an inability to think, in the current instance, | |
| 4 | outside the horizons of capitalism.' | |
| 5 | id: c8ad3a3e-2dc9-4232-8102-39d7b4b89bad |
| 1 | author: Neil Gaiman | |
| 2 | content: Any view of things that is not strange is false. | |
| 3 | id: c924a428-6595-4c18-b7bf-20b2d2dfc3bc |
+0
-3
| 1 | author: Neil Gaiman | |
| 2 | content: Any view of things that is not strange is false. | |
| 3 | id: c924a428-6595-4c18-b7bf-20b2d2dfc3bc |
| 1 | author: Edsger Dijkstra | |
| 2 | content: Please don't fall into the trap of believing that I am terribly dogmatical | |
| 3 | about [the goto statement]. I have the uncomfortable feeling that others are making | |
| 4 | a religion out of it, as if the conceptual problems of programming could be solved | |
| 5 | by a single trick, by a simple form of coding discipline! | |
| 6 | id: c94216b7-717d-403c-bb96-2e16b14f8419 |
+0
-6
| 1 | author: Edsger Dijkstra | |
| 2 | content: Please don't fall into the trap of believing that I am terribly dogmatical | |
| 3 | about [the goto statement]. I have the uncomfortable feeling that others are making | |
| 4 | a religion out of it, as if the conceptual problems of programming could be solved | |
| 5 | by a single trick, by a simple form of coding discipline! | |
| 6 | id: c94216b7-717d-403c-bb96-2e16b14f8419 |
| 1 | author: 'The Unity | |
| 2 | ||
| 3 | Terror Island' | |
| 4 | content: Your laser, like the proverbial fat child on the see-saw, disrupted the balance. | |
| 5 | Thus it had to be destroyed. (Like the proverbial fat child.) | |
| 6 | id: c9725b6b-6a68-4b08-ba8c-86321183b529 |
+0
-6
| 1 | author: 'The Unity | |
| 2 | ||
| 3 | Terror Island' | |
| 4 | content: Your laser, like the proverbial fat child on the see-saw, disrupted the balance. | |
| 5 | Thus it had to be destroyed. (Like the proverbial fat child.) | |
| 6 | id: c9725b6b-6a68-4b08-ba8c-86321183b529 |
| 1 | author: Gary Younge | |
| 2 | content: "I have always found America exciting; but, for better or worse, never exceptional.\ | |
| 3 | \ Its efforts at global domination seemed like a plot development in the narrative\ | |
| 4 | \ of European empire rather than a break from it. Even as the French lambasted secretary\ | |
| 5 | \ of state Colin Powell's presentation to the Security Council, protesters in Abidjan,\ | |
| 6 | \ the capital of Ivory Coast, waved American flags and placards saying: \"Bush please\ | |
| 7 | \ help Ivory Coast against French terrorism.\" There was precious little moral high\ | |
| 8 | \ ground to go round. Yet everyone, it seemed, was making a stake on it.\r\n\r\n\ | |
| 9 | So it was with great bemusement that I found myself having to absorb abuse from\ | |
| 10 | \ white, rightwing Americans, who harked back to the Declaration of Independence\ | |
| 11 | \ of 1776 and the second world war to justify military aggression in Iraq. They\ | |
| 12 | \ badgered me as though their own reference points represented the sole prism through\ | |
| 13 | \ which global events could possibly be understood. As if the struggle for moral\ | |
| 14 | \ superiority between Europe and the US could have any relevance to someone whose\ | |
| 15 | \ ancestors were brought to the Americas as slaves and whose parents and grandparents\ | |
| 16 | \ lived through the war under European colonisation.\r\n\r\n\"If it wasn't for us,\ | |
| 17 | \ you would be speaking German,\" they would say. \"No, if it wasn't for you,\"\ | |
| 18 | \ I would tell them, \"I would probably be speaking Yoruba.\" " | |
| 19 | id: c972d335-cdc0-490d-8399-a4be5d47429a |
+0
-19
| 1 | author: Gary Younge | |
| 2 | content: "I have always found America exciting; but, for better or worse, never exceptional.\ | |
| 3 | \ Its efforts at global domination seemed like a plot development in the narrative\ | |
| 4 | \ of European empire rather than a break from it. Even as the French lambasted secretary\ | |
| 5 | \ of state Colin Powell's presentation to the Security Council, protesters in Abidjan,\ | |
| 6 | \ the capital of Ivory Coast, waved American flags and placards saying: \"Bush please\ | |
| 7 | \ help Ivory Coast against French terrorism.\" There was precious little moral high\ | |
| 8 | \ ground to go round. Yet everyone, it seemed, was making a stake on it.\r\n\r\n\ | |
| 9 | So it was with great bemusement that I found myself having to absorb abuse from\ | |
| 10 | \ white, rightwing Americans, who harked back to the Declaration of Independence\ | |
| 11 | \ of 1776 and the second world war to justify military aggression in Iraq. They\ | |
| 12 | \ badgered me as though their own reference points represented the sole prism through\ | |
| 13 | \ which global events could possibly be understood. As if the struggle for moral\ | |
| 14 | \ superiority between Europe and the US could have any relevance to someone whose\ | |
| 15 | \ ancestors were brought to the Americas as slaves and whose parents and grandparents\ | |
| 16 | \ lived through the war under European colonisation.\r\n\r\n\"If it wasn't for us,\ | |
| 17 | \ you would be speaking German,\" they would say. \"No, if it wasn't for you,\"\ | |
| 18 | \ I would tell them, \"I would probably be speaking Yoruba.\" " | |
| 19 | id: c972d335-cdc0-490d-8399-a4be5d47429a |
| 1 | author: David Graeber | |
| 2 | content: "A former LAPD officer turned sociologist (Cooper 1991) observed that the\ | |
| 3 | \ overwhelming majority of those beaten by police turn out not to be guilty of any\ | |
| 4 | \ crime. \u201CCops don\u2019t beat up burglars\u201D, he observed. The reason,\ | |
| 5 | \ he explained, is simple: the one thing most guaranteed to evoke a violent reaction\ | |
| 6 | \ from police is to challenge their right to \u201Cdefine the situation.\u201D If\ | |
| 7 | \ what I\u2019ve been saying is true this is just what we\u2019d expect. The police\ | |
| 8 | \ truncheon is precisely the point where the state\u2019s bureaucratic imperative\ | |
| 9 | \ for imposing simple administrative schema, and its monopoly of coercive force,\ | |
| 10 | \ come together. It only makes sense then that bureaucratic violence should consist\ | |
| 11 | \ first and foremost of attacks on those who insist on alternative schemas or interpretations.\ | |
| 12 | \ At the same time, if one accepts Piaget\u2019s famous definition of mature intelligence\ | |
| 13 | \ as the ability to coordinate between multiple perspectives (or possible perspectives)\ | |
| 14 | \ one can see, here, precisely how bureaucratic power, at the moment it turns to\ | |
| 15 | \ violence, becomes literally a form of infantile stupidity." | |
| 16 | id: c9fcd620-4edb-4df7-8730-b5366120c978 |
+0
-16
| 1 | author: David Graeber | |
| 2 | content: "A former LAPD officer turned sociologist (Cooper 1991) observed that the\ | |
| 3 | \ overwhelming majority of those beaten by police turn out not to be guilty of any\ | |
| 4 | \ crime. \u201CCops don\u2019t beat up burglars\u201D, he observed. The reason,\ | |
| 5 | \ he explained, is simple: the one thing most guaranteed to evoke a violent reaction\ | |
| 6 | \ from police is to challenge their right to \u201Cdefine the situation.\u201D If\ | |
| 7 | \ what I\u2019ve been saying is true this is just what we\u2019d expect. The police\ | |
| 8 | \ truncheon is precisely the point where the state\u2019s bureaucratic imperative\ | |
| 9 | \ for imposing simple administrative schema, and its monopoly of coercive force,\ | |
| 10 | \ come together. It only makes sense then that bureaucratic violence should consist\ | |
| 11 | \ first and foremost of attacks on those who insist on alternative schemas or interpretations.\ | |
| 12 | \ At the same time, if one accepts Piaget\u2019s famous definition of mature intelligence\ | |
| 13 | \ as the ability to coordinate between multiple perspectives (or possible perspectives)\ | |
| 14 | \ one can see, here, precisely how bureaucratic power, at the moment it turns to\ | |
| 15 | \ violence, becomes literally a form of infantile stupidity." | |
| 16 | id: c9fcd620-4edb-4df7-8730-b5366120c978 |
| 1 | author: Abelson & Sussman, SICP | |
| 2 | content: First, we want to establish the idea that a computer language is not just | |
| 3 | a way of getting a computer to perform operations but rather that it is a novel | |
| 4 | formal medium for expressing ideas about methodology. Thus, programs must be written | |
| 5 | for people to read, and only incidentally for machines to execute. | |
| 6 | id: ca3d43e5-a815-4d57-a39b-707da09977dd |
+0
-6
| 1 | author: Abelson & Sussman, SICP | |
| 2 | content: First, we want to establish the idea that a computer language is not just | |
| 3 | a way of getting a computer to perform operations but rather that it is a novel | |
| 4 | formal medium for expressing ideas about methodology. Thus, programs must be written | |
| 5 | for people to read, and only incidentally for machines to execute. | |
| 6 | id: ca3d43e5-a815-4d57-a39b-707da09977dd |
| 1 | author: Ludwig Wittgenstein | |
| 2 | content: I don't know why we are here, but I'm pretty sure that it is not in order | |
| 3 | to enjoy ourselves. | |
| 4 | id: ca73b8fd-f127-42b2-9aea-1a73c45d1d0f |
+0
-4
| 1 | author: Ludwig Wittgenstein | |
| 2 | content: I don't know why we are here, but I'm pretty sure that it is not in order | |
| 3 | to enjoy ourselves. | |
| 4 | id: ca73b8fd-f127-42b2-9aea-1a73c45d1d0f |
| 1 | author: "Quoted by George P\xF3lya" | |
| 2 | content: In order to solve this differential equation you look at it until a solution | |
| 3 | occurs to you. | |
| 4 | id: ca815450-ee32-4e55-b395-4b08128e4c68 |
+0
-4
| 1 | author: "Quoted by George P\xF3lya" | |
| 2 | content: In order to solve this differential equation you look at it until a solution | |
| 3 | occurs to you. | |
| 4 | id: ca815450-ee32-4e55-b395-4b08128e4c68 |
| 1 | author: Rafi Haladijan | |
| 2 | content: The problem with the Internet of things are the things. | |
| 3 | id: cac48c78-c5d0-4601-b597-133d1e1df207 |
+0
-3
| 1 | author: Rafi Haladijan | |
| 2 | content: The problem with the Internet of things are the things. | |
| 3 | id: cac48c78-c5d0-4601-b597-133d1e1df207 |
| 1 | author: Thomas Pynchon | |
| 2 | content: My belief is that "recluse" is a code word generated by journalists... meaning, | |
| 3 | "doesn't like to talk to reporters." | |
| 4 | id: cb48d35f-cf3e-4142-9a44-59523bd55f55 |
+0
-4
| 1 | author: Thomas Pynchon | |
| 2 | content: My belief is that "recluse" is a code word generated by journalists... meaning, | |
| 3 | "doesn't like to talk to reporters." | |
| 4 | id: cb48d35f-cf3e-4142-9a44-59523bd55f55 |
| 1 | author: Reverend Mother Gaius Mohiam, Frank Herbert's Dune | |
| 2 | content: Once men turned their thinking over to machines in the hope that this would | |
| 3 | set them free. But that only permitted other men with machines to enslave them. | |
| 4 | id: cb751be6-b5aa-4bf4-a2e2-cdc6cad2e585 |
+0
-4
| 1 | author: Reverend Mother Gaius Mohiam, Frank Herbert's Dune | |
| 2 | content: Once men turned their thinking over to machines in the hope that this would | |
| 3 | set them free. But that only permitted other men with machines to enslave them. | |
| 4 | id: cb751be6-b5aa-4bf4-a2e2-cdc6cad2e585 |
| 1 | author: James M. Henle | |
| 2 | content: One is capable of the greatest evil only when one believes one is acting | |
| 3 | for higher purposes. | |
| 4 | id: cbb2abbe-a41d-46f7-ae2a-219180fe95e8 |
+0
-4
| 1 | author: James M. Henle | |
| 2 | content: One is capable of the greatest evil only when one believes one is acting | |
| 3 | for higher purposes. | |
| 4 | id: cbb2abbe-a41d-46f7-ae2a-219180fe95e8 |
| 1 | author: Neil Gaiman | |
| 2 | content: Sometimes you wake up. Sometimes the fall kills you. And sometimes, when | |
| 3 | you fall, you fly. | |
| 4 | id: cc17b27e-3349-457f-95da-2c5fe170f0c6 |
+0
-4
| 1 | author: Neil Gaiman | |
| 2 | content: Sometimes you wake up. Sometimes the fall kills you. And sometimes, when | |
| 3 | you fall, you fly. | |
| 4 | id: cc17b27e-3349-457f-95da-2c5fe170f0c6 |
| 1 | author: Tim Peters | |
| 2 | content: 'Two things I learned for sure during a particularly intense acid trip in | |
| 3 | my own lost youth: (1) everything is a trivial special case of something else; and, | |
| 4 | (2) death is a bunch of blue spheres.' | |
| 5 | id: cc40b4d6-613b-4342-b701-550d4d348ac6 |
+0
-5
| 1 | author: Tim Peters | |
| 2 | content: 'Two things I learned for sure during a particularly intense acid trip in | |
| 3 | my own lost youth: (1) everything is a trivial special case of something else; and, | |
| 4 | (2) death is a bunch of blue spheres.' | |
| 5 | id: cc40b4d6-613b-4342-b701-550d4d348ac6 |
| 1 | author: Anonymous | |
| 2 | content: Cthulhu saves our souls and redeems them for valuable coupons later. | |
| 3 | id: cc6cb1fb-0aef-4e45-9ecc-423394b0e034 |
+0
-3
| 1 | author: Anonymous | |
| 2 | content: Cthulhu saves our souls and redeems them for valuable coupons later. | |
| 3 | id: cc6cb1fb-0aef-4e45-9ecc-423394b0e034 |
| 1 | author: Grant Morrison | |
| 2 | content: "Superman spent his childhood baling hay on a farm, he\u2019s a working class\ | |
| 3 | \ hero and people don\u2019t like that. Whereas Batman is a billionaire who sleeps\ | |
| 4 | \ until three in the afternoon, puts on a rubber suit and beats the shit out of\ | |
| 5 | \ poor people. Now that\u2019s a wish fulfillment fantasy." | |
| 6 | id: cce2d9b1-52d7-4543-b1e5-9e687d6ea7d2 |
+0
-6
| 1 | author: Grant Morrison | |
| 2 | content: "Superman spent his childhood baling hay on a farm, he\u2019s a working class\ | |
| 3 | \ hero and people don\u2019t like that. Whereas Batman is a billionaire who sleeps\ | |
| 4 | \ until three in the afternoon, puts on a rubber suit and beats the shit out of\ | |
| 5 | \ poor people. Now that\u2019s a wish fulfillment fantasy." | |
| 6 | id: cce2d9b1-52d7-4543-b1e5-9e687d6ea7d2 |
| 1 | author: E.W. Dijkstra | |
| 2 | content: 'The problem with educational policy is that it is hardly influenced by scientific | |
| 3 | considerations derived from the topics taught, and almost entirely determined by | |
| 4 | extra-scientific circumstances such as the combined expectations of the students, | |
| 5 | their parents and their future employers, and the prevailing view of the role of | |
| 6 | the university: is the stress on training its graduates for today''s entry-level | |
| 7 | jobs or to providing its alumni with the intellectual bagage and attitudes that | |
| 8 | will last them another 50 years? Do we grudgingly grant the abstract sciences only | |
| 9 | a far-away corner on campus, or do we recognize them as the indispensable motor | |
| 10 | of the high-technology industry? Even if we do the latter, do we recognize a high-technology | |
| 11 | industry as such if its technology primarily belongs to formal mathematics? Do the | |
| 12 | universities provide for society the intellectual leadership it needs or only the | |
| 13 | training it asks for?' | |
| 14 | id: cdc15b9b-d3af-4836-be99-1388b238487d |
+0
-14
| 1 | author: E.W. Dijkstra | |
| 2 | content: 'The problem with educational policy is that it is hardly influenced by scientific | |
| 3 | considerations derived from the topics taught, and almost entirely determined by | |
| 4 | extra-scientific circumstances such as the combined expectations of the students, | |
| 5 | their parents and their future employers, and the prevailing view of the role of | |
| 6 | the university: is the stress on training its graduates for today''s entry-level | |
| 7 | jobs or to providing its alumni with the intellectual bagage and attitudes that | |
| 8 | will last them another 50 years? Do we grudgingly grant the abstract sciences only | |
| 9 | a far-away corner on campus, or do we recognize them as the indispensable motor | |
| 10 | of the high-technology industry? Even if we do the latter, do we recognize a high-technology | |
| 11 | industry as such if its technology primarily belongs to formal mathematics? Do the | |
| 12 | universities provide for society the intellectual leadership it needs or only the | |
| 13 | training it asks for?' | |
| 14 | id: cdc15b9b-d3af-4836-be99-1388b238487d |
| 1 | author: Roland Barthes | |
| 2 | content: To keep these spoken systems from disturbing or embarassing us, there is | |
| 3 | no other solution than to inhabit one of them. | |
| 4 | id: cdd77ce6-9fd5-45dc-a65a-7575ebfe1412 |
+0
-4
| 1 | author: Roland Barthes | |
| 2 | content: To keep these spoken systems from disturbing or embarassing us, there is | |
| 3 | no other solution than to inhabit one of them. | |
| 4 | id: cdd77ce6-9fd5-45dc-a65a-7575ebfe1412 |
| 1 | author: Warren Ellis | |
| 2 | content: "I still get asked with appalling regularity \"where my ideas come from.\"\ | |
| 3 | \r\n\r\nHere's the deal. I flood my poor ageing head with information. Any information.\ | |
| 4 | \ Lots of it. And I let it all slosh around in the back of my brain, in the part\ | |
| 5 | \ normal people use for remembering bills, thinking about sex and making appointments\ | |
| 6 | \ to wash the dishes.\r\n\r\nEventually, you get a critical mass of information.\ | |
| 7 | \ Datum 1 plugs into Datum 3 which connects to Datum 3 and Data 4 and 5 stick to\ | |
| 8 | \ it and you've got a chain reaction. A bunch of stuff knits together and lights\ | |
| 9 | \ up and you've got what's called \"an idea\".\r\n\r\nAnd for that brief moment\ | |
| 10 | \ where it's all flaring and welding together, you are Holy. You can't be touched.\ | |
| 11 | \ Something impossible and brilliant has happened and suddenly you understand what\ | |
| 12 | \ it would be like if Einstein's brain was placed into the body of a young tyrannosaur,\ | |
| 13 | \ stuffed full of amphetamines and suffused with Sex Radiation.\r\n\r\nThat is what\ | |
| 14 | \ has happened to me tonight. I am beaming Sex Rays across the world and my brain\ | |
| 15 | \ is all lit up with Holy Fire. If I felt like it, I could shag a million nuns and\ | |
| 16 | \ destroy their faith in Christ.\r\n\r\n*From my chair.*\r\n\r\nSee, this is the\ | |
| 17 | \ good bit about writing. It's what keeps you going. It's the wild rush of \"shit,\ | |
| 18 | \ did I think of that?\" with all kinds of weird chemicals shunting around your\ | |
| 19 | \ brain and ideas and images and moments and storyforms all opening up snapsnapsnap\ | |
| 20 | \ in your mind, a mass of new and unrealised possibilities.\r\n\r\nIt's ten past\ | |
| 21 | \ two in the morning, and I'm completely wired, caught up in the new thing, shivering\ | |
| 22 | \ and laughing and glowing in the dark. Just as well it's the middle of the night.\ | |
| 23 | \ No-one would be safe from me right now. I could read their minds and take over\ | |
| 24 | \ their heartbeats with a glare.\r\n\r\nFaster than the speed of anyone.\r\n\r\n\ | |
| 25 | That's how it works." | |
| 26 | id: cded9b24-fe5e-432d-9f7d-bb30953278ec |
+0
-26
| 1 | author: Warren Ellis | |
| 2 | content: "I still get asked with appalling regularity \"where my ideas come from.\"\ | |
| 3 | \r\n\r\nHere's the deal. I flood my poor ageing head with information. Any information.\ | |
| 4 | \ Lots of it. And I let it all slosh around in the back of my brain, in the part\ | |
| 5 | \ normal people use for remembering bills, thinking about sex and making appointments\ | |
| 6 | \ to wash the dishes.\r\n\r\nEventually, you get a critical mass of information.\ | |
| 7 | \ Datum 1 plugs into Datum 3 which connects to Datum 3 and Data 4 and 5 stick to\ | |
| 8 | \ it and you've got a chain reaction. A bunch of stuff knits together and lights\ | |
| 9 | \ up and you've got what's called \"an idea\".\r\n\r\nAnd for that brief moment\ | |
| 10 | \ where it's all flaring and welding together, you are Holy. You can't be touched.\ | |
| 11 | \ Something impossible and brilliant has happened and suddenly you understand what\ | |
| 12 | \ it would be like if Einstein's brain was placed into the body of a young tyrannosaur,\ | |
| 13 | \ stuffed full of amphetamines and suffused with Sex Radiation.\r\n\r\nThat is what\ | |
| 14 | \ has happened to me tonight. I am beaming Sex Rays across the world and my brain\ | |
| 15 | \ is all lit up with Holy Fire. If I felt like it, I could shag a million nuns and\ | |
| 16 | \ destroy their faith in Christ.\r\n\r\n*From my chair.*\r\n\r\nSee, this is the\ | |
| 17 | \ good bit about writing. It's what keeps you going. It's the wild rush of \"shit,\ | |
| 18 | \ did I think of that?\" with all kinds of weird chemicals shunting around your\ | |
| 19 | \ brain and ideas and images and moments and storyforms all opening up snapsnapsnap\ | |
| 20 | \ in your mind, a mass of new and unrealised possibilities.\r\n\r\nIt's ten past\ | |
| 21 | \ two in the morning, and I'm completely wired, caught up in the new thing, shivering\ | |
| 22 | \ and laughing and glowing in the dark. Just as well it's the middle of the night.\ | |
| 23 | \ No-one would be safe from me right now. I could read their minds and take over\ | |
| 24 | \ their heartbeats with a glare.\r\n\r\nFaster than the speed of anyone.\r\n\r\n\ | |
| 25 | That's how it works." | |
| 26 | id: cded9b24-fe5e-432d-9f7d-bb30953278ec |
| 1 | author: Ron Minnich | |
| 2 | content: The standard rule is, when you're in a hole, stop digging; that seems not | |
| 3 | to apply [to] software nowadays. | |
| 4 | id: ce33a005-00e0-4595-9646-ef0c3ec99f20 |
+0
-4
| 1 | author: Ron Minnich | |
| 2 | content: The standard rule is, when you're in a hole, stop digging; that seems not | |
| 3 | to apply [to] software nowadays. | |
| 4 | id: ce33a005-00e0-4595-9646-ef0c3ec99f20 |
| 1 | author: Blaise Pascal | |
| 2 | content: "Le silence \xE9ternel de ces espaces infinis m'effraie." | |
| 3 | id: ce7d9e89-c41b-4254-91c5-6c0918f4f4aa |
+0
-3
| 1 | author: Blaise Pascal | |
| 2 | content: "Le silence \xE9ternel de ces espaces infinis m'effraie." | |
| 3 | id: ce7d9e89-c41b-4254-91c5-6c0918f4f4aa |
| 1 | author: Long After Midnight, Ray Bradbury | |
| 2 | content: A Witch is born out of the true hungers of her time. I am a child of the | |
| 3 | poisonous wind that copulated with the river on an oil-slick, garbage infested midnight. | |
| 4 | I turn about on my own parentage. I inoculate against those very biles that brought | |
| 5 | me to light. I am a serum born of venoms. I am the antibody of all time. | |
| 6 | id: cf25465a-b047-4e78-aba7-9dad0209e685 |
+0
-6
| 1 | author: Long After Midnight, Ray Bradbury | |
| 2 | content: A Witch is born out of the true hungers of her time. I am a child of the | |
| 3 | poisonous wind that copulated with the river on an oil-slick, garbage infested midnight. | |
| 4 | I turn about on my own parentage. I inoculate against those very biles that brought | |
| 5 | me to light. I am a serum born of venoms. I am the antibody of all time. | |
| 6 | id: cf25465a-b047-4e78-aba7-9dad0209e685 |
| 1 | author: Hermann Finsterlin | |
| 2 | content: "But tell me, is the fairy-tale not an eternal nostalgia with all of us\u2014\ | |
| 3 | the eternal mourning song of advancing history, our most fruitful incentive for\ | |
| 4 | \ an image of the future Earth?" | |
| 5 | id: cf658851-c19b-47b5-b4bc-41b90c8eed58 |
+0
-5
| 1 | author: Hermann Finsterlin | |
| 2 | content: "But tell me, is the fairy-tale not an eternal nostalgia with all of us\u2014\ | |
| 3 | the eternal mourning song of advancing history, our most fruitful incentive for\ | |
| 4 | \ an image of the future Earth?" | |
| 5 | id: cf658851-c19b-47b5-b4bc-41b90c8eed58 |
| 1 | author: pessimizer | |
| 2 | content: "As a black programmer, I remember the cliche about problems and regular\ | |
| 3 | \ expressions in my head as \"regular expressions are like calling the cops.\"\r\ | |
| 4 | \n\r\nThat's unfair to regular expressions, though, because I actually have seen\ | |
| 5 | \ them solve a problem before. Cops improving a situation? Never seen it." | |
| 6 | id: d02ff48c-57b7-4e23-b487-771f724bac76 |
+0
-6
| 1 | author: pessimizer | |
| 2 | content: "As a black programmer, I remember the cliche about problems and regular\ | |
| 3 | \ expressions in my head as \"regular expressions are like calling the cops.\"\r\ | |
| 4 | \n\r\nThat's unfair to regular expressions, though, because I actually have seen\ | |
| 5 | \ them solve a problem before. Cops improving a situation? Never seen it." | |
| 6 | id: d02ff48c-57b7-4e23-b487-771f724bac76 |
| 1 | author: 'Lord Byron | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'I only go out to get me a fresh appetite for being alone. | |
| 5 | ||
| 6 | ' | |
| 7 | id: d046663e-3b6f-4204-a19d-a2da08f75227 |
| 1 | author: 'Lord Byron | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'I only go out to get me a fresh appetite for being alone. | |
| 5 | ||
| 6 | ' | |
| 7 | id: d046663e-3b6f-4204-a19d-a2da08f75227 |
| 1 | author: Alan Moore | |
| 2 | content: Life isn't divided into genres. It's a horrifying, romantic, tragic, comical | |
| 3 | science-fiction cowboy detective novel. | |
| 4 | id: d09a15d7-8bfb-4f9d-ba19-cbc77b1f3fad |
+0
-4
| 1 | author: Alan Moore | |
| 2 | content: Life isn't divided into genres. It's a horrifying, romantic, tragic, comical | |
| 3 | science-fiction cowboy detective novel. | |
| 4 | id: d09a15d7-8bfb-4f9d-ba19-cbc77b1f3fad |
| 1 | author: Evgeny Morozov | |
| 2 | content: It's not because we hate the algorithms, or we hate databases, or we hate | |
| 3 | technological infrastructure or networks, that we are suspicious of Silicon Valley | |
| 4 | and the intrusions that they bring into how we think about the public or politics. | |
| 5 | It's because the logic that these algorithms and sensors embed is a very troubling | |
| 6 | political and economic logic. It leads to certain assumptions about public and private | |
| 7 | institutions, and consumers, citizens, and administators, that on second thought | |
| 8 | most of us would probably reject. Because it does shrink the public space. It does | |
| 9 | result in public institutions being hijacked by the logic of the market. It does | |
| 10 | shrink the kind of risks that we can take. And I think eventually it does disable | |
| 11 | a lot of cultural and political innovation. And that's the real reason to hate them. | |
| 12 | id: d1e04353-ac44-40de-ba85-2b22d06ba49b |
+0
-12
| 1 | author: Evgeny Morozov | |
| 2 | content: It's not because we hate the algorithms, or we hate databases, or we hate | |
| 3 | technological infrastructure or networks, that we are suspicious of Silicon Valley | |
| 4 | and the intrusions that they bring into how we think about the public or politics. | |
| 5 | It's because the logic that these algorithms and sensors embed is a very troubling | |
| 6 | political and economic logic. It leads to certain assumptions about public and private | |
| 7 | institutions, and consumers, citizens, and administators, that on second thought | |
| 8 | most of us would probably reject. Because it does shrink the public space. It does | |
| 9 | result in public institutions being hijacked by the logic of the market. It does | |
| 10 | shrink the kind of risks that we can take. And I think eventually it does disable | |
| 11 | a lot of cultural and political innovation. And that's the real reason to hate them. | |
| 12 | id: d1e04353-ac44-40de-ba85-2b22d06ba49b |
| 1 | author: P.G. Wodehouse | |
| 2 | content: He drank coffee with the air of a man who regretted that it was not hemlock. | |
| 3 | id: d1e2f40b-2ff6-4d10-ae62-0afbe6f69658 |
+0
-3
| 1 | author: P.G. Wodehouse | |
| 2 | content: He drank coffee with the air of a man who regretted that it was not hemlock. | |
| 3 | id: d1e2f40b-2ff6-4d10-ae62-0afbe6f69658 |
| 1 | author: Saul Griffith | |
| 2 | content: "We write all of our own tools, no matter what project we're building. Pretty\ | |
| 3 | \ much anything that we're doing requires some sort of design tool that didn't exist\ | |
| 4 | \ before. In fact, the design tools that we write to do the projects that we're\ | |
| 5 | \ doing are a sort of product in and of themselves.\r\n\r\nI think in reality, today,\ | |
| 6 | \ if you use the same tools as everyone else, you kind of build the same products.\ | |
| 7 | \ If you write your own tools, you can sort of see new things, design new things." | |
| 8 | id: d231f9d2-206f-4e8b-a2c0-6eff91a5ff1c |
+0
-8
| 1 | author: Saul Griffith | |
| 2 | content: "We write all of our own tools, no matter what project we're building. Pretty\ | |
| 3 | \ much anything that we're doing requires some sort of design tool that didn't exist\ | |
| 4 | \ before. In fact, the design tools that we write to do the projects that we're\ | |
| 5 | \ doing are a sort of product in and of themselves.\r\n\r\nI think in reality, today,\ | |
| 6 | \ if you use the same tools as everyone else, you kind of build the same products.\ | |
| 7 | \ If you write your own tools, you can sort of see new things, design new things." | |
| 8 | id: d231f9d2-206f-4e8b-a2c0-6eff91a5ff1c |
| 1 | author: Charlie Brooker | |
| 2 | content: "Take [Banksy's] political stuff. One featured that Vietnamese girl who had\ | |
| 3 | \ her clothes napalmed off. Ho-hum, a familiar image, you think. I'll just be on\ | |
| 4 | \ my way to my 9 to 5 desk job, mindless drone that I am. Then, with an astonished\ | |
| 5 | \ lurch, you notice sly, subversive genius Banksy has stencilled Mickey Mouse and\ | |
| 6 | \ Ronald McDonald either side of her.\r\n\r\nWham! The message hits you like a lead\ | |
| 7 | \ bus: America... um... war... er... Disney... and stuff. Wow. In an instant, your\ | |
| 8 | \ worldview changes forever. Your eyes are opened. Staggering away, mind blown,\ | |
| 9 | \ you flick v-signs at a Burger King on the way home. Nice one Banksy!" | |
| 10 | id: d2eec350-34fe-4bf2-8590-3384220680d1 |
+0
-10
| 1 | author: Charlie Brooker | |
| 2 | content: "Take [Banksy's] political stuff. One featured that Vietnamese girl who had\ | |
| 3 | \ her clothes napalmed off. Ho-hum, a familiar image, you think. I'll just be on\ | |
| 4 | \ my way to my 9 to 5 desk job, mindless drone that I am. Then, with an astonished\ | |
| 5 | \ lurch, you notice sly, subversive genius Banksy has stencilled Mickey Mouse and\ | |
| 6 | \ Ronald McDonald either side of her.\r\n\r\nWham! The message hits you like a lead\ | |
| 7 | \ bus: America... um... war... er... Disney... and stuff. Wow. In an instant, your\ | |
| 8 | \ worldview changes forever. Your eyes are opened. Staggering away, mind blown,\ | |
| 9 | \ you flick v-signs at a Burger King on the way home. Nice one Banksy!" | |
| 10 | id: d2eec350-34fe-4bf2-8590-3384220680d1 |
| 1 | author: Ophelia, Hamlet, Act 4, Scene 5, by William Shakespeare | |
| 2 | content: Lord, we know what we are, but not what we may be. | |
| 3 | id: d30720c2-6162-4f24-99b0-0bc145a8f934 |
+0
-3
| 1 | author: Ophelia, Hamlet, Act 4, Scene 5, by William Shakespeare | |
| 2 | content: Lord, we know what we are, but not what we may be. | |
| 3 | id: d30720c2-6162-4f24-99b0-0bc145a8f934 |
| 1 | author: Pierre-Louis Curien | |
| 2 | content: Mathematicians are not very good at formalizing mathematics, but they *are* | |
| 3 | very good at notation. | |
| 4 | id: d3608177-3129-4b20-b094-6fec28371cd6 |
+0
-4
| 1 | author: Pierre-Louis Curien | |
| 2 | content: Mathematicians are not very good at formalizing mathematics, but they *are* | |
| 3 | very good at notation. | |
| 4 | id: d3608177-3129-4b20-b094-6fec28371cd6 |
| 1 | author: why the lucky stiff | |
| 2 | content: when you don't create things, you become defined by your tastes rather than | |
| 3 | ability. your tastes only narrow & exclude people. so create. | |
| 4 | id: d3ea7e02-09ec-4647-8b67-3b737b01b897 |
+0
-4
| 1 | author: why the lucky stiff | |
| 2 | content: when you don't create things, you become defined by your tastes rather than | |
| 3 | ability. your tastes only narrow & exclude people. so create. | |
| 4 | id: d3ea7e02-09ec-4647-8b67-3b737b01b897 |
| 1 | author: why the lucky stiff | |
| 2 | content: The guy didn't panick or anything, but he did say to himself, inside his | |
| 3 | mask, "From now on, life isn't self-explanatory." That guy hit the nail on the head. | |
| 4 | id: d455bba3-d563-459a-b9e5-a434d69b1b40 |
+0
-4
| 1 | author: why the lucky stiff | |
| 2 | content: The guy didn't panick or anything, but he did say to himself, inside his | |
| 3 | mask, "From now on, life isn't self-explanatory." That guy hit the nail on the head. | |
| 4 | id: d455bba3-d563-459a-b9e5-a434d69b1b40 |
| 1 | author: Jorge Luis Borges | |
| 2 | content: 'A book is more than a verbal structure or series of verbal structures; it | |
| 3 | is the dialogue it establishes with its reader and the intonation it imposes upon | |
| 4 | his voice and the changing and durable images it leaves in his memory. A book is | |
| 5 | not an isolated being: it is a relationship, an axis of innumerable relationships.' | |
| 6 | id: d491b3bc-ada4-4642-9547-034cf9409b3e |
+0
-6
| 1 | author: Jorge Luis Borges | |
| 2 | content: 'A book is more than a verbal structure or series of verbal structures; it | |
| 3 | is the dialogue it establishes with its reader and the intonation it imposes upon | |
| 4 | his voice and the changing and durable images it leaves in his memory. A book is | |
| 5 | not an isolated being: it is a relationship, an axis of innumerable relationships.' | |
| 6 | id: d491b3bc-ada4-4642-9547-034cf9409b3e |
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: We feel free because we lack the very language to articulate our unfreedom. | |
| 3 | id: d4d5d6cd-b33d-45b4-bda1-a1dd82254cdc |
+0
-3
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: We feel free because we lack the very language to articulate our unfreedom. | |
| 3 | id: d4d5d6cd-b33d-45b4-bda1-a1dd82254cdc |
| 1 | author: R. Buckminster Fuller | |
| 2 | content: You never change things by fighting the existing reality. To change something, | |
| 3 | build a new model that makes the existing model obsolete. | |
| 4 | id: d4eb7147-1d6b-4aa0-b020-170fa57d7740 |
+0
-4
| 1 | author: R. Buckminster Fuller | |
| 2 | content: You never change things by fighting the existing reality. To change something, | |
| 3 | build a new model that makes the existing model obsolete. | |
| 4 | id: d4eb7147-1d6b-4aa0-b020-170fa57d7740 |
| 1 | author: Neal Stephenson | |
| 2 | content: For a Westerner to trash Western culture is like criticizing our nitrogen/oxygen | |
| 3 | atmoshere on the grounds that it sometimes gets windy, and besides, Jupiter's is | |
| 4 | much prettier. You may not realize its advantages until you're trying to breathe | |
| 5 | liquid methane. | |
| 6 | id: d4f7b037-ebc5-4772-8df7-f2cda0bc02fd |
+0
-6
| 1 | author: Neal Stephenson | |
| 2 | content: For a Westerner to trash Western culture is like criticizing our nitrogen/oxygen | |
| 3 | atmoshere on the grounds that it sometimes gets windy, and besides, Jupiter's is | |
| 4 | much prettier. You may not realize its advantages until you're trying to breathe | |
| 5 | liquid methane. | |
| 6 | id: d4f7b037-ebc5-4772-8df7-f2cda0bc02fd |
| 1 | author: Warren Ellis's "Transmetropolitan" | |
| 2 | content: '"What next?" | |
| 3 | ||
| 4 | "Some actual journalism, I think." | |
| 5 | ||
| 6 | "Actual journalism? Is that when you don''t commit crimes?" | |
| 7 | ||
| 8 | "Hell, no. It''s when we commit REALLY GOOD CRIMES."' | |
| 9 | id: d520e0de-6943-4648-b4d2-2d7d1b7eb58d |
+0
-9
| 1 | author: Warren Ellis's "Transmetropolitan" | |
| 2 | content: '"What next?" | |
| 3 | ||
| 4 | "Some actual journalism, I think." | |
| 5 | ||
| 6 | "Actual journalism? Is that when you don''t commit crimes?" | |
| 7 | ||
| 8 | "Hell, no. It''s when we commit REALLY GOOD CRIMES."' | |
| 9 | id: d520e0de-6943-4648-b4d2-2d7d1b7eb58d |
| 1 | author: Anonymous | |
| 2 | content: Work like no one is watching. Dance like you've been hurt. Love like you | |
| 3 | need the money. | |
| 4 | id: d55d13a5-982d-4f17-92ab-ff187c63138c |
+0
-4
| 1 | author: Anonymous | |
| 2 | content: Work like no one is watching. Dance like you've been hurt. Love like you | |
| 3 | need the money. | |
| 4 | id: d55d13a5-982d-4f17-92ab-ff187c63138c |
| 1 | author: Ben Marcus | |
| 2 | content: We must always be prepared to admit when a theory is merely lyrical but fucked | |
| 3 | in practice. | |
| 4 | id: d6254719-b216-4215-bb39-1cdc8ec26254 |
+0
-4
| 1 | author: Ben Marcus | |
| 2 | content: We must always be prepared to admit when a theory is merely lyrical but fucked | |
| 3 | in practice. | |
| 4 | id: d6254719-b216-4215-bb39-1cdc8ec26254 |
| 1 | author: Roger Ebert | |
| 2 | content: Rap has a bad reputation in white circles, where many people believe it consists | |
| 3 | of obscene and violent anti-white and anti-female guttural. Some of it does. Most | |
| 4 | does not. Most white listeners don't care; they hear black voices in a litany of | |
| 5 | discontent, and tune out. Yet rap plays the same role today as Bob Dylan did in | |
| 6 | 1960, giving voice to the hopes and angers of a generation, and a lot of rap is | |
| 7 | powerful writing. | |
| 8 | id: d66b945d-6665-49f3-a4dc-09bd644094dd |
+0
-8
| 1 | author: Roger Ebert | |
| 2 | content: Rap has a bad reputation in white circles, where many people believe it consists | |
| 3 | of obscene and violent anti-white and anti-female guttural. Some of it does. Most | |
| 4 | does not. Most white listeners don't care; they hear black voices in a litany of | |
| 5 | discontent, and tune out. Yet rap plays the same role today as Bob Dylan did in | |
| 6 | 1960, giving voice to the hopes and angers of a generation, and a lot of rap is | |
| 7 | powerful writing. | |
| 8 | id: d66b945d-6665-49f3-a4dc-09bd644094dd |
| 1 | author: 'Norman Solomon | |
| 2 | ||
| 3 | The Trouble with Dilbert' | |
| 4 | content: One of the best ways to teach people not to rebel is to offer plenty of ruts | |
| 5 | for fake rebellion. | |
| 6 | id: d68e2259-c603-4162-b714-292c1ae2b3a9 |
+0
-6
| 1 | author: 'Norman Solomon | |
| 2 | ||
| 3 | The Trouble with Dilbert' | |
| 4 | content: One of the best ways to teach people not to rebel is to offer plenty of ruts | |
| 5 | for fake rebellion. | |
| 6 | id: d68e2259-c603-4162-b714-292c1ae2b3a9 |
| 1 | author: Dm Simons | |
| 2 | content: I'm not trying to make art, I'm trying to make lies, because the truth hurts. | |
| 3 | id: d6b6121b-3c26-4ff5-883d-b26e05af78c1 |
+0
-3
| 1 | author: Dm Simons | |
| 2 | content: I'm not trying to make art, I'm trying to make lies, because the truth hurts. | |
| 3 | id: d6b6121b-3c26-4ff5-883d-b26e05af78c1 |
| 1 | author: Terror Island | |
| 2 | content: 'Blueteen only lies in three situations: | |
| 3 | ||
| 4 | 1. When it will save civilization. | |
| 5 | ||
| 6 | 2. When he can drive fiscal advantages. | |
| 7 | ||
| 8 | 3. Miscellaneous.' | |
| 9 | id: d79ca12a-f89f-4529-99dd-0ef9daf68dfe |
+0
-9
| 1 | author: Terror Island | |
| 2 | content: 'Blueteen only lies in three situations: | |
| 3 | ||
| 4 | 1. When it will save civilization. | |
| 5 | ||
| 6 | 2. When he can drive fiscal advantages. | |
| 7 | ||
| 8 | 3. Miscellaneous.' | |
| 9 | id: d79ca12a-f89f-4529-99dd-0ef9daf68dfe |
| 1 | author: Guy-Ernest Debord | |
| 2 | content: "One of the basic situationist practices is the d\xE9rive [literally: \"\ | |
| 3 | drifting\"], a technique of rapid passage through varied ambiances. D\xE9rives involve\ | |
| 4 | \ playful-constructive behavior and awareness of psychogeographical effects, and\ | |
| 5 | \ are thus quite different from the classic notions of journey or stroll.\r\n\r\n\ | |
| 6 | In a d\xE9rive one or more persons during a certain period drop their relations,\ | |
| 7 | \ their work and leisure activities, and all their other usual motives for movement\ | |
| 8 | \ and action, and let themselves be drawn by the attractions of the terrain and\ | |
| 9 | \ the encounters they find there. Chance is a less important factor in this activity\ | |
| 10 | \ than one might think: from a d\xE9rive point of view cities have psychogeographical\ | |
| 11 | \ contours, with constant currents, fixed points and vortexes that strongly discourage\ | |
| 12 | \ entry into or exit from certain zones." | |
| 13 | id: d80247ce-5857-4289-ab29-95caddb1bb98 |
+0
-13
| 1 | author: Guy-Ernest Debord | |
| 2 | content: "One of the basic situationist practices is the d\xE9rive [literally: \"\ | |
| 3 | drifting\"], a technique of rapid passage through varied ambiances. D\xE9rives involve\ | |
| 4 | \ playful-constructive behavior and awareness of psychogeographical effects, and\ | |
| 5 | \ are thus quite different from the classic notions of journey or stroll.\r\n\r\n\ | |
| 6 | In a d\xE9rive one or more persons during a certain period drop their relations,\ | |
| 7 | \ their work and leisure activities, and all their other usual motives for movement\ | |
| 8 | \ and action, and let themselves be drawn by the attractions of the terrain and\ | |
| 9 | \ the encounters they find there. Chance is a less important factor in this activity\ | |
| 10 | \ than one might think: from a d\xE9rive point of view cities have psychogeographical\ | |
| 11 | \ contours, with constant currents, fixed points and vortexes that strongly discourage\ | |
| 12 | \ entry into or exit from certain zones." | |
| 13 | id: d80247ce-5857-4289-ab29-95caddb1bb98 |
| 1 | author: Richard Kadrey | |
| 2 | content: "The best restaurants in any town are the ones that are open 24 hours. It\ | |
| 3 | \ doesn't matter if the restaurant is clean or attractive, if the food is good or\ | |
| 4 | \ even edible. What makes 24-hour places special is that whatever is going on inside\ | |
| 5 | \ them at any moment \u2014 eating, crashing from a night high and wild, a secret\ | |
| 6 | \ lovers' rendezvous, a drug deal, a traveler getting her bearings in a new town\ | |
| 7 | \ \u2014 will continue to go on there until the place burns down or goes out of\ | |
| 8 | \ business. These places sell time, not food. All 24-hour restaurants are social\ | |
| 9 | \ neutral zones, outside the normal boundaries of time and space, which exist for\ | |
| 10 | \ most of us in neatly packaged eight-hour segments: one for sleep, one for work\ | |
| 11 | \ and one for life. These diners are the alien bases in our midst. Area 51 with\ | |
| 12 | \ curly fries and a Coke." | |
| 13 | id: d905d7bf-3a20-4bc1-83f9-f69120196f67 |
+0
-13
| 1 | author: Richard Kadrey | |
| 2 | content: "The best restaurants in any town are the ones that are open 24 hours. It\ | |
| 3 | \ doesn't matter if the restaurant is clean or attractive, if the food is good or\ | |
| 4 | \ even edible. What makes 24-hour places special is that whatever is going on inside\ | |
| 5 | \ them at any moment \u2014 eating, crashing from a night high and wild, a secret\ | |
| 6 | \ lovers' rendezvous, a drug deal, a traveler getting her bearings in a new town\ | |
| 7 | \ \u2014 will continue to go on there until the place burns down or goes out of\ | |
| 8 | \ business. These places sell time, not food. All 24-hour restaurants are social\ | |
| 9 | \ neutral zones, outside the normal boundaries of time and space, which exist for\ | |
| 10 | \ most of us in neatly packaged eight-hour segments: one for sleep, one for work\ | |
| 11 | \ and one for life. These diners are the alien bases in our midst. Area 51 with\ | |
| 12 | \ curly fries and a Coke." | |
| 13 | id: d905d7bf-3a20-4bc1-83f9-f69120196f67 |
| 1 | author: Anonymous | |
| 2 | content: It's not mean if it's hilarious. | |
| 3 | id: d91b1805-eada-4a5c-a78c-e97a99a91539 |
+0
-3
| 1 | author: Anonymous | |
| 2 | content: It's not mean if it's hilarious. | |
| 3 | id: d91b1805-eada-4a5c-a78c-e97a99a91539 |
| 1 | author: John Carmack | |
| 2 | content: Languages talk about multi-paradigm as if it's a good thing, but multi-paradigm | |
| 3 | means you can always do the bad thing if you feel you really need to. | |
| 4 | id: d943f2c5-1254-4d1d-9f5c-4014f065d167 |
+0
-4
| 1 | author: John Carmack | |
| 2 | content: Languages talk about multi-paradigm as if it's a good thing, but multi-paradigm | |
| 3 | means you can always do the bad thing if you feel you really need to. | |
| 4 | id: d943f2c5-1254-4d1d-9f5c-4014f065d167 |
| 1 | author: -Neil Gaiman, The Truth Is a Cave in the Black Mountains | |
| 2 | content: '"You are wrong. The truth is a cave in the black mountains. There is one | |
| 3 | way there, and one only, and that way is treacherous and hard, and if you choose | |
| 4 | the wrong path you will die alone, on the mountainside."' | |
| 5 | id: d94adbe5-4aa7-4188-a811-af66e010e247 |
+0
-5
| 1 | author: -Neil Gaiman, The Truth Is a Cave in the Black Mountains | |
| 2 | content: '"You are wrong. The truth is a cave in the black mountains. There is one | |
| 3 | way there, and one only, and that way is treacherous and hard, and if you choose | |
| 4 | the wrong path you will die alone, on the mountainside."' | |
| 5 | id: d94adbe5-4aa7-4188-a811-af66e010e247 |
| 1 | author: E. E. Cummings | |
| 2 | content: 'And how long have you written? | |
| 3 | ||
| 4 | ||
| 5 | As long as I can remember. | |
| 6 | ||
| 7 | ||
| 8 | I mean poetry. | |
| 9 | ||
| 10 | ||
| 11 | So do I.' | |
| 12 | id: da2fc98d-cb08-4f41-8ae0-8113e3341921 |
+0
-12
| 1 | author: E. E. Cummings | |
| 2 | content: 'And how long have you written? | |
| 3 | ||
| 4 | ||
| 5 | As long as I can remember. | |
| 6 | ||
| 7 | ||
| 8 | I mean poetry. | |
| 9 | ||
| 10 | ||
| 11 | So do I.' | |
| 12 | id: da2fc98d-cb08-4f41-8ae0-8113e3341921 |
| 1 | author: Kurt Vonnegut | |
| 2 | content: Another flaw in the human character is that everybody wants to build and | |
| 3 | nobody wants to do maintenance. | |
| 4 | id: da440f36-b9ab-49f9-9faf-79f872915dff |
+0
-4
| 1 | author: Kurt Vonnegut | |
| 2 | content: Another flaw in the human character is that everybody wants to build and | |
| 3 | nobody wants to do maintenance. | |
| 4 | id: da440f36-b9ab-49f9-9faf-79f872915dff |
| 1 | author: Dark Helmet | |
| 2 | content: Evil will always triumph, because good is dumb. | |
| 3 | id: da4db4fb-e98a-4ea5-b845-6071d42ca85c |
+0
-3
| 1 | author: Dark Helmet | |
| 2 | content: Evil will always triumph, because good is dumb. | |
| 3 | id: da4db4fb-e98a-4ea5-b845-6071d42ca85c |
| 1 | author: Ursula K. Le Guin | |
| 2 | content: We all have archipelagoes in our minds. | |
| 3 | id: da5c1327-ebb8-4ef7-8e01-c1d948571dfa |
+0
-3
| 1 | author: Ursula K. Le Guin | |
| 2 | content: We all have archipelagoes in our minds. | |
| 3 | id: da5c1327-ebb8-4ef7-8e01-c1d948571dfa |
| 1 | author: broken koan | |
| 2 | content: "One afternoon a student said \"Roshi, I don't really understand what's going\ | |
| 3 | \ on. I mean, we sit in zazen and we gassho to each other and everything, and Felicia\ | |
| 4 | \ got enlightened when the bottom fell out of her water-bucket, and Todd got enlightened\ | |
| 5 | \ when you popped him one with your staff, and people work on koans and get enlightened,\ | |
| 6 | \ but I've been doing this for two years now, and the koans don't make any sense,\ | |
| 7 | \ and I don't feel enlightened at all! Can you just tell me what's going on?\"\r\ | |
| 8 | \n\r\n\"Well you see,\" Roshi replied, \"for most people, and especially for most\ | |
| 9 | \ educated people like you and I, what we perceive and experience is heavily mediated,\ | |
| 10 | \ through language and concepts that are deeply ingrained in our ways of thinking\ | |
| 11 | \ and feeling. Our objective here is to induce in ourselves and in each other a\ | |
| 12 | \ psychological state that involves the unmediated experience of the world, because\ | |
| 13 | \ we believe that that state has certain desirable properties. It's impossible in\ | |
| 14 | \ general to reach that state through any particular form or method, since forms\ | |
| 15 | \ and methods are themselves examples of the mediators that we are trying to avoid.\ | |
| 16 | \ So we employ a variety of ad hoc means, some linguistic like koans and some non-linguistic\ | |
| 17 | \ like zazen, in hopes that for any given student one or more of our methods will,\ | |
| 18 | \ in whatever way, engender the condition of non-mediated experience that is our\ | |
| 19 | \ goal. And since even thinking in terms of mediators and goals tends to reinforce\ | |
| 20 | \ our undesirable dependency on concepts, we actively discourage exactly this kind\ | |
| 21 | \ of analytical discourse.\"\r\n\r\nAnd the student was enlightened." | |
| 22 | id: da74a480-d76e-43dd-9796-08555aeb6a61 |
+0
-22
| 1 | author: broken koan | |
| 2 | content: "One afternoon a student said \"Roshi, I don't really understand what's going\ | |
| 3 | \ on. I mean, we sit in zazen and we gassho to each other and everything, and Felicia\ | |
| 4 | \ got enlightened when the bottom fell out of her water-bucket, and Todd got enlightened\ | |
| 5 | \ when you popped him one with your staff, and people work on koans and get enlightened,\ | |
| 6 | \ but I've been doing this for two years now, and the koans don't make any sense,\ | |
| 7 | \ and I don't feel enlightened at all! Can you just tell me what's going on?\"\r\ | |
| 8 | \n\r\n\"Well you see,\" Roshi replied, \"for most people, and especially for most\ | |
| 9 | \ educated people like you and I, what we perceive and experience is heavily mediated,\ | |
| 10 | \ through language and concepts that are deeply ingrained in our ways of thinking\ | |
| 11 | \ and feeling. Our objective here is to induce in ourselves and in each other a\ | |
| 12 | \ psychological state that involves the unmediated experience of the world, because\ | |
| 13 | \ we believe that that state has certain desirable properties. It's impossible in\ | |
| 14 | \ general to reach that state through any particular form or method, since forms\ | |
| 15 | \ and methods are themselves examples of the mediators that we are trying to avoid.\ | |
| 16 | \ So we employ a variety of ad hoc means, some linguistic like koans and some non-linguistic\ | |
| 17 | \ like zazen, in hopes that for any given student one or more of our methods will,\ | |
| 18 | \ in whatever way, engender the condition of non-mediated experience that is our\ | |
| 19 | \ goal. And since even thinking in terms of mediators and goals tends to reinforce\ | |
| 20 | \ our undesirable dependency on concepts, we actively discourage exactly this kind\ | |
| 21 | \ of analytical discourse.\"\r\n\r\nAnd the student was enlightened." | |
| 22 | id: da74a480-d76e-43dd-9796-08555aeb6a61 |
| 1 | author: Short Round | |
| 2 | content: 'A few years ago I decided that I''d be happy as long as I spent most of | |
| 3 | my time doing my three favorite things: reading, writing, and fucking (the three | |
| 4 | R''s).' | |
| 5 | id: dadb724f-bb72-4c71-befb-4eea336fffe9 |
+0
-5
| 1 | author: Short Round | |
| 2 | content: 'A few years ago I decided that I''d be happy as long as I spent most of | |
| 3 | my time doing my three favorite things: reading, writing, and fucking (the three | |
| 4 | R''s).' | |
| 5 | id: dadb724f-bb72-4c71-befb-4eea336fffe9 |
| 1 | author: Alex Ross | |
| 2 | content: "At a New York gathering, [John Cage] was heard to say, \"Beethoven was wrong!\"\ | |
| 3 | \ The poet John Ashbery overheard the remark, and for years afterward wondered what\ | |
| 4 | \ Cage had meant. Eventually, Ashbery approached Cage again. \"I once heard you\ | |
| 5 | \ say something about Beethoven,\" the poet began, \"and I've always wondered\u2014\ | |
| 6 | \" Cage's eyes lit up. \"Beethoven was wrong!\" he exclaimed. \"Beethoven was wrong!\"\ | |
| 7 | \ And he walked away." | |
| 8 | id: db26eab3-63aa-42f2-b38a-456201c79ff1 |
+0
-8
| 1 | author: Alex Ross | |
| 2 | content: "At a New York gathering, [John Cage] was heard to say, \"Beethoven was wrong!\"\ | |
| 3 | \ The poet John Ashbery overheard the remark, and for years afterward wondered what\ | |
| 4 | \ Cage had meant. Eventually, Ashbery approached Cage again. \"I once heard you\ | |
| 5 | \ say something about Beethoven,\" the poet began, \"and I've always wondered\u2014\ | |
| 6 | \" Cage's eyes lit up. \"Beethoven was wrong!\" he exclaimed. \"Beethoven was wrong!\"\ | |
| 7 | \ And he walked away." | |
| 8 | id: db26eab3-63aa-42f2-b38a-456201c79ff1 |
| 1 | author: Dylan Moran | |
| 2 | content: You're not really an adult at all. You're just a tall child holding a beer, | |
| 3 | having a conversation you don't understand. | |
| 4 | id: db936b6b-c98a-4161-8ab3-e8a9206aa0c7 |
+0
-4
| 1 | author: Dylan Moran | |
| 2 | content: You're not really an adult at all. You're just a tall child holding a beer, | |
| 3 | having a conversation you don't understand. | |
| 4 | id: db936b6b-c98a-4161-8ab3-e8a9206aa0c7 |
| 1 | author: "Stanis\u0142aw Jerzy Lec" | |
| 2 | content: Do not expect too much of the end of the world | |
| 3 | id: dc478d31-be42-474d-890f-65f6cf18cbc3 |
+0
-3
| 1 | author: "Stanis\u0142aw Jerzy Lec" | |
| 2 | content: Do not expect too much of the end of the world | |
| 3 | id: dc478d31-be42-474d-890f-65f6cf18cbc3 |
| 1 | author: Soren Aabye Kierkegaard | |
| 2 | content: It is a stroke of good fortune to find one who is worth seducing... Most | |
| 3 | people rush ahead, become engaged or do other stupid things, and in a turn of the | |
| 4 | hand everything is over, and they know neither what they have won nor what they | |
| 5 | have lost. | |
| 6 | id: dc7233e7-9835-4f4e-88c3-fd299708fca5 |
+0
-6
| 1 | author: Soren Aabye Kierkegaard | |
| 2 | content: It is a stroke of good fortune to find one who is worth seducing... Most | |
| 3 | people rush ahead, become engaged or do other stupid things, and in a turn of the | |
| 4 | hand everything is over, and they know neither what they have won nor what they | |
| 5 | have lost. | |
| 6 | id: dc7233e7-9835-4f4e-88c3-fd299708fca5 |
| 1 | author: Oscar Wilde | |
| 2 | content: Whenever people agree with me, I always think I must be wrong. | |
| 3 | id: dc9afea8-0056-4dec-a935-bee04e81c4dc |
+0
-3
| 1 | author: Oscar Wilde | |
| 2 | content: Whenever people agree with me, I always think I must be wrong. | |
| 3 | id: dc9afea8-0056-4dec-a935-bee04e81c4dc |
| 1 | author: Mikhail Alexandrovich Bakunin | |
| 2 | content: When the people are being beaten with a stick, they are not much happier | |
| 3 | if it is called "the People's Stick." | |
| 4 | id: dd27daae-0d53-470b-bac8-2ab841e3dbeb |
+0
-4
| 1 | author: Mikhail Alexandrovich Bakunin | |
| 2 | content: When the people are being beaten with a stick, they are not much happier | |
| 3 | if it is called "the People's Stick." | |
| 4 | id: dd27daae-0d53-470b-bac8-2ab841e3dbeb |
| 1 | author: Michel Foucault | |
| 2 | content: It seems to me that the real political task in our contemporary society is | |
| 3 | to criticize the workings of institutions, particularly the ones that appear to | |
| 4 | be neutral and independent, and to attack them in such a way that the political | |
| 5 | violence, which has always exercised itself obscurely through them, will finally | |
| 6 | be unmasked so that one can fight against them. | |
| 7 | id: df950e38-f49e-4c8c-ac55-f16fd2091f0b |
+0
-7
| 1 | author: Michel Foucault | |
| 2 | content: It seems to me that the real political task in our contemporary society is | |
| 3 | to criticize the workings of institutions, particularly the ones that appear to | |
| 4 | be neutral and independent, and to attack them in such a way that the political | |
| 5 | violence, which has always exercised itself obscurely through them, will finally | |
| 6 | be unmasked so that one can fight against them. | |
| 7 | id: df950e38-f49e-4c8c-ac55-f16fd2091f0b |
| 1 | author: Neil Gaiman, on his narrative voice | |
| 2 | content: I think it's very friendly, me and the reader are old friends, and I take | |
| 3 | their hand and go, "it's all right, come with me, I know it's scary but I'm here | |
| 4 | with you," and I lead them into the scary parts... and then I let go of their hand | |
| 5 | and run away. | |
| 6 | id: dffce868-5b1b-486b-9785-452b4b5079ae |
+0
-6
| 1 | author: Neil Gaiman, on his narrative voice | |
| 2 | content: I think it's very friendly, me and the reader are old friends, and I take | |
| 3 | their hand and go, "it's all right, come with me, I know it's scary but I'm here | |
| 4 | with you," and I lead them into the scary parts... and then I let go of their hand | |
| 5 | and run away. | |
| 6 | id: dffce868-5b1b-486b-9785-452b4b5079ae |
| 1 | author: Rob Pike | |
| 2 | content: When there is no type hierarchy you don't have to manage the type hierarchy. | |
| 3 | id: e052e144-fc0f-4339-b7d6-59842a189a59 |
+0
-3
| 1 | author: Rob Pike | |
| 2 | content: When there is no type hierarchy you don't have to manage the type hierarchy. | |
| 3 | id: e052e144-fc0f-4339-b7d6-59842a189a59 |
| 1 | author: Olivier Danvy | |
| 2 | content: If you find your thoughts leading you to a marginal reality, follow them. | |
| 3 | id: e0d57177-7ea9-45b0-9bf4-ff6082f8fa8a |
+0
-3
| 1 | author: Olivier Danvy | |
| 2 | content: If you find your thoughts leading you to a marginal reality, follow them. | |
| 3 | id: e0d57177-7ea9-45b0-9bf4-ff6082f8fa8a |
| 1 | author: G_Morgan | |
| 2 | content: This is one of the reasons Lisp doesn't get anywhere. The trend to promote | |
| 3 | features so clever that you stop thinking about your problem and start thinking | |
| 4 | about the clever features. CL's loop is so powerful that people invented functional | |
| 5 | programming so that they'd never have to use it. | |
| 6 | id: e2736ea7-ad49-46eb-b055-ab5fdf91821f |
| 1 | author: G_Morgan | |
| 2 | content: This is one of the reasons Lisp doesn't get anywhere. The trend to promote | |
| 3 | features so clever that you stop thinking about your problem and start thinking | |
| 4 | about the clever features. CL's loop is so powerful that people invented functional | |
| 5 | programming so that they'd never have to use it. | |
| 6 | id: e2736ea7-ad49-46eb-b055-ab5fdf91821f |
| 1 | author: Jim Jarmusch | |
| 2 | content: "Nothing is original. Steal from anywhere that resonates with inspiration\ | |
| 3 | \ or fuels your imagination. Devour old films, new films, music, books, paintings,\ | |
| 4 | \ photographs, poems, dreams, random conversations, architecture, bridges, street\ | |
| 5 | \ signs, trees, clouds, bodies of water, light and shadows. Select only things to\ | |
| 6 | \ steal from that speak directly to your soul. If you do this, your work (and theft)\ | |
| 7 | \ will be authentic. Authenticity is invaluable; originality is non-existent. And\ | |
| 8 | \ don\u2019t bother concealing your thievery\u2014celebrate it if you feel like\ | |
| 9 | \ it. In any case, always remember what Jean-Luc Godard said: \"It\u2019s not where\ | |
| 10 | \ you take things from\u2014it\u2019s where you take them to.\"" | |
| 11 | id: e32ace21-2aef-454f-a26a-3abbd59ef618 |
+0
-11
| 1 | author: Jim Jarmusch | |
| 2 | content: "Nothing is original. Steal from anywhere that resonates with inspiration\ | |
| 3 | \ or fuels your imagination. Devour old films, new films, music, books, paintings,\ | |
| 4 | \ photographs, poems, dreams, random conversations, architecture, bridges, street\ | |
| 5 | \ signs, trees, clouds, bodies of water, light and shadows. Select only things to\ | |
| 6 | \ steal from that speak directly to your soul. If you do this, your work (and theft)\ | |
| 7 | \ will be authentic. Authenticity is invaluable; originality is non-existent. And\ | |
| 8 | \ don\u2019t bother concealing your thievery\u2014celebrate it if you feel like\ | |
| 9 | \ it. In any case, always remember what Jean-Luc Godard said: \"It\u2019s not where\ | |
| 10 | \ you take things from\u2014it\u2019s where you take them to.\"" | |
| 11 | id: e32ace21-2aef-454f-a26a-3abbd59ef618 |
| 1 | author: Amish Information Systems | |
| 2 | content: "My romantic entanglements tended to be quantum in nature\u2014i.e. they\ | |
| 3 | \ happened at a distance and were undetectable to outside observers." | |
| 4 | id: e3468a32-9334-4587-9cd0-a43d33999664 |
+0
-4
| 1 | author: Amish Information Systems | |
| 2 | content: "My romantic entanglements tended to be quantum in nature\u2014i.e. they\ | |
| 3 | \ happened at a distance and were undetectable to outside observers." | |
| 4 | id: e3468a32-9334-4587-9cd0-a43d33999664 |
| 1 | author: Townes van Zandt | |
| 2 | content: I don't think, as a matter of fact, that I'm going to benefit from anything | |
| 3 | on this earth. It's more like that, I mean, if you have love on the earth, that | |
| 4 | seems to be number one. There's food, water, air and love, right? And love is just | |
| 5 | basically heartbreak. Humans can't live in the present as animals do; they just | |
| 6 | live in the present. But humans are always thinking about the future or the past. | |
| 7 | So, it's a veil of tears, man. And I don't know anything that's going to benefit | |
| 8 | me except more love. I just need an overwhelming amount of love. And a nap. Mostly | |
| 9 | a nap. | |
| 10 | id: e3c9a4eb-8924-4c72-8389-9020ca08fe42 |
+0
-10
| 1 | author: Townes van Zandt | |
| 2 | content: I don't think, as a matter of fact, that I'm going to benefit from anything | |
| 3 | on this earth. It's more like that, I mean, if you have love on the earth, that | |
| 4 | seems to be number one. There's food, water, air and love, right? And love is just | |
| 5 | basically heartbreak. Humans can't live in the present as animals do; they just | |
| 6 | live in the present. But humans are always thinking about the future or the past. | |
| 7 | So, it's a veil of tears, man. And I don't know anything that's going to benefit | |
| 8 | me except more love. I just need an overwhelming amount of love. And a nap. Mostly | |
| 9 | a nap. | |
| 10 | id: e3c9a4eb-8924-4c72-8389-9020ca08fe42 |
| 1 | author: The Last Psychiatrist | |
| 2 | content: Beauty is a social construction. I'm all in, but it is a construction nevertheless. | |
| 3 | The reason I think women are hot today is that they are today, not that they are | |
| 4 | hot. | |
| 5 | id: e40d4c9c-50d5-4086-b356-b728a47bf075 |
+0
-5
| 1 | author: The Last Psychiatrist | |
| 2 | content: Beauty is a social construction. I'm all in, but it is a construction nevertheless. | |
| 3 | The reason I think women are hot today is that they are today, not that they are | |
| 4 | hot. | |
| 5 | id: e40d4c9c-50d5-4086-b356-b728a47bf075 |
| 1 | author: Neil Gaiman | |
| 2 | content: And [R.A.] Lafferty is something played in an Irish bar on an instrument | |
| 3 | that you're not quite sure what it is and you're humming the tune but you don't | |
| 4 | remember the words as you walk out. | |
| 5 | id: e4509e55-4d79-420f-b914-1eed823ee285 |
+0
-5
| 1 | author: Neil Gaiman | |
| 2 | content: And [R.A.] Lafferty is something played in an Irish bar on an instrument | |
| 3 | that you're not quite sure what it is and you're humming the tune but you don't | |
| 4 | remember the words as you walk out. | |
| 5 | id: e4509e55-4d79-420f-b914-1eed823ee285 |
| 1 | author: Russell Edson | |
| 2 | content: The universe raises its head and stares at itself through me. | |
| 3 | id: e450fff9-a832-41a1-a1cb-be44fd2b62be |
+0
-3
| 1 | author: Russell Edson | |
| 2 | content: The universe raises its head and stares at itself through me. | |
| 3 | id: e450fff9-a832-41a1-a1cb-be44fd2b62be |
| 1 | author: Richard Darwin | |
| 2 | content: Fans are interesting things. Rush fans just can't comprehend why the rest | |
| 3 | of the world doesn't like Rush. REM fans consider the rest of the world beneath | |
| 4 | their refined dignities to notice. Kate Bush fans love the rest of the world, and | |
| 5 | the world loves them, but spend long nights plotting to knife one another in the | |
| 6 | back. | |
| 7 | id: e4543d71-78e5-4122-be60-acc69c28ab6f |
+0
-7
| 1 | author: Richard Darwin | |
| 2 | content: Fans are interesting things. Rush fans just can't comprehend why the rest | |
| 3 | of the world doesn't like Rush. REM fans consider the rest of the world beneath | |
| 4 | their refined dignities to notice. Kate Bush fans love the rest of the world, and | |
| 5 | the world loves them, but spend long nights plotting to knife one another in the | |
| 6 | back. | |
| 7 | id: e4543d71-78e5-4122-be60-acc69c28ab6f |
| 1 | author: Edsger Dijkstra | |
| 2 | content: Are you quite sure that all those bells and whistles, all those wonderful | |
| 3 | facilities of your so called powerful programming languages, belong to the solution | |
| 4 | set rather than the problem set? | |
| 5 | id: e4dbca90-c15c-47bf-85e5-9b09ab0b97ab |
+0
-5
| 1 | author: Edsger Dijkstra | |
| 2 | content: Are you quite sure that all those bells and whistles, all those wonderful | |
| 3 | facilities of your so called powerful programming languages, belong to the solution | |
| 4 | set rather than the problem set? | |
| 5 | id: e4dbca90-c15c-47bf-85e5-9b09ab0b97ab |
| 1 | author: Umberto Eco, Foucault's Pendulum | |
| 2 | content: Not that the incredulous person doesn't believe in anything. It's just that | |
| 3 | he doesn't believe in everything. | |
| 4 | id: e5310e71-c2fe-484d-9245-e9e8cb5c5394 |
+0
-4
| 1 | author: Umberto Eco, Foucault's Pendulum | |
| 2 | content: Not that the incredulous person doesn't believe in anything. It's just that | |
| 3 | he doesn't believe in everything. | |
| 4 | id: e5310e71-c2fe-484d-9245-e9e8cb5c5394 |
| 1 | author: Grant Morrison | |
| 2 | content: Your head's like mine, like all our heads; big enough to contain every god | |
| 3 | and devil there ever was. Big enough to hold the weight of oceans and the turning | |
| 4 | stars. Whole universes fit in there! But what do we choose to keep in this miraculous | |
| 5 | cabinet? Little broken things, sad trinkets that we play with over and over. The | |
| 6 | world turns our key and we play the same little tune again and again and we think | |
| 7 | that tune's all we are. | |
| 8 | id: e5c55d6e-bc0a-4205-aecd-28fdd55df9a2 |
+0
-8
| 1 | author: Grant Morrison | |
| 2 | content: Your head's like mine, like all our heads; big enough to contain every god | |
| 3 | and devil there ever was. Big enough to hold the weight of oceans and the turning | |
| 4 | stars. Whole universes fit in there! But what do we choose to keep in this miraculous | |
| 5 | cabinet? Little broken things, sad trinkets that we play with over and over. The | |
| 6 | world turns our key and we play the same little tune again and again and we think | |
| 7 | that tune's all we are. | |
| 8 | id: e5c55d6e-bc0a-4205-aecd-28fdd55df9a2 |
| 1 | author: Geoffrey Pullum | |
| 2 | content: Except here, of course, because ... we are linguists, and we don't give a | |
| 3 | shit. We don't believe simple Anglo-Saxon monosyllables will either sear your eyeballs | |
| 4 | or warp the moral fiber of the young. | |
| 5 | id: e5d0e362-b5f8-4986-98ab-f7108e184efd |
+0
-5
| 1 | author: Geoffrey Pullum | |
| 2 | content: Except here, of course, because ... we are linguists, and we don't give a | |
| 3 | shit. We don't believe simple Anglo-Saxon monosyllables will either sear your eyeballs | |
| 4 | or warp the moral fiber of the young. | |
| 5 | id: e5d0e362-b5f8-4986-98ab-f7108e184efd |
| 1 | author: R.A. Lafferty | |
| 2 | content: Put the nightmare together. If you do not wake up screaming, you have not | |
| 3 | put it together well. | |
| 4 | id: e6274e0e-8bc8-4611-8fcd-e4d480f802b3 |
+0
-4
| 1 | author: R.A. Lafferty | |
| 2 | content: Put the nightmare together. If you do not wake up screaming, you have not | |
| 3 | put it together well. | |
| 4 | id: e6274e0e-8bc8-4611-8fcd-e4d480f802b3 |
| 1 | author: Werner Herzog | |
| 2 | content: May I propose a Herzog dictum? Those who read own the world, and those who | |
| 3 | watch television lose it. | |
| 4 | id: e6712120-1704-415d-a599-8a97b41a9508 |
+0
-4
| 1 | author: Werner Herzog | |
| 2 | content: May I propose a Herzog dictum? Those who read own the world, and those who | |
| 3 | watch television lose it. | |
| 4 | id: e6712120-1704-415d-a599-8a97b41a9508 |
| 1 | author: Ursula K. Le Guin | |
| 2 | content: "As for elitism, the problem may be scientism: technological edge mistaken\ | |
| 3 | \ for moral superiority. The imperialism of high technocracy equals the old racist\ | |
| 4 | \ imperialism in its arrogance; to the technophile, people who aren't in the know/in\ | |
| 5 | \ the net, who don't have the right artifacts, don't count. They're proles, masses,\ | |
| 6 | \ faceless nonentities. Whether it's fiction or history, the story isn't about them.\ | |
| 7 | \ The story's about the kids with the really neat, really expensive toys. So \"\ | |
| 8 | people\" comes to be operationally defined as those who have access to an extremely\ | |
| 9 | \ elaborate fast-growth industrial technology. And \"technology\" itself is restricted\ | |
| 10 | \ to that type. I have heard a man say perfectly seriously that the Native Americans\ | |
| 11 | \ before the Conquest had no technology. As we know, kiln-fired pottery is a naturally\ | |
| 12 | \ occurring substance, baskets ripen in the summer, and Machu Picchu just grew there.\r\ | |
| 13 | \n\r\n[...]\r\n\r\n\"Newton's Sleep\" can be, and has been, read as an anti-technological\ | |
| 14 | \ diatribe, a piece of Luddite ranting. It was not intended as such, but rather\ | |
| 15 | \ as a cautionary tale, a response to many stories and novels I had read over the\ | |
| 16 | \ years which (consciously or not\u2014here is the problem of elitism again) depict\ | |
| 17 | \ people in spaceships and space stations as superior to those on earth. Masses\ | |
| 18 | \ of dummies stay down in the dirt and breed and die in squalor, and serve 'em right,\ | |
| 19 | \ while a few people who know how to program their VCRs live up in these superclean\ | |
| 20 | \ military worldlets provided with all mod con plus virtual reality sex, and are\ | |
| 21 | \ the Future of Man. It struck me as one of the drearier futures.\r\n\r\n[...]\r\ | |
| 22 | \n\r\nI hope the story doesn't read as anti-space travel. I love both the idea and\ | |
| 23 | \ the reality of the exploration of space, and was only trying to make the whole\ | |
| 24 | \ idea less smugly antiseptic. I really do think we have to take our dirt with us\ | |
| 25 | \ wherever we go. We are dirt. We are Earth." | |
| 26 | id: e6741d6c-71df-4223-a98f-4463feba5062 |
+0
-26
| 1 | author: Ursula K. Le Guin | |
| 2 | content: "As for elitism, the problem may be scientism: technological edge mistaken\ | |
| 3 | \ for moral superiority. The imperialism of high technocracy equals the old racist\ | |
| 4 | \ imperialism in its arrogance; to the technophile, people who aren't in the know/in\ | |
| 5 | \ the net, who don't have the right artifacts, don't count. They're proles, masses,\ | |
| 6 | \ faceless nonentities. Whether it's fiction or history, the story isn't about them.\ | |
| 7 | \ The story's about the kids with the really neat, really expensive toys. So \"\ | |
| 8 | people\" comes to be operationally defined as those who have access to an extremely\ | |
| 9 | \ elaborate fast-growth industrial technology. And \"technology\" itself is restricted\ | |
| 10 | \ to that type. I have heard a man say perfectly seriously that the Native Americans\ | |
| 11 | \ before the Conquest had no technology. As we know, kiln-fired pottery is a naturally\ | |
| 12 | \ occurring substance, baskets ripen in the summer, and Machu Picchu just grew there.\r\ | |
| 13 | \n\r\n[...]\r\n\r\n\"Newton's Sleep\" can be, and has been, read as an anti-technological\ | |
| 14 | \ diatribe, a piece of Luddite ranting. It was not intended as such, but rather\ | |
| 15 | \ as a cautionary tale, a response to many stories and novels I had read over the\ | |
| 16 | \ years which (consciously or not\u2014here is the problem of elitism again) depict\ | |
| 17 | \ people in spaceships and space stations as superior to those on earth. Masses\ | |
| 18 | \ of dummies stay down in the dirt and breed and die in squalor, and serve 'em right,\ | |
| 19 | \ while a few people who know how to program their VCRs live up in these superclean\ | |
| 20 | \ military worldlets provided with all mod con plus virtual reality sex, and are\ | |
| 21 | \ the Future of Man. It struck me as one of the drearier futures.\r\n\r\n[...]\r\ | |
| 22 | \n\r\nI hope the story doesn't read as anti-space travel. I love both the idea and\ | |
| 23 | \ the reality of the exploration of space, and was only trying to make the whole\ | |
| 24 | \ idea less smugly antiseptic. I really do think we have to take our dirt with us\ | |
| 25 | \ wherever we go. We are dirt. We are Earth." | |
| 26 | id: e6741d6c-71df-4223-a98f-4463feba5062 |
| 1 | author: William Gibson | |
| 2 | content: San Francisco, he could see in the shape of things, was where the world ended. | |
| 3 | id: e6750ea8-0d0a-4a43-b001-ec93d622fb0a |
+0
-3
| 1 | author: William Gibson | |
| 2 | content: San Francisco, he could see in the shape of things, was where the world ended. | |
| 3 | id: e6750ea8-0d0a-4a43-b001-ec93d622fb0a |
| 1 | author: Augustus De Morgan | |
| 2 | content: "Most writers on logic strongly object to all symbols, except the venerable\ | |
| 3 | \ Barbara, Celarent, etc., \u2026I should advise the reader not to make up his mind\ | |
| 4 | \ on this point until he has well weighed two facts which nobody disputes, both\ | |
| 5 | \ separately and in connexion. First, logic is the only science which has made no\ | |
| 6 | \ progress since the revival of letters; secondly, logic is the only science which\ | |
| 7 | \ has produced no growth of symbols." | |
| 8 | id: e710df05-38bb-43bf-99ef-190da03b4d92 |
+0
-8
| 1 | author: Augustus De Morgan | |
| 2 | content: "Most writers on logic strongly object to all symbols, except the venerable\ | |
| 3 | \ Barbara, Celarent, etc., \u2026I should advise the reader not to make up his mind\ | |
| 4 | \ on this point until he has well weighed two facts which nobody disputes, both\ | |
| 5 | \ separately and in connexion. First, logic is the only science which has made no\ | |
| 6 | \ progress since the revival of letters; secondly, logic is the only science which\ | |
| 7 | \ has produced no growth of symbols." | |
| 8 | id: e710df05-38bb-43bf-99ef-190da03b4d92 |
| 1 | author: Umberto Eco | |
| 2 | content: After all, the cultivated person's first duty is to be always prepared to | |
| 3 | rewrite the encyclopaedia. | |
| 4 | id: e8774d00-5ef0-47f0-8cc3-82ccfd28e3d3 |
+0
-4
| 1 | author: Umberto Eco | |
| 2 | content: After all, the cultivated person's first duty is to be always prepared to | |
| 3 | rewrite the encyclopaedia. | |
| 4 | id: e8774d00-5ef0-47f0-8cc3-82ccfd28e3d3 |
| 1 | author: Neil Gaiman | |
| 2 | content: I think most things are pretty magical, and it's less a matter of belief | |
| 3 | than it is one of just stopping to notice. | |
| 4 | id: e8d4781e-4df9-4b60-a59a-dec41e66a3e5 |
+0
-4
| 1 | author: Neil Gaiman | |
| 2 | content: I think most things are pretty magical, and it's less a matter of belief | |
| 3 | than it is one of just stopping to notice. | |
| 4 | id: e8d4781e-4df9-4b60-a59a-dec41e66a3e5 |
| 1 | author: rue | |
| 2 | content: 'The unfortunate events in one''s life: 1. The cessation of all life; 2. | |
| 3 | Java; 3. Moving' | |
| 4 | id: e8f52a43-b5ac-4b2b-99d0-1067f51438fd |
+0
-4
| 1 | author: rue | |
| 2 | content: 'The unfortunate events in one''s life: 1. The cessation of all life; 2. | |
| 3 | Java; 3. Moving' | |
| 4 | id: e8f52a43-b5ac-4b2b-99d0-1067f51438fd |
| 1 | author: Dorothy Sayers | |
| 2 | content: '"Do you find it easy to get drunk on words?" | |
| 3 | ||
| 4 | "So easily that, to tell the truth, I am seldom sober."' | |
| 5 | id: e957f097-46fb-41e6-9735-85c4ec81bf65 |
+0
-5
| 1 | author: Dorothy Sayers | |
| 2 | content: '"Do you find it easy to get drunk on words?" | |
| 3 | ||
| 4 | "So easily that, to tell the truth, I am seldom sober."' | |
| 5 | id: e957f097-46fb-41e6-9735-85c4ec81bf65 |
| 1 | author: John Hodgman | |
| 2 | content: 'Zeps: Zeppelins, and/or members of an airship crew. Both are loathed by | |
| 3 | all sub-mariners, who feel that the zeps are just copying them, except in the air.' | |
| 4 | id: e9a3ffe2-6ef3-4183-86b9-488e76057c5c |
+0
-4
| 1 | author: John Hodgman | |
| 2 | content: 'Zeps: Zeppelins, and/or members of an airship crew. Both are loathed by | |
| 3 | all sub-mariners, who feel that the zeps are just copying them, except in the air.' | |
| 4 | id: e9a3ffe2-6ef3-4183-86b9-488e76057c5c |
| 1 | author: David Foster Wallace | |
| 2 | content: THEY CAN KILL YOU, BUT THE LEGALITIES OF EATING YOU ARE QUITE A BIT DICIER | |
| 3 | id: e9bfc16f-9582-4701-87e2-beff385f41fc |
+0
-3
| 1 | author: David Foster Wallace | |
| 2 | content: THEY CAN KILL YOU, BUT THE LEGALITIES OF EATING YOU ARE QUITE A BIT DICIER | |
| 3 | id: e9bfc16f-9582-4701-87e2-beff385f41fc |
| 1 | author: Bruce Schneier | |
| 2 | content: 'Every time I write about the impossibility of effectively protecting digital | |
| 3 | files on a general purpose computer, I get responses from people decrying the death | |
| 4 | of copyright. How will authors and artists get paid for their work? they ask me. | |
| 5 | Truth be told, I don''t know. I feel rather like the physicist who just explained | |
| 6 | relativity to a group of would-be interstellar travelers, only to be asked: How | |
| 7 | do you expect us to get to the stars, then? I''m sorry, but I don''t know that, | |
| 8 | either.' | |
| 9 | id: ea5b3c14-df33-4be6-ac13-84681aa78ff6 |
+0
-9
| 1 | author: Bruce Schneier | |
| 2 | content: 'Every time I write about the impossibility of effectively protecting digital | |
| 3 | files on a general purpose computer, I get responses from people decrying the death | |
| 4 | of copyright. How will authors and artists get paid for their work? they ask me. | |
| 5 | Truth be told, I don''t know. I feel rather like the physicist who just explained | |
| 6 | relativity to a group of would-be interstellar travelers, only to be asked: How | |
| 7 | do you expect us to get to the stars, then? I''m sorry, but I don''t know that, | |
| 8 | either.' | |
| 9 | id: ea5b3c14-df33-4be6-ac13-84681aa78ff6 |
| 1 | author: Banksy | |
| 2 | content: "People are taking the piss out of you everyday. They butt into your life,\ | |
| 3 | \ take a cheap shot at you and then disappear. They leer at you from tall buildings\ | |
| 4 | \ and make you feel small. They make flippant comments from buses that imply you're\ | |
| 5 | \ not sexy enough and the fun is happening somewhere else. They are on TV making\ | |
| 6 | \ your girlfriend feel inedequate. They have access to the most sophisticated technology\ | |
| 7 | \ the world has ever seen and they bully you with it. They are The Advertisers and\ | |
| 8 | \ they are laughing at you.\r\n\r\nYou, however, are forbidden to touch them. Trademarks,\ | |
| 9 | \ intellectual property rights and copyright law mean advertisers can say what they\ | |
| 10 | \ like wherever they like with total impunity.\r\n\r\nFuck that. Any advert in public\ | |
| 11 | \ space that gives you no choice whether you see it or not is yours. It's yours\ | |
| 12 | \ to take, re-arrange and re-use. You can do whatever you like with it. Asking for\ | |
| 13 | \ permission is like asking to keep a rock someone just threw at your head.\r\n\r\ | |
| 14 | \nYou owe the companies nothing. Less than nothing, you especially don't owe them\ | |
| 15 | \ any courtsey. They owe you. They have rearranged the world to put themselves in\ | |
| 16 | \ front of you. They never asked for your permission, don't even start asking for\ | |
| 17 | \ theirs." | |
| 18 | id: ea7b745f-f182-40b9-817b-33524bbbe0a3 |
+0
-18
| 1 | author: Banksy | |
| 2 | content: "People are taking the piss out of you everyday. They butt into your life,\ | |
| 3 | \ take a cheap shot at you and then disappear. They leer at you from tall buildings\ | |
| 4 | \ and make you feel small. They make flippant comments from buses that imply you're\ | |
| 5 | \ not sexy enough and the fun is happening somewhere else. They are on TV making\ | |
| 6 | \ your girlfriend feel inedequate. They have access to the most sophisticated technology\ | |
| 7 | \ the world has ever seen and they bully you with it. They are The Advertisers and\ | |
| 8 | \ they are laughing at you.\r\n\r\nYou, however, are forbidden to touch them. Trademarks,\ | |
| 9 | \ intellectual property rights and copyright law mean advertisers can say what they\ | |
| 10 | \ like wherever they like with total impunity.\r\n\r\nFuck that. Any advert in public\ | |
| 11 | \ space that gives you no choice whether you see it or not is yours. It's yours\ | |
| 12 | \ to take, re-arrange and re-use. You can do whatever you like with it. Asking for\ | |
| 13 | \ permission is like asking to keep a rock someone just threw at your head.\r\n\r\ | |
| 14 | \nYou owe the companies nothing. Less than nothing, you especially don't owe them\ | |
| 15 | \ any courtsey. They owe you. They have rearranged the world to put themselves in\ | |
| 16 | \ front of you. They never asked for your permission, don't even start asking for\ | |
| 17 | \ theirs." | |
| 18 | id: ea7b745f-f182-40b9-817b-33524bbbe0a3 |
| 1 | author: Lou Reed | |
| 2 | content: Most of you won't like this and I don't blame you at all. It's not meant | |
| 3 | for you. | |
| 4 | id: eb6f0478-d5d3-451d-8b43-5bd990012b14 |
+0
-4
| 1 | author: Lou Reed | |
| 2 | content: Most of you won't like this and I don't blame you at all. It's not meant | |
| 3 | for you. | |
| 4 | id: eb6f0478-d5d3-451d-8b43-5bd990012b14 |
| 1 | author: 'Thomas Jefferson | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'I had rather be shut up in a very modest cottage with my books, my family | |
| 5 | and a few old friends, dining on simple bacon, and letting the world roll on as | |
| 6 | it liked, than to occupy the most splendid post, which any human power can give. | |
| 7 | ||
| 8 | ' | |
| 9 | id: ecc9f4c6-d0de-4c71-83e1-cc6d45916be0 |
+0
-9
| 1 | author: 'Thomas Jefferson | |
| 2 | ||
| 3 | ' | |
| 4 | content: 'I had rather be shut up in a very modest cottage with my books, my family | |
| 5 | and a few old friends, dining on simple bacon, and letting the world roll on as | |
| 6 | it liked, than to occupy the most splendid post, which any human power can give. | |
| 7 | ||
| 8 | ' | |
| 9 | id: ecc9f4c6-d0de-4c71-83e1-cc6d45916be0 |
| 1 | author: Gail Harrison, "Modern Psychology in its Relation to Discipline", Journal | |
| 2 | of Proceedings and Lectures 53:658-661, National Education Association of the United | |
| 3 | States, 1915 | |
| 4 | content: Many children today are greatly to be pitied because too much is done for | |
| 5 | them and dictated to them and they are deprived of the learning processes. We seem | |
| 6 | to have dropped into an age of entertaining, a breathless going from one sensation | |
| 7 | to another, whether it be mechanical toys for the five-year-old or moving-picture | |
| 8 | plays for the sixteen-year-old. It not only destroys their power to think, but also | |
| 9 | makes happiness, contentment, and resourcefulness impossible. At seventeen, life | |
| 10 | is spoken of as "so dull" if there is not "something doing" every waking hour. | |
| 11 | id: ed3f9aea-f864-4a5c-9b9b-2b8658bb765b |
+0
-11
| 1 | author: Gail Harrison, "Modern Psychology in its Relation to Discipline", Journal | |
| 2 | of Proceedings and Lectures 53:658-661, National Education Association of the United | |
| 3 | States, 1915 | |
| 4 | content: Many children today are greatly to be pitied because too much is done for | |
| 5 | them and dictated to them and they are deprived of the learning processes. We seem | |
| 6 | to have dropped into an age of entertaining, a breathless going from one sensation | |
| 7 | to another, whether it be mechanical toys for the five-year-old or moving-picture | |
| 8 | plays for the sixteen-year-old. It not only destroys their power to think, but also | |
| 9 | makes happiness, contentment, and resourcefulness impossible. At seventeen, life | |
| 10 | is spoken of as "so dull" if there is not "something doing" every waking hour. | |
| 11 | id: ed3f9aea-f864-4a5c-9b9b-2b8658bb765b |
| 1 | author: Tiki Bar TV | |
| 2 | content: He bit us both in the ass! Like a two-headed snake... biting two asses... | |
| 3 | at once! | |
| 4 | id: edcb800f-56ed-42c3-ace3-57ee27117e6c |
+0
-4
| 1 | author: Tiki Bar TV | |
| 2 | content: He bit us both in the ass! Like a two-headed snake... biting two asses... | |
| 3 | at once! | |
| 4 | id: edcb800f-56ed-42c3-ace3-57ee27117e6c |
| 1 | author: Hermann Weyl | |
| 2 | content: 'We now come to the decisive step of mathematical abstraction: we forget | |
| 3 | what the symbols stand for. ...[The mathematician] need not be idle; there are many | |
| 4 | operations which he may carry out with these symbols, without ever having to look | |
| 5 | at the things they stand for.' | |
| 6 | id: ef45368b-aa92-4b27-af2d-809ec2e928ed |
+0
-6
| 1 | author: Hermann Weyl | |
| 2 | content: 'We now come to the decisive step of mathematical abstraction: we forget | |
| 3 | what the symbols stand for. ...[The mathematician] need not be idle; there are many | |
| 4 | operations which he may carry out with these symbols, without ever having to look | |
| 5 | at the things they stand for.' | |
| 6 | id: ef45368b-aa92-4b27-af2d-809ec2e928ed |
| 1 | author: Samuel Beckett | |
| 2 | content: Ever tried. Ever failed. No matter. Try again. Fail again. Fail better. | |
| 3 | id: ef4e562a-02b6-428e-848e-a648f348df77 |
+0
-3
| 1 | author: Samuel Beckett | |
| 2 | content: Ever tried. Ever failed. No matter. Try again. Fail again. Fail better. | |
| 3 | id: ef4e562a-02b6-428e-848e-a648f348df77 |
| 1 | author: Eric Naggum | |
| 2 | content: Unformed people delight in the gaudy and in novelty. Cooked people delight | |
| 3 | in the ordinary. | |
| 4 | id: f00a01c8-eed5-4a05-869b-3139d15cde22 |
+0
-4
| 1 | author: Eric Naggum | |
| 2 | content: Unformed people delight in the gaudy and in novelty. Cooked people delight | |
| 3 | in the ordinary. | |
| 4 | id: f00a01c8-eed5-4a05-869b-3139d15cde22 |
| 1 | author: G.K. Chesterton | |
| 2 | content: Many clever men like you have trusted to civilization. Many clever Babylonians, | |
| 3 | many clever Egytians, many clever men at the end of Rome. Can you tell me, in a | |
| 4 | world that is flagrant with the failures of civilizations, what there is particularly | |
| 5 | immortal about yours? | |
| 6 | id: f090b8e3-bb3c-4e56-b5b9-4dc92791f10c |
+0
-6
| 1 | author: G.K. Chesterton | |
| 2 | content: Many clever men like you have trusted to civilization. Many clever Babylonians, | |
| 3 | many clever Egytians, many clever men at the end of Rome. Can you tell me, in a | |
| 4 | world that is flagrant with the failures of civilizations, what there is particularly | |
| 5 | immortal about yours? | |
| 6 | id: f090b8e3-bb3c-4e56-b5b9-4dc92791f10c |
| 1 | author: Richard Feynman | |
| 2 | content: "The real question of government versus private enterprise is argued on too\ | |
| 3 | \ philosophical and abstract a basis. Theoretically, planning may be good etc \u2014\ | |
| 4 | \ but nobody has ever figured out the cause of government stupidity \u2014 and until\ | |
| 5 | \ they do and find the cure all ideal plans will fall into quicksand." | |
| 6 | id: f0a76a37-5c9f-4c6c-a1b7-be6a29c35ba3 |
+0
-6
| 1 | author: Richard Feynman | |
| 2 | content: "The real question of government versus private enterprise is argued on too\ | |
| 3 | \ philosophical and abstract a basis. Theoretically, planning may be good etc \u2014\ | |
| 4 | \ but nobody has ever figured out the cause of government stupidity \u2014 and until\ | |
| 5 | \ they do and find the cure all ideal plans will fall into quicksand." | |
| 6 | id: f0a76a37-5c9f-4c6c-a1b7-be6a29c35ba3 |
| 1 | author: Ron Minnich | |
| 2 | content: '...the tangled thicket of overlapping, but incompatible, feature sets that | |
| 3 | are almost, but not quite, entirely unlike what Unix was supposed to be: that''s | |
| 4 | Linux today.' | |
| 5 | id: f16717df-5f06-4f98-bba0-51bf1b4666df |
+0
-5
| 1 | author: Ron Minnich | |
| 2 | content: '...the tangled thicket of overlapping, but incompatible, feature sets that | |
| 3 | are almost, but not quite, entirely unlike what Unix was supposed to be: that''s | |
| 4 | Linux today.' | |
| 5 | id: f16717df-5f06-4f98-bba0-51bf1b4666df |
| 1 | author: Andrey Aresnjevich Tarkovskij's Stalker | |
| 2 | content: Let everything that's been planned come true. Let them believe. And let them | |
| 3 | have a laugh at their passions. Because what they call passion actually is not some | |
| 4 | emotional energy, but just the friction between their souls and the outside world. | |
| 5 | And most important, let them believe in themselves. Let them be helpless like children, | |
| 6 | because weakness is a great thing, and strength is nothing. When a man is just born, | |
| 7 | he is weak and flexible. when he dies, he is hard and insensitive. When a tree is | |
| 8 | growing, it's tender and pliant. But when it's dry and hard, it dies. hardness and | |
| 9 | strength are death's companion. Pliancy and weakness are expressions of the freshness | |
| 10 | of being. Because what has hardened will never win. | |
| 11 | id: f17f92f5-1788-4c9c-8d85-943b6e06de94 |
+0
-11
| 1 | author: Andrey Aresnjevich Tarkovskij's Stalker | |
| 2 | content: Let everything that's been planned come true. Let them believe. And let them | |
| 3 | have a laugh at their passions. Because what they call passion actually is not some | |
| 4 | emotional energy, but just the friction between their souls and the outside world. | |
| 5 | And most important, let them believe in themselves. Let them be helpless like children, | |
| 6 | because weakness is a great thing, and strength is nothing. When a man is just born, | |
| 7 | he is weak and flexible. when he dies, he is hard and insensitive. When a tree is | |
| 8 | growing, it's tender and pliant. But when it's dry and hard, it dies. hardness and | |
| 9 | strength are death's companion. Pliancy and weakness are expressions of the freshness | |
| 10 | of being. Because what has hardened will never win. | |
| 11 | id: f17f92f5-1788-4c9c-8d85-943b6e06de94 |
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: Millions of people still buy Microsoft software because Microsoft has imposed | |
| 3 | itself as an almost universal standard, practically monopolising the field, as one | |
| 4 | embodiment of what Marx called the 'general intellect', by which he meant collective | |
| 5 | knowledge in all its forms, from science to practical knowhow. Gates effectively | |
| 6 | privatised part of the general intellect and became rich by appropriating the rent | |
| 7 | that followed. | |
| 8 | id: f28e4511-a058-4544-8abb-af2561e7bb74 |
+0
-8
| 1 | author: "Slavoj \u017Di\u017Eek" | |
| 2 | content: Millions of people still buy Microsoft software because Microsoft has imposed | |
| 3 | itself as an almost universal standard, practically monopolising the field, as one | |
| 4 | embodiment of what Marx called the 'general intellect', by which he meant collective | |
| 5 | knowledge in all its forms, from science to practical knowhow. Gates effectively | |
| 6 | privatised part of the general intellect and became rich by appropriating the rent | |
| 7 | that followed. | |
| 8 | id: f28e4511-a058-4544-8abb-af2561e7bb74 |
| 1 | author: Andrew Rilstone | |
| 2 | content: "Where Star Wars had a simple, linear structure, Empire Strikes Back has\ | |
| 3 | \ almost no plot, but instead, a sophisticated complex of echoes and foreshadowing.\ | |
| 4 | \ There aren't many X-Wings. The climax of the film isn't an action sequence, but\ | |
| 5 | \ character development. The good guys lose. It is as if Leigh Bracket had pinched\ | |
| 6 | \ George Lucas's action figures and started to act out Ulysses with them.\r\n\r\n\ | |
| 7 | Good movie, almost certainly: Star Wars II, almost certainly not.\r\n\r\nThat fans\ | |
| 8 | \ are on the whole not concerned about or even aware of this disjuncture shows the\ | |
| 9 | \ capacity of the fanboy to extrapolate universes where none exist, or perhaps,\ | |
| 10 | \ simply, to read for the plot. Provided the film tells you 'what Luke Skywalker\ | |
| 11 | \ did next' and does not knock over any of the furniture, then the film will be\ | |
| 12 | \ accepted, canonised and treated as a classic. Joseph Campbell said that mythology\ | |
| 13 | \ is psychology misread as biography. I have been trying to think of a way of misquoting\ | |
| 14 | \ that line and applying it to Star Wars. 'Fantasy is imagery misread as history'." | |
| 15 | id: f2ffc47a-b880-4fc3-9312-038c7a78bdf2 |
+0
-15
| 1 | author: Andrew Rilstone | |
| 2 | content: "Where Star Wars had a simple, linear structure, Empire Strikes Back has\ | |
| 3 | \ almost no plot, but instead, a sophisticated complex of echoes and foreshadowing.\ | |
| 4 | \ There aren't many X-Wings. The climax of the film isn't an action sequence, but\ | |
| 5 | \ character development. The good guys lose. It is as if Leigh Bracket had pinched\ | |
| 6 | \ George Lucas's action figures and started to act out Ulysses with them.\r\n\r\n\ | |
| 7 | Good movie, almost certainly: Star Wars II, almost certainly not.\r\n\r\nThat fans\ | |
| 8 | \ are on the whole not concerned about or even aware of this disjuncture shows the\ | |
| 9 | \ capacity of the fanboy to extrapolate universes where none exist, or perhaps,\ | |
| 10 | \ simply, to read for the plot. Provided the film tells you 'what Luke Skywalker\ | |
| 11 | \ did next' and does not knock over any of the furniture, then the film will be\ | |
| 12 | \ accepted, canonised and treated as a classic. Joseph Campbell said that mythology\ | |
| 13 | \ is psychology misread as biography. I have been trying to think of a way of misquoting\ | |
| 14 | \ that line and applying it to Star Wars. 'Fantasy is imagery misread as history'." | |
| 15 | id: f2ffc47a-b880-4fc3-9312-038c7a78bdf2 |
| 1 | author: James Gosling | |
| 2 | content: It's unlikely that I would get a day job as an iPad developer, because I | |
| 3 | would shoot myself. | |
| 4 | id: f39a3f23-60b1-4f04-9c65-6275a1ba2e45 |
+0
-4
| 1 | author: James Gosling | |
| 2 | content: It's unlikely that I would get a day job as an iPad developer, because I | |
| 3 | would shoot myself. | |
| 4 | id: f39a3f23-60b1-4f04-9c65-6275a1ba2e45 |
| 1 | author: "Andr\xE9 Breton" | |
| 2 | content: What I have loved, whether I have kept it or not, I shall love forever. | |
| 3 | id: f4232441-7e71-4099-af8d-1238c8b4b057 |
+0
-3
| 1 | author: "Andr\xE9 Breton" | |
| 2 | content: What I have loved, whether I have kept it or not, I shall love forever. | |
| 3 | id: f4232441-7e71-4099-af8d-1238c8b4b057 |
| 1 | author: Charles Lamb | |
| 2 | content: "When I consider how little of a rarity children are, \u2014 that every street\ | |
| 3 | \ and blind alley swarms with them, \u2014 that the poorest people commonly have\ | |
| 4 | \ them in most abundance, \u2014 that there are few marriages that are not blest\ | |
| 5 | \ with at least one of these bargains, \u2014 how often they turn out ill, and defeat\ | |
| 6 | \ the fond hopes of their parents, taking to vicious courses, which end in poverty,\ | |
| 7 | \ disgrace, the gallows, etc. \u2014 I cannot for my life tell what cause for pride\ | |
| 8 | \ there can possibly be in having them. If they were young phoenixes, indeed, that\ | |
| 9 | \ were born but one in a year, there might be a pretext. But when they are so common\ | |
| 10 | \ \u2014" | |
| 11 | id: f4ba262c-d30a-4dee-8107-1248db72f6e7 |
+0
-11
| 1 | author: Charles Lamb | |
| 2 | content: "When I consider how little of a rarity children are, \u2014 that every street\ | |
| 3 | \ and blind alley swarms with them, \u2014 that the poorest people commonly have\ | |
| 4 | \ them in most abundance, \u2014 that there are few marriages that are not blest\ | |
| 5 | \ with at least one of these bargains, \u2014 how often they turn out ill, and defeat\ | |
| 6 | \ the fond hopes of their parents, taking to vicious courses, which end in poverty,\ | |
| 7 | \ disgrace, the gallows, etc. \u2014 I cannot for my life tell what cause for pride\ | |
| 8 | \ there can possibly be in having them. If they were young phoenixes, indeed, that\ | |
| 9 | \ were born but one in a year, there might be a pretext. But when they are so common\ | |
| 10 | \ \u2014" | |
| 11 | id: f4ba262c-d30a-4dee-8107-1248db72f6e7 |
| 1 | author: Willow, Buffy the Vampire Slayer | |
| 2 | content: Occasionally I am callous and strange. | |
| 3 | id: f5df6d31-f1ea-492a-bd77-fbbda28d1775 |
+0
-3
| 1 | author: Willow, Buffy the Vampire Slayer | |
| 2 | content: Occasionally I am callous and strange. | |
| 3 | id: f5df6d31-f1ea-492a-bd77-fbbda28d1775 |
| 1 | author: George Carlin | |
| 2 | content: E-I-E-I-O is actually a gross misspelling of the word 'farm.' | |
| 3 | id: f6003be1-488c-4c1a-9bff-fdd0edc52cea |
+0
-3
| 1 | author: George Carlin | |
| 2 | content: E-I-E-I-O is actually a gross misspelling of the word 'farm.' | |
| 3 | id: f6003be1-488c-4c1a-9bff-fdd0edc52cea |
| 1 | author: Jorge Luis Borges | |
| 2 | content: It is often forgotten that dictionaries are artificial repositories, put | |
| 3 | together well after the languages they define. The roots of language are irrational | |
| 4 | and of a magical nature. | |
| 5 | id: f67f3758-2f44-4c24-beb1-1ce9cfd8fda1 |
+0
-5
| 1 | author: Jorge Luis Borges | |
| 2 | content: It is often forgotten that dictionaries are artificial repositories, put | |
| 3 | together well after the languages they define. The roots of language are irrational | |
| 4 | and of a magical nature. | |
| 5 | id: f67f3758-2f44-4c24-beb1-1ce9cfd8fda1 |
| 1 | author: Simon Cozens | |
| 2 | content: In the fight between Calvin and Arminius, back Jesus. He was not a systematic | |
| 3 | theologian, and I consider this to be a feature, not a bug. | |
| 4 | id: f743f18c-045b-42a7-8b44-35fbdbd32e45 |
+0
-4
| 1 | author: Simon Cozens | |
| 2 | content: In the fight between Calvin and Arminius, back Jesus. He was not a systematic | |
| 3 | theologian, and I consider this to be a feature, not a bug. | |
| 4 | id: f743f18c-045b-42a7-8b44-35fbdbd32e45 |
| 1 | author: Sarah Giddings | |
| 2 | content: Don't be part of the problem, be the problem! | |
| 3 | id: f752ab0f-0fa4-404d-8410-9bc9805f92f3 |
+0
-3
| 1 | author: Sarah Giddings | |
| 2 | content: Don't be part of the problem, be the problem! | |
| 3 | id: f752ab0f-0fa4-404d-8410-9bc9805f92f3 |
| 1 | author: Sir Thomas Beecham | |
| 2 | content: Try everything once except folk dancing and incest. | |
| 3 | id: f77069ea-20b8-433b-add9-27331e0f5742 |
+0
-3
| 1 | author: Sir Thomas Beecham | |
| 2 | content: Try everything once except folk dancing and incest. | |
| 3 | id: f77069ea-20b8-433b-add9-27331e0f5742 |
| 1 | author: "Stanis\u0142aw Jerzy Lec" | |
| 2 | content: Do not ask God the way to heaven; he will show you the hardest one. | |
| 3 | id: f77af7f4-a650-4097-91ae-4ca37236781f |
+0
-3
| 1 | author: "Stanis\u0142aw Jerzy Lec" | |
| 2 | content: Do not ask God the way to heaven; he will show you the hardest one. | |
| 3 | id: f77af7f4-a650-4097-91ae-4ca37236781f |
| 1 | author: Sam Harris | |
| 2 | content: '...I''ve never met a person who smokes marijuana every day who I thought | |
| 3 | wouldn''t benefit from smoking less (and I''ve never met someone who has never tried | |
| 4 | it who I thought wouldn''t benefit from smoking more).' | |
| 5 | id: f7e5a980-cc2e-4a54-9cc6-561eb869b3bb |
+0
-5
| 1 | author: Sam Harris | |
| 2 | content: '...I''ve never met a person who smokes marijuana every day who I thought | |
| 3 | wouldn''t benefit from smoking less (and I''ve never met someone who has never tried | |
| 4 | it who I thought wouldn''t benefit from smoking more).' | |
| 5 | id: f7e5a980-cc2e-4a54-9cc6-561eb869b3bb |
| 1 | author: TPHD | |
| 2 | content: A library is a bush of ghosts and you swallow them, you well read men and | |
| 3 | women, you swallow all the ghosts and they go inside you and stay there. You do | |
| 4 | not know it but you are haunted by the books you've read. | |
| 5 | id: f7ee3f98-2717-45b4-a045-a35eda8e97d7 |
| 1 | author: TPHD | |
| 2 | content: A library is a bush of ghosts and you swallow them, you well read men and | |
| 3 | women, you swallow all the ghosts and they go inside you and stay there. You do | |
| 4 | not know it but you are haunted by the books you've read. | |
| 5 | id: f7ee3f98-2717-45b4-a045-a35eda8e97d7 |
| 1 | author: Tom Waits | |
| 2 | content: We are buried beneath the weight of information, which is being confused | |
| 3 | with knowledge; quantity is being confused with abundance and wealth with happiness. | |
| 4 | Leona Helmsley's dog made 12 million last year... and Dean McLaine, a farmer in | |
| 5 | Ohio made $30,000. It's just a gigantic version of the madness that grows in every | |
| 6 | one of our brains. We are monkeys with money and guns. | |
| 7 | id: f7fd71e9-3d9d-49af-b05c-11a53acb0227 |
+0
-7
| 1 | author: Tom Waits | |
| 2 | content: We are buried beneath the weight of information, which is being confused | |
| 3 | with knowledge; quantity is being confused with abundance and wealth with happiness. | |
| 4 | Leona Helmsley's dog made 12 million last year... and Dean McLaine, a farmer in | |
| 5 | Ohio made $30,000. It's just a gigantic version of the madness that grows in every | |
| 6 | one of our brains. We are monkeys with money and guns. | |
| 7 | id: f7fd71e9-3d9d-49af-b05c-11a53acb0227 |
| 1 | author: erik, Old Man Murray | |
| 2 | content: Ooh, I saw a squirrel. Do you know when squirrels do that thing where they | |
| 3 | dash out in front of traffic? That's called eXtreme Squirreling. And I think it's | |
| 4 | awesome. | |
| 5 | id: f858b287-e06b-4374-b51f-024d51722c5b |
+0
-5
| 1 | author: erik, Old Man Murray | |
| 2 | content: Ooh, I saw a squirrel. Do you know when squirrels do that thing where they | |
| 3 | dash out in front of traffic? That's called eXtreme Squirreling. And I think it's | |
| 4 | awesome. | |
| 5 | id: f858b287-e06b-4374-b51f-024d51722c5b |
| 1 | author: Mitch Hedberg | |
| 2 | content: If you boat a lot, you're known as a boating enthusiast. I like to boat, | |
| 3 | but I just don't want to ever be referred to as a 'boating enthusiast'. I hope they | |
| 4 | call me 'a guy who likes to boat'. | |
| 5 | id: f85a5271-691e-4769-8ab8-eace60cc6f8a |
+0
-5
| 1 | author: Mitch Hedberg | |
| 2 | content: If you boat a lot, you're known as a boating enthusiast. I like to boat, | |
| 3 | but I just don't want to ever be referred to as a 'boating enthusiast'. I hope they | |
| 4 | call me 'a guy who likes to boat'. | |
| 5 | id: f85a5271-691e-4769-8ab8-eace60cc6f8a |
| 1 | author: "Andr\xE9 Breton" | |
| 2 | content: The mind which plunges into Surrealism, relives with burning excitement the | |
| 3 | best part of childhood. | |
| 4 | id: f8a1bdac-d47f-4633-a03d-7f3ba0b3313c |
+0
-4
| 1 | author: "Andr\xE9 Breton" | |
| 2 | content: The mind which plunges into Surrealism, relives with burning excitement the | |
| 3 | best part of childhood. | |
| 4 | id: f8a1bdac-d47f-4633-a03d-7f3ba0b3313c |
| 1 | author: "Stanis\u0142aw Jerzy Lec" | |
| 2 | content: Optimists and pessimists differ only on the date of the end of the world. | |
| 3 | id: f8bdd5b9-0af8-4c7b-8947-1967b9db0c80 |
+0
-3
| 1 | author: "Stanis\u0142aw Jerzy Lec" | |
| 2 | content: Optimists and pessimists differ only on the date of the end of the world. | |
| 3 | id: f8bdd5b9-0af8-4c7b-8947-1967b9db0c80 |
| 1 | author: Matt Cartmill | |
| 2 | content: As an adolescent I aspired to lasting fame, I craved factual certainty, and | |
| 3 | I thirsted for a meaningful vision of human life - so I became a scientist. This | |
| 4 | is like becoming an archbishop so that you can meet girls. | |
| 5 | id: f8d91379-4e7b-4c43-b0fb-c441aa563432 |
+0
-5
| 1 | author: Matt Cartmill | |
| 2 | content: As an adolescent I aspired to lasting fame, I craved factual certainty, and | |
| 3 | I thirsted for a meaningful vision of human life - so I became a scientist. This | |
| 4 | is like becoming an archbishop so that you can meet girls. | |
| 5 | id: f8d91379-4e7b-4c43-b0fb-c441aa563432 |
| 1 | author: Bernard Ingham | |
| 2 | content: Many journalists have fallen for the conspiracy theory of government. I do | |
| 3 | assure you that they would produce more accurate work if they adhered to the cock-up | |
| 4 | theory. | |
| 5 | id: fae218ed-4344-4f32-a5ae-f5d82a87bc58 |
+0
-5
| 1 | author: Bernard Ingham | |
| 2 | content: Many journalists have fallen for the conspiracy theory of government. I do | |
| 3 | assure you that they would produce more accurate work if they adhered to the cock-up | |
| 4 | theory. | |
| 5 | id: fae218ed-4344-4f32-a5ae-f5d82a87bc58 |
| 1 | author: Thomas Jefferson | |
| 2 | content: I never submitted the whole system of my opinions to the creed of any party | |
| 3 | of men whatever, in religion, in philosophy, in politics or in anything else, where | |
| 4 | I was capable of thinking for myself. Such an addiction is the last degradation | |
| 5 | of a free and moral agent. If I could not go to Heaven but with a party, I would | |
| 6 | not go there at all. | |
| 7 | id: fb29540e-4537-4b36-8591-c0deb4acde94 |
+0
-7
| 1 | author: Thomas Jefferson | |
| 2 | content: I never submitted the whole system of my opinions to the creed of any party | |
| 3 | of men whatever, in religion, in philosophy, in politics or in anything else, where | |
| 4 | I was capable of thinking for myself. Such an addiction is the last degradation | |
| 5 | of a free and moral agent. If I could not go to Heaven but with a party, I would | |
| 6 | not go there at all. | |
| 7 | id: fb29540e-4537-4b36-8591-c0deb4acde94 |
| 1 | author: W. Somerset Maugham | |
| 2 | content: Dying is a very dull, dreary affair. And my advice to you is to have nothing | |
| 3 | whatever to do with it. | |
| 4 | id: fb2db6a3-525d-46e0-afd9-4dbb20836a6f |
+0
-4
| 1 | author: W. Somerset Maugham | |
| 2 | content: Dying is a very dull, dreary affair. And my advice to you is to have nothing | |
| 3 | whatever to do with it. | |
| 4 | id: fb2db6a3-525d-46e0-afd9-4dbb20836a6f |
| 1 | author: David Lynch | |
| 2 | content: All the movies are about strange worlds that you can't go into unless you | |
| 3 | build them and film them. That's what's so important about film to me. I just like | |
| 4 | going into strange worlds. | |
| 5 | id: fb521b70-41ea-4d57-a014-1fb30b345837 |
+0
-5
| 1 | author: David Lynch | |
| 2 | content: All the movies are about strange worlds that you can't go into unless you | |
| 3 | build them and film them. That's what's so important about film to me. I just like | |
| 4 | going into strange worlds. | |
| 5 | id: fb521b70-41ea-4d57-a014-1fb30b345837 |
| 1 | author: James Gosling | |
| 2 | content: There's this crowd that thinks that UML modeling qualifies as thinking. | |
| 3 | id: fbfbaf66-05e3-4a54-891a-818362fc3e26 |
+0
-3
| 1 | author: James Gosling | |
| 2 | content: There's this crowd that thinks that UML modeling qualifies as thinking. | |
| 3 | id: fbfbaf66-05e3-4a54-891a-818362fc3e26 |
| 1 | author: "Bernard-Henri L\xE9vy" | |
| 2 | content: "_Dieu est mort mais ma chevelure est parfaite._\r\n\r\nGod is dead but my\ | |
| 3 | \ hair is perfect." | |
| 4 | id: fc54f7e4-b02b-41a1-8890-9e70eb37041f |
+0
-4
| 1 | author: "Bernard-Henri L\xE9vy" | |
| 2 | content: "_Dieu est mort mais ma chevelure est parfaite._\r\n\r\nGod is dead but my\ | |
| 3 | \ hair is perfect." | |
| 4 | id: fc54f7e4-b02b-41a1-8890-9e70eb37041f |
| 1 | author: Buckminster Fuller | |
| 2 | content: "Dare to be na\xEFve." | |
| 3 | id: fc599bc6-db85-4489-92b3-79eb167200dd |
+0
-3
| 1 | author: Buckminster Fuller | |
| 2 | content: "Dare to be na\xEFve." | |
| 3 | id: fc599bc6-db85-4489-92b3-79eb167200dd |
| 1 | author: chrisdone | |
| 2 | content: Benchmarks only exist so we can make fun of Ruby. | |
| 3 | id: fc80d6af-0c78-456d-9660-82768a28e118 |
+0
-3
| 1 | author: chrisdone | |
| 2 | content: Benchmarks only exist so we can make fun of Ruby. | |
| 3 | id: fc80d6af-0c78-456d-9660-82768a28e118 |
| 1 | author: William Butler Yeats | |
| 2 | content: 'But I, being poor, have only my dreams | |
| 3 | ||
| 4 | I have spread my dreams under your feet | |
| 5 | ||
| 6 | Tread softly, because you tread on my dreams' | |
| 7 | id: fcad374e-d778-47d9-b9ff-c4b1f54e67f2 |
+0
-7
| 1 | author: William Butler Yeats | |
| 2 | content: 'But I, being poor, have only my dreams | |
| 3 | ||
| 4 | I have spread my dreams under your feet | |
| 5 | ||
| 6 | Tread softly, because you tread on my dreams' | |
| 7 | id: fcad374e-d778-47d9-b9ff-c4b1f54e67f2 |
| 1 | author: Edsger Dijkstra | |
| 2 | content: We must give industry not what it wants, but what it needs. | |
| 3 | id: fd2fdab6-ca86-4c20-8c1a-7cef892c8105 |
+0
-3
| 1 | author: Edsger Dijkstra | |
| 2 | content: We must give industry not what it wants, but what it needs. | |
| 3 | id: fd2fdab6-ca86-4c20-8c1a-7cef892c8105 |
| 1 | author: Bender | |
| 2 | content: "Interesting. No, wait, the other thing\u2014tedious." | |
| 3 | id: fdb791fa-94f6-4b18-9fc4-4e7b89e5c407 |
+0
-3
| 1 | author: Bender | |
| 2 | content: "Interesting. No, wait, the other thing\u2014tedious." | |
| 3 | id: fdb791fa-94f6-4b18-9fc4-4e7b89e5c407 |
| 1 | author: Ray Bradbury | |
| 2 | content: We are anthill men in an anthill world. | |
| 3 | id: fdd34230-a4e8-4bbc-b86b-b6ec881d05aa |
+0
-3
| 1 | author: Ray Bradbury | |
| 2 | content: We are anthill men in an anthill world. | |
| 3 | id: fdd34230-a4e8-4bbc-b86b-b6ec881d05aa |
| 1 | author: Shakespeare in Neil Gaiman's Sandman | |
| 2 | content: Whatever happened to me in my life, happened to me as a writer of plays. | |
| 3 | I'd fall in love, or fall in lust. And at the height of my passion, I would think, | |
| 4 | 'So this is how it feels,' and I would tie it up in pretty words. I watched my life | |
| 5 | as if it were happening to someone else. | |
| 6 | id: fef6741e-f29f-49df-b198-23dd3f686b0c |
+0
-6
| 1 | author: Shakespeare in Neil Gaiman's Sandman | |
| 2 | content: Whatever happened to me in my life, happened to me as a writer of plays. | |
| 3 | I'd fall in love, or fall in lust. And at the height of my passion, I would think, | |
| 4 | 'So this is how it feels,' and I would tie it up in pretty words. I watched my life | |
| 5 | as if it were happening to someone else. | |
| 6 | id: fef6741e-f29f-49df-b198-23dd3f686b0c |
| 1 | author: Ludwig Wittgenstein | |
| 2 | content: "Wovon man nicht sprechen kann, dar\xFCber muss man schweigen.\nAbout which\ | |
| 3 | \ one cannot speak, one must be silent." | |
| 4 | id: ff0313db-0fa5-4267-8d4e-0c7e97ad4bb4 |
+0
-4
| 1 | author: Ludwig Wittgenstein | |
| 2 | content: "Wovon man nicht sprechen kann, dar\xFCber muss man schweigen.\nAbout which\ | |
| 3 | \ one cannot speak, one must be silent." | |
| 4 | id: ff0313db-0fa5-4267-8d4e-0c7e97ad4bb4 |
| 1 | author: Yossi Kreinin | |
| 2 | content: A particularly inflexible conscience is a horrible condition. Feet to which | |
| 3 | no mass-produced shoes fit are merely inconvenient. A conscience incompatible with | |
| 4 | mass-produced social arrangements is a huge burden - not just on its owner, but | |
| 5 | on his friends and family. | |
| 6 | id: ff2f28dd-38f7-4e4e-8e8e-7833eef4708a |
+0
-6
| 1 | author: Yossi Kreinin | |
| 2 | content: A particularly inflexible conscience is a horrible condition. Feet to which | |
| 3 | no mass-produced shoes fit are merely inconvenient. A conscience incompatible with | |
| 4 | mass-produced social arrangements is a huge burden - not just on its owner, but | |
| 5 | on his friends and family. | |
| 6 | id: ff2f28dd-38f7-4e4e-8e8e-7833eef4708a |
| 1 | author: Warren Ellis's "Transmetropolitan" | |
| 2 | content: "My grandfather had died, and my mother was trying to explain it to me...\ | |
| 3 | \ Grandpa isn't coming back? No, she said. Not ever again... And I remember saying,\ | |
| 4 | \ hold everything right fucking there. You went to all the trouble of conceiving\ | |
| 5 | \ me, and giving birth to me, and raising me and clothing me and all... and you\ | |
| 6 | \ make me cry and things hurt so much and disappointments crush my heart every day\ | |
| 7 | \ and I can't do half the things I want to and sometimes I just want to scream \u2014\ | |
| 8 | \ and what I've got to look forward to is my body breaking and something flipping\ | |
| 9 | \ off the switch in my head \u2014 I go through all this, and then there's death?\ | |
| 10 | \ What is the motherfucking deal here? I wasn't having this. This was not fair." | |
| 11 | id: ff5a6919-95af-49db-9b9f-f49bd348e957 |
+0
-11
| 1 | author: Warren Ellis's "Transmetropolitan" | |
| 2 | content: "My grandfather had died, and my mother was trying to explain it to me...\ | |
| 3 | \ Grandpa isn't coming back? No, she said. Not ever again... And I remember saying,\ | |
| 4 | \ hold everything right fucking there. You went to all the trouble of conceiving\ | |
| 5 | \ me, and giving birth to me, and raising me and clothing me and all... and you\ | |
| 6 | \ make me cry and things hurt so much and disappointments crush my heart every day\ | |
| 7 | \ and I can't do half the things I want to and sometimes I just want to scream \u2014\ | |
| 8 | \ and what I've got to look forward to is my body breaking and something flipping\ | |
| 9 | \ off the switch in my head \u2014 I go through all this, and then there's death?\ | |
| 10 | \ What is the motherfucking deal here? I wasn't having this. This was not fair." | |
| 11 | id: ff5a6919-95af-49db-9b9f-f49bd348e957 |
| 1 | author: Alan Cox | |
| 2 | content: XML is simply lisp done wrong. | |
| 3 | id: ff609ab9-4b06-40e8-ab7e-5c52f3510cb7 |
+0
-3
| 1 | author: Alan Cox | |
| 2 | content: XML is simply lisp done wrong. | |
| 3 | id: ff609ab9-4b06-40e8-ab7e-5c52f3510cb7 |
| 1 | author: Bertrand Russell | |
| 2 | content: "Mathematics, rightly viewed, possesses not only truth, but supreme beauty\u2014\ | |
| 3 | beauty cold and austere, like that of sculpture, without appeal to any part of our\ | |
| 4 | \ weaker nature, without the gorgeous trappings of painting or music, yet sublimely\ | |
| 5 | \ pure, and capable of a stern perfection such as only the greatest art can show." | |
| 6 | id: ff69844b-e61b-4748-8870-4f4d38fc83b1 |
+0
-6
| 1 | author: Bertrand Russell | |
| 2 | content: "Mathematics, rightly viewed, possesses not only truth, but supreme beauty\u2014\ | |
| 3 | beauty cold and austere, like that of sculpture, without appeal to any part of our\ | |
| 4 | \ weaker nature, without the gorgeous trappings of painting or music, yet sublimely\ | |
| 5 | \ pure, and capable of a stern perfection such as only the greatest art can show." | |
| 6 | id: ff69844b-e61b-4748-8870-4f4d38fc83b1 |
| 1 | author: Hunter S. Thompson | |
| 2 | content: I was also drunk, crazy and heavily armed at all times. People trembled and | |
| 3 | cursed when I came into a public room and started screaming in German. | |
| 4 | id: ffe29151-4fc5-425b-b55d-fefb8ed3a2fa |
+0
-4
| 1 | author: Hunter S. Thompson | |
| 2 | content: I was also drunk, crazy and heavily armed at all times. People trembled and | |
| 3 | cursed when I came into a public room and started screaming in German. | |
| 4 | id: ffe29151-4fc5-425b-b55d-fefb8ed3a2fa |
| 1 | author: Luis Aragon | |
| 2 | content: Reality is the apparent absence of contradiction. The fantastic [maravilloso] | |
| 3 | is the contradiction that appears in the real. | |
| 4 | id: fff75631-4619-4624-9d91-91c0f59fcd20 |
+0
-4
| 1 | author: Luis Aragon | |
| 2 | content: Reality is the apparent absence of contradiction. The fantastic [maravilloso] | |
| 3 | is the contradiction that appears in the real. | |
| 4 | id: fff75631-4619-4624-9d91-91c0f59fcd20 |
| 1 | { | |
| 2 | "name": "I: The Orchestra Whose Instruments Are Inaudibly Out Of Tune, or, The Librarian of Alexandria", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2009", | |
| 5 | "slug": "001-fytte-the-first" | |
| 6 | }⏎ |
| 1 | { | |
| 2 | "name": "I: The Orchestra Whose Instruments Are Inaudibly Out Of Tune, or, The Librarian of Alexandria", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2009", | |
| 5 | "slug": "fytte-the-first" | |
| 6 | }⏎ |
| 1 | "I once owned thirty-seven acres of land," the stranger told me over a glass of warm whiskey. "Thirty-seven! Can you imagine it?" | |
| 2 | ||
| 3 | "I can try," I told him. "You want me to try?" | |
| 4 | ||
| 5 | "Try," he said. "Go ahead and just try." | |
| 6 | ||
| 7 | I tried. "No, I can't imagine it." | |
| 8 | ||
| 9 | "It was all because of the old Postmaster General. Remember Mr. Malü Peabody? He saw my land one day. He said, 'Mr. Doctor-Mister, you've got a mighty fine parcel of land there,' he said, and I said, 'You're right, Mr. Malü Peabody. I got this land ten years ago in a bar bet over which lizard would eat a fly first.' I said, 'We had to find some lizards first, which was quite a problem, let me tell you.' I said, 'We found three, but we needed four, and by the time we found the fourth, the second one had died, so we needed to find a fifth one to replace that, and then by the time—'" | |
| 10 | ||
| 11 | "I did it," I said. | |
| 12 | ||
| 13 | "Did what?" | |
| 14 | ||
| 15 | "Imagined it. All thirty-seven acres. I imagined it all." I shrugged. "It wasn't that great." | |
| 16 | ||
| 17 | He swigged his whiskey, all in one bristly motion, and he looked me in the eye, and he said, "Fuck you," and left. |
| 1 | { | |
| 2 | "name": "II: The Child Whose Shoelaces Are Comprised Of An Ever-So-Delicate Double Helix Of Green And Aquamarine Felt, or, The Legacy of Reuhrenwald", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2009", | |
| 5 | "slug": "002-fytte-the-second" | |
| 6 | }⏎ |
| 1 | Once upon a time, in the quaint kingdom of Reuhrendwald, a king and queen | |
| 2 | gave birth to a prince. | |
| 3 | ||
| 4 | And this would not have been so unusual--indeed, it is the fashion of | |
| 5 | the times that kings and queens give birth to princes--but the prince | |
| 6 | in question was born fully grown, seventeen feet tall, with the least | |
| 7 | pleasant unibrow any of the subjects had ever seen. Physicians were | |
| 8 | summoned from all over the kingdom to examine him. | |
| 9 | ||
| 10 | "Why, it's like nothing I've ever seen," one said. "I've heard of babies | |
| 11 | born seventeen feet tall, and babies born fully grown, but the unibrow | |
| 12 | is really a new thing altogether." | |
| 13 | ||
| 14 | And it was really only a matter of time, what with his stature and | |
| 15 | unsightliness, that he took up gardening, and spent his free time doing | |
| 16 | the pruning at the tops of trees that nobody else had bothered to | |
| 17 | do. He became good friends with the birds who lived at the tops of | |
| 18 | the trees, calling them by their first names--usually Benvolio, because | |
| 19 | birds often name their children Benvolio, regardless of gender, for | |
| 20 | reasons that none of them quite remember, though they assure you | |
| 21 | it has something to do with eggs or some bird-related thing, which is | |
| 22 | not as obvious as it might sound at first--and generally being merry. | |
| 23 | ||
| 24 | One day, he looked beyond the forests of Reuhrenwald and noticed that | |
| 25 | the kingdom was gone. Half of it was destroyed in the Great Fire of the | |
| 26 | Shoemaker's Estate, and the other half moved away because the town | |
| 27 | wasn't like it once was without the Shoemaker's Estate. The prince | |
| 28 | shrugged and went on with his pruning. | |
| 29 | ||
| 30 | He also probably turned into a tree or some shit, because that's what | |
| 31 | usually happens in stories that start with "Once upon a time." You | |
| 32 | can honestly believe whatever you want about the prince. See if I care. |
| 1 | { | |
| 2 | "name": "III: The Unbearable Chasm In Which The Lost Goat Bleats The Lost Symphonies Of Forgotten Composers, or, Doctor Medved and The Band", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "003-fytte-the-third" | |
| 6 | }⏎ |
| 1 | Doctor Medved was a funny sort of guy. I wanted to write *man* there, | |
| 2 | but I couldn't. That's not what he was. He was a guy. | |
| 3 | ||
| 4 | There's nothing wrong with that, but you know, someone gets tired of | |
| 5 | feet-on-the-desk-cheap-beer-in-the-fridge-birds-in-the-thicket kind | |
| 6 | of living. That's why I left Doctor Medved that day, back in the summer | |
| 7 | of Ten-and-Seven Sorrows. | |
| 8 | ||
| 9 | I remember it like it was yesterday. "There's something wrong with this | |
| 10 | birdhouse," he said, fidgeting with his toolset, in between grunts of | |
| 11 | exertion and aggravation. "It's not housing properly." | |
| 12 | ||
| 13 | "It doesn't take much to house," I told him. "I actually house rather | |
| 14 | often." | |
| 15 | ||
| 16 | "Well..." he said, and dropped the wrench. "What is it that you house?" | |
| 17 | ||
| 18 | "Right now?" I said, and leaned backwards, considering the slow-moving | |
| 19 | clouds and nearly dropping the mint julep that perspired in my cold | |
| 20 | clammy hand. "Well, right now I think I must house serenity and | |
| 21 | melancholy." | |
| 22 | ||
| 23 | "Like a pond?" He was one of those guys who couldn't concieve of | |
| 24 | serenity. Everything he knew about serenity he read in faux-Asian | |
| 25 | pamphlets and TV Guide blurbs about Bruce Lee. He wouldn't know a | |
| 26 | Zen garden from the Cottington School for Boys. | |
| 27 | ||
| 28 | "Serenity is like when you're drunk, and you sit down on the curb | |
| 29 | and let the sound of the bar disappear and you feel the curb and the | |
| 30 | cold grit of the asphalt and the warm weave of your coat and the slow | |
| 31 | growth of your hair that you keep forgetting to shave and you forget | |
| 32 | that you're the only one drinking to remember and not forget. Serenity | |
| 33 | is the cold air that comes in the almost-closed car window as you travel, | |
| 34 | slowly in all but speed, from a place you don't really belong to a place | |
| 35 | you don't really want to go to. Serenity is finding a kitten and saying | |
| 36 | hello and asking it how it is and showing it a good time with some tin | |
| 37 | cans and plastic tea cups and boxing magazines and then leaving it | |
| 38 | where it was without bringing it home to your mother (or mother-substitute | |
| 39 | that you fuck in a way you deny is Freudian) and trying to own it. | |
| 40 | Those things are serenity." | |
| 41 | ||
| 42 | Doctor Medved picked up the tool again and began making the birdhouse | |
| 43 | into a bird-house. "Serenity is getting back to an empty apartment when | |
| 44 | everyone is gone and the bags make the scratchy plastic noise as you | |
| 45 | take the milk into the fridge and pause for just a moment?" | |
| 46 | ||
| 47 | "No, not at all," I said as I stood up and left. "That's not it at all." |
| 1 | { | |
| 2 | "name": "IV: The Inexplicable Experiences Of A Man Who Finds A Chinese Restaurant Outside Space And Time, or, The Matryoshki", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "004-fytte-the-fourth" | |
| 6 | }⏎ |
| 1 | Mrs. Veliociraptor was having Mrs. Utahraptor over for some incredibly | |
| 2 | pleasant afternoon tea. The scones were fresh and smelled of blueberries | |
| 3 | and strife and the sugar-cubes were just old enough that they gave off the | |
| 4 | most delicate moaning noise when separated. | |
| 5 | ||
| 6 | "Rather afraid the mice got to the cake. Left it on the lower shelves | |
| 7 | by mistake." | |
| 8 | ||
| 9 | "Oh, bother!" Mrs. Utahraptor replied. "That was the cake you were telling | |
| 10 | Mrs. Pterodactyl about, weren't you? A post-structuralist screed with a | |
| 11 | frosting of hedge funds?" | |
| 12 | ||
| 13 | "No. I made that cake last month for the widow of ol' Mrs. Smilodon, rest | |
| 14 | her soul. No, this one was a long brown one--hazelnuts, cinnamon, and | |
| 15 | mondegreens of songs you heard from your parents' room when you were | |
| 16 | young and have never heard since." | |
| 17 | ||
| 18 | "Mrs. Deionychus has a good one. It's fear, hanging cadence and possible | |
| 19 | lovers who have forgotten your face and whose sudden unexpected appearance | |
| 20 | on the street drowns you in a flood of possible realities just out of | |
| 21 | reach of a time you can barely remember." | |
| 22 | ||
| 23 | "Ooh, that *was* a good one. I liked her almond, too." | |
| 24 | ||
| 25 | They talked for a while longer, but before long their speech was | |
| 26 | mathematical symbols, so who knows what they were saying for sure? |
| 1 | { | |
| 2 | "name": "V: The Last Glass Of A Vintage Untasted By Human Lips, or, The Postprandial Prattle", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "005-fytte-the-fifth" | |
| 6 | }⏎ |
| 1 | There were seven brides for seven brothers. But the seven brides were | |
| 2 | actually matryoshki, one inside another. | |
| 3 | ||
| 4 | Sometimes after the brothers had too much to drink, they'd hide inside | |
| 5 | the bigest one and pretend they belonged on a grandmother's shelf. She | |
| 6 | didn't notice once. |
| 1 | { | |
| 2 | "name": "VI: The Glass Vessels In Which The Souls Of Cryptozoological Creatures Are Kept In Perfect, Beautiful Seculsion, or, The Dance", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "006-fytte-the-sixth" | |
| 6 | }⏎ |
| 1 | { | |
| 2 | "name": "VII: The Heinous and Unspeakable Crimes of Mr. R——, Zookeeper, or, The Ethnography", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "007-fytte-the-seventh" | |
| 6 | }⏎ |
| 1 | The Henbala people of the Karaba river valley are a strange people, at once majestic and comical. They claim, in their folklore passed down from person to person through the centuries, that they were not descended from First Man, nor from First Woman, but from the Sun himself. | |
| 2 | ||
| 3 | (Many reject this view, because the Sun, regardless of its gender, would have caused major burns on the genitalia of whoever copulated with it.) | |
| 4 | ||
| 5 | Naxa son of Subimi son of Ngukabe was born in the largest village of the Henbala people, where the Henbala spend their days scraping the flesh from the shells of crabs and beating bones together to make music in the key of C Mixolydian. He was born of the union of the village fortune-teller and a figure whose occupation can only be described as a sort of pre-agrarian stockbroker. As such, Naxa was surrounded since birth by both the uncertainties and the certainties of the future. | |
| 6 | ||
| 7 | One day, Naxa left to search for an animal to replace a major third which was getting pretty flat in the village orchestra when he came across an inexplicable black sphere in the middle of the pass which connected his valley with the plains. He observed it with great zeal, prodding it with his finger and turning it over and over. It was neither heavy nor light; it neither reflected nor absorbed light; it seemed neither warm nor cold. | |
| 8 | ||
| 9 | Naxa took the sphere to the village elder, who promptly punted it, where it disappeared and was subsequently never spoken of again. Naxa ended up making a very good life for himself as a femur-tuner. | |
| 10 | ||
| 11 | I know you're disappointed that the mystery of the sphere was never solved, and even more disappointed that Naxa gave up so easily, but really, that sphere wasn't supposed to show up at all. If you take away anything from this story, know that part of the beauty in life is that some things exist, and anything more said about them is too much. |
| 1 | { | |
| 2 | "name": "VIII: The Unsurprising Leftovers from Aunt Lettie's Last Four Weddings, or, Truth Globules", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "008-fytte-the-eighth" | |
| 6 | }⏎ |
| 1 | I'd like to share with you the real things that a teacher of mine once | |
| 2 | said to me. Of course, he wasn't actually my teacher, not in any kind | |
| 3 | of academic sense. And he didn't say these things, in the sense that | |
| 4 | vocal chords vibrated or pen touched page or meaning was transmitted in | |
| 5 | any fashion. But he was my teacher, and he said these things to me, and | |
| 6 | I have never forgotten them. | |
| 7 | ||
| 8 | He said, "There are three nights that mean more to you than any other nights | |
| 9 | of your life. This is only true of nights, and it isn't true of mornings, | |
| 10 | or afternoons, or even days. Just nights. But it's not always the same | |
| 11 | three nights when you think about it. Best to avoid thinking about it for | |
| 12 | a while." | |
| 13 | ||
| 14 | He said, "I don't believe in any of that soulmate shit, you know? But I do | |
| 15 | wonder if maybe we only got half a soul and we've got to find another person | |
| 16 | who has the other half. But not to stay around--just to trade, and after | |
| 17 | that they can leave and I can leave and it'll all be good. 'Scuse me, sir, | |
| 18 | I do believe you have my soul, yes, that piece there, and now I'll be on | |
| 19 | my way." | |
| 20 | ||
| 21 | He said, "People like to say the world is a simple place. That's not true. | |
| 22 | That's not true at all. However, what they don't get is that the world | |
| 23 | was almost a simple place, but the calculations got screwed up by | |
| 24 | crows. And because of that, they had to work around a whole bunch of | |
| 25 | the tiny details, and now the world's as complicated as you can see. | |
| 26 | You wouldn't think a thing as normal as crows could do it, but | |
| 27 | you don't know a whole lot about planning worlds, either. I did until I | |
| 28 | dropped out." | |
| 29 | ||
| 30 | He said, "Some people got loganberries, some people got strawberries. But | |
| 31 | some people got blackberries, so fuck 'em." | |
| 32 | ||
| 33 | He said, "I used to sell music. Not sheet music. Not recorded music, either. | |
| 34 | And I didn't let anybody listen to it. I just sold them music. I figured | |
| 35 | people would want it. Turns out, people don't want music, only noise." | |
| 36 | ||
| 37 | He said, "Some day, I'm gonna be dead. And you'll be dead, too. And all | |
| 38 | those people around you, and the ones down in the street, and up on the | |
| 39 | hills, and on the ocean, they're all gonna be dead. If that makes you | |
| 40 | sad, you're not looking at the big picture. And if that still makes you | |
| 41 | sad, then you're not looking at the little picture, either." | |
| 42 | ||
| 43 | He said, "I say a lotta stuff. I don't say a lotta stuff, too, and that's | |
| 44 | gotta count for something. Not much, probably." | |
| 45 | ||
| 46 | He said a number of other things, but a lot of them were quite boring. For | |
| 47 | instance, at least one-hundred and thirty of those things were just | |
| 48 | ordering burritos. |
| 1 | { | |
| 2 | "name": "IX: The Staggeringly Incomplete and Unfortunately Azure Presence of the Spirit of Our Times and The Lady of the Bentley Subglacial Trench, or, La Vita Degli Topi Chi Vivanno Nel'Opera", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "009-fytte-the-ninth" | |
| 6 | } |
| 1 | There was a family of five mice-children that lived in an opera-house in Milan. Their father | |
| 2 | had been eaten, not by a cat, as one might expect of mice, but by several fish who | |
| 3 | had set an elaborate trap involving no less than four decoy eels and an intricate | |
| 4 | pulley system. | |
| 5 | ||
| 6 | The father had been in an open relationship with several female mice, each of whom | |
| 7 | was seeing several other male mice, and so several of them lived with the family | |
| 8 | simultaneously; the children never knew whether the next day would find one subset | |
| 9 | of their "mothers" and "fathers" replaced by another set. However, one of | |
| 10 | them—a beautiful mouse with mottled brown-and-black fur—was always | |
| 11 | there for them, being the biological mother of two of them and highly attached | |
| 12 | to the other three. For the purposes of this story, I will call her Suzie, which is | |
| 13 | a reasonably accurate translation of her name from the original Milanese Mouse | |
| 14 | dialect, inasmuch as any collection of squeaks can be translated into a human language | |
| 15 | at all. | |
| 16 | ||
| 17 | One day, she and the five children, along with her two boyfriends, snuck into the | |
| 18 | opera house, where a performance of _Il dissoluto punito, ossia il Don Giovanni_ was | |
| 19 | being prepared for that weekend. Excited for the opera, Suzie insisted that the bored | |
| 20 | children stay there to keep her seat for when she got back from getting refreshments | |
| 21 | for the performance from the corner mouse store. The children sat expectantly for | |
| 22 | a time, and then became bored and wandered around the upper boxes, looking for a | |
| 23 | good vantage point for a mouse wishing to watch an opera. | |
| 24 | ||
| 25 | It was not long until they found a box which was occupied by a Milanese inventor | |
| 26 | called Massimo della Piscina Pubblica. He was performing the finishing touches on | |
| 27 | a mannequin he had created so as to give the illusion that he had a date for the | |
| 28 | opera, whereas in fact he was remarkably unattractive to women because of his complete | |
| 29 | and utter lack of a nose. (He never considered that he could instead invent a nose | |
| 30 | for himself; and if he had, he probably would have made it poorly, as he got zeroes | |
| 31 | on most of the tests at _L'academie des inventeurs_ in Paris and slept through a lot | |
| 32 | of classes. His nose would have actually been hilarious, though, so it is a pity that | |
| 33 | he did not think of it.) | |
| 34 | ||
| 35 | The mice thought quickly and dove into the mannuequin, and began operating it | |
| 36 | independently. He was shocked to see his date come to life, and began to dream that | |
| 37 | he was Giapetto, and the mannuequin was his own hypersexualized Pinnochio. The mice | |
| 38 | began to make the mannuequin smile, and operated the voicebox through strings and | |
| 39 | pulleys. | |
| 40 | ||
| 41 | "What is wrong with you?" they asked. Massimo della Piscina Pubblica was shocked, but | |
| 42 | also confused, because he did not speak English. So they repeated, "Qual è il tuo | |
| 43 | problema?" He stammered, and stuttered, and the mice laughed in a mousey way inside | |
| 44 | of the body, and the people who were filing into the opera began to stare at the | |
| 45 | famous inventor and his oddly beautiful and yet somehow strange date. | |
| 46 | ||
| 47 | "Cosà?" he asked, trying to understand what had happened to his mannequin. If he had | |
| 48 | nostrils, they may very well have flared; we can only guess. | |
| 49 | ||
| 50 | The mice never dignified him with a response, they left the box and found their | |
| 51 | mother who was sneaking in a box of mouse popcorn and some mouse sodas; they picked | |
| 52 | her up and began living in the basement of the opera-house, where they could listen | |
| 53 | to the music without having to look at the atrocious makeup that some of these | |
| 54 | singers had on. | |
| 55 | ||
| 56 | Occasionally they'd go upstairs in their human-suit and give Massimo the finger. He | |
| 57 | would try to thumb his nose at them and fail, and subsequently be laughed out of | |
| 58 | the opera house. Kind of sad, really. |
| 1 | { | |
| 2 | "name": "X: Two Guys, A Girl, And The Rise of the Trans-Atlantic Semaphore Chain, or, Realizations", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2011", | |
| 5 | "slug": "010-fytte-the-tenth" | |
| 6 | } |
| 1 | The passenger realized that their hat was lacking. | |
| 2 | ||
| 3 | The conductor realized that the world's axis had shifted imperceptibly | |
| 4 | w/r/t galactic north. | |
| 5 | ||
| 6 | The passenger realized that seven flies were doing the fly equivalent | |
| 7 | of the Mambo on a windowsill. | |
| 8 | ||
| 9 | The conductor realized with a nervous sigh that everyone who ever | |
| 10 | loved him was a pathological liar, and that he was not entirely unsure | |
| 11 | that this bothered him. | |
| 12 | ||
| 13 | The passenger realized that all trees were expressions of the same | |
| 14 | Platonic tree, except for elms, all of whom can go fuck a knothole, | |
| 15 | for all he cared. | |
| 16 | ||
| 17 | The conductor realized that his own hat was lacking, and | |
| 18 | simultaneously realized that his hat was stupid anyway and its lack | |
| 19 | was nothing to be sad about. | |
| 20 | ||
| 21 | The passenger realized that his ticket was in his hat, which by now | |
| 22 | was probably floating somewhere around the crab nebula, or possibly | |
| 23 | Philadelphia, which are basically the same thing, if you don't think | |
| 24 | about it, which he didn't. | |
| 25 | ||
| 26 | The conductor realized the passenger was naked, except for a hat | |
| 27 | covering his genitalia, which he seemed to be unaware of. | |
| 28 | ||
| 29 | The passenger realized that, assuming the correctness of string | |
| 30 | theory, which posits that all matter is composed of tiny, vibrating | |
| 31 | strings, he was almost certainly a F#. | |
| 32 | ||
| 33 | The conductor died. | |
| 34 | ||
| 35 | The passenger merged with the cosmos, briefly remembering his | |
| 36 | now-silly anxiety over his lacking hat. |
| 1 | { | |
| 2 | "name": "XI: The Counterfeit, Cheaply Produced Replicas of Official Visitor Passes from the Museum of Emptiness, or, Scenes From A Redacted Pop-Up Book", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2011", | |
| 5 | "slug": "011-fytte-the-eleventh" | |
| 6 | }⏎ |
| 1 | "You can't hear the music of the universe like that," she said. | |
| 2 | ||
| 3 | "Like what?" I asked. "I am silent—no headphones, no radio, no nothing—and my mind is clear." | |
| 4 | ||
| 5 | "Exactly," she said. "Your mind is a mirror that is like a pond. And yours is beautiful and still and perfect because it is dead." | |
| 6 | ||
| 7 | "Mirrors are lies," I remember I said. | |
| 8 | ||
| 9 | "Truer than you know," she said. |
| 1 | { | |
| 2 | "name": "XII: Roberto L. von Krigelsbaum and His Dancing Tax Assessors, or, Le città e la sfortunata carenza di gentrificazione", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2011", | |
| 5 | "slug": "012-fytte-the-twelfth" | |
| 6 | }⏎ |
| 1 | It all started when I ate about seventy-five thousand pounds | |
| 2 | of lemons. | |
| 3 | ||
| 4 | I woke up the next morning to find my two remaining roommates, | |
| 5 | Isidore and Louis the Negative Third, enraptured by a | |
| 6 | low-budget documentary. | |
| 7 | ||
| 8 | "It's coming to the good part," Isidore said. "Just watch." | |
| 9 | ||
| 10 | "Have you seen it before?" I asked. | |
| 11 | ||
| 12 | "I never watch movies twice," he said. "You know this." | |
| 13 | ||
| 14 | "Look, guys—" I began. | |
| 15 | ||
| 16 | "ق", Louis said. | |
| 17 | ||
| 18 | "I ate, like, more lemons than actually exist last night. Do | |
| 19 | you think that could be a problem?" | |
| 20 | ||
| 21 | "Ah-ha!" Isidore said, clapping at the screen. "The circle | |
| 22 | fade. I knew it was coming. No, I think you're probably | |
| 23 | good." | |
| 24 | ||
| 25 | "But what if the owner of the lemons comes to collect?" | |
| 26 | ||
| 27 | "If it was more than actually exist, then nobody can have | |
| 28 | owned them, eh?" | |
| 29 | ||
| 30 | "And property is theft, too, you know," Louis added. "And | |
| 31 | vice versa. I assume." | |
| 32 | ||
| 33 | "But what if it harmed my stomach?" | |
| 34 | ||
| 35 | "Do you have one?" | |
| 36 | ||
| 37 | "A stomach?" | |
| 38 | ||
| 39 | "Yeah, I always wanted one. My parents were poor." | |
| 40 | ||
| 41 | "Look—do you have anything productive to say?" | |
| 42 | ||
| 43 | "ق", Louis said. | |
| 44 | ||
| 45 | "Aren't bananas radioactive?" Isidore asked. | |
| 46 | ||
| 47 | "ق oh ق this kind nepenthe," Louis added. | |
| 48 | "Incredibly." | |
| 49 | ||
| 50 | "I didn't eat bananas, I ate lemons." | |
| 51 | ||
| 52 | "They're yellow," Isidore observed. | |
| 53 | ||
| 54 | "Okay, fine, this is asinine," I said. | |
| 55 | ||
| 56 | Oh, how wrong I was. |
| 1 | { | |
| 2 | "name": "XIII: In Which A Cast of Colorful Charcuteries Learn Lessons about the State of the Fabric Industry, or, The Prolific yet Prideful Package", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2011", | |
| 5 | "slug": "013-fytte-the-thirteenth" | |
| 6 | }⏎ |
| 1 | Alfred van Akka of Unfoundland was a kind of deliveryman by day, bicycle-thief | |
| 2 | by night. Every morning, he'd wake up, take a package, and bring it to a | |
| 3 | specified destination; every night, he'd go back and take a bicycle he saw on | |
| 4 | the way. He saw it as a kind of retribution for the way a bloodthirsty gang | |
| 5 | of bike-pirates stole his Heroes in Theoretical Numismatics action figure | |
| 6 | set during his childhood. | |
| 7 | ||
| 8 | One day, Alfred took a package and it spoke to him. It whispered his name | |
| 9 | softly and sweetly, and Alfred was so terrified he threw it on the ground and | |
| 10 | ran halfway to New Prottsville. A passing metabotanical vicar had to help him | |
| 11 | back up. | |
| 12 | ||
| 13 | Presently, he began to feel bad for so quickly abandoning the package, which | |
| 14 | really had probably just wanted a friend. He marched back home and apologized | |
| 15 | to the package, asking it if it wanted to hang out. | |
| 16 | ||
| 17 | In fact, the package _had_ only wanted a friend, but seeing Alfred's terrified | |
| 18 | response, its package equivalent of a heart was filled with hatred. It vowed to | |
| 19 | destroy him. | |
| 20 | ||
| 21 | That day, they went out to the Genschen Boardwalk, rode the rides, and went to | |
| 22 | dinner at a fancy restaurant. All this infuriated the package even more, as it | |
| 23 | was a Marxist who hated to see the consumeristic culture around it. Finally, | |
| 24 | Alfred took the package with him to go bike-stealing, which was the last straw, | |
| 25 | as many of the package's friends were bikes. | |
| 26 | ||
| 27 | As it turned out, the bike being stolen was his girlfriend's cousin, and they | |
| 28 | joined forces to... well, let's just say it wasn't pretty. A bluejay in the bush | |
| 29 | nearby had to go to therapy for years, and nearly had to give her chicks up to | |
| 30 | Avian Protective Services during her unstable periods. Real harsh. Alfred was | |
| 31 | done for before it even started. | |
| 32 | ||
| 33 | The package and the bike moved in together in Alfred's old home, which was a | |
| 34 | real mistake. The package had to constantly run around turning off lights. | |
| 35 | That's what you get, I suppose.⏎ |
| 1 | { | |
| 2 | "name": "XIV: Burning Down the Taddy-Lo's, or, Mr. Concupiscence K. The-Sloth-And-All-The-Little-Creatures Jones", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2012", | |
| 5 | "slug": "014-fytte-the-fourteenth" | |
| 6 | }⏎ |
| 1 | The wind picked up a little bit, rustling the faded flags that had once been bright | |
| 2 | colors on the side of the wooden building. Dry grass poked up through the edges of the bricks | |
| 3 | that made up the walkway. A few errant snakes were watching the strips that once were flags, | |
| 4 | mesmerized by the wafting motion. | |
| 5 | ||
| 6 | A messenger arrived with a small scroll of brown paper, wrapped in twine and sealed with orange | |
| 7 | wax. The messenger was a man with exactly three teeth and no more than seven strands of hair, | |
| 8 | but his suit was a beautiful style, ornate with blue velvet and silver threads. | |
| 9 | ||
| 10 | He gingerly entered the hall and let his eyes scan the room. At first, he saw only more | |
| 11 | snakes—these were circling a fountain, apparently thirsty for a drink. The messenger | |
| 12 | continued into a main room, which was similarly abandoned. A large window let light onto | |
| 13 | the dusty floor, illuminated carpet that was once red, and now was a dull brown. Looking | |
| 14 | over the room, all he could see was a gathering of snakes listening to a lecture on | |
| 15 | Mesopotamian usury delivered by a particularly distinguished-looking snake with an | |
| 16 | old-fashioned slide projector. | |
| 17 | ||
| 18 | Finally, he entered a room with a throne and a king, surrounded by gold accoutrements and | |
| 19 | beautiful yet aging tapestries. He sighed, as he had begun to fear that the place was devoid | |
| 20 | of non-reptilians. | |
| 21 | ||
| 22 | "Your highness," he said. "I have brought you—" and then he stopped in his tracks, as it | |
| 23 | had become clear that the being was no king at all, but rather an empty king-shaped husk, | |
| 24 | filled with snakes, suspended from the ceiling, marionette-like, on ropes which were | |
| 25 | themselves the result of intertwined snakes. The snake-king spoke: | |
| 26 | ||
| 27 | "Yes, fair messenger?" | |
| 28 | ||
| 29 | "You're snakes, not a king." | |
| 30 | ||
| 31 | The king-husk shrugged to the sound of a thousand snakes pulling the shoulders of the husk. | |
| 32 | "We among the snakes have a saying: 'Good as snake.'" | |
| 33 | ||
| 34 | "That saying doesn't even make sense." | |
| 35 | ||
| 36 | That was a bad move, as it infuriated the snake-king. The snakes began to discard the husk | |
| 37 | and gather into a gargantuan, seething mass. The walls of the building, which were also | |
| 38 | snakes, began to join, and finally all joined together to form the hundred-league | |
| 39 | Omega-Snake, which made short work of the messenger before razing the countryside. | |
| 40 | ||
| 41 | And that is why the Great Omega-Snake War is sometimes spoken of by the huddled survivors | |
| 42 | as the War of the Well-Dressed Messenger. And we all hope he is being tortured for his | |
| 43 | crimes against the universe in Snake Hell. |
| 1 | { | |
| 2 | "name": "XV: The Ultimate Cessation Of Humankind's Ability To Love Itself And The Consequent Ontological Cataclysm That Itself Is Only The First Step In The Horrific Chain Of Events To Come, or, Three Sides of Fries", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2012", | |
| 5 | "slug": "015-fytte-the-fifteenth" | |
| 6 | }⏎ |
| 1 | His heart felt as though it were made of glass. He could feel it. He could feel | |
| 2 | every footstep reverberating in his glass heart, jostling it, rubbing it against | |
| 3 | his panting lungs and pained spine, every motion too far straining the pristine | |
| 4 | crystal lattice, every emotion causing it to creak and whine under the pressure. | |
| 5 | ||
| 6 | The path was hard and long, and only barely illuminated by the blue-green foliage | |
| 7 | which glowed brighter with every passing gust. The night sky was a flat black | |
| 8 | with only the scarcest trace of the swarm above, like a soft trickle along the | |
| 9 | horizon. The mountains above hummed softly. | |
| 10 | ||
| 11 | "The hum is not comforting today," his companion said. The companion hovered | |
| 12 | slightly, filled with red, redolent and grand. | |
| 13 | ||
| 14 | "It is fine enough," he said, but his crystal heart disagreed. He looked up | |
| 15 | at the faint blue peaks and felt the hum fill him, and the vibration seemed | |
| 16 | as though it could destroy his crystal heart, but he _harrumphed_ and continued. | |
| 17 | ||
| 18 | "You are not discomforted?" | |
| 19 | ||
| 20 | "Not greatly," he said, and it was not quite a lie while still not quite the | |
| 21 | truth. Every step nearly flattened flowers that moved aside and stared up at | |
| 22 | the both expectantly, unsure if they were there to destroy them or feed them. | |
| 23 | Of course, they were there for neither, only passing through towards the | |
| 24 | city, which hovered in their vision distantly like a ghost. | |
| 25 | ||
| 26 | "I find it... distasteful, at least," the companion said, and dilated his eyes | |
| 27 | a little bit before hovering onward. "It seems to speak to me of plans." | |
| 28 | ||
| 29 | "It seems to me that _you_ are now speaking of plans." | |
| 30 | ||
| 31 | The companion was silent. The journey had gotten harder, and the great beasts | |
| 32 | in the distance had started to stare with hollow yellow eyes and move with | |
| 33 | barely perceptible movements. They would not be dangerous, but it was no | |
| 34 | comforting thing to be walking in the half-light under the waxing swarm | |
| 35 | with the guaes-beasts watching. The companion twisted a few times, perhaps | |
| 36 | hoping that it would cause the beasts to avert their eyes. | |
| 37 | ||
| 38 | Finally, they crested a hill and looked at the city they had for so long attempted | |
| 39 | to find. Like a great crystal, it grew out in perfect directions and with | |
| 40 | perfect dimensions, the subtle lights from planted trees being refracted and | |
| 41 | reflected infinitely into the distance. He looked at his companion and both | |
| 42 | of them smiled simultaneously. | |
| 43 | ||
| 44 | "This city is like glass, and like glass, it could be destroyed by a small misstep | |
| 45 | or an errant breath," the companion said, settling down on the hill just slightly | |
| 46 | and obscuring the flowers below. | |
| 47 | ||
| 48 | "The city is alive and will be alive in our minds for all time," he responded. "If | |
| 49 | it must be broken, then it must." With that, he clutched at his heart, and both | |
| 50 | began walking down the path. | |
| 51 |
| 1 | { | |
| 2 | "name": "XVI: No More Than Seventy-Three Million Atoms Away, or, Memo #558", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2013", | |
| 5 | "slug": "016-fytte-the-sixteenth" | |
| 6 | } |
| 1 | The incident occurred at five forty-seven AM on the far reaches of the eastern | |
| 2 | suburb, about three-quarters of a mile from Road 78. Three of the vehicle's doors | |
| 3 | were missing entirely. No bodies were found, and no footsteps were seen leaving | |
| 4 | the upturned vehicle. | |
| 5 | ||
| 6 | Investigators found and catalogued the following items from the scene: | |
| 7 | ||
| 8 | - Five cellphane-wrapped lemon-flavored candies | |
| 9 | ||
| 10 | - Four compact discs, none in their proper cases: | |
| 11 | + Neil Young's 'After The Gold Rush' | |
| 12 | + The Bestskimos' titular EP | |
| 13 | + Kathleen Battle's Mozart arias, scratched beyond playability | |
| 14 | + A burned CD-R, bearing two redacted titles and the third | |
| 15 | unredacted title "The Factory of All: A Labor of Hate" | |
| 16 | ||
| 17 | - An unlocked, empty jewelry box with a mother-of-pearl inlay in a | |
| 18 | floral pattern on the top | |
| 19 | ||
| 20 | - A jet-black parrot of unknown origin and species whose sole utterance | |
| 21 | is the repeated phrase, "recidivism leads the pack!" | |
| 22 | ||
| 23 | - A book in Hungarian whose title translates as, "The Long Jaunt: A | |
| 24 | Postemptive Protospective," autographed in orange ink by a man who | |
| 25 | did not write the book, addressed to "My Dearest Fußballschuh" | |
| 26 | ||
| 27 | - A mirror which does not show the reflections of people whose names | |
| 28 | begin with vowels | |
| 29 | ||
| 30 | - A bottle of Zinfandel dated to 1983 from an Austrian winery named | |
| 31 | Die Krummengel, of which no independent record exists | |
| 32 | ||
| 33 | - A perfect white sphere with no mass to speak of, such that it must | |
| 34 | be enclosed in a container lest it float randomly away from any | |
| 35 | gravitational source | |
| 36 | ||
| 37 | - A heat lamp (broken) | |
| 38 | ||
| 39 | - Three sides of fries, extra crispy | |
| 40 | ||
| 41 | - A small handwritten note, in blocky, awkward handwriting, on a pure, | |
| 42 | crisp, white piece of card, containing the following text: | |
| 43 | ||
| 44 | > In the middle of night at the top of the sky | |
| 45 | > By the redolent field in which buffalo die | |
| 46 | > Come the last of those few lonely souls who will hiss | |
| 47 | > All the prayers of the holy and awful abyss | |
| 48 | ||
| 49 | After a short time, the police assigned to the case announced that all | |
| 50 | investigation would cease immediately. The items on this list were | |
| 51 | auctioned several months later. The fries were no longer any good. |
| 1 | { | |
| 2 | "name": "XVII: The Unsettling Yearly Dance Of The Platonic Solids, or, Weird Tides", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2014", | |
| 5 | "slug": "017-fytte-the-seventeenth" | |
| 6 | } |
| 1 | Eberhardt "Papercat" Von Kvotzburg frowned, and his eyebrows knotted | |
| 2 | into perfect curls and settled underneath the rolling wrinkles that | |
| 3 | had arrayed themselves on his expansive forehead. His hand gripped the cold | |
| 4 | metal of the creaking, weather-beaten chair. His eyes darted—up, down, up, | |
| 5 | down, left, down, up, up, down... | |
| 6 | ||
| 7 | "Aye, I'm afraid 'tis true," she said as she sipped the paper cup | |
| 8 | filled with overpriced coffee-like beverage. Her nose, shaped as it | |
| 9 | was like a ski ramp, twitched in anticipation of the impending | |
| 10 | caffeine. | |
| 11 | ||
| 12 | "When did you start talking like a pirate?" he asked. | |
| 13 | ||
| 14 | "There be a lot ye not know about me," she muttered. "Be that as it | |
| 15 | may, ye know not of the treasure that awaits ye—the treasure that | |
| 16 | awaits us all as we traverse the shores beyond—" | |
| 17 | ||
| 18 | "—are you still talking about the grocery store?" | |
| 19 | ||
| 20 | "Aye." She tested the temperature of the coffee with a tiny, noisy | |
| 21 | sip, and then shrugged and threw back the entire cup without so much | |
| 22 | as a flinch. "There be stranger things in the world than ye know, | |
| 23 | Papercat. Much stranger things that may set their sights upon ye." | |
| 24 | ||
| 25 | "You're aware that 'ye' is a nominative—not an objective—pronoun, no?" | |
| 26 | ||
| 27 | "Shut ye the fuck up," she said with a slow, lilting cadence and a | |
| 28 | haunting glare. "Let we get the fuck to the store of grocery." | |
| 29 | ||
| 30 | And frankly, it would have been an okay grocery run if not for the | |
| 31 | kraken. |
| 1 | { | |
| 2 | "name": "VIII: The Unsurprising Leftovers from Aunt Lettie's Last Four Weddings, or, Truth Globules", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "fytte-the-eighth" | |
| 6 | }⏎ |
| 1 | I'd like to share with you the real things that a teacher of mine once | |
| 2 | said to me. Of course, he wasn't actually my teacher, not in any kind | |
| 3 | of academic sense. And he didn't say these things, in the sense that | |
| 4 | vocal chords vibrated or pen touched page or meaning was transmitted in | |
| 5 | any fashion. But he was my teacher, and he said these things to me, and | |
| 6 | I have never forgotten them. | |
| 7 | ||
| 8 | He said, "There are three nights that mean more to you than any other nights | |
| 9 | of your life. This is only true of nights, and it isn't true of mornings, | |
| 10 | or afternoons, or even days. Just nights. But it's not always the same | |
| 11 | three nights when you think about it. Best to avoid thinking about it for | |
| 12 | a while." | |
| 13 | ||
| 14 | He said, "I don't believe in any of that soulmate shit, you know? But I do | |
| 15 | wonder if maybe we only got half a soul and we've got to find another person | |
| 16 | who has the other half. But not to stay around--just to trade, and after | |
| 17 | that they can leave and I can leave and it'll all be good. 'Scuse me, sir, | |
| 18 | I do believe you have my soul, yes, that piece there, and now I'll be on | |
| 19 | my way." | |
| 20 | ||
| 21 | He said, "People like to say the world is a simple place. That's not true. | |
| 22 | That's not true at all. However, what they don't get is that the world | |
| 23 | was almost a simple place, but the calculations got screwed up by | |
| 24 | crows. And because of that, they had to work around a whole bunch of | |
| 25 | the tiny details, and now the world's as complicated as you can see. | |
| 26 | You wouldn't think a thing as normal as crows could do it, but | |
| 27 | you don't know a whole lot about planning worlds, either. I did until I | |
| 28 | dropped out." | |
| 29 | ||
| 30 | He said, "Some people got loganberries, some people got strawberries. But | |
| 31 | some people got blackberries, so fuck 'em." | |
| 32 | ||
| 33 | He said, "I used to sell music. Not sheet music. Not recorded music, either. | |
| 34 | And I didn't let anybody listen to it. I just sold them music. I figured | |
| 35 | people would want it. Turns out, people don't want music, only noise." | |
| 36 | ||
| 37 | He said, "Some day, I'm gonna be dead. And you'll be dead, too. And all | |
| 38 | those people around you, and the ones down in the street, and up on the | |
| 39 | hills, and on the ocean, they're all gonna be dead. If that makes you | |
| 40 | sad, you're not looking at the big picture. And if that still makes you | |
| 41 | sad, then you're not looking at the little picture, either." | |
| 42 | ||
| 43 | He said, "I say a lotta stuff. I don't say a lotta stuff, too, and that's | |
| 44 | gotta count for something. Not much, probably." | |
| 45 | ||
| 46 | He said a number of other things, but a lot of them were quite boring. For | |
| 47 | instance, at least one-hundred and thirty of those things were just | |
| 48 | ordering burritos. |
| 1 | { | |
| 2 | "name": "XI: The Counterfeit, Cheaply Produced Replicas of Official Visitor Passes from the Museum of Emptiness, or, Scenes From A Redacted Pop-Up Book", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2011", | |
| 5 | "slug": "fytte-the-eleventh" | |
| 6 | }⏎ |
| 1 | "You can't hear the music of the universe like that," she said. | |
| 2 | ||
| 3 | "Like what?" I asked. "I am silent—no headphones, no radio, no nothing—and my mind is clear." | |
| 4 | ||
| 5 | "Exactly," she said. "Your mind is a mirror that is like a pond. And yours is beautiful and still and perfect because it is dead." | |
| 6 | ||
| 7 | "Mirrors are lies," I remember I said. | |
| 8 | ||
| 9 | "Truer than you know," she said. |
| 1 | { | |
| 2 | "name": "XV: The Ultimate Cessation Of Humankind's Ability To Love Itself And The Consequent Ontological Cataclysm That Itself Is Only The First Step In The Horrific Chain Of Events To Come, or, Three Sides of Fries", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2012", | |
| 5 | "slug": "fytte-the-fifteenth" | |
| 6 | }⏎ |
| 1 | His heart felt as though it were made of glass. He could feel it. He could feel | |
| 2 | every footstep reverberating in his glass heart, jostling it, rubbing it against | |
| 3 | his panting lungs and pained spine, every motion too far straining the pristine | |
| 4 | crystal lattice, every emotion causing it to creak and whine under the pressure. | |
| 5 | ||
| 6 | The path was hard and long, and only barely illuminated by the blue-green foliage | |
| 7 | which glowed brighter with every passing gust. The night sky was a flat black | |
| 8 | with only the scarcest trace of the swarm above, like a soft trickle along the | |
| 9 | horizon. The mountains above hummed softly. | |
| 10 | ||
| 11 | "The hum is not comforting today," his companion said. The companion hovered | |
| 12 | slightly, filled with red, redolent and grand. | |
| 13 | ||
| 14 | "It is fine enough," he said, but his crystal heart disagreed. He looked up | |
| 15 | at the faint blue peaks and felt the hum fill him, and the vibration seemed | |
| 16 | as though it could destroy his crystal heart, but he _harrumphed_ and continued. | |
| 17 | ||
| 18 | "You are not discomforted?" | |
| 19 | ||
| 20 | "Not greatly," he said, and it was not quite a lie while still not quite the | |
| 21 | truth. Every step nearly flattened flowers that moved aside and stared up at | |
| 22 | the both expectantly, unsure if they were there to destroy them or feed them. | |
| 23 | Of course, they were there for neither, only passing through towards the | |
| 24 | city, which hovered in their vision distantly like a ghost. | |
| 25 | ||
| 26 | "I find it... distasteful, at least," the companion said, and dilated his eyes | |
| 27 | a little bit before hovering onward. "It seems to speak to me of plans." | |
| 28 | ||
| 29 | "It seems to me that _you_ are now speaking of plans." | |
| 30 | ||
| 31 | The companion was silent. The journey had gotten harder, and the great beasts | |
| 32 | in the distance had started to stare with hollow yellow eyes and move with | |
| 33 | barely perceptible movements. They would not be dangerous, but it was no | |
| 34 | comforting thing to be walking in the half-light under the waxing swarm | |
| 35 | with the guaes-beasts watching. The companion twisted a few times, perhaps | |
| 36 | hoping that it would cause the beasts to avert their eyes. | |
| 37 | ||
| 38 | Finally, they crested a hill and looked at the city they had for so long attempted | |
| 39 | to find. Like a great crystal, it grew out in perfect directions and with | |
| 40 | perfect dimensions, the subtle lights from planted trees being refracted and | |
| 41 | reflected infinitely into the distance. He looked at his companion and both | |
| 42 | of them smiled simultaneously. | |
| 43 | ||
| 44 | "This city is like glass, and like glass, it could be destroyed by a small misstep | |
| 45 | or an errant breath," the companion said, settling down on the hill just slightly | |
| 46 | and obscuring the flowers below. | |
| 47 | ||
| 48 | "The city is alive and will be alive in our minds for all time," he responded. "If | |
| 49 | it must be broken, then it must." With that, he clutched at his heart, and both | |
| 50 | began walking down the path. | |
| 51 |
| 1 | { | |
| 2 | "name": "V: The Last Glass Of A Vintage Untasted By Human Lips, or, The Postprandial Prattle", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "fytte-the-fifth" | |
| 6 | }⏎ |
| 1 | There were seven brides for seven brothers. But the seven brides were | |
| 2 | actually matryoshki, one inside another. | |
| 3 | ||
| 4 | Sometimes after the brothers had too much to drink, they'd hide inside | |
| 5 | the bigest one and pretend they belonged on a grandmother's shelf. She | |
| 6 | didn't notice once. |
| 1 | { | |
| 2 | "name": "I: The Orchestra Whose Instruments Are Inaudibly Out Of Tune, or, The Librarian of Alexandria", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2009", | |
| 5 | "slug": "fytte-the-first" | |
| 6 | }⏎ |
| 1 | "I once owned thirty-seven acres of land," the stranger told me over a glass of warm whiskey. "Thirty-seven! Can you imagine it?" | |
| 2 | ||
| 3 | "I can try," I told him. "You want me to try?" | |
| 4 | ||
| 5 | "Try," he said. "Go ahead and just try." | |
| 6 | ||
| 7 | I tried. "No, I can't imagine it." | |
| 8 | ||
| 9 | "It was all because of the old Postmaster General. Remember Mr. Malü Peabody? He saw my land one day. He said, 'Mr. Doctor-Mister, you've got a mighty fine parcel of land there,' he said, and I said, 'You're right, Mr. Malü Peabody. I got this land ten years ago in a bar bet over which lizard would eat a fly first.' I said, 'We had to find some lizards first, which was quite a problem, let me tell you.' I said, 'We found three, but we needed four, and by the time we found the fourth, the second one had died, so we needed to find a fifth one to replace that, and then by the time—'" | |
| 10 | ||
| 11 | "I did it," I said. | |
| 12 | ||
| 13 | "Did what?" | |
| 14 | ||
| 15 | "Imagined it. All thirty-seven acres. I imagined it all." I shrugged. "It wasn't that great." | |
| 16 | ||
| 17 | He swigged his whiskey, all in one bristly motion, and he looked me in the eye, and he said, "Fuck you," and left. |
| 1 | { | |
| 2 | "name": "XIV: Burning Down the Taddy-Lo's, or, Mr. Concupiscence K. The-Sloth-And-All-The-Little-Creatures Jones", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2012", | |
| 5 | "slug": "fytte-the-fourteenth" | |
| 6 | }⏎ |
| 1 | The wind picked up a little bit, rustling the faded flags that had once been bright | |
| 2 | colors on the side of the wooden building. Dry grass poked up through the edges of the bricks | |
| 3 | that made up the walkway. A few errant snakes were watching the strips that once were flags, | |
| 4 | mesmerized by the wafting motion. | |
| 5 | ||
| 6 | A messenger arrived with a small scroll of brown paper, wrapped in twine and sealed with orange | |
| 7 | wax. The messenger was a man with exactly three teeth and no more than seven strands of hair, | |
| 8 | but his suit was a beautiful style, ornate with blue velvet and silver threads. | |
| 9 | ||
| 10 | He gingerly entered the hall and let his eyes scan the room. At first, he saw only more | |
| 11 | snakes—these were circling a fountain, apparently thirsty for a drink. The messenger | |
| 12 | continued into a main room, which was similarly abandoned. A large window let light onto | |
| 13 | the dusty floor, illuminated carpet that was once red, and now was a dull brown. Looking | |
| 14 | over the room, all he could see was a gathering of snakes listening to a lecture on | |
| 15 | Mesopotamian usury delivered by a particularly distinguished-looking snake with an | |
| 16 | old-fashioned slide projector. | |
| 17 | ||
| 18 | Finally, he entered a room with a throne and a king, surrounded by gold accoutrements and | |
| 19 | beautiful yet aging tapestries. He sighed, as he had begun to fear that the place was devoid | |
| 20 | of non-reptilians. | |
| 21 | ||
| 22 | "Your highness," he said. "I have brought you—" and then he stopped in his tracks, as it | |
| 23 | had become clear that the being was no king at all, but rather an empty king-shaped husk, | |
| 24 | filled with snakes, suspended from the ceiling, marionette-like, on ropes which were | |
| 25 | themselves the result of intertwined snakes. The snake-king spoke: | |
| 26 | ||
| 27 | "Yes, fair messenger?" | |
| 28 | ||
| 29 | "You're snakes, not a king." | |
| 30 | ||
| 31 | The king-husk shrugged to the sound of a thousand snakes pulling the shoulders of the husk. | |
| 32 | "We among the snakes have a saying: 'Good as snake.'" | |
| 33 | ||
| 34 | "That saying doesn't even make sense." | |
| 35 | ||
| 36 | That was a bad move, as it infuriated the snake-king. The snakes began to discard the husk | |
| 37 | and gather into a gargantuan, seething mass. The walls of the building, which were also | |
| 38 | snakes, began to join, and finally all joined together to form the hundred-league | |
| 39 | Omega-Snake, which made short work of the messenger before razing the countryside. | |
| 40 | ||
| 41 | And that is why the Great Omega-Snake War is sometimes spoken of by the huddled survivors | |
| 42 | as the War of the Well-Dressed Messenger. And we all hope he is being tortured for his | |
| 43 | crimes against the universe in Snake Hell. |
| 1 | { | |
| 2 | "name": "IV: The Inexplicable Experiences Of A Man Who Finds A Chinese Restaurant Outside Space And Time, or, The Matryoshki", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "fytte-the-fourth" | |
| 6 | }⏎ |
| 1 | Mrs. Veliociraptor was having Mrs. Utahraptor over for some incredibly | |
| 2 | pleasant afternoon tea. The scones were fresh and smelled of blueberries | |
| 3 | and strife and the sugar-cubes were just old enough that they gave off the | |
| 4 | most delicate moaning noise when separated. | |
| 5 | ||
| 6 | "Rather afraid the mice got to the cake. Left it on the lower shelves | |
| 7 | by mistake." | |
| 8 | ||
| 9 | "Oh, bother!" Mrs. Utahraptor replied. "That was the cake you were telling | |
| 10 | Mrs. Pterodactyl about, weren't you? A post-structuralist screed with a | |
| 11 | frosting of hedge funds?" | |
| 12 | ||
| 13 | "No. I made that cake last month for the widow of ol' Mrs. Smilodon, rest | |
| 14 | her soul. No, this one was a long brown one--hazelnuts, cinnamon, and | |
| 15 | mondegreens of songs you heard from your parents' room when you were | |
| 16 | young and have never heard since." | |
| 17 | ||
| 18 | "Mrs. Deionychus has a good one. It's fear, hanging cadence and possible | |
| 19 | lovers who have forgotten your face and whose sudden unexpected appearance | |
| 20 | on the street drowns you in a flood of possible realities just out of | |
| 21 | reach of a time you can barely remember." | |
| 22 | ||
| 23 | "Ooh, that *was* a good one. I liked her almond, too." | |
| 24 | ||
| 25 | They talked for a while longer, but before long their speech was | |
| 26 | mathematical symbols, so who knows what they were saying for sure? |
| 1 | { | |
| 2 | "name": "IX: The Staggeringly Incomplete and Unfortunately Azure Presence of the Spirit of Our Times and The Lady of the Bentley Subglacial Trench, or, La Vita Degli Topi Chi Vivanno Nel'Opera", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "fytte-the-ninth" | |
| 6 | } |
| 1 | There was a family of five mice-children that lived in an opera-house in Milan. Their father | |
| 2 | had been eaten, not by a cat, as one might expect of mice, but by several fish who | |
| 3 | had set an elaborate trap involving no less than four decoy eels and an intricate | |
| 4 | pulley system. | |
| 5 | ||
| 6 | The father had been in an open relationship with several female mice, each of whom | |
| 7 | was seeing several other male mice, and so several of them lived with the family | |
| 8 | simultaneously; the children never knew whether the next day would find one subset | |
| 9 | of their "mothers" and "fathers" replaced by another set. However, one of | |
| 10 | them—a beautiful mouse with mottled brown-and-black fur—was always | |
| 11 | there for them, being the biological mother of two of them and highly attached | |
| 12 | to the other three. For the purposes of this story, I will call her Suzie, which is | |
| 13 | a reasonably accurate translation of her name from the original Milanese Mouse | |
| 14 | dialect, inasmuch as any collection of squeaks can be translated into a human language | |
| 15 | at all. | |
| 16 | ||
| 17 | One day, she and the five children, along with her two boyfriends, snuck into the | |
| 18 | opera house, where a performance of _Il dissoluto punito, ossia il Don Giovanni_ was | |
| 19 | being prepared for that weekend. Excited for the opera, Suzie insisted that the bored | |
| 20 | children stay there to keep her seat for when she got back from getting refreshments | |
| 21 | for the performance from the corner mouse store. The children sat expectantly for | |
| 22 | a time, and then became bored and wandered around the upper boxes, looking for a | |
| 23 | good vantage point for a mouse wishing to watch an opera. | |
| 24 | ||
| 25 | It was not long until they found a box which was occupied by a Milanese inventor | |
| 26 | called Massimo della Piscina Pubblica. He was performing the finishing touches on | |
| 27 | a mannequin he had created so as to give the illusion that he had a date for the | |
| 28 | opera, whereas in fact he was remarkably unattractive to women because of his complete | |
| 29 | and utter lack of a nose. (He never considered that he could instead invent a nose | |
| 30 | for himself; and if he had, he probably would have made it poorly, as he got zeroes | |
| 31 | on most of the tests at _L'academie des inventeurs_ in Paris and slept through a lot | |
| 32 | of classes. His nose would have actually been hilarious, though, so it is a pity that | |
| 33 | he did not think of it.) | |
| 34 | ||
| 35 | The mice thought quickly and dove into the mannuequin, and began operating it | |
| 36 | independently. He was shocked to see his date come to life, and began to dream that | |
| 37 | he was Giapetto, and the mannuequin was his own hypersexualized Pinnochio. The mice | |
| 38 | began to make the mannuequin smile, and operated the voicebox through strings and | |
| 39 | pulleys. | |
| 40 | ||
| 41 | "What is wrong with you?" they asked. Massimo della Piscina Pubblica was shocked, but | |
| 42 | also confused, because he did not speak English. So they repeated, "Qual è il tuo | |
| 43 | problema?" He stammered, and stuttered, and the mice laughed in a mousey way inside | |
| 44 | of the body, and the people who were filing into the opera began to stare at the | |
| 45 | famous inventor and his oddly beautiful and yet somehow strange date. | |
| 46 | ||
| 47 | "Cosà?" he asked, trying to understand what had happened to his mannequin. If he had | |
| 48 | nostrils, they may very well have flared; we can only guess. | |
| 49 | ||
| 50 | The mice never dignified him with a response, they left the box and found their | |
| 51 | mother who was sneaking in a box of mouse popcorn and some mouse sodas; they picked | |
| 52 | her up and began living in the basement of the opera-house, where they could listen | |
| 53 | to the music without having to look at the atrocious makeup that some of these | |
| 54 | singers had on. | |
| 55 | ||
| 56 | Occasionally they'd go upstairs in their human-suit and give Massimo the finger. He | |
| 57 | would try to thumb his nose at them and fail, and subsequently be laughed out of | |
| 58 | the opera house. Kind of sad, really. |
| 1 | { | |
| 2 | "name": "II: The Child Whose Shoelaces Are Comprised Of An Ever-So-Delicate Double Helix Of Green And Aquamarine Felt, or, The Legacy of Reuhrenwald", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2009", | |
| 5 | "slug": "fytte-the-second" | |
| 6 | }⏎ |
| 1 | Once upon a time, in the quaint kingdom of Reuhrendwald, a king and queen | |
| 2 | gave birth to a prince. | |
| 3 | ||
| 4 | And this would not have been so unusual--indeed, it is the fashion of | |
| 5 | the times that kings and queens give birth to princes--but the prince | |
| 6 | in question was born fully grown, seventeen feet tall, with the least | |
| 7 | pleasant unibrow any of the subjects had ever seen. Physicians were | |
| 8 | summoned from all over the kingdom to examine him. | |
| 9 | ||
| 10 | "Why, it's like nothing I've ever seen," one said. "I've heard of babies | |
| 11 | born seventeen feet tall, and babies born fully grown, but the unibrow | |
| 12 | is really a new thing altogether." | |
| 13 | ||
| 14 | And it was really only a matter of time, what with his stature and | |
| 15 | unsightliness, that he took up gardening, and spent his free time doing | |
| 16 | the pruning at the tops of trees that nobody else had bothered to | |
| 17 | do. He became good friends with the birds who lived at the tops of | |
| 18 | the trees, calling them by their first names--usually Benvolio, because | |
| 19 | birds often name their children Benvolio, regardless of gender, for | |
| 20 | reasons that none of them quite remember, though they assure you | |
| 21 | it has something to do with eggs or some bird-related thing, which is | |
| 22 | not as obvious as it might sound at first--and generally being merry. | |
| 23 | ||
| 24 | One day, he looked beyond the forests of Reuhrenwald and noticed that | |
| 25 | the kingdom was gone. Half of it was destroyed in the Great Fire of the | |
| 26 | Shoemaker's Estate, and the other half moved away because the town | |
| 27 | wasn't like it once was without the Shoemaker's Estate. The prince | |
| 28 | shrugged and went on with his pruning. | |
| 29 | ||
| 30 | He also probably turned into a tree or some shit, because that's what | |
| 31 | usually happens in stories that start with "Once upon a time." You | |
| 32 | can honestly believe whatever you want about the prince. See if I care. |
| 1 | { | |
| 2 | "name": "XVII: The Unsettling Yearly Dance Of The Platonic Solids, or, Weird Tides", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2014", | |
| 5 | "slug": "fytte-the-seventeenth" | |
| 6 | } |
| 1 | Eberhardt "Papercat" Von Kvotzburg frowned, and his eyebrows knotted | |
| 2 | into perfect curls and settled underneath the rolling wrinkles that | |
| 3 | had arrayed themselves on his expansive forehead. His hand gripped the cold | |
| 4 | metal of the creaking, weather-beaten chair. His eyes darted—up, down, up, | |
| 5 | down, left, down, up, up, down... | |
| 6 | ||
| 7 | "Aye, I'm afraid 'tis true," she said as she sipped the paper cup | |
| 8 | filled with overpriced coffee-like beverage. Her nose, shaped as it | |
| 9 | was like a ski ramp, twitched in anticipation of the impending | |
| 10 | caffeine. | |
| 11 | ||
| 12 | "When did you start talking like a pirate?" he asked. | |
| 13 | ||
| 14 | "There be a lot ye not know about me," she muttered. "Be that as it | |
| 15 | may, ye know not of the treasure that awaits ye—the treasure that | |
| 16 | awaits us all as we traverse the shores beyond—" | |
| 17 | ||
| 18 | "—are you still talking about the grocery store?" | |
| 19 | ||
| 20 | "Aye." She tested the temperature of the coffee with a tiny, noisy | |
| 21 | sip, and then shrugged and threw back the entire cup without so much | |
| 22 | as a flinch. "There be stranger things in the world than ye know, | |
| 23 | Papercat. Much stranger things that may set their sights upon ye." | |
| 24 | ||
| 25 | "You're aware that 'ye' is a nominative—not an objective—pronoun, no?" | |
| 26 | ||
| 27 | "Shut ye the fuck up," she said with a slow, lilting cadence and a | |
| 28 | haunting glare. "Let we get the fuck to the store of grocery." | |
| 29 | ||
| 30 | And frankly, it would have been an okay grocery run if not for the | |
| 31 | kraken. |
| 1 | { | |
| 2 | "name": "VII: The Heinous and Unspeakable Crimes of Mr. R——, Zookeeper, or, The Ethnography", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "fytte-the-seventh" | |
| 6 | }⏎ |
| 1 | The Henbala people of the Karaba river valley are a strange people, at once majestic and comical. They claim, in their folklore passed down from person to person through the centuries, that they were not descended from First Man, nor from First Woman, but from the Sun himself. | |
| 2 | ||
| 3 | (Many reject this view, because the Sun, regardless of its gender, would have caused major burns on the genitalia of whoever copulated with it.) | |
| 4 | ||
| 5 | Naxa son of Subimi son of Ngukabe was born in the largest village of the Henbala people, where the Henbala spend their days scraping the flesh from the shells of crabs and beating bones together to make music in the key of C Mixolydian. He was born of the union of the village fortune-teller and a figure whose occupation can only be described as a sort of pre-agrarian stockbroker. As such, Naxa was surrounded since birth by both the uncertainties and the certainties of the future. | |
| 6 | ||
| 7 | One day, Naxa left to search for an animal to replace a major third which was getting pretty flat in the village orchestra when he came across an inexplicable black sphere in the middle of the pass which connected his valley with the plains. He observed it with great zeal, prodding it with his finger and turning it over and over. It was neither heavy nor light; it neither reflected nor absorbed light; it seemed neither warm nor cold. | |
| 8 | ||
| 9 | Naxa took the sphere to the village elder, who promptly punted it, where it disappeared and was subsequently never spoken of again. Naxa ended up making a very good life for himself as a femur-tuner. | |
| 10 | ||
| 11 | I know you're disappointed that the mystery of the sphere was never solved, and even more disappointed that Naxa gave up so easily, but really, that sphere wasn't supposed to show up at all. If you take away anything from this story, know that part of the beauty in life is that some things exist, and anything more said about them is too much. |
| 1 | { | |
| 2 | "name": "XVI: No More Than Seventy-Three Million Atoms Away, or, Memo #558", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2013", | |
| 5 | "slug": "fytte-the-sixteenth" | |
| 6 | } |
| 1 | The incident occurred at five forty-seven AM on the far reaches of the eastern | |
| 2 | suburb, about three-quarters of a mile from Road 78. Three of the vehicle's doors | |
| 3 | were missing entirely. No bodies were found, and no footsteps were seen leaving | |
| 4 | the upturned vehicle. | |
| 5 | ||
| 6 | Investigators found and catalogued the following items from the scene: | |
| 7 | ||
| 8 | - Five cellphane-wrapped lemon-flavored candies | |
| 9 | ||
| 10 | - Four compact discs, none in their proper cases: | |
| 11 | + Neil Young's 'After The Gold Rush' | |
| 12 | + The Bestskimos' titular EP | |
| 13 | + Kathleen Battle's Mozart arias, scratched beyond playability | |
| 14 | + A burned CD-R, bearing two redacted titles and the third | |
| 15 | unredacted title "The Factory of All: A Labor of Hate" | |
| 16 | ||
| 17 | - An unlocked, empty jewelry box with a mother-of-pearl inlay in a | |
| 18 | floral pattern on the top | |
| 19 | ||
| 20 | - A jet-black parrot of unknown origin and species whose sole utterance | |
| 21 | is the repeated phrase, "recidivism leads the pack!" | |
| 22 | ||
| 23 | - A book in Hungarian whose title translates as, "The Long Jaunt: A | |
| 24 | Postemptive Protospective," autographed in orange ink by a man who | |
| 25 | did not write the book, addressed to "My Dearest Fußballschuh" | |
| 26 | ||
| 27 | - A mirror which does not show the reflections of people whose names | |
| 28 | begin with vowels | |
| 29 | ||
| 30 | - A bottle of Zinfandel dated to 1983 from an Austrian winery named | |
| 31 | Die Krummengel, of which no independent record exists | |
| 32 | ||
| 33 | - A perfect white sphere with no mass to speak of, such that it must | |
| 34 | be enclosed in a container lest it float randomly away from any | |
| 35 | gravitational source | |
| 36 | ||
| 37 | - A heat lamp (broken) | |
| 38 | ||
| 39 | - Three sides of fries, extra crispy | |
| 40 | ||
| 41 | - A small handwritten note, in blocky, awkward handwriting, on a pure, | |
| 42 | crisp, white piece of card, containing the following text: | |
| 43 | ||
| 44 | > In the middle of night at the top of the sky | |
| 45 | > By the redolent field in which buffalo die | |
| 46 | > Come the last of those few lonely souls who will hiss | |
| 47 | > All the prayers of the holy and awful abyss | |
| 48 | ||
| 49 | After a short time, the police assigned to the case announced that all | |
| 50 | investigation would cease immediately. The items on this list were | |
| 51 | auctioned several months later. The fries were no longer any good. |
| 1 | { | |
| 2 | "name": "VI: The Glass Vessels In Which The Souls Of Cryptozoological Creatures Are Kept In Perfect, Beautiful Seculsion, or, The Dance", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "fytte-the-sixth" | |
| 6 | }⏎ |
| 1 | { | |
| 2 | "name": "X: Two Guys, A Girl, And The Rise of the Trans-Atlantic Semaphore Chain, or, Realizations", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2011", | |
| 5 | "slug": "fytte-the-tenth" | |
| 6 | } |
| 1 | The passenger realized that their hat was lacking. | |
| 2 | ||
| 3 | The conductor realized that the world's axis had shifted imperceptibly | |
| 4 | w/r/t galactic north. | |
| 5 | ||
| 6 | The passenger realized that seven flies were doing the fly equivalent | |
| 7 | of the Mambo on a windowsill. | |
| 8 | ||
| 9 | The conductor realized with a nervous sigh that everyone who ever | |
| 10 | loved him was a pathological liar, and that he was not entirely unsure | |
| 11 | that this bothered him. | |
| 12 | ||
| 13 | The passenger realized that all trees were expressions of the same | |
| 14 | Platonic tree, except for elms, all of whom can go fuck a knothole, | |
| 15 | for all he cared. | |
| 16 | ||
| 17 | The conductor realized that his own hat was lacking, and | |
| 18 | simultaneously realized that his hat was stupid anyway and its lack | |
| 19 | was nothing to be sad about. | |
| 20 | ||
| 21 | The passenger realized that his ticket was in his hat, which by now | |
| 22 | was probably floating somewhere around the crab nebula, or possibly | |
| 23 | Philadelphia, which are basically the same thing, if you don't think | |
| 24 | about it, which he didn't. | |
| 25 | ||
| 26 | The conductor realized the passenger was naked, except for a hat | |
| 27 | covering his genitalia, which he seemed to be unaware of. | |
| 28 | ||
| 29 | The passenger realized that, assuming the correctness of string | |
| 30 | theory, which posits that all matter is composed of tiny, vibrating | |
| 31 | strings, he was almost certainly a F#. | |
| 32 | ||
| 33 | The conductor died. | |
| 34 | ||
| 35 | The passenger merged with the cosmos, briefly remembering his | |
| 36 | now-silly anxiety over his lacking hat. |
| 1 | { | |
| 2 | "name": "III: The Unbearable Chasm In Which The Lost Goat Bleats The Lost Symphonies Of Forgotten Composers, or, Doctor Medved and The Band", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2010", | |
| 5 | "slug": "fytte-the-third" | |
| 6 | }⏎ |
| 1 | Doctor Medved was a funny sort of guy. I wanted to write *man* there, | |
| 2 | but I couldn't. That's not what he was. He was a guy. | |
| 3 | ||
| 4 | There's nothing wrong with that, but you know, someone gets tired of | |
| 5 | feet-on-the-desk-cheap-beer-in-the-fridge-birds-in-the-thicket kind | |
| 6 | of living. That's why I left Doctor Medved that day, back in the summer | |
| 7 | of Ten-and-Seven Sorrows. | |
| 8 | ||
| 9 | I remember it like it was yesterday. "There's something wrong with this | |
| 10 | birdhouse," he said, fidgeting with his toolset, in between grunts of | |
| 11 | exertion and aggravation. "It's not housing properly." | |
| 12 | ||
| 13 | "It doesn't take much to house," I told him. "I actually house rather | |
| 14 | often." | |
| 15 | ||
| 16 | "Well..." he said, and dropped the wrench. "What is it that you house?" | |
| 17 | ||
| 18 | "Right now?" I said, and leaned backwards, considering the slow-moving | |
| 19 | clouds and nearly dropping the mint julep that perspired in my cold | |
| 20 | clammy hand. "Well, right now I think I must house serenity and | |
| 21 | melancholy." | |
| 22 | ||
| 23 | "Like a pond?" He was one of those guys who couldn't concieve of | |
| 24 | serenity. Everything he knew about serenity he read in faux-Asian | |
| 25 | pamphlets and TV Guide blurbs about Bruce Lee. He wouldn't know a | |
| 26 | Zen garden from the Cottington School for Boys. | |
| 27 | ||
| 28 | "Serenity is like when you're drunk, and you sit down on the curb | |
| 29 | and let the sound of the bar disappear and you feel the curb and the | |
| 30 | cold grit of the asphalt and the warm weave of your coat and the slow | |
| 31 | growth of your hair that you keep forgetting to shave and you forget | |
| 32 | that you're the only one drinking to remember and not forget. Serenity | |
| 33 | is the cold air that comes in the almost-closed car window as you travel, | |
| 34 | slowly in all but speed, from a place you don't really belong to a place | |
| 35 | you don't really want to go to. Serenity is finding a kitten and saying | |
| 36 | hello and asking it how it is and showing it a good time with some tin | |
| 37 | cans and plastic tea cups and boxing magazines and then leaving it | |
| 38 | where it was without bringing it home to your mother (or mother-substitute | |
| 39 | that you fuck in a way you deny is Freudian) and trying to own it. | |
| 40 | Those things are serenity." | |
| 41 | ||
| 42 | Doctor Medved picked up the tool again and began making the birdhouse | |
| 43 | into a bird-house. "Serenity is getting back to an empty apartment when | |
| 44 | everyone is gone and the bags make the scratchy plastic noise as you | |
| 45 | take the milk into the fridge and pause for just a moment?" | |
| 46 | ||
| 47 | "No, not at all," I said as I stood up and left. "That's not it at all." |
| 1 | { | |
| 2 | "name": "XIII: In Which A Cast of Colorful Charcuteries Learn Lessons about the State of the Fabric Industry, or, The Prolific yet Prideful Package", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2011", | |
| 5 | "slug": "fytte-the-thirteenth" | |
| 6 | }⏎ |
| 1 | Alfred van Akka of Unfoundland was a kind of deliveryman by day, bicycle-thief | |
| 2 | by night. Every morning, he'd wake up, take a package, and bring it to a | |
| 3 | specified destination; every night, he'd go back and take a bicycle he saw on | |
| 4 | the way. He saw it as a kind of retribution for the way a bloodthirsty gang | |
| 5 | of bike-pirates stole his Heroes in Theoretical Numismatics action figure | |
| 6 | set during his childhood. | |
| 7 | ||
| 8 | One day, Alfred took a package and it spoke to him. It whispered his name | |
| 9 | softly and sweetly, and Alfred was so terrified he threw it on the ground and | |
| 10 | ran halfway to New Prottsville. A passing metabotanical vicar had to help him | |
| 11 | back up. | |
| 12 | ||
| 13 | Presently, he began to feel bad for so quickly abandoning the package, which | |
| 14 | really had probably just wanted a friend. He marched back home and apologized | |
| 15 | to the package, asking it if it wanted to hang out. | |
| 16 | ||
| 17 | In fact, the package _had_ only wanted a friend, but seeing Alfred's terrified | |
| 18 | response, its package equivalent of a heart was filled with hatred. It vowed to | |
| 19 | destroy him. | |
| 20 | ||
| 21 | That day, they went out to the Genschen Boardwalk, rode the rides, and went to | |
| 22 | dinner at a fancy restaurant. All this infuriated the package even more, as it | |
| 23 | was a Marxist who hated to see the consumeristic culture around it. Finally, | |
| 24 | Alfred took the package with him to go bike-stealing, which was the last straw, | |
| 25 | as many of the package's friends were bikes. | |
| 26 | ||
| 27 | As it turned out, the bike being stolen was his girlfriend's cousin, and they | |
| 28 | joined forces to... well, let's just say it wasn't pretty. A bluejay in the bush | |
| 29 | nearby had to go to therapy for years, and nearly had to give her chicks up to | |
| 30 | Avian Protective Services during her unstable periods. Real harsh. Alfred was | |
| 31 | done for before it even started. | |
| 32 | ||
| 33 | The package and the bike moved in together in Alfred's old home, which was a | |
| 34 | real mistake. The package had to constantly run around turning off lights. | |
| 35 | That's what you get, I suppose.⏎ |
| 1 | { | |
| 2 | "name": "XII: Roberto L. von Krigelsbaum and His Dancing Tax Assessors, or, Le città e la sfortunata carenza di gentrificazione", | |
| 3 | "category": "fascicle", | |
| 4 | "date": "2011", | |
| 5 | "slug": "fytte-the-twelfth" | |
| 6 | }⏎ |
| 1 | It all started when I ate about seventy-five thousand pounds | |
| 2 | of lemons. | |
| 3 | ||
| 4 | I woke up the next morning to find my two remaining roommates, | |
| 5 | Isidore and Louis the Negative Third, enraptured by a | |
| 6 | low-budget documentary. | |
| 7 | ||
| 8 | "It's coming to the good part," Isidore said. "Just watch." | |
| 9 | ||
| 10 | "Have you seen it before?" I asked. | |
| 11 | ||
| 12 | "I never watch movies twice," he said. "You know this." | |
| 13 | ||
| 14 | "Look, guys—" I began. | |
| 15 | ||
| 16 | "ق", Louis said. | |
| 17 | ||
| 18 | "I ate, like, more lemons than actually exist last night. Do | |
| 19 | you think that could be a problem?" | |
| 20 | ||
| 21 | "Ah-ha!" Isidore said, clapping at the screen. "The circle | |
| 22 | fade. I knew it was coming. No, I think you're probably | |
| 23 | good." | |
| 24 | ||
| 25 | "But what if the owner of the lemons comes to collect?" | |
| 26 | ||
| 27 | "If it was more than actually exist, then nobody can have | |
| 28 | owned them, eh?" | |
| 29 | ||
| 30 | "And property is theft, too, you know," Louis added. "And | |
| 31 | vice versa. I assume." | |
| 32 | ||
| 33 | "But what if it harmed my stomach?" | |
| 34 | ||
| 35 | "Do you have one?" | |
| 36 | ||
| 37 | "A stomach?" | |
| 38 | ||
| 39 | "Yeah, I always wanted one. My parents were poor." | |
| 40 | ||
| 41 | "Look—do you have anything productive to say?" | |
| 42 | ||
| 43 | "ق", Louis said. | |
| 44 | ||
| 45 | "Aren't bananas radioactive?" Isidore asked. | |
| 46 | ||
| 47 | "ق oh ق this kind nepenthe," Louis added. | |
| 48 | "Incredibly." | |
| 49 | ||
| 50 | "I didn't eat bananas, I ate lemons." | |
| 51 | ||
| 52 | "They're yellow," Isidore observed. | |
| 53 | ||
| 54 | "Okay, fine, this is asinine," I said. | |
| 55 | ||
| 56 | Oh, how wrong I was. |
| 1 | { "name": "[snarky text here]" | |
| 2 | , "category": "about" | |
| 3 | , "date": "today" | |
| 4 | , "slug": "about" | |
| 5 | }⏎ |
| 1 | All these things are true. |
| 1 | [ { "category": "Fasicles" | |
| 2 | , "slug": "fascicles" | |
| 3 | } | |
| 4 | , { "category": "Stories" | |
| 5 | , "slug": "stories" | |
| 6 | } | |
| 7 | , { "category": "Poems" | |
| 8 | , "slug": "poems" | |
| 9 | } | |
| 10 | , { "category": "Comics" | |
| 11 | , "slug": "comics" | |
| 12 | } | |
| 13 | ] |
| 1 | [ { "category": "Fasicles" | |
| 2 | , "slug": "fascicles" | |
| 3 | } | |
| 4 | , { "category": "Stories" | |
| 5 | , "slug": "stories" | |
| 6 | } | |
| 7 | , { "category": "Poems" | |
| 8 | , "slug": "poems" | |
| 9 | } | |
| 10 | , { "category": "Comics" | |
| 11 | , "slug": "comics" | |
| 12 | } | |
| 13 | ] |
| 1 | $def with(l) | |
| 2 | <div class="categories"> | |
| 3 | $for category in l | |
| 4 | <div class="category"> | |
| 5 | <a href="/category/$category/"> | |
| 6 | $pluralize(category.capitalize()) | |
| 7 | </a> | |
| 8 | </div> | |
| 9 | </div> |
| 4 | 4 | {{{content}}} |
| 5 | 5 | {{#author}} |
| 6 | 6 | <div class="author"> |
| 7 |
|
|
| 7 | {{{author}}} | |
| 8 | 8 | </div> |
| 9 | 9 | {{/author}} |
| 10 | 10 | {{^focus}} |
| 11 |
<div class="quotelink"><a href=" |
|
| 11 | <div class="quotelink"><a href="{{id}}" onClick="doHighlight('{{id}}')">#{{id}}</a></div> | |
| 12 | 12 | {{/focus}} |
| 13 | 13 | </div> |
| 14 | 14 | {{/quotelist}} |
| 1 | {{! (pgnum, maxpg, works, show_cat, page='recent') }} | |
| 2 | <div class="maintext"> | |
| 3 | {{#works}} | |
| 4 | <div class="work"> | |
| 5 | <a href="/{{slug}}/">{{name}}</a> | |
| 6 | {{#showcat}} | |
| 7 | — <a href="/category/{{category}}/">{{category}}</a> | |
| 8 | {{/showcat}} | |
| 9 | </div> | |
| 10 | {{/works}} | |
| 11 | {{! | |
| 12 | <div class="backforward"> | |
| 13 | $if pgnum > 0: | |
| 14 | <span class="back"> | |
| 15 | <a href="/$page/?page=$(pgnum - 1)">previous</a> | |
| 16 | </span> | |
| 17 | $if pgnum < maxpg: | |
| 18 | <span class="forward"> | |
| 19 | <a href="/$page/?page=$(pgnum + 1)">next</a> | |
| 20 | </span> | |
| 21 | </div> | |
| 22 | }} | |
| 23 | </div> |
| 1 | {{! (pgnum, maxpg, works, show_cat, page='recent') }} | |
| 2 | <div class="maintext"> | |
| 3 | {{#works}} | |
| 4 | <div class="work"> | |
| 5 | <a href="/{{slug}}/">{{name}}</a> | |
| 6 | {{#showcat}} | |
| 7 | — <a href="/category/{{category}}/">{{category}}</a> | |
| 8 | {{/showcat}} | |
| 9 | </div> | |
| 10 | {{/works}} | |
| 11 | {{! | |
| 12 | <div class="backforward"> | |
| 13 | $if pgnum > 0: | |
| 14 | <span class="back"> | |
| 15 | <a href="/$page/?page=$(pgnum - 1)">previous</a> | |
| 16 | </span> | |
| 17 | $if pgnum < maxpg: | |
| 18 | <span class="forward"> | |
| 19 | <a href="/$page/?page=$(pgnum + 1)">next</a> | |
| 20 | </span> | |
| 21 | </div> | |
| 22 | }} | |
| 23 | </div> |