Current Status
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"Path is pretty in the same designy way as our modern museums…These museums are very exciting when they open. You show up and marvel along with all of the other fans of architecture. Maybe you return for one of those nights where they stay open late and there is a band and drinking. “A great space,” you think. Maybe one day you’ll be rich and rent out the atrium for a private party. The art doesn’t get talked about so much at these museums. The museum itself is the “social object,” as it were. Eventually the particulars around which the museum was designed fall out of fashion. A fresh crop of architects finds it to be too flashy, or too dull, or to have been guided by faulty principles. There is congestion where there should be flow. Certain rooms are simply exhausting. Maybe it is even an eyesore. This is good for the museum. Now they can really fuck up the place…Path is a monument to Path. It is no place to scribble in. I wish it longevity so that it might find shabbiness."
This is the best thing I’ve read about Path, and it perfectly articulates something I’ve thought not only about Path, but also a lot of other exemplars of the fussy, post-Apple wave of “high design” in tech products. Khoi Vinh has written about the same phenomenon, arguing that the obsessive design polish we in the industry have come to fetishize can lead to products without the “breathing room” to feel truly lived in by users.
(via buzz)
(via buzz)
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Every time I see a coat hook on the door of a bathroom stall, I imagine a stranger coming in while I’m in there and saying “Oh, don’t mind me, I”m just using the coat hook”.
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Wordsworth, Emerson, Whitman, Wooderson.
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Edgar Wright teases The World’s End with new pic
Fans of Shaun Of The Dead and Hot Fuzz have been waiting patiently for Edgar Wright, Nick Frost and Simon Pegg to team up once more, and it seems now that work has finally begun on making that dream a reality…
HURRY UP YOU BEAUTIFUL BASTARDS
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"Chesterton and Tolkien and Lewis were, as I’ve said, not the only writers I read between the ages of six and thirteen, but they were the authors I read over and over again; each of them played a part in building me. Without them, I cannot imagine that I would have become a writer, and certainly not a writer of fantastic fiction. I would not have understood that the best way to show people true things is from a direction that they had not imagined the truth coming, nor that the majesty and the magic of belief and dreams could be a vital part of life and of writing."
Neil Gaiman (via neil-gaiman)
I had an experience reading Lewis (In my case with his Space Trilogy and The Screwtape Letters) very similar to the one Neil describes here. Great speech.
(Source: neilgaiman, via neil-gaiman)
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Sit me between these two guys for a few beers and I’d be so happy.
(Source: fuckyeahbritishcomedians, via dailydoseofdylanmoran)
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"This Movie Makes No Sense" →
When you look through the layers of mystical bullcrap and puffed-up narcissism, what you really see in “The Buried Secret” is a man desperately trying to build and control his own mystique. Because Shyamalan is supposedly so secretive about his filmmaking methods and so nervous about giving Kahn access to his set and his personal life, a lot of “The Buried Secret” takes place far from the production of “The Village.” This might be the single most hubristic element of one of the most hubristic films ever made: it’s a three hour profile of a filmmaker in which the filmmaker himself rarely appears. Apparently, Shyamalan thought his fans were so interested in his life that they’d sit through a three hour film about a guy waiting to talk to him.
There is a universe where M. Night Shyamalan commissioned a three hour-long faux documentary about himself as a marketing stunt. We live in that universe, everybody.
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The Who’s first (and, in some ways, only) live album, Live At Leeds, has been cited by many as the greatest live rock album of all time. (I agree)
It’s an especially interesting album in The Who’s catalog since it is really the only album that gives you a real glimpse at just how much more powerful they sounded as a live act.
In particular, I’m always really struck by John Entwistle’s performance on “Sparks”. Between about 0:59 and 1:18 is just phenomenal.
(Also: The remixed-live version of “Magic Bus” on Live At Leeds is spectacular)
Theme: Linear by Peter Vidani
