Real-Time Feedback Quotes

If you think of the way a composer or say a pop arranger works - he has an idea and he writes it down, so there's one transmission loss. Then he gives the score to a group of musicians who interpret that, so there's another transmission loss. So he's involved with three information losses. Whereas what I nearly always do is work directly to the sound if it doesn't sound right. So there's a continuous loop going on.

Computers are great because when you're working with them you get immediate results that let you know if your program works. It's feedback you don't get from many other things.

We're living in a world where the response is really instantaneous, even though it's delayed by a few months. It comes at you pretty fast.

There's something exciting and incredibly liberating for an artist to finish something Friday night and the world hears it Friday night instead of eight months later after marketing people and all those assholes get involved.

Fan feedback going from a box of letters once every few months to literally tweeting while the show is airing. We are able to get a much quicker response to the choices we're making as storytellers.

The microphone is open. There is no delay. If I see something and want to say it right now, I can.

What we are going to offer is not a one-way communication, but one-to-one communication.

We already have our phones, but other wearables, and those technologies are going to want to know when you're deciding things and then offer some kind of input subtle or less so on that moment.

When you're playing live, those people who you're trying to please and reach, they're right there giving you feedback. And you don't get that feedback in the studio.

A huge potential audience, great interaction with your readers, the ability to see what people like and what they don't, the ability to see how people respond to what you're doing in real-time - there's just tons of great stuff that you get by being online.

You want to know if people are resonating with your ad before it goes live and before you spend millions and millions of dollars. With our software, you can get a moment-by-moment readout of a viewer's emotional journey.

I think Twitter is the literature of the 21st century. I think it's an incredible art because when you make a book, you don't know who reads it. But every line, I write a million people, they read it, and then they insult me, they love me, they discuss, they give an opinion instantly, immediately. They are completely in communication, immediately. That is a real art.

In business, the market gives you feedback in real time. Your sales figures tell you what's working, what isn't, and how you need to change. If you don't listen to the feedback, you go belly up. In philanthropy, there is no market.

The second I finish shooting something, I know I could have done it better if we started right then.

I think it's one of the secret sauces to our success, if you will, is that our fans are a part of our show. They engage, they chant, they cheer, they boo. There's a problem when they don't react. So, in essence, every live event is like a focus group. So we are getting that real-time feedback from them in the arena.

One of the great things going on right now is social media and you get a real sense, immediately, about what people are feeling and thinking.

I use a portable pocket ultrasound device instead of a stethoscope to listen to the heart, and I share it with the patient in real time. 'Look at your valve, look at your heart-muscle strength.' So they're looking at it with me. Normally a patient is tested by an ultrasonographer who is not allowed to tell them anything.

Doing exercise without monitoring yourself will be rare in the future of wearable technology.

I prefer to have playback, but sometimes, you can't have that under most circumstances. First, it is expensive because you need a playback operator and secondly, it threatens a lot of directors. I only watch my performance. I see what is necessary for me so that I can see it right at the moment and I can fix it. That appeals to me a great deal.

The performances had to be live. When you play it back, you can see if the hands aren't really doing the right thing, and then the whole magic falls apart.

I think that what streamers have is a direct connection to their audience. Imagine if LeBron James or Michael Jordan could interact directly with their audience every time they went to work.

Real-time feedback and coaching promotes learning. When feedback is connected to compensation, feedback is muted, distorted, and given less frequently.

What I worry about is working in this serial medium, where people are talking about your stories before they're done, we have this instant feedback loop now. I'm very active on Tumblr and I have a very active engagement with readers and I love it, but I don't want to start writing to try to please someone else. I don't want my meter to get skewed.

You can only get so far from an evaluation standpoint in practice, and you know, at some point, you've got to go play and kind of take that next step in the evaluation of just where you are and then grow and make adjustments as you go throughout the year.

Once digital came, I could see my images instantly right there on the camera. I think that makes you a better photographer because you can see right there if your subject's eyes are closed or if you exposed it wrong and if it's too bright or dark. You can fix it right here. With film, you wouldn't know until you got the prints back if something was messed up, and then there was nothing you could do. That was a huge advantage.