“However, I have for many years been using a three-way speaker system that is both simple to install and inexpensive, and which seems to work very well on any music with a broad stereo image. The effect is subtle but definite - it opens out the music and seems to enlarge the room acoustically.”—Ambient 4: On Land (Brian Eno liner notes)
“However, in another of their paradoxes, they offset this calculated, artsy objectivity with an intense moralism, an undying compassion for the disenfranchised and, most keenly, the complete absence of cynicism. The music is contagiously uncynical: rent with the joy of empowerment, a childlike naivety (Boon’s lyrics often centred around an image of the Minutemen as “child soldiers” of The Cause) and beneath it all, what you might define as love.”—
The Tintin stories — published in 1929 in the right-leaning Catholic newspaper Le Petit Vingtieme, then later in Hergé’s own Journal Tintin and the series of Casterman albums through which we know them now — are celebrated for what the Dutch artist Joost Swarte, writing in 1977, dubbed Hergé’s ligne claire, or “clear line,” style. In his use of uniform, strong lines, flat, saturated color, and clearly delineated shapes and volumes, Hergé negotiates between the techniques of his era’s naturalistic adult adventure comics like Chester Gould’s Dick Tracy and those of gag-based newspaper strips like Bud Fisher’s Mutt and Jeff. While his characters are cartoonishly simple, his backgrounds — from the gorgeous Byzantine murals in King Muskar’s palace to the white voids of Tibet — are lush and rigorously detailed. The scenery in a Tintin comic is never static; it moves and turns and anchors the characters in space and, thanks to Hergé’s use of different angles and zooms, in time and mood as well. Large elaborate “silent” panels — set even in the heart of action — enrich the story and give it room to breathe. The comics theorist Scott McCloud, in his graphic nonfiction treatise Understanding Comics, suggests that this complexity, in combination with the characters’ simplified faces, produces multiple levels of realism that “allow readers to mask themselves in a character and safely enter a sensually stimulating world.” Hergé’s use of setting and his exacting depiction of movement — in which Tintin and his friends seem to rush from one panel to the next and yet remain grounded, their feet resting on a panel’s lower frame — presses composition into the service of legibility.
“According to Markham Erickson, head of the NetCoalition trade association, there’s been talk of a so-called “nuclear option,” in which the likes of Google, Amazon, eBay, and Yahoo! would go simultaneously dark to protest the legislation to highlight the fundamental danger the legislation poses to the function of the internet.”—