In Greek mythology, Nemesis (Greek, Νέμεσις), also called Rhamnousia/Rhamnusia (“the goddess of Rhamnous”) at her sanctuary at Rhamnous, north of Marathon, was the spirit of divine retribution against those who succumb to hubris (arrogance before the gods). Another name was Adrasteia, meaning “the inescapable.”[1] The Greeks personified vengeful fate as a remorseless goddess: the goddess of revenge. The name Nemesis is related to the Greek word νέμειν [némein], meaning “to give what is due

Nemesis (mythology) - Wikipedia, the free encyclopedia

“pay what you owe”

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So what I finally decided was, art is simply inevitable. It was on the wall of a cave in France 30,000 years ago, and it’s because we are a species that’s driven by narrative. Art is storytelling, and we need to tell stories to pass along ideas and information, and to try and make sense out of all this chaos. And sometimes when you get a really good artist and a compelling story, you can almost achieve that thing that’s impossible which is entering the consciousness of another human being – literally seeing the world the way they see it. Then, if you have a really good piece of art and a really good artist, you are altered in some way, and so the experience is transformative and in the minute you’re experiencing that piece of art, you’re not alone. You’re connected to the arts. So I feel like that can’t be too bad.
Steven Soderbergh’s State Of Cinema Talk at the 56th San Francisco International Film Festival. I’m late to this, but the whole thing is brilliant.
We always say in the writers’ room, if Walter White has a true superpower, it’s not his knowledge of chemistry or his intellect, it’s his ability to lie to himself. He is the world’s greatest liar. He could lie to the pope. He could lie to Mother Teresa. He certainly could lie to his family, and he can lie to himself, and he can make these lies stick. He can make himself believe, in the face of all contrary evidence, that he is still a good man. It really does feel to us like a natural progression down this road to hell, which was originally paved with good intentions.
In Conversation: Vince Gilligan on the End of Breaking Bad
White privilege in essence is just obliviousness. It’s not malicious. Well… sometimes it’s malicious. Really if you just kind of check yourself and you’re aware that other people are humans and have feelings, it’s really not that hard to not be an asshole. And this is true, this isn’t just in race relations, this is human relations. You don’t laugh at people, you laugh with people. You don’t mock somebody who’s different than you. This is basic first grade shit. I don’t know what it is about white people that they lose that when they’re dealing with somebody who’s different from themselves. That’s privilege, the definition of it is the freedom to do that, anybody else is going to get checked for it.

A Conversation with Andrew Noz, theshho.com

The whole interview is great, but this bit really struck a chord with the way I try to act with people. Being aware of your privilege is literally as simple as this; having some self-awareness, just considering the way other people may take your words and actions, and recognising there are far worse things than apologising when you fuck up and trying to do better next time.

I’ve seen comics that have run two different timestreams on the same page. Recursive comics. Pages containing flashbacks to three different timeframes as well as moving forward in the present while making complete sense. Chris Ware did a famous short comic in RAW that featured several different historical periods in the same room in the same page while maintaining a linear story flow. Kevin Huizenga will turn a suburban stroll into a multi-linear history tour and then tie all the lines back together without losing you for a moment.

The point being: you’re not locked to one minute per page, like a screenplay. You can make time run so fast that the reader thinks that your comic has been injected into their eyeball, or so slow and heavy that the reader feels like you’ve boiled a doorstop novel into some condensed informational substrate.

Warren Ellis, Boiling Spacetime: How Time Works In The Graphic Novel

landlessness:

It’s more about when you come back from being out somewhere; in a minicab or a night bus, or with someone, or walking home across London late at night, dreamlike, and you’ve still got the music kind of echoing in you, in your bloodstream, but with real life trying to get in the way. I want it to be like a little sanctuary. It’s like that 24-hour stand selling tea on a rainy night, glowing in the dark. It’s pretty simple.

Burial on his own music, on October 2007

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Source: imdahab

bradplumer:

William Gibson’s gazillion-part interview with Wired is great, but particularly his bit on why science-fiction authors shouldn’t worry about making inaccurate predictions:

In a sense, if you’re not getting it wrong really a lot when you’re creating imaginary futures, then you’re just not doing it enough. You’re not creating enough imaginary futures. Because if you create enough of them, you’d better get it wrong — a lot. …

Science fiction writers aren’t fortune tellers. Fortune tellers are fakes. Fortune tellers are either deluded or charlatans. You can find science fiction writers who are deluded or science fiction writers who are charlatans — I can think of several of each in the history of the field. Every once in a while, somebody extends their imagination down the line, far enough with a sufficient lack of prejudice, to imagine something that then actually happens. When it happens, it’s great, but it’s not magic. All the language we have for describing what science fiction writers and futurists of other stripes do is nakedly a language of magic.

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Source: bradplumer