On the present paradigm, what you can verify is what you get more of. If you can't verify, you can't ask the AI for it 'cause you can't train it to do things that you cannot verify. Now this is not an absolute law, but it's like the basic dilemma here.
— Eliezer Yudkowsky, "Eliezer Yudkowsky: Dangers of AI and the End of Human Civilization | Lex Fridman Podcast #368"
A part of him, he said, now regrets his life’s work. “I console myself with the normal excuse: If I hadn’t done it, somebody else would have,” Dr. Hinton said.
— Cade Metz, "‘The Godfather of A.I.’ Leaves Google and Warns of Danger Ahead," The New York Times
The portability of his work was perfect; he could carry a show, unframed, under his arm.
— Willy Eisenhart, The World of Donald Evans
Once again he began to use his work as a kind of journal in which to record and celebrate his world, his friends and everything that interested him.
— Willy Eisenhart, The World of Donald Evans
I remember Chemical Bank... #JoeBrainard
— @touchtone7 caption to image of hand holding blank Joe Brainard check from Chemical Bank
It was like that but in a book.
— Zach on The Magic School Bus episode where they go inside a person.*
How many rolls?
— Eva texting about more white duct tape*
Fabric & Garden Staples
— Vigoro box at Home Depot
One of book artist @bdenzer ‘s definitions for a book is—this is not a direct quotation—“a gathering of things that are the same.”* And so today I present a book of lilacs.
— @brevigrapher
He drew laughs with a story about a small railroad he had bought in Colorado. When he inspected it, he saw trains busily rolling in and out of the switchyard. He later learned the bustle was all for show. “I thought it was doing a big business,” he said. “Afterward, I learned they had kept the freight back a week to impress me."
— Greg Steinmetz, American Rascal: How Jay Gould Built Wall Street's Biggest Fortune
o wait it’s called roney island!!
— Lian on name of pizza from Pizza Marvin*
But it's a fact that many of the films you've seen tonight could never have been made otherise. Or if otherwise—well, they might have been better. But certainly, they wouldn't have been mine.
— Orson Welles via Barbara Leaming, Orson Welles: A Biography
It's very much against my principles to tell a cast of people what I intend a picture or play to be like, because it sometimes turns out to be something else and they shouldn't catch you making a mistake. That's one reason. And the second is, they're all thinking about themselves anyway, so talk about them. Don't talk about the grand canvas.
— Orson Welles via Barbara Leaming, Orson Welles: A Biography
The biography is twice as interesting if I am friends with the biographer. It becomes a dialogue of a certain kind, a drama between two people. You're not inserting yourself, you are admitting—which is always a tremendously good formula in any art form, I think—the limitation of the form.
— Orson Welles via Barbara Leaming, Orson Welles: A Biography
Antony Gormley, 'Field', 1989-2003
— @elephantmagazine
When restless he would doodle on a notepad, mostly triangles or spider webs that suggest nothing more than impatience.
Kenneth Whyte, Hoover: An Extraordinary Life in Extraordinary Times
Following are a number of eagles from the Miami (OH) Valley Quiltmakers, 1890-1914
— @buttflincher
“When asked how such a young service member could have had access to highly sensitive documents, the Pentagon spokesman, Brig. Gen. Patrick Ryder, said it was the nature of the military to trust its very young service members with high and sometimes grave levels of responsibility, including high levels of security clearance,” the AP reported on Thursday.
“We entrust our members with a lot of responsibility at a very early age. Think about a young combat platoon sergeant, and the responsibility and trust that we put into those individuals to lead troops into combat,” Ryder said.
— John Hayward, "Everything You Need to Know About the Alleged Pentagon Leaks," Breitbart
Things that seem slight when they were made do not always turn out that way in the long run, when thinking people who sweat the details are the ones making them.
— Christopher Bonanos, Flash: The Making of Weegee the Famous
The Photo League's members tended to intellectualize their work. And even though his photographs consistently reflected many of the League's activist ideals, he was (perhaps owing to his lack of formal education, perhaps to his streetwise cynicism) suspicious, even dismissive, of those who claimed they were doing something for the greater good. “Messages?" he once told his friend Peter Martin. “I have no time for messages in my pictures. That's for Western Union and the Salvation Army."
— Christopher Bonanos, Flash: The Making of Weegee the Famous