"All this he saw, for one moment breathless and intense, vivid on the morning sky; and still, as he looked, he lived; and still, as he lived, he wondered."
What if there is no tomorrow?
There wasn’t one today!
(The Groundhog Day)
The Milan Digital Week is over and, regardless of my vow of non-involvement, I didn’t manage to sleep through it. You’ve already seen one of the things I’ve been involved in (the innovation bootcamp organized by SAS, I wrote about it here). I give you below another thing. Though I can’t divulge why I prepared this and for whom, I thought it was a cool thing to share, so here it is. Read it fast. It’s already old.
I had a genuine “oh shit” moment when I read the author’s preface saying this was darker than “Winter Harvest” because – and I absolutely ADORED “Winter Harvest” – that was pitch-black dark. I thought “we’re all going to die”. This maybe has something to
Alexis Wright‘s Carpentaria, an epic work set in a fictional town called Desperance, opens before there are any people in it at all: an ancestral serpent, “a creature larger than storm clouds,” descends from the stars and drags itself across the wet clay of the
I’m sure you’ve read enough analysis of Nolan’s Odyssey to last a lifetime, and you don’t need another European ranting that he changed stuff, so I’m not going to. Instead, I’d like to talk about the movie in itself, as an independent work, granting the
I had a genuine “oh shit” moment when I read the author’s preface saying this was darker than “Winter Harvest” because – and I absolutely ADORED “Winter Harvest” – that was pitch-black dark. I thought “we’re all going to die”. This maybe has something to
Alexis Wright‘s Carpentaria, an epic work set in a fictional town called Desperance, opens before there are any people in it at all: an ancestral serpent, “a creature larger than storm clouds,” descends from the stars and drags itself across the wet clay of the
I’m sure you’ve read enough analysis of Nolan’s Odyssey to last a lifetime, and you don’t need another European ranting that he changed stuff, so I’m not going to. Instead, I’d like to talk about the movie in itself, as an independent work, granting the
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