Quitting Time - John Moore , 2015.
American, b. 1941 -
Oil on linen, 50 x 42 in. 127 x 106.68 cm.
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Quitting Time - John Moore , 2015.
American, b. 1941 -
Oil on linen, 50 x 42 in. 127 x 106.68 cm.
In the warmth of his body at dawn everything he might one day become was wound up tightly like a small spring. Each impact of his foot on the ground carried him on an enormous flight above the world. Freedom, space. There were hundreds, thousands of ancestors in him, uncharted centuries of heredity. Ancestors who hunted wild beasts and drew their shapes on the walls of caves, who raised wheat and drank from earthenware jugs in the heat of harvest time. Ancestors who wrote with a stylus on wax tablets. And the seed of generations to follow him, of unknown people in whom the trace of his smile might be preserved, the way he bent his head, his individual desires or his destiny.
There's no such thing as life without bloodshed. I think the notion that the species can be improved in some way, that everyone could live in harmony, is a really dangerous idea. Those who are afflicted with this notion are the first ones to give up their souls, their freedom. Your desire that it be that way will enslave you and make your life vacuous.
Cormac McCarthy, 1992
McCarthy is a radical conservative who still believes that the novel can, in his words, "encompass all the various disciplines and interests of humanity."
1992 NYTimes interview
Hurvin Anderson (British, b. 1965)
Mrs. S. Keita - Red, 2010
Screenprint
Kay Sekimachi: Katsura, 1971; nylon monofilament; 43 x 15 x 13 in.; Fine Arts Museums of San Francisco
Programming manuals from IBM
Image credit the Smithsonian, National Museum of American History
https://americanhistory.si.edu/cobol/introduction
A year or two after I'd joined the Labs, I was pair programming with Ken Thompson on an on-the-fly compiler for a little interactive graphics language designed by Gerard Holzmann. I was the faster typist, so I was at the keyboard and Ken was standing behind me as we programmed. We were working fast, and things broke, often visibly—it was a graphics language, after all. When something went wrong, I'd reflexively start to dig in to the problem, examining stack traces, sticking in print statements, invoking a debugger, and so on. But Ken would just stand and think, ignoring me and the code we'd just written. After a while I noticed a pattern: Ken would often understand the problem before I would, and would suddenly announce, "I know what's wrong." He was usually correct. I realized that Ken was building a mental model of the code and when something broke it was an error in the model. By thinking about *how* that problem could happen, he'd intuit where the model was wrong or where our code must not be satisfying the model. Ken taught me that thinking before debugging is extremely important. If you dive into the bug, you tend to fix the local issue in the code, but if you think about the bug first, how the bug came to be, you often find and correct a higher-level problem in the code that will improve the design and prevent further bugs. I recognize this is largely a matter of style. Some people insist on line-by-line tool-driven debugging for everything. But I now believe that thinking—without looking at the code—is the best debugging tool of all, because it leads to better software.
Rob Pike
https://www.informit.com/articles/article.aspx?p=1941206
Programming manuals from IBM
Image credit the Smithsonian, National Museum of American History
https://americanhistory.si.edu/cobol/introduction
Stills from Andrew Yang’s 一一 , 2000
Idle Beats, 面馆 Noodle Spot
https://www.idlebeats.com/realbigcity2
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Done. 8'x9'