John Verdon was 65 and retired, reading a lot of detective stories and talking about them with his wife, when one day she suggested he write one himself.
The Underground New York Public Library is a visual library featuring the Reading-Riders of the NYC subways.
To Parsons, maps can be so much more than maps. They can be all the information that exists in physical space, and then a layer of intelligence that can put that information to use. He says in the interview, "How can we almost predict the sorts of information that you’re going to need in your day to day life? Can I say, uh well, this morning you’ve got an extra 20 minutes to have your breakfast cereal because the train you normally take has been delayed. You haven’t asked me that, but I know because of what you do usually, and I’ve got these various feeds of data that are contextual. I can start to make those decisions for you." Of course, he notes, Google’s going to have proceed with caution as it rolls out these kinds of services because "there’s kind of a fine line that you run between this being really useful and it being creepy." That’s going to be pretty tough to get around.
This is an opportunity to celebrate all the gloriosensuality of books, at a time when many in the industry are turning against them. The idea is that is should relax you, like when you read a book, to a level of meditation and concentration. Paper Passion has evolved into something quite beautiful and unique. To wear the smell of a book is something very chic. Books are players in the intellectual world, but also in the world of luxury.
But since most of my days are spent embedded in development of “new” ways of interacting with cultural artifacts—texts, images, and even code itself—I figured I’d get a little meta in this space. I’m going to discuss why the heck I’d ever teach programming concepts (and code) to humanities students.
A good resource. The Encyclopedia of Human-Computer Interaction, 2nd Ed.
The Ex Libris (bookplate) illustrations below were selected from the first half of the enormous John Starr Stewart Collection at the University of Illinois.
In North America, gamers are now generally divided into two distinct generations: those that grew up in the midst of the vibrant video arcade culture of the ’70s and ’80s; and those born since.
New Aesthetic fashion: anything that doesn’t reference retro or make you look like a village blacksmith / see also http://cheath.co/NAFashion
A significant percentage of video games employ in one way or another the figure of death. The thanatological sub-species of video game representations are practically endless: dismemberment, infection, untreatable wounds, explosion, etc. Players can be eaten, crushed, sliced, diced, quartered, electrocuted, impaled, and so on. Many of these representations are more or less approximate: in Doom, for example, a player’s state of “health” is represented by an abstract percentage value where players do not die of any specific organ failure, but instead from some sort of provoked exhaustion. In role playing games, players kill their opponents in a similar manner, i.e. by reducing this all-encompassing numerical value of their enemies to zero. In other games, players simply keel over, or disappear in a puff of smoke when touched, as in Pacman. In Super Mario Bros. players can just run out of time. Death in gaming is more a question of symbol than of substance. While we are still in the realm of simulation, the simulation is so figurative as pull us into an wholly other realm of representation.