Blizzard - Starcraft 2, Warcraft 3, Diablo IV
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Ako smo već u režimu kuknjave, pored tog užasnog odnosa cena/kvalitet/oprema, moderni automobili, po mom mišljenju, imaju i ozbiljno kompromitovanu bezbednost. Generalno je autoindustrija pokrenula mnogo loših trendova za koje se nadam da će biti samo privremeni i vremenom napušteni. Čitao sam vest da Hyundai planira da smanji upotrebu ekrančina i vrati fizičke tastere gde god je moguće... dok ne zaživi tehnologija projekcije svega na šoferku :D Do tada, kukam, prvenstveno, na - nepreglednost, naročito u rikverc, mada tu dosta kamere pomažu - Ekrančine svuda, koje dosta odvraćaju pažnju sa puta, u odnosu na fizičke tastere koje vremenom naučiš da korsitiš bez skidanja pogleda sa puta. - Prejaka LED i ostala svetla, ja stvarno ne znam koja je poenta dati meni takva svetla sa kojima sam ja jedini koji nešto vidi, a svi ispred mene i koji mi idu u susret su slepi zbog mene. Kako je to bezbedno i za mene i za njih??? -
Nek prebaci Lucky onda tamo.
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Jeste upoznati sa ovim fenomenalnim filmovima? https://www.criterion.com/boxsets/934-the-qatsi-trilogy?srsltid=AfmBOopmf9AHqoG-oI0fByrFNco5C7OcMakdAQlDOVS0xdISrW2GMbIv A singular artist and activist, Godfrey Reggio is best known for the galvanizing films of The Qatsi Trilogy. Astonishingly photographed, and featuring unforgettable, cascading scores by Philip Glass, these are immersive sensory experiences that meditate on the havoc humankind’s obsession with technological advancement has wreaked on our world. From 1983’s Koyaanisqatsi to 1988’s Powaqqatsi to 2002’s Naqoyqatsi, Reggio takes us on a journey from the ancient to the contemporary, from nature to industry, exploring life out of balance, in transformation, and as war, all the while keeping our eyes wide with wonder. An unconventional work in every way, Godfrey Reggio’s Koyaanisqatsi was nevertheless a sensation when it was released in 1983. This first work of The Qatsi Trilogy wordlessly surveys the rapidly changing environments of the Northern Hemisphere, in an astonishing collage created by the director, cinematographer Ron Fricke, and composer Philip Glass. It shuttles viewers from one jaw-dropping vision to the next, moving from images of untouched nature to others depicting human beings’ increasing dependence on technology Koyaanisqatsi’s heterodox methods (including hypnotic time-lapse photography) make it a look at our world from a truly unique angle. Five years after Godfrey Reggio stunned audiences with Koyaanisqatsi, he again joined forces with composer Philip Glass and other collaborators for a second chapter. Here, Reggio turns his sights on third-world nations in the Southern Hemisphere. Forgoing the sped-up aesthetic of the first film, Powaqqatsi employs a meditative slow motion in order to reveal the beauty of the traditional ways of life in those parts of the planet, and to show how cultures there are being eroded as their environments are taken over by industry. This is the most intensely spiritual segment of Reggio’s philosophical and visually remarkable Qatsi Trilogy. Godfrey Reggio takes on the digital revolution in the final chapter of his Qatsi Trilogy. Through a variety of cinematic techniques, including slow motion, time-lapse, computer- generated imagery, and found footage, the film tells of a world that has completed the transition from the natural to the artificial. Globalization has been accomplished, all of our interactions are technologically mediated, and all images are manipulated. From this (virtual) reality, Reggio sculpts a frenetic yet ruminative portrait of an era in which the cacophony of “communication” has rendered humankind effectively postlanguage.
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@fox m. Imas ovaj topic na tu temu Ali posto je mator topic, bolje ti otvori skroz novi, sta hfaly
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