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

Our Daily Bread
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Today Lifehacker brings us a ridiculously good idea. You make and refrigerate a week-or-two supply of no-knead bread dough. When you’re ready for a fresh loaf, you pull off a chunk and stick it in the oven for half an hour. Voila! Cheap, convenient, delicious, homemade bread! These folks turned this idea into a cookbook.

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Ghosts
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This io9 essay on Dollhouse reminded me of something I bet a lot of slightly-less-hardcore Joss Whedon fans didn’t know: Years ago, Whedon wrote a couple of action movie screenplays that got reviewed at Screenwriter’s Utopia. The review includes a summary of one of the movies (called “Afterlife”) that clearly prefigured the ideas Whedon’s exploring in Dollhouse. The premise changed a lot in the intervening years, but it’s somewhat fascinating to look at the progression.

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Mr. Penumbra's Twenty-Four-Hour Book Store
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Okay! My short story, “Mr. Penumbra’s Twenty-Four-Hour Book Store,” is available now on all platforms in all universes!

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It’s a 6,000-word story about recession, attraction, and data visualization. The keywords on Amazon are: books, book stores, cryptography, dating, the economy, Google, San Francisco.

“Customers who read this item also also read: the internet.”

Get it for your Kindle here.

Get it for your computer screen (or printer) here.

But I have to tell you: It looks gooood on the Kindle.

Finally, you’ll enjoy this bit of background: The seed for the story was a tweet! Back in November, Rachel wrote: “just misread ’24hr bookdrop’ as ’24hr bookshop’. the disappointment is beyond words.”

That’s the kind of phrase you copy and paste into your idea-file, if you’re smart. Then, you rediscover it months later, and what does it turn into? Go find out.

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La Gaya Scienza
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According to Jonathan Jarrett,the whole humanities vs. science contention is (at least in part) an artifact of the English language:

This here is the ceiling of the old lecture hall of the Austrian Academy of the Sciences, at least as it translates into English. But, what’s the French or German for science? `Science’, `Wissenschaft’, respectively, both of which also mean just `knowledge’. All the Romance languages have some version of Latin `scientia’, which likewise means just `knowledge’. And that’s what the artwork here was painted to express, wisdom being handed down by teachers and on tablets to a romantic and fascinated world. All kinds of knowledge.

The idea that science means the Popperian world of reproducibility, experiment and testing, by contrast, is modern and English. It’s slowly being enforced on other languages’ academies, but it’s not something that people in the Middle Ages, where geometry was one of the Liberal Arts, or even the nineteenth century, would have recognised. Even now, the German-speaking states almost all have their Akademie der Wissenschaften, France has the Centre National des Recherches Scientifiques and Spain the Consejo Superior de Investigaciones Científicas, and these are the premier research institutions of the humanities in their respective lands. But in Britain, which I know best, the current split between the Arts & Humanities Research Board, now Council, and the Engineering and Physical Sciences Council, previously the Science and Engineering Research Council and previously the Science Research Council, goes essentially back to the difference between the Royal Society, founded 1660 in some form, and the British Academy, founded 1902. I don’t know what the equivalent bodies in the USA would be but it would be an interesting comparison. [Note: My guess would be the American Academy of Arts and Sciences. –TC]

Elsewhere we don’t have to have this separation, and one of the most interesting things about Snow’s piece is therefore its potential to explain why in fact we do. And, indeed, it’s pleasant to see that some people have used Science! and graphs and maps to argue that in fact, we don’t, we just think we do. As a computing-in-the-humanities sort of guy, I can get behind that.

I don’t absolutely buy this, but I think there is something to it. When I translate “Wissenschaft,” I sometimes use “science,” but more often I find myself writing “scholarship” – which is as close to a word covering both the humanities and sciences in a traditional liberal-artsy sense.

More to the point, I think the science/humanities divide is less a difference in the way Anglo-Americans and contiental Europeans think about the humanities, than a difference in the way we think about science.

In the US, at least, nearly ALL science is seen as applied science — that is, closer to the PRACTICE of engineering, or medicine, then it is to history or sociology or (god forbid) comparative literature. None of those things can build a bridge or whup those Communists. But if you start to talk about “research,” or especially “scholarship,” then you start to see commonalities. Someone doing medical research, even for a for-profit purpose, is in a different business from someone working in a clinical practice, just as a lawyer is different from a law professor.

The beef with the humanities seems to be that there are no corresponding practitioners, no practical applications — with the possible exceptions of K-12 teachers and professional writers (journalists, novelists, historians who write for trade presses). Couple that with a rump humanism that actively valorizes the uselessness, timelessness, and universality of the arts, and you get some misunderstandings at best and real problems at worst.

The shift that’s happening seems to be with the younger generation of culture workers. (Here I’m relying in part on Alan Liu’s thesis in The Laws of Cool.) One reason why I think the idea of Liberal Arts 2.0 / digital humanism seems to have some traction is that the work that younger people includes more of what we would traditionally call the humanities, and is governed by an ethos that is closer to what we would call humanism. If we begin to think of our technological galaxy as a media galaxy, then we start to see some clearer points of overlap between science culture and humanities culture.

Somewhere Friedrich Kittler points out that there’s only been one time before now that the entire West was governed by the same information technologies. That was during the European Middle Ages, when the university’s technologies of the book, the library, the postal service, the lecture, etc. were pretty much the only games in town. If you get bifurcated discourse networks, you’ll get a bifurcated culture. You can’t just try to understand a cultural rift; it will only close once its precondition changes.

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Sneak Preview: Mr. Penumbra's Twenty-Four-Hour Book Store
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Thanks to MorBCN for the CC-licensed source image.

Coming Tuesday to Kindle and the web.

I’m pretty excited about this. I did a test download onto my Kindle and, wow! It really feels like you published something!

Bit of a surprise, though: I tried to make it free for Kindle download, but Amazon wouldn’t let me. Ninety-nine cents is the minimum. And yet, there is stuff in the Kindle store priced at zero cents. If you know the secret, and share it with me before Monday afternoon, I will price my story at zero cents. Otherwise, $0.99 it is.

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Making Those Schrifts A Little Shorter
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Before coming to Snarkmarket, I blogged solo for four years at Short Schrift. After trying a handful of different ideas, I wound up having SS mirror my posts here — but usually with a lag, since I update a bunch of posts at once.

Well, today I’m changing the format of Short Schrift to make it more like a link blog/reading diary. Snarkmarket will be the home of ideas, questions, problems, and commentary, while Short Schrift will be more, um, gestational. My first “new” post is here: “Bursting the Higher Education Bubble.” Old and new readers alike, check it out. And look at some of the archives too! There’s a lot of stuff in there that I’m still thinking about. I would love for you to think about it too.

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How Do You Follow The Web?
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Me, I subscribe to a lot of sites, so I get auto-updated. I use an RSS reader, NetNewsWire, with Google Reader as a woefully unsynced backup. I keep feeds sorted into folders by category, and I just tweaked the categories:

academia

blogs

books and libraries

CFPs

digital life

downloads

friends’ blogs

friends’ personal

history

ideas

journalism

mac

magazines

media

music

must reads

my blogs

news

online mags

politics

radio

sports

tv and movies

I also have a couple of things emailed to me semi-regularly: new comments or links to Snarkmarket, Counterfictionals, or Short Schrift, mentions of my name, and new search results for “blood and treasure.” (Weird, I know.)

How do you do it?

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Time to Write a Few Prob-Eds
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Julian Sanchez, “The Perils of Pop Philosophy“:

The function of the ordinary pop-science/social science/philosophy piece is to give the reader a sort of thumbnail-sketch of the findings or results of a particular sphere of study, while op-eds and radio talkers make the thumbnail case for a policy position. The latter are routinely criticised for their shrill content, but the really toxic message of contemporary opinion writing and radio is the meta-message, the implicit message contained in the form, more than any particular substantive claim. In an ordinary op-ed, the formal message is that 800 or 1000 words is adequate to establish the correct position on any question of interest…

What might be more helpful, at least in some instances, is an article that spends the same amount of space setting up the problem, and getting across exactly why it

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The Golden Age of Television
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This poll of TV critics on the best television shows, performances, etc., of the past decade reveals a handful of things:

  1. The decade’s almost over, folks. The Naughty Aughties. We hardly knew ye.
  2. This decade’s been a golden age for scripted drama. Here are the nominees: “Friday Night Lights,”

    “Lost,” “Mad Men,” “The Sopranos,” “The West Wing,” and “The Wire”; the just-missed list includes “24,” “Battlestar Galactica,” “Big Love,” “Buffy the Vampire Slayer,” “Deadwood,” “Grey

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Luxuriating In Print
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We slapped Dave Eggers around a little bit for his “nothing has changed” speech to the Authors’ Guild, but his mass email for lovers of print is way more nuanced and inspiring in a constructive, non-cheerleaderish way:

Publishing has, for most of its life, been a place of small but somewhat profit margins, and the people involved in publishing were happy to be doing what they loved. It’s only recently, when large conglomerates bought so many publishing companies and newspapers, that demands for certain margins squeezed some of the joy out of the business.

Pretty soon, on the McSweeney’s website— www.mcsweeneys.net— we’ll be showing some of our work on this upcoming issue, which will be in newspaper form. The hope is that we can demonstrate that if you rework the newspaper model a bit, it can not only survive, but actually thrive. We’re convinced that the best way to ensure the future of journalism is to create a workable model where journalists are paid well for reporting here and abroad. And that starts with paying for the physical paper. And paying for the physical paper begins with creating a physical object that doesn’t retreat, but instead luxuriates in the beauties of print. We believe that if you use the hell out of the medium, if you give investigative journalism space, if you give photojournalists space, if you give graphic artists and cartoonists space — if you really truly give readers an experience that can’t be duplicated on the web — then they will spend $1 for a copy. And that $1 per copy, plus the revenue from some (but not all that many) ads, will keep the enterprise afloat.

As long as newspapers offer less each day— less news, less great writing, less graphic innovation, fewer photos— then they’re giving readers few reasons to pay for the paper itself. With our prototype, we aim to make the physical object so beautiful and luxurious that it will seem a bargain at $1. The web obviously presents all kinds of advantages for breaking news, but the printed newspaper does and will always have a slew of advantages, too. It’s our admittedly unorthodox opinion that the two can coexist, and in fact should coexist. But they need to do different things. To survive, the newspaper, and the physical book, needs to set itself apart from the web. Physical forms of the written word need to offer a clear and different experience. And if they do, we believe, they will survive. Again, this is a time to roar back and assert and celebrate the beauty of the printed page. Give people something to fight for, and they will fight for it. Give something to pay for, and they’ll pay for it.

Eggers is basically now saying not that nothing has changed, but that EVERYTHING has to change. But it needs to change not because we’ve just progressed forward from print to digital, but that by first betting on the infinitely expanding profit potential of mass publishing and then paring the experience back to try to meet that bet, we’ve made a huge mistake.

So, in some sense, we need to go back to basics; but in another, we need to rethink our direction forward based on what’s best for the people and the product, not the margins. We were pushing so hard for so long in one direction that we capsized the boat.

It’s still a conservative vision, but it’s a David Simon/Michael Moore kind of conservative — i.e., a nostalgic but critical liberalism, in the tradition of John Ruskin. And that’s a good mood to strike, if not for everybody — not least because it’s not at all intended to be a model for everybody.

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