Category Archives: real

>藤野眞功

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「ちゃんと電車で帰ったよ。逃げる奴は追われるというからな」
「凄いですね」
「いったい、今の話のなにが凄いんだ? ええ! 教えてくれ」
「だって、そんな状況から逃げ切るなんて」
「いいか。凄いのは、金を持って逃げた奴らだけだ。おれを嵌めた二人の覆面と運転手だけだ。おれのことじゃない。おれが言いたいのは、言葉には意味がないってことだ。いいか。逃げるとき以外、あの時のおれは常に冷静だった。だが、事にあたっては冷静であることに何の意味もない。それが、おれの言いたいことだ。言葉を信じるな。それがもっとも肝心なことだ。奴らはおれを嵌め、オヤジはおれとの約束を破った。それが、おれの得た経験だ。言葉は無意味だ」
「でも、今の話はおれにはすごく為になりました」
 健一は言った。
「だから言葉には意味がない」
 藤井は笑った。
「いまのは作り話だ」
「なんのために、そんな嘘を」
「ここでは、すべてが無意味だからさ。言葉も行動も、おれもお前さんも」
 健一には、すべてが作り話とは思えなかった。

Captain Grace M. Hopper

In 1945, while working in a World War I vintage non-air-conditioned building on a hot, humid summer day, the computer stopped. We searched for the problem and found a failing relay — one of the big signal relays. Inside, we found a moth that had been beaten to death. We pulled it out with tweezers and taped it to the log book. From then on, when the officer came in to ask if we were accomplishing anything, we told him we were ‘debugging’ the computer.

Right now we’re in the business of collecting information. No one has really analyzed the total flow of information. What is most important? Is it Joe’s two hours of overtime, or is it a nuclear power plant that might blow up if we don’t change a valve setting? We have not correctly addressed that.

We haven’t researched the value of information or the cost of incorrect information—or even which information gets priority. It is my experience that the senior squeaking wheel gets the top priority.

Edsger W. Dijkstra

In the IBM/360, which appeared a year later, such queueing was done by “command chaining”: in the chain of queued commands, the last one carried an end marker, and attaching a new command was done by overwriting that end marker by a pointer to the command to be attached. But the design contained two serious flaws.
If at the moment of attachment the channel was still active, the new command would be executed in due time, otherwise the channel had to be reactivated. To establish whether this obligation was present, the instruction code contained test instructions testing whether channels were active or not, but the trouble with such a test instruction is that when a channel is reported to be still active, that information can be obsolete a microsecond later. In the IBM/360 the result was that, when a new command had been attached while before the attachment the channel was observed to be active and after the attachment it was passive, this information was insufficient to determine whether the channel had deactivated itself before or after the attachment, i.e. whether the last command had been executed or not.
Reporting completions was similarly defective. Command chaining had introduced channels that in due time would report a sequence of completions, but instead of a counter there was only the binary interrupt flipflop to record a next completion. If an interrupt signal came before the previous one for that channel had been honored, it would just get lost! They had traded the minor evil of moral urgency for the major one of essential urgency.
At the time I was shocked by the fact that the major product of the world’s largest and most powerful computer manufacturer could contain such a serious blunder. Later I realized that to a certain extent I myself was to be blamed, for when I invented the semaphores and the synchronizing primitives, I did not publish my invention.

The other vivid memory is of what I heard about IBM’s mechanical debugging aid. In order to make errors reproducible they equipped the IBM/360 with a special hardware monitor; in the recording mode it would capture precisely where in the computation each interrupt took place, in the controlling mode it would force the computer to replay exactly the recorded computation, thus making intermediate results available for inspection. It struck me as a crude and silly way of proceeding, and I remember being grateful that lack of money had protected me from making that methodological mistake. I felt grateful and superior, and when a few years later it became clear that IBM couldn’t get its OS/360 right, I was not amazed.

>Bernie Siegel

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The inexplicable happens all the time. It makes more sense to simply accept things we observe but cannot understand. It is really more scientific to keep an open mind. Until we can understand and explain the things we now label miracles, let us accept them and try to create more of them.

>Ralph Waldo Trine

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A miracle is nothing more or less than this. Anyone who has come into a knowledge of his true identity, of his oneness with the all-pervading wisdom and power, this makes it possible for laws higher than the ordinary mind knows of to be revealed to him or her.

>Augustine of Hippo

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When people truly open their minds, and contemplate the way in which the universe is ordered and governed, they are amazed–overwhelmed by a sense of the miraculous. When people contemplate with open minds the germination of a single seed, they are equally overwhelmed–yet numerous babies are born every day, and no-one marvels. If only people opened their minds, they would see that the birth of a baby, in which a new life is created, is a greater miracle than restoring life.

>Philip Jason

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To love someone is to always see them as the miracle that they are; as the miracle that they exist, the miracle that makes your own simultaneous existence seem fortunately improbable and therefore defiantly miraculous; is to show them, in your eyes and through the way in which you look at them, the limitless beauty of their true miraculous selves; is to say to them in every glance: “I believe in miracles because I believe in you.”

>Paulo Coelho

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You can become blind by seeing each day as a similar one. Each day is a different one, each day brings a miracle of its own. It’s just a matter of paying attention to this miracle.

>Boyd K. Packer

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Some people think a miracle is only a miracle if it happens instantaneously, but miracles can grow slowly and patience and faith can compel things to happen that otherwise never would have come to pass.

>Willa Cather

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Where there is great love there are always miracles. Miracles rest upon our perceptions being made finer, so that for the moment our eyes can see and our ears can hear what has been there around us always.

>Sax Rohmer

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Imagine a person, tall, lean and feline, high-shouldered, with a brow like Shakespeare and a face like Satan, … one giant intellect, with all the resources of science past and present … Imagine that awful being, and you have a mental picture of Dr. Fu-Manchu, the yellow peril incarnate in one man.

>David Lamelas

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Fiction is one of the most used elements in the fields of creative painting, sculpture, nonpainting, nonsculpture, Happenings, theater, TV, and cinema.
Any “work of art” contains a mystery of elaboration/production which starts the work itself; that is, the artist or person who carries out something in a “specialized field” limited by many conventions, accomplice to this mystery of production before execution.

William Gibson

The sky above the port was the color of television, tuned to a dead channel.
“It’s not like I’m using,” Case heard someone say, as he shouldered his way through the crowd around the door of the Chat. “It’s like my body’s developed this massive drug deficiency.” It was a Sprawl voice and a Sprawl joke. The Chatsubo was a bar for professional expatriates; you could drink there for a week and never hear two words in Japanese.
Ratz was tending bar, h is prosthetic arm jerking monotonously as he filled a tray of glasses with draft Kirin. He saw Case and smiled, his teeth a webwork of East European steel and brown decay. Case found a place at the bar, between the unlikely tan on one of Lonny Zone’s whores and the crisp naval uniform of a tall African whose cheekbones were ridged with precise rows of tribal scars. “Wage was in here early, with two joeboys,” Ratz said, shoving a draft across the bar with his good hand. “Maybe some business with you, Case?”
Case shrugged. The girl to his right giggled and nudged him.

>Maurice Merleau-Ponty

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Vécue dans l’acception la plus large, cette sorte d’espace traduit une manière d’être, une véritable expérience existentielle, plongeant ses racines dans le corps humain ; aussi est-elle fonction de la situation de celui qui la vit. … Sous cet angle, l’expérience de l’espace se confond évidemment avec sa représentation concrète : visible, palpable, audible. L’homme qui “vit” l’espace dans toutes ses fibres le bâtit au surplus simultanément sous nos yeux, ce qui signifie que l’espace suggéré par les mots de récit est déterminé au premier chef par la personne et la situation du narrateur.

>Daniel L.Schacter

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In Kawabata’s “Yumiura,” the woman who remembered a love affair that apparently never happened reflected on the gift of memory. “Memories are something we should be grateful for, don’t you think?” she asked the bemused novelist. “No matter what circumstances people end up in, they’re still able to remember things from the past — I think it must be a blessing bestowed on us by the gods.” She offered this high praise even though the memory system she celebrated led her unknowingly down a path of delusion. The path through this book is in some ways analogous: we will need to immerse ourselves in the dark sides of memory before we can fully appreciate this “blessing bestowed by the gods.”

>川端康成

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作家の香住庄介のもとに、五十を少し過ぎたぐらいの婦人が訪ねてくる。彼女は、三十年ほど前に、九州の弓浦という町で香住に会ったことがあると言う。しかし、香住には、まったく覚えが無い。彼女は当時新聞記者をしていて、香住を自分の部屋に招いた日のことを情熱的に語る。香住は、何も思い出せないまま、はあ、はあ、と聞いているのだが、帰り際に「結婚しないかとおっしゃってくださいましたわ。わたしの部屋で」と言われ、ええっ、と仰天してしまう。婦人が帰ってから、地図で調べてみても、九州に弓浦という地名は存在しない。きっとさっきの話は婦人の妄想にちがいないということに落ち着くのだが、それにしても薄気味悪い、と香住は思う。「香住自身には忘却して存在しないが、他人に記憶されている香住の過去はどれほどあるかしれない」と。

John Fiske

Images are neither the bearers of ideology, nor the representations of the real, but what Baudrillard calls “the hyperreal”: the television image, the advertisement, the pop song become more “real” than “reality”, their sensuous imperative is so strong that they are our experience, they are our pleasure. Denying the narrative domain of these objects dislocates them from the ideological one as well. The pleasure here is not in resisting ideology, nor in challenging it with a “better” one, but in evading it, in liberating oneself from it.

>William Eggleston

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(How do you decide if something is worthy of being captured?)
I never know beforehand. Until I see it. It just happens all at once. I take a picture very quickly and instantly forget about it. Not for good, but for the time being. Suddenly I just feel like I have to take a picture. Sometimes I’ll leave the house with a fully loaded camera and end up with nothing. It’s just about being there. Anywhere. Even the most uninteresting, ugly or boring places can for an instant become magical to me.

>Stephen Shore

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(Do you need a philosophy to do great work?)
I would call it ‘intentionality’. Sometimes I meet young artists and it becomes clear that for some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself. To do that, I produced work. The work that was shown was like a by-product, but never the purpose of my photography. The thought process doesn’t even have to be conceptual or intellectual. It can be visual, or a layer of thought that’s wordless. I’m always exploring some question or other, but it may not even be formulate as such. I believe the work produced by most established artists, was produced as a by-product of their personal explorations.

>Susan Sontag

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Die von der Kamera aufgezeichnete Realität wird zwangsläufig stets mehr verbergen als sie enthüllt.
Fotografieren heisst, sich das fotografierte Objekt aneignen. Es heisst, sich selbst in eine bestimmte Beziehung zur Welt setzen, die wie Erkenntnis – und deshalb wie Macht – anmutet.

Jean Baudrillard

La simulation s’oppose à la représentation.

Les phases successives de l’image sont:
  • elle est le reflet d’une réalité profonde (bonne apparence);
  • elle masque et dénature une réalité profonde (mauvaise apparence);
  • elle masque l’absence de réalité profonde (joue à être une apparence);
  • elle est sans rapport à quelque réalité que ce soit (simulacre);
  • elle est son propre simulacre pur (simulacre).

Andrew Wachowski, Laurence Wachowski

I know exactly what you mean. Let me tell you why you’re here. You’re here because you know something. What you know you can’t explain, but you feel it. You’ve felt it your entire life, that there’s something wrong with the world. You don’t know what it is, but it’s there, like a splinter in your mind, driving you mad. It is this feeling that has brought you to me. Do you know what I’m talking about?

>百田尚樹

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町でいちばん美しい女は、かつてバケモノと呼ばれていた。
私は戦って美しさを手に入れた。だから、私は美の価値を知っている。
美人は心も素直で奇麗だが、ブスは心もひねくれている。

谷崎潤一郎

諸君はまたそう云う大きな建物の、奥の奥の部屋へ行くと、もう全く外の光りが届かなくなった暗がりの中にある金襖や金屏風が、幾間を隔てた遠い遠い庭の明りの穂先を捉えて、ぽうっと夢のように照り返しているのを見たことはないか。その照り返しは、夕暮れの地平線のように、あたりの闇へ実に弱々しい金色の光を投げているのであるが、私は黄金というものがあれほど沈痛な美しさを見せる時はないと思う。
そして、その前を通り過ぎながら幾度も振り返って見直すことがあるが、正面から側面の方へ歩を移すに随って、金地の紙の表面がゆっくりと大きく底光りする。決してちらちらと忙しい瞬きをせず、巨人が顔色を変えるように、きらりと、長い間を置いて光る。時とすると、たった今まで眠ったような鈍い反射をしていた梨地の金が、側面へ廻ると、燃え上がるように耀いているのを発見して、こんなに暗い所でこれだけの光線を集めることが出来たのかと、不思議に思う。