In P.opular S.ky (section ish), a character played by Trecartin informs us that she wants ‘to live in a world where narration is the devil’. The ability to script oneself is an inalienable right, and anything that opposes that right must be rejected. David Shields expresses this antagonism to linearity in his book Reality Hunger: ‘Narrative is for dead people.’ Technology, which enables us to connect with others in unprecedented ways, has rendered obsolete the progressive plots and developmental character arcs we used to consider the norm.
Having wired home much of their money in anticipation of following close behind, many started running out of cash. Then they ran low on food. The first to go hungry were among a group of younger men who had relied on a local restaurant outside the hostel to give them a meal a day on credit. The owner cut them off when he found out they’d lost their jobs, Dhong says. Hunger soon spread to almost everyone. At night Dhong could hear some of his compatriots shouting and screaming out the windows of their high-rise towers. One man Dhong knew seemed to be going stir-crazy, muttering and shouting to himself as he paced the hostel grounds. Dhong tried to keep to himself, staying in the small room he shared with three other men and reading his English and Nepalese Bibles side by side to practice English. By late January, his food supply was down to rice flakes, which he shared with the others in his room. “We put out what we had, and mixed and ate together,” he says.
In 1930, the economist John Maynard Keynes famously argued that by the time a century had passed, developed societies would be able to replace work with leisure thanks to widespread wealth and surplus. “We shall do more things for ourselves than is usual with the rich to-day,” he wrote, “only too glad to have small duties and tasks and routines.” Eighty years hence, it’s hard to find a moment in the day not filled with a duty or task or routine.
Adobe tossed a few pearls in front of the developer crowds at MAX a couple weeks ago; some which have been previewing in public for a while: its new suite of Edge tools. (No clue why they’re called Edge; didn’t ask, don’t care.)
Edge Code is a lovely little next-generation HTML/JS/CSS editor built on Adobe’s open-source Brackets tool; Edge Animate is basically CSS3 animations with an interface heavily informed by Flash’s timeline model, and Edge Inspect lets you preview your messes in real time across multiple gadgets on your local network.
The Edge tools show that Adobe may well finally be digesting some of the Macromedia flesh it ate a few years ago. Continue reading
I spent all of last week at Adobe’s MAX Conference (and, full disclaimer, they invited me at their cost) taking stock of the company’s new messages and software about Creative Cloud as we move forward into the next few years. Adobe is making a few shrewd moves, that I can see, as they take their applications into a subscription basis. Continue reading