filtered: week of dec 1 2014
I subscribe to the Indiegogo and Kickstarter newsletters, just to see what kind of crazy products people are coming up with. Like this levitating Bluetooth speaker. (It’s weatherproof!) The Indiegogo email, especially, reminds me of the feeling of walking into a Sharper Image when I was a kid. Whoa, people make these things? And then sell them?
Speaking of which, where are all the Kickstarter- and Indiegogo-branded pop-up shops for the holidays? This is a thing that should be happening. —dec 4
Kids, take note: this is how you throw shade. In a piece in Brooklyn Magazine about the music blog Wild Honey Pie, an otherwise throw-away quote from Scott Lapatine of Stereogum about the frenzy at the top of the indie music / blogging scene:
“A lot of mediocre bands seemed important at the time because music bloggers were desperate to anoint the next Arcade Fire. You’d see David Byrne and David Bowie at Clap Your Hands Say Yeah concerts and be fooled into thinking something special was transpiring.”
Wow. Just, wow. (Via @MediaREDEF). —dec 4
In a bit of very early spring cleaning, popular Instagrammer Koci is deleting his Instagram account and starting over. I loved his explanation why:
I certainly don’t want this to come off as pretentious or too highbrow, but I’ve always felt that a photograph deserves a life span. Nothing should live forever. I’ve always loved the idea, as Apple refers to it, of a photo stream. What a great concept. And like a stream, things enter your line of sight, you enjoy them for a brief moment in time and eventually they flow past — in essence never to be seen again.
Not everything needs to live forever…nor disappear instantly. —dec 3
I’m trying to get into the big screen but the truth is I don’t. It doesn’t feel good in my pocket. I don’t want to run with it. I need to put a case on it because it’s too big to get a good grip on it. The iPhone 6 is so big than I have to take it out of my pocket ever time I’m in a meeting or sit down at a restaurant. I put it on the table and feel ashamed doing that. It’s just there waiting to interrupt me.
I don’t regret for a minute taking my iPhone 6 back. I love my 5S—perfectly pocket-sized, my hands are trained for its keyboard, I run with it, and even though it doesn’t have the camera of the 6 it still takes great pictures. My ideal phone: iPhone 6 camera + internals (Apple Pay!) in a 5C enclosure. Every time I hold a 5C my brain goes want. —dec 2
“It’s going to be four hours, start to finish, and at the end of four hours, maybe sometimes it takes five hours, I’m exhausted, and then we’ll go and have some lunch.” And he said, “During that time you just have to be completely still, and you can’t talk.”
Those shoes, those earrings. —dec 1
Chris Messina is doubting his time at Google+. But after the 13 min read I don’t understand what he would have done (or would do) differently. He argues that…
Google missed the pivotal opportunity to establish a data-positive paradigm for sharing, individual control, and personalization that set itself apart from Facebook.
…which may very well be the case, but people don’t share photos or argue about politics or send messages to one another in order to establish a data-positive paradigm. ‘Ello? Sounds More Awesome than Money. —dec 1
An Art Form Rises: Audio Without the Book. I had no idea that Audible was pulling a Netflix and investing in their own content. But of course they are!
So far, Audible has commissioned and produced around 30 original works, as varied as a serialized thriller about a conspiracy that drives India and Pakistan to the brink of nuclear war, and original short stories set in the world of Charlaine Harris’s vampire novels.
“You have this massive opportunity when you don’t have to fight for people’s eyes,” said Donald Katz, chief executive of Audible. “It’s time for us to move from sourcing content that can produce fantastic audio, on to imagining what the aesthetic of this new medium should be from the ground up.”
Odyssey Works: When I Left the House it was Still Dark (2013) “was a long durational, ephemeral performance made for an audience of one.”
The creative process for this performance, as with other Odyssey Works projects, is an act of attentiveness and devotion. The team spends several months studying the participant before beginning to compose a set of experiences designed to move him or her in a profound way. By immersing themselves in the life of an individual and creating fully participatory experiences, Odyssey Works establishes a new paradigm for the relationship between artist and audience.
Which, of course, sounds an awful lot like Marina Abramović crossed with The Game. And then Alexis Madrigal (linked sourced from him originally) points out that one of the artists from Odyssey Works actually livetweeted watching The Game.
Why yes. Yes it is. —dec 1
Still here? Read last week’s filtered for good measure.