future links
---Covers
---Why Props Matter and Settings Are Characters, Too
---"Taken together, the secret documents lead to the conclusion that Washington’s 14-year high-value targeting campaign suffers from an overreliance on signals intelligence, an apparently incalculable civilian toll, and — due to a preference for assassination rather than capture — an inability to extract potentially valuable intelligence from terror suspects. They also highlight the futility of the war in Afghanistan by showing how the U.S. has poured vast resources into killing local insurgents, in the process exacerbating the very threat the U.S. is seeking to confront." --Jeremy Scahill
---1.000.000 Frames: Movie Posters
---"Technology companies don’t need to pry into our brains to exploit us, Rinesi says; they have built windows into them, and those windows are open all the time." --Nick Statt
---the title sequence of Zombieland
---Drone Culture
---"The inevitable result would seem to be that the internet will suck the creative content out of the whole world until nothing is left." --David Byrne
---"Today’s consumer is under a near constant barrage of visual and auditory stimuli across every device and medium; we can no longer rely on a passive audience to see an advertisement and take action. Therefore, today’s marketer must create experiences that cut through the noise of the media landscape and deliver brand impressions that are impossible to ignore.
With VR, you can give every consumer the best seat in the house." --Pete Sena
---How the Beatles Changed Album Covers
---"Welles’s detractors have been trying to punish him for his uncompromising approach to filmmaking—a directing style that looked, especially to Hollywood traditionalists, unorthodox—since before Citizen Kane was even released. By 1942, the year RKO butchered his second film, The Magnificent Ambersons, and blamed Welles for his own film’s disfigurement, the myth of the self-destructive auteur was already in place. But now when we look back on Welles’s work in Hollywood in the early 1940s, his real problems become clear: His dark vision of American capitalism was out of tune with the gung-ho years of World War II. That Welles pursued his original vision, even as he worked in a state of hand-to-mouth auteur financing, into the ’80s looks from our vantage point like a sign of strength and integrity." --A. S. Amrah
---We Don't Need Roads
---"We once glorified Twitter as a great global town square, a shining agora where everyone could come together to converse. But I’ve never been to a town square where people can shove, push, taunt, bully, shout, harass, threaten, stalk, creep, and mob you…for eavesdropping on a conversation that they weren’t a part of…to alleviate their own existential rage…at their shattered dreams…and you can’t even call a cop. What does that particular social phenomenon sound like to you? Twitter could have been a town square. But now it’s more like a drunken, heaving mosh pit. And while there are people who love to dive into mosh pits, they’re probably not the audience you want to try to build a billion dollar publicly listed company that changes the world upon." --Umair Haque
---"License to Play: Mark Cousins and the Personal Essay Film" by Thirza Wakefield
---"Sparkle’s mind was on a desert 7,000 miles away. Over the next 24 hours she would track an insurgent, watch as he was killed by a Hellfire missile, and spy on his funeral before ending her night with a breakfast beer and a trip to the dog park." --Kevin Maurer
---A Bit of History on Data
---"David Lynch's Elusive Language" by Dennis Lim
---"Hellfire missiles—the explosives fired from drones—are not always fired at people. In fact, most drone strikes are aimed at phones. The SIM card provides a person’s location—when turned on, a phone can become a deadly proxy for the individual being hunted.
When a night raid or drone strike successfully neutralizes a target’s phone, operators call that a 'touchdown.'" --Josh Begley
---Quentin Tarantino Push Ins
---Casey Neistat's Guide to Filmmaking
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