a pleasant nightmare

Ok so roads are important infrastructure. A lot of stuff that's important happens on roads. Now, let's imagine that quadrillionaire Matt Stench has decided that the next big tech innovation is the Wide Car. It's a car that takes up six lanes despite seating only one passenger.

The Wide Car is supposed to be the future, and everyone's going to be driving Wide Cars, even though nobody who makes Wide Cars is turning a profit. Employers are offering Wide Cars as an employee benefit, and getting "nah." Some employers are going as far as demanding their employees drive Wide Cars, and the result is that people take time out of their workdays to get in the mandatory gas usage for their Wide Car before driving home in a regular car.

In spite of the fact that the Wide Car is clearly set to fail, there's an enormous push to expand to twelve-lane roads to accommodate a bunch of Wide Cars that simply will not materialize. This is not an organic response to demand, but a speculative investment that amplifies the existing issues with road development for no good reason.

tl;dr: There's no evidence the interview that this was mentioned in even exists, no evidence the route of the cable has ever changed, and the whole story seems to originate from one dude's podcast.

I haven't made a creature in a while.

Day 2. Need to build up the torso more and then fatten him up.

Day 4. Lots of looking at references (bless folks who shave down these dogs so I can understand what's underneath all that fur). Still much to refine.

Decided the tail should be a bit longer. Failed and then succeeded at making eyes. Got a blank started for the head. Might make a clay nose before bed.

Day 5. Might pose him in a play bow with some of his rubber rings from the books, since he is shaping up to be more book-influenced and 1940's breed standard.

Australian executives simply take any information they receive, and do not. Did you say something is going to take a month - after signing a contract and collect a fee? The Australian business executive simply accepts that you have said you have begun work and it will be finished in 48 hours. If I told an Australian executive that the earth revolves around the sun, I would expect him to let me know that I had told him a hamster named Ben carries a really bright lamp around space to make the seasons. I have to painstakingly document every single detail of any interaction with Australian business persons, because they simply imagine things that have happened and information they have been told, and ignore whatever has transpired in actuality.

I'm not a business exec, and I had pretty limited interactions with the people from head office when I worked for the largest retail company in the country, so it's entirely possible your perspective is accurate - at least as far as the businesses you've dealt with go.

congrats! Now you have a motif! A recurring theme! A focus for your art! Something to haunt you!

Seventeen still lives of dandelions? Three hundred poems about grief? A sketchbook dedicated to your grandmother’s house? Two books trying to unravel the complexities of familial relationships?

An early exploration of the themes Hokusai would keep coming back to is Spring in Enoshima, done in 1793 when he was 33. The wave is small and there are no boats, but Mt Fuji is clear in the background, and Enoshima is in Kanagawa, so we are clearly beginning to work towards something here.

A second pass, eleven years later in 1803 when he was 44. The title of this one begins to get more familiar: The View of Honmoku Off Kanazawa. It has a towering wave over a smaller boat, but Mt Fuji is not present, and the boat is considerably larger and has a sail. But the feeling of danger in the wave and the smallness of the boat are here, and of course the general composition is definitely recognizable.

This is A View Of Express Delivery Boats, done in 1805, merely two years later at age 46. Here we find the wave and the boats almost exactly as we'll find them in The Great Wave Off Kanagawa, though Mt Fuji isn't present, and the location is uncertain. And it's a good picture! The wave is threatening, the boats are small -- but the feeling of "ocean" isn't really there yet, is it? It's unlikely this picture would have become a classic for the ages. But that's okay, there's still time.

And here we have it, a full 26 years later, done by Hokusai in 1831 at the age of 72. The Great Wave Off Kanagawa, one of the most recognizable pieces of art in the world. The boats are there, the mountain is there, the wave is there, and the FEELING is there. He did it! He reached the apex of his ongoing motif and theme!

Or did he? Because the whole point of a motif is not that you're striving to get to the perfect version of it, the one idealized image you carried in your head all along, and when it is done, you are also done. Hokusai is on record at the age of 73 saying he'd only just begun to feel like he was learning how to draw things properly, and that "if I keep up my efforts, I will have even a better understanding when I was 80 and by 90 will have penetrated to the heart of things. At 100, I may reach a level of divine understanding, and if I live decades beyond that, everything I paint — dot and line — will be alive." He had drawn The Great Wave, but he didn't believe he was finished -- he thought that he was still just beginning to get started.

And he wasn't finished with his ocean motif, either. Please check out his Mt Fuji At Sea, done in 1834 at the age of 75.