I wear a lot of different hats - from writer to producer and artist. We all do 5 or 6 jobs everything from creating our own graphic design to actually recording and the whole bit.

My background is in hardware design. I found hardware work to be a welcome change from thousands of hours of programming and that led to the designs you mentioned.

Looking back video game design seems a natural fit although there was no such thing when I was growing up. I built a Tic-Tac-Toe playing machine in my teens which went up in smoke on the night it was scheduled to go to a science fair.

Acting isn't for me. I don't like being told what to do. I'm more interested in set design more visually driven.

Actually I didn't make the claim that Ruby follows the principle of least surprise. Someone felt the design of Ruby follows that philosophy so they started saying that. I didn't bring that up actually.

I believe consistency and orthogonality are tools of design not the primary goal in design.

I brought a lot of my own pieces of clothes to the design room when I first met with the design team just so they could see what my style was like.

There were IBM logos designed for the film and there were IBM design consultants working with Kubrick on the layout of the controls and computer screens.

My particular aesthetic of light and color and design wouldn't change as a result of working with computer graphics rather than with slit scan or miniatures.

IBM was the original contractor for much of the computer interface design on the film.

When the Grateful Dead needed a quality sound system to deliver our sonic payload I learned electronics and speaker design.

Of course I did lots of what would be called graphic design now what used to be called commercial art.

After all C++ isn't a perfect match for Java's design aims either.

I finished high school there and then I went to Rhode Island School of Design.

The design of those commissioners frigates and warlike force is directed rather against Long Island and these your Honors' possessions than to the imagined reform of New England.

Nothing they design ever gets in the way of a work of art.

Once you come up with a premise you have to work out how it all happened. It's a bit like coming up with a spectacular roof design first. Before you can get it up there you need to build a solid foundation and supporting structure.