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The problem with the Internet is that it gives you everything - reliable material and crazy material. So the problem becomes, how do you discriminate?

Umberto Eco

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Umberto Eco
Age: 84 †
Born: 1932
Born: January 5
Died: 2016
Died: February 19
Essayist
Historian
Literary Critic
Literary Scholar
Medievalist
Novelist
Pedagogue
Philosopher
Screenwriter
Semiotician
Translator
Lissändria
Umberto Ecco
Umberto Eccounstino
Humberto Eco
Dedalus
Umberto Eko
Oumperto Eko
Eco Umberto
U. Eco
Gives
Becomes
Crazy
Problem
Discriminate
Everything
Reliable
Giving
Material
Materials
Internet

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The only truth lies in learning to free ourselves from insane passion for the truth.
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Fools are in great demand, especially on social occasions. They embarrass everyone but provide material for conversation. In their positive form, they become diplomats.
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I am not on Facebook and on Twitter because the purpose of my life is to avoid messages. I receive too many messages from the world, and so I try to avoid that.
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After years of practice, I can walk into a bookstore and understand its layout in a few seconds. I can glance at the spine of a book and make a good guess at its content from a number of signs.
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All the theories of conspiracy were always a way to escape our responsibilities. It is a very important kind of social sickness by which we avoid recognizing reality such as it is and avoid our responsibilities.
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Deciding what is being talked about is a kind of interpretive bet.
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Narrativity presumes a special taste for plot. And this taste for plot was always very present in the Anglo-Saxon countries and that explains their high quality of detective novels.
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I would define the poetic effect as the capacity that a text displays for continuing to generate different readings, without ever being completely consumed.
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Two cliches make us laugh. A hundred cliches move us. For we sense dimly that the cliches are talking among themselves, and celebrating a reunion.
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A transposable aphorism is a malaise of the urge to be witty, or in other words, a maxim that is untroubled by the fact that the opposite of what it says is equally true so long as it appears to be funny.
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I started to write [The Name of the Rose] in March of 1978, moved by a seminal idea. I wanted to poison a monk.
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The hand of God creates it does not conceal.
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What does culture want? To make infinity comprehensible.
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Since I became a novelist I have discovered that I am biased. Either I think a new novel is worse than mine and I don’t like it, or I suspect it is better than my novels and I don’t like it.
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It comes down to a question of attention: it's difficult to use the Net distractedly, unlike the television or the radio.
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The Art of the Romance, though warning us that it is providing fictions, opens a door into the Palace of Absurdity, and when we have lightly stepped inside, slams it shut behind us.
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When one starts writing a book, especially a novel, even the humblest person in the world hopes to become Homer.
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Even today, I frequently meet scientists who, outside their own narrow discipline, are superstitious.
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In short, Roberto privately concluded, if you would avoid wars, never make treaties of peace.
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He had prepared his death much earlier, in his imagination, unaware that his imagination, more creative than he, was planning the reality of that death.
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