Tumblr’s Vice President Andrew McLaughlin on making Tumblr Tumblr.
Via Slate.
This Will Not Appear on TED: Nick Hanauer on Income Inequality
Last week TED, the smarty conference series for the well-healed set, faced accusations of censorship when it came out that they were not going to publish Nick Hanauer’s recent talk on income inequality.
The reason given for its omission by Chris Anderson, TED’s curator, was twofold: the talk was too political for an election year despite the fact that the words “Democrats” and “Republicans” are used only once, and in the same breath and the same vein; and that the organization only posts one video a day from a pool of 250 TED Talks and another ten thousand TEDx Talks (the conference’s licensed third-party conferences from around the world).
However Anderson tried to spin it, you can’t really say the talk was censored. Hanauer, a very wealthy, serial entrepreneur, did appear, did talk and the video — as seen above — is available online. It’s just not featured at TED.com.
In light of that, Salon’s Alex Pareene has an interesting critique of TED as currently constructed. At it’s most blunt:
At this point TED is a massive, money-soaked orgy of self-congratulatory futurism, with multiple events worldwide, awards and grants to TED-certified high achievers, and a list of speakers that would cost a fortune if they didn’t agree to do it for free out of public-spiritedness.
I don’t agree that TED is as worthless as Alex makes it sound, but his article has important ideas about what constitutes partisanship today, and how political and economic consensus is created by ruling classes today. Well worth the read. — Michael
Her Girl Friday, a Brooklyn based group dedicated to empowering and fostering community among women in journalism and nonfiction storytelling, is hosting a free event next Tuesday.
“Throw Like a Girl: Pitching the Hell Out of Your Stories”
A free panel with the best editors in the business, hosted by New York Times reporter Amy O’Leary.
WHEN: Tuesday, May 29
WHERE: Public Assembly
70 North 6th Street, Brooklyn, NY
TIME: 7pm-9pm, followed by a boozy mixer (DJ tbd)A few months ago, VIDA released its 2011 count comparing female and male bylines in major publications. As usual, the results were pretty dismal.
The Atlantic? 235 male bylines and 91 female ones.
The New Yorker? 459 dudes, 165 ladies.
Harper’s? 141 men, 42 women.When the editor of Harper’s was asked about the gender disparity, she explained, “The dearth of female bylines is an industry-wide issue. There may be some sort of a historical hangover from past years that has resulted in us getting fewer pitches from female writers, but I would like to change that equation.”
All this got us thinking: How do we change the equation? Read on.
FJP: Very cool. We even posted about the 2011 count twice: Here and here. NYC-based ladies, see you there!
Chrome overtakes Internet Explorer as the Web’s most popular browser
Filed under that didn’t take long. Chrome’s first public, stable release was in December 2008. The first version of Internet Explorer, 1995.
In 2002-2003, IE controlled about 95% of the browser market.
More info via The Next Web.
Image via StatCounter.
It was tense.
Via.
I think it’s the beginning of the end of the valley as we know it. Silicon Valley historically would invest in science, and technology, and, you know, actual silicon. If you were a good VC you could make $100 million. Now there’s a new pattern created by two big ideas. First, for the first time ever, you have computer devices, mobile and tablet especially, in the hands of billions of people. Second is that we are moving all the social needs that we used to do face-to-face, and we’re doing them on a computer.
And this trend has just begun. If you think Facebook is the end, ask MySpace. Art, entertainment, everything you can imagine in life is moving to computers. Companies like Facebook for the first time can get total markets approaching the entire population…
…But Silicon Valley is screwed as we know it.
If I have a choice of investing in a blockbuster cancer drug that will pay me nothing for ten years, at best, whereas social media will go big in two years, what do you think I’m going to pick? If you’re a VC firm, you’re tossing out your life science division. All of that stuff is hard and the returns take forever. Look at social media. It’s not hard, because of the two forces I just described, and the returns are quick.
“I still can’t believe we got them to say ‘blogosphere’.”
Via XKCD.
Made in New York City
A map of NYC start-ups, incubators and investors. Also includes information about companies that are hiring if you’re in the market.
The article makes a point of quoting Myron Ebell of the Competitive Enterprise Institute, for a contrary view on warming.
Why? If there was an earthquake, the Times would not seek out a denier of earthquakes. If this was an article on medicine, the Times would not automatically seek out the views of a homeopath or acupuncturist. If this was an article on astronomy, you (the Times) would not make an obligatory pilgrimage to the UFO community. Yet on climate change… you bow again and again to the immense vested interests that fund the climate denial industry. This does not give your readers balance – in fact, it distorts their views of the actual facts.
Mr Ebell’s organisation receives substantial funding from Exxon Mobil, a point not mentioned in this article.
Letter to the editor of the New York Times, eviscerating their “balanced” reporting on climate change. It’s a must read letter, here. (via climateadaptation)
FJP: May we draw your attention to Jay Rosen’s View from Nowhere.
It’s a fairly basic constitutional issue for the press, whether or not there is a reporter’s privilege. It’s something a lot of people outside the press don’t really understand, don’t really care about. I think the basic issue is whether you can have a democracy without aggressive investigative reporting and I don’t believe you can. So that’s why I’m fighting it.
James Risen, reporter, New York Times, in a talk at the National Press Club. ‘Reporter’s Privilege’ Under Fire From Obama Administration Amid Broader War On Leaks.
Background: The Obama Justice Department continues its attempts to force Risen to testify against CIA agent Jeffrey Sterling by arguing that Reporters’ Privilege does not exist when the information revealed is considered illegal.
In this case, the CIA’s Sterling is charged with leaking classified information about a plot against the Iranian government that Risen then used in his book, State of War: The Secret History of the CIA and the Bush Administration.
Via the Huffington Post:
While the Obama administration hasn’t prosecuted those responsible for torture during the Bush years, it is taking a strong stand against a former official believed to have supplied information to the media about use of torture and other controversial tactics during the previous administration.
In January, the Justice Department charged former CIA officer John Kiriakou with disclosing classified information to the media; The FBI claims to have evidence linking him to a 2008 New York Times story detailing the interrogation of Abu Zubaydah.
In another notable case, the DOJ charged Thomas Drake under the Espionage Act, claiming the former National Security Agency official provided classified information of gross NSA mismanagement to a Baltimore Sun reporter. The government’s case collapsed in 2011 and Drake pleaded guilty only to a misdemeanor.
The crackdown hasn’t gone unnoticed among reporters, with tension recently spilling out into the White House briefing room after the administration praised Anthony Shadid and Marie Colvin, journalists who died while covering the bloody conflict in Syria.
Jake Tapper, the senior White House correspondent for ABC News, asked White House Press Secretary Jay Carney how public support of those journalists’ work “square[s] with the fact that this administration has been so aggressively trying to stop aggressive journalism in the United States by using the Espionage Act to take whistleblowers to court.”
“There just seems to be a disconnect here,” Tapper added. “You want aggressive journalism abroad; you just don’t want it in the United States.”
Check One, Check Two: Our Webcasting Checklist
Next Wednesday we’ll be Webcasting GigaOm’s paidContent 2012 event from the Times Center in New York City.
From past experience, Murphy’s Law dominates the production of these type of things. If the Webcast is supposed to start at 9am, everything will work until 8:58 and then all hell breaks loose.
To prepare we take things apart, put them back together again, start streams, stop streams, figure out how and why things break, and figure out how to put everything back together again.
The gear we use runs as follows:
I’ll post next Tuesday where people can watch the event. The lineup looks great and includes WordPress founder Matt Mullenwag, Pulitzer Prize winner Richard Russo, Condé Nast president Bob Sauerberg and News Corporation CEO Jon Miller among others.
The agenda: explore “business models and debate the best ways to keep content meaningful and profitable in an ever-changing digital environment.”
A working habit he has had from the beginning, Hemingway stands when he writes. He stands in a pair of his oversized loafers on the worn skin of a lesser kudu—the typewriter and the reading board chest-high opposite him.
When Hemingway starts on a project he always begins with a pencil, using the reading board to write on onionskin typewriter paper. He keeps a sheaf of the blank paper on a clipboard to the left of the typewriter, extracting the paper a sheet at a time from under a metal clip that reads “These Must Be Paid.” He places the paper slantwise on the reading board, leans against the board with his left arm, steadying the paper with his hand, and fills the paper with handwriting which through the years has become larger, more boyish, with a paucity of punctuation, very few capitals, and often the period marked with an X. The page completed, he clips it facedown on another clipboard that he places off to the right of the typewriter.
Hemingway shifts to the typewriter, lifting off the reading board, only when the writing is going fast and well, or when the writing is, for him at least, simple: dialogue, for instance.
He keeps track of his daily progress—“so as not to kid myself”—on a large chart made out of the side of a cardboard packing case and set up against the wall under the nose of a mounted gazelle head. The numbers on the chart showing the daily output of words differ from 450, 575, 462, 1250, back to 512, the higher figures on days Hemingway puts in extra work so he won’t feel guilty spending the following day fishing on the Gulf Stream.
George Plimpton, The Paris Review. Ernest Hemingway, The Art of Fiction No. 21.
In a 9,000 word interview from 1954, Plimpton and Hemingway discuss writing and craft, and gossip about their contemporaries.
Earth, 121 Megapixel Russian Edition
Via The Verge:
There’s been a long history of NASA-provided “Blue Marble” images of Earth, but now we’re getting a different perspective thanks to photos taken by the Elektro-L No.1 Russian weather satellite. Unlike NASA’s pictures, this satellite produces 121-megapixel images that capture the Earth in one shot instead of a collection of pictures from multiple flybys stitched together. The result is the highest-resolution single picture of Earth yet. The image certainly looks different than what we’re used to seeing, and that’s because the sensor aboard the weather satellite combines data from three visible and one infrared wavelengths of light, a method that turns vegetation into the rust color that dominates the shot.
A zoomable version of this image is here. A collection of related images is available on the Planet Earth Web site.
Learning to Finger Paint
Last weekend I bought Brushes, a digital finger painting app for iOS devices created by Taptrix.
While my drawing talents haven’t improved much since the second or third grade, I thought finger painting would be a great way to occupy my daily subway rides. Besides, there’s aspiration going on here: Jorge Colombo created five New Yorker covers using the app.
Here’s some general background: Brushes, as the name suggests, is a painting app that uses brushes. If you’ve used Photoshop, they’re the exact same thing. The app has 19 different ones and you can change each one’s size and overall style with some sliders that give you overall control.
Importantly, the app also uses layers so you can draw on top and underneath objects. The layers aren’t limitless so you end up using a few and then merging them when you have the need to move on to a different part of your picture.
Other essentials include a color picker, paint bucket for large fills, and opacity and brush size control. The eraser is handy and the history and redo controls are image saving.
So, a few days into my drawing with Brushes extravaganza, here’s what I’ve discovered:
If you want to see how people are using Brushes, and what its potential is, check the Flickr user group. And if vector’s more your thing, Taptrix has another iOS app called Inkpad.
Images: Chickens are People Too, by me (Michael Cervieri); various screenshots of the Brushes app showing layers, color pickers, and brush types.