Showing posts with label Screens. Show all posts
Showing posts with label Screens. Show all posts

Wednesday, June 24, 2009

The Boom and Bust of Asian Cinema in the U.S.

Andrew O'Hehir interviews Grady Hendrix at the New York Asian Film Festival :

"You have acquisitions people picking up movies that aren't very good," he says, "and releasing them to an audience that doesn't know anything about them or have any context in which to enjoy them. They're being written about by a press that knows less and less about more and more Asian films and directors as magazines and newspapers downsize, fire their older writers and pay for shorter articles that are generally just about that week's new releases."



Saturday, June 06, 2009

Scorsese and Kubrick Do This Really, Really Well

Matt Zoller Seitz, "On the Creepy Alluring Art of the Follow Shot," a video essay for The L Magazine:



"Following" is a montage of clips illustrating one of my favorite types of shots: one where the camera physically follows a character through his or her environment. I love this shot because it's neither first-person nor third; it makes you aware of a character's presence within the movie's physical world while also forcing identification with the character. I also love the sensation of momentum that following shots invariably summon. Because the camera is so close to the character(s) being followed, we feel that we're physically attached to those characters, as if by an invisible guide wire, being towed through their world, sometimes keeping pace, other times losing them as they weave through hallways, down staircases or through smoke or fog.



(Via Fimoculous.)

Sunday, May 31, 2009

Ira, Jad, and Robert

Must listen: Ira Glass, Jad Abumrad, and Robert Krulwich on the differences between radio and television. Includes such gems as how radio amplifies intimacy and television turns gesture into parody, Jad's observation that This American Life made real people's true stories sound like fairytales, and how Stephen Colbert is more like a radio personality (his show more like a radio show, his audience more like a radio audience) than a television one.

(My own thesis about Colbert: it's his perfect miming of big-personality talk show hosts like Limbaugh, O'Reilly, Scarborough, Hannity, Olbermann, usw., most of whom started on radio, continue to host radio shows, and whose TV shows and audiences are still a whole lot like radio.)

Friday, May 29, 2009

It Is Not Logical

Andrew Hungerford -- aka the smartest, funniest dramatist * astrophysicist = lighting director you should know -- has written the best post on the physical holes in the new Star Trek movie that I think can be written.

Basically, almost nothing in the movie makes sense, either according to the laws established in our physical universe or the facts established in the earlier TV shows and movies.

Wherever possible, Andy provides a valiant and charitable interpretation of what he sees, based (I think) on the theory that "what actually happened" is consistent with the laws of physics, but that these events are poorly explained, characters misspeak, or the editing of the film is misleading. (I love that we sometimes treat Star Trek, Star Wars, etc., like the "historical documents" in Galaxy Quest -- accounts of things that REALLY happened, but that are redramatized or recorded and edited for our benefit, as opposed to existing ONLY within a thinly fictional frame.)

If you haven't seen the movie yet, you probably shouldn't read the post. It will just bother you when you're watching it, like Andy was bothered. If you have, and you feel like being justifiably bothered (but at the same time profoundly enlightened), check it out right now. I mean, now.

The New Socialism is the New Humanism

We loooove Kevin Kelly around here at Snarkmarket. Robin tipped me off to his stuff and he's since joined Atul Gawande, Roger Ebert, Virginia Heffernan, Clay Shirky, Michael Pollan, Clive Thompson, Gina Trapani, Jason Kottke, Ben Vershbow, Hilzoy, Paul Krugman, Sy Hersh, and Scott Horton (among others) in the Gore-Gladwell Snarkfantastic Hall of Fame. Dude should have his own tag up in here.

But I think there's a rare misstep (or rather, misnaming) in his new Wired essay, "The New Socialism: Global Collectivist Society Is Coming Online." It's right there in the title. That S-word. Socialism.

Now, don't get me wrong. I like socialism where socialism makes sense. Almost everyone agrees that it makes sense to have a socialized police and military. I like socialized (or partially socialized) education, and I think it makes a lot of sense to have socialized health insurance, as part of a broad social safety net that helps keep people safe, capable, knowledgeable, working. Socialism gets no bad rap from me.

I know Kelly is using the word socialism as a provocation. And he takes pains to say that the new socialism, like the new snow, is neither cold nor wet:

We're not talking about your grandfather's socialism. In fact, there is a long list of past movements this new socialism is not. It is not class warfare. It is not anti-American; indeed, digital socialism may be the newest American innovation. While old-school socialism was an arm of the state, digital socialism is socialism without the state. This new brand of socialism currently operates in the realm of culture and economics, rather than government—for now...

Instead of gathering on collective farms, we gather in collective worlds. Instead of state factories, we have desktop factories connected to virtual co-ops. Instead of sharing drill bits, picks, and shovels, we share apps, scripts, and APIs. Instead of faceless politburos, we have faceless meritocracies, where the only thing that matters is getting things done. Instead of national production, we have peer production. Instead of government rations and subsidies, we have a bounty of free goods.


But I think of socialism as something very specific. It's something where a group of citizens pools their resources as part of a democratic (and at least partially technocratic) administering of benefits to everyone. This could be part of a nation-state or a co-op grocery store. And maybe this is too Hobbesian, but I think about it largely as motivated by a defense against something bad. Maybe there's some kind of general surplus-economy I'm missing where we can just socialize good things without risk. That'd be nice.

When masses of people who own the means of production work toward a common goal and share their products in common, when they contribute labor without wages and enjoy the fruits free of charge, it's not unreasonable to call that socialism.


But I'll put this out as an axiom: if there's no risk of something genuinely bad, no cost but opportunity cost, if all we're doing is passing good things around to each other, then that, my friend, is not socialism.

This is a weird paradox: what we're seeing emerge in the digital sphere is TOO altruistic to be socialism! There isn't enough material benefit back to the individual. It's not cynical enough! It solves no collective action problems! And again, it's totally individualistic (yet totally compatible with collectivities), voluntarist (yet totally compatible with owning one's own labor and being compensated for it), anti-statist (yet totally compatible with the state). It's too pure in its intentions and impure in its structure.

Kelly, though, says, we've got no choice. We've got to call this collectivism, even if it's collective individualism, socialism:

I recognize that the word socialism is bound to make many readers twitch. It carries tremendous cultural baggage, as do the related terms communal, communitarian, and collective. I use socialism because technically it is the best word to indicate a range of technologies that rely for their power on social interactions. Broadly, collective action is what Web sites and Net-connected apps generate when they harness input from the global audience. Of course, there's rhetorical danger in lumping so many types of organization under such an inflammatory heading. But there are no unsoiled terms available, so we might as well redeem this one.


In fact, we have a word, a very old word, that precisely describes this impulse to band together into small groups, set collective criteria for excellence, and try to collect and disseminate the best, most useful, most edifying, most relevant bodies of knowledge as widely and as cheaply as possible, for the greatest possible benefit to the individual's self-cultivation and to the preservation and enrichment of the culture as a whole.

And that word is humanism.

It Was Citizen Kane

This Kids in the Hall sketch has come up twice in conversation this week. I consider it, like the film that gives it its name, essential viewing. Enjoy.

It Is Not Logical

Andrew Hungerford -- aka the smartest, funniest dramatist * astrophysicist = lighting director you should know -- has written the best post on the physical holes in the new Star Trek movie that I think can be written.

Basically, almost nothing in the movie makes sense, either according to the laws established in our physical universe or the facts established in the earlier TV shows and movies.

Wherever possible, Andy provides a valiant and charitable interpretation of what he sees, based (I think) on the theory that "what actually happened" is consistent with the laws of physics, but that these events are poorly explained, characters misspeak, or the editing of the film is misleading. (I love that we sometimes treat Star Trek, Star Wars, etc., like the "historical documents" in Galaxy Quest -- accounts of things that REALLY happened, but that are redramatized or recorded and edited for our benefit, as opposed to existing ONLY within a thinly fictional frame.)

If you haven't seen the movie yet, you probably shouldn't read the post. It will just bother you when you're watching it, like Andy was bothered. If you have, and you feel like being justifiably bothered (but at the same time profoundly enlightened), check it out right now. I mean, now.

The Enterprise As A Start-Up

This is a post about the new Star Trek movie that contains no spoilers.

However:

Here's my rule about movie and television spoilers. If you're giving information that's already given in a preview, then you're spoiling nothing that hasn't been spoiled already. Likewise, if you're giving information that can be reasonably inferred, no spoiling has occurred.

If you're not willing to entertain either of these possibilities, if you scrupulously avoid movie trailers or cast lists, and you still haven't seen this movie, then not only are you a weirdo, you also stopped reading this post long ago.

So, you will be shocked, shocked to learn that at one point in the new Star Trek movie, just as you've seen in the trailer, James T. Kirk sits in the captain's chair, and that by the end of the movie, most of the characters that we associate with the Enterprise's crew are working together on the Enterprise.

Okay? Good.

So here's Henry Jenkins's thoughtful post, "Five Ways to Start a Conversation About the New Star Trek Film," which DOES contain more detailed spoilers. My excerpt, however, does not:

In the past, we were allowed to admire Kirk for being the youngest Star Fleet captain in Federation history because there was some belief that he had managed to actually earn that rank... It's hard to imagine any military system on our planet which would promote someone to a command rank in the way depicted in the film. In doing so, it detracts from Kirk's accomplishments rather than making him seem more heroic. This is further compromised by the fact that we are also promoting all of his friends and letting them go around the universe on a ship together.

We could have imagined a series of several films which showed Kirk and his classmates moving up through the ranks, much as the story might be told by Patrick O'Brien or in the Hornblower series. We could see him learn through mentors, we could seem the partnerships form over time, we could watch the characters grow into themselves, make rookie mistakes, learn how to do the things we see in the older series, and so forth. In comics, we'd call this a Year One story and it's well trod space in the superhero genre at this point.

But there's an impatience here to give these characters everything we want for them without delays, without having to work for it. It's this sense of entitlement which makes this new Kirk as obnoxious as the William Shatner version. What it does do, however, is create a much flatter model for the command of the ship. If there is no age and experience difference between the various crew members, if Kirk is captain because Spock had a really bad day, then the characters are much closer to being equals than on the old version of the series.

This may be closer to our contemporary understanding of how good organizations work -- let's think of it as the Enterprise as a start-up company where a bunch of old college buddies decide they can pool their skills and work together to achieve their mutual dreams. This is not the model of how command worked in other Star Trek series, of course, and it certainly isn't the way military organizations work, but it is very much what I see as some of my students graduate and start to figure out their point of entry into the creative industries.


The Enterprise as a start-up! It reminds me of that story about the guys who started Silicon Valley's Fairchild Semiconductor.

Let me add that I think Jenkins is wrong about the way promotion is presented in the film -- Star Fleet actually appears to be remarkably meritocratic, much more deferential to performance and aptitude tests than years served. Captain Pike tells Kirk that he could command his own starship (the second highest rank) in four years after leaving the academy. Chekhov is a starship navigator (and not, like Kirk or Uhura, a cadet) at only seventeen years old; Spock is a commander and academy instructor without there being a sense of a considerable age/experience gap between he and Kirk or Uhura. (He's introduced as "one of our most distinguished graduates," like he's a really good TA.)

But it's not academia; it's the NBA. You give these kids the ball.

The important point is that within this highly meritocratic structure, the crew members of the Enterprise are PARTICULARLY and precociously talented. Kirk is the fastest to rise to captain where fast rises are not uncommon. As I said to my friends after seeing the movie, it gets bonus points for emphasizing just how SMART these people are; Kirk, Spock, Uhura, Scotty, and Chekhov (among others) are explicitly presented as geniuses.

Okay, now I've probably actually included spoilers in this thing. So. What. Go see the movie already. Then read the rest of Jenkins's post. You'll enjoy them both.

(H/t: the awesome Amanda Phillips.)

The Ideas! The Ideas! Part... Whatever

Charlie Jane Anders, "Why Dollhouse Really Is Joss Whedon's Greatest Work":

The evil in Dollhouse is harder to deal with than the evil in Buffy because it's our evil. It's our willingness to strip other people of their humanity in order to get what we need from them. It's our eagerness to give up our humanity and conform to other people's expectations, in exchange for some vaguely promised reward. And it's our tendency to put any new piece of technology to whatever uses we can think of, whether they're positive or utterly destructive.

And that last bit, about technology, is the other main reason why Dollhouse is Whedon's most accomplished work, especially if you love science fiction like we do. Unlike Joss' other works, Dollhouse really is about the impact of new technology on society. It asks the most profound question any SF can ask: how would we (as people) change if a new technology came along that allowed us to...? In this case, it's a technology that allows us to turn brains into storage media: We can erase, we can record, we can copy. It's been sneaking up on us, but Dollhouse has slowly been showing how this radically changes the whole conception of what it means to be human. You can put my brain into someone else's body, you can keep my personality alive after I die, and you can keep my body around but dispose of everything that I would consider "me."

Kindle Up Your Textbooks, Children

The Chronicle of Higher Education on the Kindle DX and the market for electronic textbooks:

Most college students—more than 80 percent, according to a survey by Educause—already own portable machines that can display electronic textbooks: They're called laptops. And more than half of all major textbooks are already offered in electronic form for download to those laptops.

Yet so far sales of electronic textbooks are tiny, despite efforts by college bookstores to make the option to buy digital versions clearer by advertising e-books next to printed ones on their shelves. "It's a very small percentage of our sales at this point," said Bill Dampier, general manager of MBS Direct, a major textbook reseller.

What the textbook industry needs is the equivalent of an iTunes store for e-books, say some experts, who note that sales of digital music never took off until Apple created the iPod and an easy-to-use online music marketplace. That's why Amazon seems like a promising entrant.

Except for one thing: Publishers have already set up a digital store meant to serve as the iTunes of e-textbooks, and it has been slow to catch on. The online store, called CourseSmart, was started two years ago by the five largest textbook publishers. Now 12 publishers contribute content to the service, which offers more than 6,300 titles. The e-books are all designed to be read on laptops or desktops, rather than Kindles or other dedicated e-book reading devices.

One problem for CourseSmart has been a lack of awareness by both students and professors that the service even exists.


Yep -- sounds about right. You think we'd be easy to target, but we're actually not. In fact, probably the ONLY two media/publishing companies with significant overlapping penetration among both students and professors would be Amazon and Apple.

Also of note: the only reason why publishers are really interested in electronic books is that they can use DRM to crush sales of used books beneath their foot forever. (I remember the first book I ever used that required you to register a CD w/ a unique ID number in order to use it; SBS sold it to me at about 75% of cover used and then refused to take it back. I had to buy the new copy again.)

Also also of note: one of the lines Bezos used again and again in his Kindle presentation (from the transcripts I've seen -- anybody know where I could find video) with respect to textbooks is "structured content." I actually think this is a hugely important idea. A book gives a text physical form, sure, but that physicality works together with paratextual devices to structure its content. Page numbers, title pages, tables of content, indices, volume and chapter devisions, footnotes/endnotes, captions, commentary, usw.

This is why Project Gutenberg or any other kind of throw-it-up-there text file service will always suck. It's also why a lot of digital archives don't work. We need ways to give content structure, and to make that structure easily and productively navigable to users. Ebooks have suffered from a lack of legitimate and visible marketplaces, but to borrow a metaphor, they've also suffered from really crappy gameplay. Whoever figures out how to solve these problems will solve long-form electronic reading.

Friday, May 01, 2009

Unique Viewers / Unique Readers

Translator/critic Wyatt Mason sums up a year of terrific writerly blogging for Harpers:

According to the webmaster, some hundreds of thousands of people (or "unique visitors," in the creepily Rumsfeldean turn) have read my posts over the year. Yes, in the web-world, where a nipple slip can net you a million sets of eyes in a breathless blink and click, these are Lilliputian numbers. In my world, however, those are towering digits, enormous for what they might say about the reading life: that there is still, in our noisy culture, a quiet but forcible interest in finding good books to read, and in debating what makes books good.

We "unique readers" know this, in our solitary hours. But it is pleasing, at times, to have company in that knowledge, to know that one isn't alone in one's enthusiasms. For my part, I have taken great pleasure in the enthusiasm of readers for this space, and am grateful for the time you've spent here. For now, know that I'm turning my attention to other tasks, with the expectation, at some point future, of returning to one not unlike this.


I can't quite put my finger on what I like about this farewell address (other than that I really like Mason's blog) -- all of the sentiments and tropes are expected, but their subtle, daisy-chained resonances are so gracefully done that it feels both fresh and sincere.

You Want Bookporn? Oh, Man. We Got Some Bookporn.

VERY mature books (is 8000 BC old enough?) with an astonishingly sexy zoom feature -- similar to Google Maps, but smoother and more natural, especially with a two-finger trackpad. It's all yours, for free, at the World Digital Library.

A Fembot Living in A Manbot's Manputer's World

Goodbye, Bea Arthur:



FuturamaWeeknights, 9p/8c
Fembot
comedycentral.com
Joke of the DayStand-Up ComedyFree Online Games




Snarkmarket Reading Survey

Something Walter Benjamin said has interested me for a while now:

If centuries ago [writing] began gradually to lie down, passing from the upright inscription to the manuscript resting on sloping desks before finally taking itself to bed in the printed book, it now begins just as slowly to rise again from the ground. The newspaper is read more in the vertical than in the horizontal plane, while film and advertisements force the printed word entirely into the dictatorial perpendicular.

--- One Way Street (1928)


If Benjamin's right, then this is a reading revolution that's still underway -- expanding from film, advertisements, and newspapers to television, computer, and telephone screens. Even though we're using all these different devices, they just might be participating in this dyad of vertical vs. historical reading.

I've become something of an amateur anthropologist of how people read -- watching people read books or papers or from their phones or laptops in public places -- but I'm curious: how do you read?

* What kind of device(s)?
* Where is your body?
* Where is your reading material?
* How do you prefer to read?
* How do you read most often?
* Where/how is it hardest for you to read?
* What are your reading surfaces -- desks, tables, a bed, your own body?
* Do you use any prosthetic aids -- glasses, something to raise your laptop upwards?
* How did you read as a child? Ten years ago? What's changed?


Send pictures or movies even! Images of reading!

Anémic Cinéma

Marcel Duchamp, 1926:



I even like the John Fahey-esque score, added by whomever.

Friday, April 17, 2009

Jigsaw-Fragment Models Of Tomorrow

Ozymandias on the history of tabbed browsing:

Observation:

Multi-screen viewing is seemingly anticipated by Burroughs' cut-up technique. He suggested re-arranging words and images to evade rational analysis, allowing subliminal hints of the future to leak through... An impending world of exotica, glimpsed only peripherally.

Ozymandias.jpg



Perceptually, the simultaneous input engages me like the kinetic equivalent of an abstract or impressionist painting... Phosphor-dot swirls juxtapose: meanings coalesce from semiotic chaos before reverting to incoherence. Transient and elusive, these must be grasped quickly.


Bill Poster's Dream.jpg



This jigsaw-fragment model of tomorrow aligns itself piece by piece, specific areas necessarily obscured by indeterminacy. However, broad assumptions regarding this postulated future may be drawn. We can imagine its ambience. We can hypothesize its psychology.

top sites.jpg



In conjunction with massive forecasted technological acceleration approaching the millennium, this oblique and shifting cathode mosaic uncovers the blueprint for an era of new sensations and possibilities. An era of the conceivable made concrete...

... And of the casually miraculous.


What's Still In The Inbox

Some people keep tabs open in their browser for days or weeks; I keep them open in my well-loved RSS reader NetNewsWire. (NNW doubles as a browser; I almost certainly do more READING of web content there than in Firefox.)

I like it -- it keeps the old stuff next to the new stuff, and puts little pictures of what I want to read or re-read. I usually use MarsEdit to blog stuff, and MarsEdit is really well integrated with NetNewsWire, so it's a good workflow to keep things open that I want to post to Snarkmarket eventually, or to make some other use of. (MarsEdit doesn't play nice with Movable Type 3.2 [edit - but see below], which is why I occasionally have crazy characters in my posts for smart quotes, apostrophes, em-dashes, usw.)

Anyways, like any other workflow, this one gets backed up; I can't think of exactly what I want to say, or (more often) other stuff gets in the way. But I think it's still good to take some time to register the things I'm thinking about, because you might want to think about them too. Here's what's still in my inbox.

  • if:book, "design and dasein: heidegger against the birkerts argument." E-book readers and phenomenology? Content, thy name is Carmody. Disappointingly, author Dan Piepenbring hasn't actually read a lot of Heidegger, so the argument is a little underdeveloped (check my comment down the thread). I really want to blog about this, but I also wanted effectively to remake the whole idea from scratch, and I don't have the time right now to do that.

  • CFP for Wordless Modernism at MSA 11. Academic CFP listservs come in RSS form now! This is so, so sweet. So is the CFP here: "If, as W.J.T. Mitchell has argued, the 'linguistic turn' of the early twentieth century took place alongside a concomitant 'pictorial turn,' how does this change the way we approach modernism’s engagement with visual media and theories of sensation?" See also “Film Grammar and Literary Modernism”. If I can't get a paper in Montreal this year, I need to hang it up.

  • Two other cool CFPs: Multiple Perspectives on Collecting and the Collection (for a Spanish-English journal -- I may submit something from my chapter on Borges, Melville, and Citizen Kane) and Re-viewing Black Mountain College, for a conference at the BMC museum.

  • "Beyond Life Hacks: Reusable Solutions to Common Productivity Problems." Gina Trapani is so, so good. I look at this fight-procrastination guide every day now, trying to read it first thing in the morning.

  • "Gabriel García Márquez, literary giant, lays down his pen." In 2005, García Márquez didn't write a line. There probably won't be any new books in his lifetime. (PS: Go read One Hundred Years Of Solitude. Just do it. I won't tell anyone you haven't yet.)

  • Clement Greenberg at 100. "I’m so excited. I’m one of the few graduate students who will be presenting at a centennial symposium looking back to the life and work of the legendary Clement Greenberg. (So my name isn’t listed yet on the official publicity, and that’s all right. I haven’t paid enough dues yet to warrant headlining status. Rosalind Krauss and Thierry de Duve, Luke Menand and Serge Guilbaut have)." I wonder how this conference went?

  • Diana Kimball drops this perfect quote from Bruno Latour:
    In politics as in science, when someone is said to ‘master’ a question or to ‘dominate’ a subject, you should normally look for the flat surface that enables mastery (a map, a list, a file, a census, the wall of a gallery, a card-index, a repertory); and you will find it.

  • Wyatt Mason on Proust and Nabokov. I've really been loving Pale Fire lately.

  • Jason Kottke, "Gairville." A Brooklyn neighborhood (now Dumbo) once named for the guy (Robert Gair) who invented the modern cardboard box. Jason's interested in the neighborhood; I'm interested in the boxes.

  • "Obama Offers Plan to Improve Care for Veterans." Electronic records come to the VA. I want to write a post called "In Praise of Bureaucrats," about how "bureaucracy" has such a mixed meaning as an insult/complaint (meaning both robotic impersonality and feudalist inefficiency) and how much really good information science (and scientists) could improve, um, everything. Not a new liberal art as such, but maybe the new engineering.

  • "Substance and Style" (on Wes Anderson). Watched The Royal Tenenbaums the other day, and thought a lot about the subtleties of the writing, especially for Royal.
    Royal: Can I see my grandsons?
    Chas: Why?
    Royal: Because I finally want to meet them.

    That little inversion -- "finally want to," instead of the expected "want to finally" -- which could (almost) be unintentional -- tells you so much about Royal. Nine out of ten phrases are like that.


Now, to fill up the tabs again.

An Archaeologist of Morning

From Polis Is This, a documentary about the great poet, critic, and Black Mountain college rector Charles Olson:


...


I've said before and I will say again, I feel a spontaneous affinity for Olson like for no other American historical figure I've ever seen, heard, met, or read about.

Friday, April 03, 2009

A Place To Gather (And Use The Printer)

Diana Kimball praises the campus computer lab:

Computer labs offer a combination of connectivity and escape at the same time: they provide a location, a destination, where all of the necessary technological tools are assembled and maintained. They also establish in student’s minds the existence of a “computer place” on campus—the natural place to gravitate toward when your laptop has gotten a virus, or its hard drive has died, or you’re wondering how to set up your email client. Here, the IT helpdesk is right in the computer lab, reinforcing that relationship.

With laptops all but ubiquitous, community computer labs may seem frivolous. But that very ubiquity, and its inescapability, means that colleges have a responsibility to respect and support the relationship between students and computers. A computer lab sends a strong signal, offers an obvious location to honor and troubleshoot that relationship, and gives students an alternative to squinting at tiny screens.


An indication of how fast things have changed: when I started college (in 1997), not only did I not own a laptop, I didn't even own a computer. I had never owned a computer. (My first honest-to-goodness PC to call my own came in 2001, my first year of graduate school.) Every paper I wrote was improvised in a computer lab. (Hmm. Maybe I should try that again.)

Here's my vision of the future of the computer lab: rows of ready-to-go machines, yes, but also of laptop kiosks, places where you can plug in and recharge, hook up to the networked printer, and chat with the techs and support staff. Maybe even a floating reference librarian to help with research questions and writing papers. A place to gather, where the communal intellectual energy can hum and crackle and strike down with electric inspiration. And to use the printer.

The Age of Ajax

Love this five-year remembrance of the birth of Gmail -- still my favorite thing to use on the web, ever.

ajax.png