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we do need an aesthetic, because an aesthetic is how you convince other people that the beauty has arrived.

There’s a thermodynamic cost to storing information about the past that has no predictive value for the future, Still and colleagues show. To be maximally efficient, a system has to be selective. If it indiscriminately remembers everything that happened, it incurs a large energy cost. On the other hand, if it doesn’t bother storing any information about its environment at all, it will be constantly struggling to cope with the unexpected.


“A thermodynamically optimal machine must balance memory against prediction by minimizing its nostalgia — the useless information about the past.’’
Saint Mr Zuck he doesn’t give a fuck
Aleksandar Todorovic
Juxtapoz mag october 2, 2018


Saint Mr Zuck he doesn’t give a fuck

Aleksandar Todorovic

Juxtapoz mag october 2, 2018

If you change your business model you also have to change your editorial model. Changing one and not the other is like walking about with only one of your two legs in your pants.
«Au même moment, n’importe où sur la planète, chacun peut ressentir la même terreur, la même inquiétude pour l’avenir ou éprouver la même panique. C’est quand même incroyable! Nous sommes passés de la standardisation des opinions – rendue possible grâce à la liberté de la presse – à la synchronisation des émotions (…) Nos sociétés vivaient sur une communauté d’intérêt, elles vivent désormais un communisme des affects.»

Pratt, working on the larger Euro page, locks himself into a 12-panel grid for the most part.  Here’s the thing about a consistent use of a grid, that’s been kind of forgotten over the years.  You use it when you want the panelling to become invisible.  


It is, in fact, the equivalent of using “said” in prose.  We use “said” because we want the instruction to become invisible, for you to live inside the speech.  To replace “said” with “bellowed” or “farted” or “wept” tilts the sentence towards the author.  Regular unbroken consistent grid panelling stops you looking at the structure and has you simply focus on the words and pictures.


image


Warren Ellis’ Orbital Operations


I’m very hung up on things like tone and pace, which I think form voice, in a way. Like the speed that your language moves. That’s what I like, that kind of pell-mell. I really want to feel like I’m pulling people along.
I have (checks clock) sixteen days to finish a movie script.  This is actually fine.  A thing I learned from John Rogers is to write-over.  Each stage of the job - beat outline, treatment, screenplay – is built on the other.  Copy the rough beat outline into a new document and rewrite and add and expand until it’s a treatment.  Copy the treatment into Final Draft and rewrite and add and expand until it’s a screenplay.  That way, you only start with a blank piece of paper right at the very start of the process.  Every other stage comes with scaffolding and a base coat.  Works for prose and comics too.  Try it.  Just copy the previous document into the next one and start rewriting and adapting it.  Might not work for everything, but it might give you a leg up.


Warren Ellis

Orbital Operations

A 2-D projection of a Calabi-Yau manifold, one popular method of compactifying the extra, unwanted dimensions of String Theory. The Maldacena conjecture says that anti-de Sitter space is mathematically dual to conformal field theories in one fewer...


A 2-D projection of a Calabi-Yau manifold, one popular method of compactifying the extra, unwanted dimensions of String Theory. The Maldacena conjecture says that anti-de Sitter space is mathematically dual to conformal field theories in one fewer dimension. (Wikimedia Commons user Lunch)

Ask Ethan: Where Is The Line Between Mathematics And Physics?