“To live in Manhattan is to be persistently amazed at the worlds squirreled inside one another, the chaotic intricacy with which realms interleave, like those lines of television cable and fresh water and steam heat and outgoing sewage and telephone wire and whatever else which cohabit in the same intestinal holes that pavement-demolishing workmen periodically wrench open to daylight and to our passing, disturbed glances. We only to pretend to live on something as orderly as a grid.”—
“I hate being able to find my messages. Remember the old days when our messages were hidden from the main page and we liked it that way? And what’s with this private message bullshit, what are we, Rep. Weiner? I have nothing to hide! Tumblr has really changed since two days ago…”—Kevin Nuut (via david)
I’ve been reading a lot this year, and quality hasn’t always been the name of the game, so to speak.
I dived into genres i hadn’t touched before, with mixed results. To sum up, while i do enjoy some sci-fi, i absolutely hate ‘space opera’. The main reason is all in the technique.
If you write a first person / one character novel, set against the huge backdrop of the whole universe it has no choice but become a coming of age story, man finds his place in the world kind of thing. And i’ve got no problem with that, fine.
But these authors don’t want to write character studies, no, they want to write fucking epics, fate of the world, eternal struggle between good and evil kind of deals. Heavy Plot stuff. And those kind of things you don’t write it like that, first person i mean, you almost have to have multiple point of views, many tiny scenes carried out by different players that move the whole thing along.
Think star wars, it’s luke’s coming of age (or… err.. vader’s for those other movies) but it also needs han, leia, vader and all to carry their own sequences to be whole, to make sense.
Instead what i get with these motherfuckers is these half assed attempts where the hero just comes along and solves everything as soon as he steps on the scene. It’s frustrating, unrealistic and unsatisfying. The whole setting is made of cardboard, it just lies there waiting for somebody to show up and save the day, otherwise nothing will ever happen.
Yeah, you pulled an entire planet full of weird aliens out of your ass, but they exist only to sit behind their cool alien doors in their tiny alien rooms and wait for that space marine dude to get there, shoot their gooey blue brains all over the walls and leave.
Earlier in the day, David Karp, founder of Tumblr, said that the massive disapproval of his websites new layout has forced them to revert back to the original format
“We realized that the dashboard looks perfectly fine and that what we really need to focus on is straightening out the other features around the site to make everyone’s experience better.” Karp told CNN.
For the time being, Karp just urges users to wait it out and the original dashboard will be back before they know it.
Following the link may be the most important thing you do in life.
I’m having a lot of fun with low contrast and backlight. no lens flare this time. switching it up? special thanks to my mentor and pal Stu Maschwitz for his philosophical approaches into digital coloring. that man has insights like I have calories. he’s helped me through all my projects, one…
A hand-written sign hung in every projection booth that has been my privilege to man: THE PROJECTIONIST HAS FINAL CUT!
One lazy projectionist is all it takes to sabotage the years of hard work put into getting a film from script to screen. Director Terrence Malick (Badlands, Days of Heaven) knows this and expressed his concern in a letter sent to the attention of every projectionist assigned the sworn duty of bringing his latest film, The Tree of Life, to light.
Malick begins by cushioning his “fraternal salute” by pointing out the obvious: “Proper theatre projection is fast becoming a forgotten art.” He asks projectionists to take into consideration the following points:
1. Project the film in its proper 1.85:1 aspect ratio.
2. The correct fader setting on Dolby and DTS systems is 7. Malick asks that faders be kept at 7.5 or even 7.7, system permitting.
3. The film has no opening credits, and the booth operator is asked to make sure the “lights down cue is well before the opening frame of reel 1.”
4. With all the recent talk of ”darkier, lousier” images, operators are asked that lamps are at “proper standard (5400 Kelvin)” and that the “foot Lambert level is at Standard 14.”
Oh hai, listen, i think this could use a bit more gain, but it’s not like i can be bothered printing a louder mix that somehow conforms to industrywide standards, so could you please push the faders up on your side? Thanks dude, btw, really love your work, forgotten art, peace out, Terry Malick.