To create the exhibit "Under Tomorrows Sky" (yes, it's apostrophe-free), speculative architect Liam Young brought together a batch of like-minded folks to imagine a city of the future. The contributors include futurist and sci-fi writer Bruce Sterling, graphic novelist Warren Ellis, scientist Rachel Armstrong, and a lot more.
Somehow that vision ends up resembling a collision between nature and urban blight; think of it as a sort of post-apocalyptic Walden Pond. It's gorgeous--you can see that in the gallery--but the project is a multimedia endeavor, too. Videos inspired by it are at the exhibit's site, and there's even a fly-on-the-wall camera for you to sit in on the think tank discussions. Here are sci-novelists Bruce Sterling and Simon Ings chatting with Young about the city of the future.
My experience didn't really prepare me with the skills necessarily to teach poetry writing. Part of the problem is that the educational system is mired in measuring success and failure, both of pupil and teacher, and so free thinking and expression are an anathema to the system. Yet it is free thinking, imagination and expression that is the playground of the poet. It would be great to allow children a portion of time for quiet reflection then allowing them writing time for whatever they wish to put down on paper. The benefits being that the teacher learns more about their charges and the pupils can stretch their minds and become more aware of themselves.
E no mito de Lovecraft, isso funciona muito bem. O Bode Negro das Florestas no mito de Cthulhu também é conhecido como Shub-Niggurath, e o descrevia como uma enorme massa disforme que exalava tentáculos negros ...
Uma equipe cubana-canadense relatou no ano de 2000, a descoberta do que poderia ser as ruínas de uma cidade de cerca de 6 mil anos de idade ou mais, que afundou ao longo da costa oeste de Cuba, como relatado.
fonte: RR – Opinião – 19OUT 2012 ANTÓNIO CÂMARA A ficção científica utópica do século XIX foi sendo substituída por ficções anti-utópicas Júlio Verne escreveu parte do seu livro “20 mil léguas submarinas” no Dafundo.
The stars are finally right! Welcome to the October issue of The Lovecraft eZine: A tribute to Roger Zelazny’s beloved book A Night in the Lonesome October. I have eight tales for you this month instead of the usual five, as well as a wonderful essay on the book, and an introduction by Roger Zelazny’s son, the author Trent Zelazny. At the end of every story, read on for some thoughts on the book from the author. Lastly, I have some great news: Trent has given me his blessing on making this an annual tradition! So every October issue of Lovecraft eZine will be a tribute to A Night in the Lonesome October.
Lord Dunsany (1878 – 1957) was a prolific Anglo-Irish writer and dramatist, known for fantastical fiction, some of it dark. His real name was Edward John Moreton Drax Plunkett, 18th Baron of Dunsany. Born to one of the oldest titles in the Irish peerage, Dunsany lived much of his life at perhaps Ireland’s longest-inhabited home, Dunsany Castle near Tara, worked with W.B. Yeats and was chess and pistol-shooting champion of Ireland. A writer of numerous weird-inflected fantasy stories, Dunsany proved influential on later weird writers such as H.P. Lovecraft and Clark Ashton Smith. His story reprinted in The Weird, “How Nuth Would Have Practised His Art” (1912), is a compressed marvel of weird storytelling. It also shows a touch of humor in its weirdness, a quality shared by the following story, “Thirteen at Table.”
Neste domingo (dia 21), a programação de filmes da 36ª Mostra Internacional de Cinema de São Paulo está bem diversificada. Há a ficção científica alemã "Inferno", de Tim Fehlbaum, em que, em um futuro não muito distante, a temperatura do sol so...
“Metal Hurlant Chronicles” é uma adaptação das histórias da revista de fantasia, erotismo e ficção científica “Métal Herlant” (Metal Pesad) para a TV francesa, com produção da francesa e inglesa. O elenco conta com a muito atraente é Kelly ...
Promoção: concorra ao livro 'Fernando Pessoa Antologia Poética'SRZDReferência nos estudos de Fernando Pessoa no Brasil, no livro, Cleonice se lança ao desafio de passar a limpo sua relação de mais de 60 anos com o poeta português revelando uma...
A existência necessária, nos povos, de elementos opostos, e por isso complementares e equilibrantes, manifesta-se, em geral, atraves de indivíduos diferentes. Quer dizer: não é no mesmo indivíduo que coincidem oos dois ...
A BolaFernando Pessoa: Uma Quase Autobiografia recebe Prémio JabutiPúblico.ptA biografia Fernando Pessoa: Uma Quase Autobiografia, do brasileiro José Paulo Cavalcanti Filho, que está publicada em Portugal pela Porto Editora, venceu na categoria de...
A Gradiva reeditou o romance de ficção científica Contacto, de Carl Sagan, obra que foi adaptada ao cinema em 1997 por Robert Zemeckis, com Jodie Foster como protagonista. Sinopse: «Pleno de suspense, veiculando ...
NO DIA DO POETA, AUTOPSICOGRAFIA - DE FERNANDO PESSOA. O poeta é um fingidor. Finge tão completamente. Que chega a fingir que é dor. A dor que deveras sente. E os que lêem o que escreve, Na dor lida sentem ...
A member of Magnum since 1965, David Hurn had been photographing behind the scenes on films for years in the 1960s—including the Beatles’ A Hard Day’s Night and the first four James Bond films—when he was asked to take pictures for the 1968 sci-fi cult classic Barbarella.
Forty-five years after snapping the enduring images of the film’s daring star, Jane Fonda, the photos continue to send their legendary photographer checks in the mail and thus fund his ongoing project documenting the changing lives and landscapes of his home country of England.
During production in 1967 in Rome, however, Fonda had become a challenge for photographers, rejecting so many frames that few were left to promote the film in magazines, Hurn said. Once he got on set, he discovered the famously beautiful Fonda was insecure about her looks. ”She actually said to me, ‘I feel like a squirrel with one cheek full of nuts,’ … Anyway I managed to get her to laugh a lot and we then became very good friends,” he said.
Hurn exposed about 500 rolls of film over the course of a month. His most published images from the assignment were a fashion-inspired series of Fonda in her costumes against a white background. A dedicated and agile athlete long before her fame as a workout guru, Fonda was a natural at the kicks, squats and stretches Hurn captured.
“At about 6 o’clock in the morning there’d she be cavorting around with a foot behind her neck sort of thing. So it was comparatively easy to do shots of her in the various costumes with very exaggerated poses and things which was exactly right for what was after all a comic strip,” Hurn said.
The photographer enjoyed his time on Barbarella and felt well-treated by the director, Fonda’s husband, Roger Vadim, but the project was not without its annoyances and hiccups. For one, Hurn grew tired of Vadim and his entourage talking about free love. ”It seems to me if you want to get your pants off, get your pants off, but not try to justify it by some theory, you know,” Hurn said. And then, a week into the gig Hurn’s cameras, including Leicas, were stolen. They reappeared two days later, however, replaced in a secret act of generosity by Fonda.
Hurn remained friends with Fonda after Barbarella, photographing her at her country house, her and Vadim’s next film Spirits of the Dead and later director Joseph Losey’s A Doll’s House in 1972.
Today Hurn, who is also a renown educator, is at work on several projects including a third book about Wales, where he’s been living and photographing since leaving behind the expensive glamor of London in 1970. He’s planning a project detailing life in his 400-person village for his final five years. But he’s not rushing into it.
“I have had a blissful life,” he said. “I always puzzle when people sort of grumble about their lives. I really, really enjoyed my life and I’m clinging on desperately. They’re going to have to really drag me! I think life’s so pleasant and can be so funny, so, so funny.”
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