Kendrick Lamar – HUMBLE. https://youtu.be/tvTRZJ-4EyI
Shape of You – Walk off the Earth (Ed Sheeran Cover) https://youtu.be/YV5KAbV34NU
Publishing used to be relatively simple. You published a newspaper once a day or produced a nightly newscast. Even with the advent of the Internet things were fairly straightforward: You had a website and posted your coverage there.
Steamed bread. http://ift.tt/2okVkpW
A new sense of the notion of information has been constructed
around the photographic image.
The photograph is a thin slice of space as well as time. In a world ruled by photographic images, all borders (“framing”) seem arbitrary. Anything can be separated, can be made discontinuous, from anything else: all that is necessary is to frame the subject differently. (Conversely, anything can be made adjacent to anything else.) Photography reinforces a nominalist view of social reality as consisting of small units of an apparently infinite number—as the number of photographs that could be taken of anything is unlimited. Through photographs, the world becomes a series of unrelated, freestanding particles; and history, past and present, a set of anecdotes and faits divers. The camera makes reality atomic, manageable, and opaque. It is a view of the world which denies interconnectedness, continuity, but which confers on each moment the character of a mystery. Any photograph has multiple meanings; indeed, to see something in the form of a photograph is to encounter a potential object of fascination. The ultimate wisdom of the photographic image is to say: “There is the surface. Now think—or rather feel, intuit—what is beyond it, what the reality must be like if it looks this way.” Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation, and fantasy.
(Susan Sontag, 1977: 17)
The history of computers is often told as a history of objects, from the abacus to the Babbage engine up through the code-breaking machines of World War II.