
1915 - 1940
Source: 'Où allez-vous Miró?', art critic Georges Duthuit in Cahiers d'Art 261, nos. 8-10, 1936
and they ask me into their deserted house [probably Miro meant the group 'Abstraction-Création', founded by a. o. Jean Arp and André Breton; both coined Miro's art in 1931 as 'mobile' and 'stabile'] as if the marks I put on a canvas did not correspond to a concrete representation of my mind, did not possess a profound reality, were not a part of the real itself.
1930s
Source: 'Où allez-vous Miró?', art critic Georges Duthuit in Cahiers d'Art 261, nos. 8-10, 1936
1915 - 1940
Source: 'Où allez-vous Miró?', art critic Georges Duthuit in Cahiers d'Art 261, nos. 8-10, 1936
"Unix and Beyond: An Interview with Ken Thompson," 1999
Context: In Plan 9 and Inferno, the key ideas are the protocol for communicating between components and the simplification and extension of particular concepts. In Plan 9, the key abstraction is the file system—anything you can read and write and select by names in a hierarchy—and the protocol exports that abstraction to remote channels to enable distribution. Inferno works similarly, but it has a layer of language interaction above it through the Limbo language interface—which is like Java, but cleaner I think.
On how society differs in England versus India in “Life sentences” https://www.theguardian.com/books/2009/mar/14/fiction in The Guardian (2009 Mar 13)
Excerpts from interviews
Dawit Wolde Giorgis (1989) Red Tears: War, Famine and Revolution in Ethiopia, The Red Sea Press Inc., p. 112
About Mengistu
“Excuse me, but I just have to say this. You are more stupid than a paramecium.”
Source: A Walk in the Woods (1997), Chapter 8 (p. 106)