Mozart’s jocular whims and freaks. “Oh!” explained the capering composer, “we can’t afford fuel, so we are dancing to keep ourselves warm!” It was a bitterly cold winter morning, and it was not long ere the worthy Deiner had fetched in a goodly store of wood.
Persona by Ingmar Bergman, an epiphany of light and shadow.
The tears of the world are a constant quantity. For each one who begins to weep, somewhere else another stops. The same is true of the laugh. (He laughs.) Let us not then speak ill of our generation, it is not any unhappier than its predecessors. (Pause.) Let us not speak well of it either. (Pause.) Let us not speak of it at all. (B.B.)1 heart
Holding pattern from Lauren O’Neill.
I’ve been fascinated by airports for as long as I can remember — there’s something about the comings + goings, the organization + operation … ultimately the systems of design at play … that’s so intriguing to me. Whether DCA, JFK, or the little municipal airport, I’ve always lived in a direct flight pattern of an airport.
Day-to-day, I glance out my window and watch planes circle about waiting to land.
Illustrator based in Bangkok Eakkarlak Stu_P.
According to Jenkins (2006), the convergence of culture and the divergence of platforms create new opportunities for media corporations because content that succeeds on one platform can be repackaged across others.
Media organizations can maximize their advertising revenue through expanding their potential audiences by moving content across delivery platforms. In 2006, global spending on advertising topped $466 billion (Future Exploration Network, 2007).
However, while spending on advertising continues to increase, media continues to fragment.
In other words, advertising revenue is raised across an increasing number of platforms and channels. For example, in 1995 there were 225 shows in British television that reached audiences of over 15 million, by 2005 there were none.
A.H.A, M.C.2 hearts