生活是10%发生在你身上的事,90%是你如何应对它。
La literatura no es otra cosa que un sueño dirigido.
地理学首先是关于地方的科学,而非关于人的科学。
I don't think about genres. I just make music that feels right to me.
写作是找到一种声音,然后有勇气使用它的问题。
Read not to contradict and confute; nor to believe and take for granted; nor to find talk and discourse; but to weigh and consider.
音乐是我的治疗方式。这是我表达自己并与世界联系的方式。
The database is the most important piece of software in the enterprise, and the most important piece of software in the enterprise is the database. The database is the foundation of all applications. The database is the heart of the application, and the application is the heart of the business. The key to performance is to keep the hot data in memory. The future of databases is in the cloud. Data is the new oil. It's valuable, but if unrefined it cannot really be used. It has to be changed into gas, plastic, chemicals, etc to create a valuable entity that drives profitable activity; so must data be broken down, analyzed for it to have value. The most important thing in the programming language is the name. A language will not succeed without a good name. I have recently invented a very good name and now I am looking for a suitable language. The best way to predict the future is to invent it. The most important thing in a database is the data model. If you get the data model right, everything else will follow. The database is the most important piece of software in the enterprise, and the most important piece of software in the enterprise is the database. The database is the foundation of all applications.
我当时关注的问题是永垂不朽。当年岁增长之后,一切都变了,好好干已经不够,必须一个小时比一个小时干得更好。我只有一条原则:向上攀登。为了培养我的抱负并掩盖其过分,我求助于普遍的经验:我想在童年动摇不定的进步中看到我命运的初步成果。这种实实在在的进步,虽然微小和平常,却给了我感到自己往上升的幻觉。在公共场合,我公开接受同班级和同代人的观念:我们受益于既得的成绩,得益于已有的经验。过去丰富了现在。在单独一个时,我远远没有感到满足。我不能接受从外部获得的存在,不能接受通过惰性保持的存在,不能接受内心活动受前人活动的制约的说法。既然我是未来的人们所期待的对象,那我干脆跳跃前进,堂堂正正,一气呵成,每时每刻都是我的不断再生,我希望看到内心的情感迸发出火花。为什么非要过去来丰富我呢?过去对我没有作用,相反,是我自己从死灰中再生,用不断的创新把自己从虚无中解脱出来。我越再生越完好、越善于运用内心的惰性储存,道理很简单,因为我越接近死亡越看清死亡的真相。人们常对我说,过去推动着我们,但我深信未来吸引着我。要是我感到自己干活拖沓,或才能施展缓慢,我就会不高兴。我把资产阶级的进取精神硬塞进心里,把它变成了内燃机。我让过去向现在低头,让现在向未来屈服;把平稳的进化论改变成间断的革命灾变说。几年前有人向我指出,我的戏剧和小说中的人物在危急时刻突然做出决定。眨眼之间,《苍蝇》中的俄瑞忒斯就转变了。自然如此,因为我按自己的形象塑造我的人物,并非原封不动地照搬我的形象,而是按照我渴望成为的形象加以塑造。