Perspectives other than our own bring a breath of fresh air. They open doors and allow light to flood in. They wrap us in a warm, comforting blanket by letting us know other people go through similar struggles. There is a tonne of writing out there that exists because the author suffered through something. Suffering tends to give you a strong desire to prevent others experiencing similar pain.
There’s something quite Bridlesque about these lovely books that Brendan is generating from git commits.
Plague; zombie; nuclear …Anna’s got them all covered in her roundup of apocalyptic literature and games.
I love what Ben is doing with this single-serving site (similar to my design principles collection)—it’s a collection of handy links and resources around voice UI:
Designing a voice interface? Here’s a useful list of lists: as many guiding principles as we could find, all in one place. List compiled and edited by Ben Sauer @bensauer.
BONUS ITEM: Have him run a voice workshop for you!
Great advice from Jen on writing a book:
- Write emails to Ted. Try to find a little comfort zone inside the larger uncomfortable task.
- Don’t write a Book. Write Chapters. Break a large chore into smaller tasks and focus on one at a time.
- Trap yourself. Set up a workspace that limits distraction and procrastination.
- Don’t despair the zero-word-count days. Give yourself credit for behind-the-scenes work, even self-care.
- Get amnesia. Keep your eye on the prize.
George Lucas, Ted Chiang, Greg Egan, Stanley Kubrick, Tom Stoppard, William Shakespeare, and Ridley Scott are all part of Matt’s magnificent theory that the play is the thing.
Rosencrantz and Guildenstern are replicants.
Characters look like people, except they exist for only the duration of a movie — only while they are necessary. They come with backstory and memories fully established but never experienced, partly fabricated for the job and partly drawn from real people known by the screenwriter. At the end, they vanish, like tears in rain.
John Lanchester reviews ‘The Attention Merchants’ by Tim Wu, ‘Chaos Monkeys’ by Antonio García Martínez and ‘Move Fast and Break Things’ by Jonathan Taplin · LRB 17 August 2017
Triple the hand-wringing in this combined review of three books:
- The Attention Merchants: From the Daily Newspaper to Social Media, How Our Time and Attention Is Harvested and Sold by Tim Wu,
- Chaos Monkeys: Inside the Silicon Valley Money Machine by Antonio García Martínez, and
- Move Fast and Break Things: How Facebook, Google and Amazon have Cornered Culture and What It Means for All of Us by Jonathan Taplin.
What this means is that even more than it is in the advertising business, Facebook is in the surveillance business. Facebook, in fact, is the biggest surveillance-based enterprise in the history of mankind. It knows far, far more about you than the most intrusive government has ever known about its citizens. It’s amazing that people haven’t really understood this about the company. I’ve spent time thinking about Facebook, and the thing I keep coming back to is that its users don’t realise what it is the company does. What Facebook does is watch you, and then use what it knows about you and your behaviour to sell ads. I’m not sure there has ever been a more complete disconnect between what a company says it does – ‘connect’, ‘build communities’ – and the commercial reality.
More on that event with Brian Aldiss I was reminiscing about: that was the first time that Kate unveiled part of her Purple People book:
Jeremy insisted this would be an excellent opportunity for me to read an excerpt from Purple People, and so invited me onto the stage with those illustrious, wordy wizards to share an early indigo excerpt. I was quite literally shaking that night (even more than a talking tree, ho ho), but all was jolly. I read my piece without falling off the stage, and afterwards, folk made some ace and encouraging comments.
Three authors pick their favourite book by Philip K Dick:
- Nicola Barker: Puttering About in a Small Land
- Michael Moorcock: Time Out of Joint
- Adam Roberts: Do Androids Dream of Electric Sheep?
The ability of the physical world — a floor, a wall — to act as a screen of near infinite resolution becomes more powerful the more time we spend heads-down in our handheld computers, screens the size of palms. In fact, it’s almost impossible to see the visual patterns — the inherent adjacencies — of a physical book unless you deconstruct it and splay it out on the floor.
Craig gives us a walkthrough—literally—of the process behind the beautiful Koya Bound book.
Deciding to make any book is an act of creative faith (and ego and hubris, but these aren’t all exclusionary). But before Dan and I sold any copies of Koya Bound, we walked atop the pages that would become the book, not really knowing if there existed an audience for the book.
Given my experience publishing Resilient Web Design as a web book, I think I should take a good look at this nascent spec.
What we envision for Packaged Web Publications is similar to the goals and techniques of Progressive Web Apps: breaking the boundaries between web sites and mobile apps, an emphasis on “offline” paradigms, and so on. The time is right to broaden the scope and power of the web to include publications.
Beautifully designed and typeset eBooks of royalty-free works—yours for the taking and reading.
There’s a styleguide if you want to get involved on the production side too.
This is what Jessica has been working on for the past year—working very hard, I can attest.
This wrap-up post is a fascinating insight into the translation process.
Science fiction isn’t about technology, it’s about people …and how people change in response to technology.
So ironically, perhaps the only way that any piece of science fiction can be sure that it will remain resonant as the years pass is to make sure that any technical speculation can drop away once it’s no longer relevant. The science will fall back to Earth like an exhausted booster section, tumbling away from the rocket that will one day reach the stars. And then we’ll be left with stories about how people change when change arrives – and that, for me, is what science fiction is.
Brewster Kahle outlines his vision for library collaboration in curating and distributing digital works.
That library was a Pandorica of fabulous, interwoven randomness, as rich as plum cake. Push a seed of curiosity in between any two books and it would grow, overnight, into a rainforest hot with monkeys and jaguars and blowpipes and clouds. The room was full, and my head was full. What a magical system to place around a penniless girl.
Thinking of writing a book? Here’s some excellent advice and insights from Yaili, who only went and wrote another one.
Let me say this first: writing a book is hard work. It eats up all of your free time and mental space. It makes you feel like you are forever procrastinating and producing very little. It makes you not enjoy any free time. It’s like having a dark cloud hanging over your head at all times. At. All. Times.
Most of these dystopian scenarios are, after all, post-apocalyptic: the bad thing happened, the tension broke, and now so much less is at stake. The anxiety and ambivalence we feel toward late-stage capitalism, income inequality, political corruption, and environmental degradation—acute psychological pandemics in the here and now—are utterly dissolved. In a strange, wicked way, the aftermath feels fine.
Reviews of twentieth century science fiction novels and anthologies by women writers.