The murmur of the snarkmatrix…

Jennifer § Two songs from The Muppet Movie / 2021-02-12 15:53:34
A few notes on daily blogging § Stock and flow / 2017-11-20 19:52:47
El Stock y Flujo de nuestro negocio. – redmasiva § Stock and flow / 2017-03-27 17:35:13
Meet the Attendees – edcampoc § The generative web event / 2017-02-27 10:18:17
Does Your Digital Business Support a Lifestyle You Love? § Stock and flow / 2017-02-09 18:15:22
Daniel § Stock and flow / 2017-02-06 23:47:51
Kanye West, media cyborg – MacDara Conroy § Kanye West, media cyborg / 2017-01-18 10:53:08
Inventing a game – MacDara Conroy § Inventing a game / 2017-01-18 10:52:33
Losing my religion | Mathew Lowry § Stock and flow / 2016-07-11 08:26:59
Facebook is wrong, text is deathless – Sitegreek !nfotech § Towards A Theory of Secondary Literacy / 2016-06-20 16:42:52

The Standing Stone
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Thanks to “The Year in Ideas,” I now want a Gomboc. Only they cost 1,001

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"The iPod Moment"
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The Kindle/iPod comparison keeps coming up, usually in service of the point, “Amazon, don’t flatter yourself.” Which I think is fair. But in reading all this talk about the “iPod moment” for books, I feel as though I have a completely different notion of what that moment meant for music. Sure, on the face of it, Apple’s innovation was a tiny-but-capacious music player that allowed us to carry our music library everywhere we wanted. But wasn’t the deeper surprise/lesson of the iPod that Apple had essentially invented a need where none had formerly existed?

When I remember 2001, I remember Apple launching a device that garnered some admiration for its technical savvy, but whose price and function drew something of a raised eyebrow from critics. “‘Breakthrough digital device’ might be pushing it,” wrote David Pogue, in his review of the first iPod. (“Apple, don’t flatter yourself.”) Meanwhile, the first New York Times mention of the device was hardly breathless. The article quoted three people. The first was a Gartner analyst, who said, “It’s a nice feature for Macintosh users … but to the rest of the Windows world, it doesn’t make any difference.” The second was Steve Jobs, who was paraphrased as “disputing the concern that the market was limited, and said the company might have trouble meeting holiday demand. He predicted that the improvement in technology he said the iPod represented would inspire consumers to buy Macintosh computers so they could use an iPod.” The RIAA declined to comment, and another analyst simply said, ”This raises the bar.” The one actual description of the iPod in the article called it a “hybrid of existing products.” The article included an estimate that the size of the market for all digital music devices would be 18 million units by 2005.

I remember this muted enthusiasm pretty clearly because I was one of the skeptics. What could be so impressive about a portable music player? The Walkman’s been around almost as long as I have. Storage size? Honestly? What need could I possibly ever have to carry my whole music library around with me? How much music can I lsten to at one time?

32 million iPods were sold in 2005. That’s not even counting other digital music devices. This year, the 100-millionth iPod was sold. Clearly there was a market need here for a vast mobile music library that most of us were blind to in 2001.

I now have three iPods.

When folks talk about Kindle doing (or not doing) for books what the iPod did for music, they usually seem to mean creating a tiny-but-capacious e-book reader that allows us to carry our library everywhere we want. But I don’t think Bezos et al. are aiming at that at all. I suspect they’re trying to create something we didn’t know we needed. A leap of imagination so bold, it could only seem obvious in hindsight. Jury’s still out on whether or not they succeeded.* But I’m wonderfully excited by the possibility that I could one day encounter something that just transforms my notion of what a book can be.

* Personally, I felt for the Kindle the murmur of a tug I hadn’t yet felt for any other digital reading devices, although not strong enough to win me over.

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Tonight the Streets Are Ours
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Just returned from a concert I’ve been on tiptoes for all week: Richard Hawley, at one of Minneapolis’ most intimate, acoustically divine little bars. And it was just perfect. The impeccable, impossible clarity of Hawley’s baritone surrounded everything in the room. And each of his songs is a gem. The tiny crowd lapped up every moment of the performance. To the SF folks, he’s coming your way in five days. Highly recommended for a chill night out.

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While I've Been Out …
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My slightly edited Cool Tools submission:

Reader-diners know the pain of trying to balance a thick book and a meal without losing your page or spilling food. As a regular lunchtime reader, I went searching online for a tool that would allow for comfortable hands-free reading — and eureka! Cleverly designed, this diminutive device is replete with intelligent features: a little pull-out stand supports the book, two sturdy clips hold the pages in place, a pair of pull-out legs holds the book upright on a table. Best of all, spring-loaded page holders on either end make for simple page-turning without the need for repositioning the text; you just grip both holders with one hand and squeeze. I’ve used the BookGem with a variety of types of books — everything from thick hardcovers to slim-ish paperbacks — and it’s adapted marvelously. And because it folds down to a pocket-size rectangle, I can easily tuck it in with my book wherever I go.

One note: the most ingenious design feature is not the spring-loaded page clips, it’s that each of these clips features a little plastic nubbin, behind which you can slip about 10 or 15 pages for easy turning. Am I this guy yet?

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Footprints
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Via Bookslut, have you ever wondered who was responsible for that ubiquitous poem-like text “Footprints”? Keep on wondering.

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West Siiiide!
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David from Ironic Sans snapped some pretty wonderful shots of kids in his Upper West Side building on Halloween.

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Short Schrift on Sasha
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Hot diggity. Sasha Frere-Jones writes a whizbanger of an article about indie rock’s racial influences, then Tim Carmody blows it out of the water. I adore dialogues like this. Read ’em both!

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Musical Genre Name Generator
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If you’re a music critic, you’re constantly searching for combinations of terms to describe the flavor-of-the-moment in a novel but legitimate fashion (e.g. “metal-queer,” “mumble-core”). I’ve made it easy for you. Presenting the Musical Genre Name Generator™. After you generate your new musical genre, you can click the term to search Google to see how original you are. (By the way, this won’t work in the RSS feed.)

Click button to create your musical term

Clearly, this is a statement on how nothing’s original anymore; everything’s been done. Even the Musical Genre Name Generator™.

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Pretty Ladies
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Humor me a moment here. Sarah Silverman and Ann Coulter share an obvious similarity: they each make a rather nice living saying things that would be unspeakable if they were not attractive Caucasian women, veiling their statements beneath a gossamer cloak of irony. I’m kind of tying my brain in knots trying to figure out whether they don’t actually share the exact same appeal for our culture. It seems any statement I could imagine applying to one — “Well, clearly she doesn’t actually believe the things she says; she’s playing a character” — applies to the other just as nicely. Or is patently untrue in both cases — e.g. “No one believes what she says; people understand she’s just joking.”

Sure, many people who adore Silverman would say they revile Coulter. But the grip she holds on even their attention seems to belie that — if Coulter were a man, she’d be Fred Phelps, ridiculous enough for them to gawk at once in a while, but not a fixture of the talk-show circuit. Certainly not a bestselling author. If we get right down to it, mightn’t we perversely enjoy the maniacal utterings of Ann Coulter as much as we do Sarah Silverman’s shtick? You can almost imagine either woman on stage, grinning flirtily, and saying, “Six imams removed from a US Airways flight from Minneapolis to Phoenix are calling on Muslims to boycott the airline. If only we could get Muslims to boycott all airlines, we could dispense with airport security altogether.”

Reading that line, though — which is Coulter’s — maybe it’s all just a matter of wit. ‘Cause actually, I can’t imagine Silverman saying it, not just like that, at any rate. Silverman’s lines are constructed, Coulter’s lines are merely dropped. Coulter might say a lot of over-the-line stuff about high pregnancy rates among young black women, but she doesn’t have the art or the timing to craft the line, “The best time to have a baby is when you’re a black teenager.” Coulter gets attention merely for saying the incendiary, Silverman’s principle skill is drawing her audience out for several lengthy seconds, trying to figure out how she’s going to end her sentence, then delivering a punchline that’s offensive in the most delightful, unexpected way.

But is that all that distinguishes the two? Wit? Really? I’m missing something obvious, aren’t I?

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Proof of Purchase
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A diary/blog written on scanned receipts. (Gadgetopian.)

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