Gillian Anderson
Gillian Anderson

I became an actor because it was the only thing I could do. I didn't have any friends, I didn't fit in. But when I started acting everything in my life shifted and I felt happy.

Brian Arthur
Brian Arthur

Our understanding of how markets and businesses operate was passed down to us more than a century ago by a handful of European economists — Alfred Marshall in England and a few of his contemporaries on the continent. It is an understanding based squarely upon the assumption of diminishing returns: products or companies that get ahead in a market eventually run into limitations, so that a

predictable equilibrium of prices and market shares is reached. The theory was roughly valid for the bulk-processing, smokestack economy of Marshall’s day. And it still thrives in today’s economics textbooks. But steadily and continuously in this century, Western economies have undergone a transformation from bulk - material manufacturing to design and use of technology — from processing of

resources to processing of information, from application of raw energy to application of ideas. As this shift has occurred, the underlying mechanisms that determine economic behavior have shifted from ones of diminishing to ones of increasing returns.

Milton Babbitt
Milton Babbitt

Somebody will ask those of us who compose with the aid of computers: 'So you make all these decisions for the computer or the electronic medium but wouldn't you like to have a performer who makes certain other decisions?' Many composers don't mind collaborating with the performer with regards to decisions of tempo, or rhythm, or dynamics, or timbre, but ask them if they would allow the performer

to make decisions with regard to pitch and the answer will be 'Pitches you don't change.' Some of us feel the same way in regard to the other musical aspects that are traditionally considered secondary, but which we consider fundamental. As for the future of electronic music, it seems quite obvious to me that its unique resources guarantee its use, because it has shifted the boundaries of music

away from the limitations of the acoustical instrument, of the performer's coordinating capabilities, to the almost infinite limitations of the electronic instrument. The new limitations are the human ones of perception.