And my real enemy is not to hold the specimen sterile but it's the lighting. The light is our real enemy. So we have to work with very very poor lighting. But we can increase the light with computers.

Lighter computers and lighter sensors would let you have more function in a given weight which is very important if you are launching things into space and you have to pay by the pound to put things there.

Man-made computers are limited in their performance by finite processing speed and memory. So too the cosmic computer is limited in power by its age and the finite speed of light.

With Jackson there was quiet solitude. Just to sit and look at the landscape. An inner quietness. After dinner to sit on the back porch and look at the light. No need for talking. For any kind of communication.

The thing that I've always been slightly frustrated with was that the idea of a CD is kind of confined to a material possession that you can put on a shelf. And the idea of music for me is always about both the communication and the sharing of content. And so the interactive part is missing.

Anonymous blog comments vapid video pranks and lightweight mash-ups may seem trivial and harmless but as a whole this widespread practice of fragmentary impersonal communication has demeaned personal interaction.

The mind in proportion as it is cut off from free communication with nature with revelation with God with itself loses its life just as the body droops when debarred from the air and the cheering light from heaven.

I moved to New York last year and I love it. It's a huge change and I've always wanted to spend time there. It's like a more intense London and everything's up a few notches. The lights are brighter the pace is faster and the food's better.

Fame changes a lot of things but it can't change a lightbulb.

I haven't got the slightest idea how to change people but still I keep a long list of prospective candidates just in case I should ever figure it out.

I can be almost terminally grief-stricken because things are so dire but at the same time there's a real lightheartedness about just the recoverability of life of how things change how they're not the same ever again.

That sort of half sigh which accompanied by two or three slight nods of the head is pity's small change in general society.

Loss is nothing else but change and change is Nature's delight.

It's a massive motor in a tiny lightweight car.

A man sits in his car at the traffic lights waiting for them to go green.

I had some vague memory of visiting Canberra as a lad when we came up with my father by car. But when I made the long train journey from Sydney to Canberra and arrived at the little stop I did wonder slightly whether this really was the national capital.

Whenever I drive under a yellow light I always kiss my finger and tap it on the roof of the car.

Because of that I don't care when I read in the newspaper that I am colourblind. I went through a red light in my car and I stopped when I before a green light. So I must be really colourblind eh?

The day I won an Emmy was also the day my father passed away. I received a call from my sister on the way to the ceremony and had to turn my car around and catch the first flight back to Karachi.

I'm the one who gets called up about a problem. I'm the one who gets called up about the street lighting and the abandoned car. I'm the one who gets blamed if the police don't arrive. I'm the one they blame if a city truck is broken down.

I used to look like a deer in headlights on the red carpet. You step out of the car and it's bedlam. Everyone's got crazy eyes.

I like structure - like driving: go past the school on the street stay on the right side no hitting the car go in right you'll see a big church stop and take a left and you'll have it. By doing this I'm giving a structure of life a path of light and showing what happens between me and me which is something very beautiful.

I mean you've kind of got the track down especially with ovals. The only thing that improves is that when race conditions come you know what to expect slightly more from the track and from your car.

It was 100 feet of 16 mm black-and-white film of a car coming to a stop sign and driving off. I had to decide how to frame and light it. It was magic. There was a sense of mystery.