"When we complain about Shoreditch changing, about it being too expensive to stay here any longer, we are echoing the complaints and weary jokes of all the combat-trousered webmasters and the cocky conceptual artists and the serious synth-poppers and the upholsterers and tailors and printers and showmen who have been here before us."

"In this context, Google+ is not the company’s most strategic project. That distinction goes to Glass, to the self-driving cars, and to Google Maps, Street View, and Earth—Google’s model of the real, physical world. Maybe in twenty years we’ll think of Google primarily as a vision company—augmenting our vision, helping us share it—and, oh wow, did you realize they once, long ago, sold ads?" This is good. I like the distinction between pictures and vision a lot.

""And thus ends all that I doubt I shall ever be able to do with my own eyes in the keeping of my journal, I being not able to do it any longer, having done now so long as to undo my eyes almost every time that I take a pen in my hand; and, therefore, whatever comes of it, I must forbear: and, therefore, resolve, from this time forward, to have it kept by my people in long-hand, and must therefore be contented to set down no more than is fit for them and all the world to know; or, if there be any thing, which cannot be much, now my amours to Deb. are past, and my eyes hindering me in almost all other pleasures, I must endeavour to keep a margin in my book open, to add, here and there, a note in short-hand with my own hand." Well put. Well done, Sam. Well done, Phil.

"It’s the symptom of the algorithm. It’s what comes out of the digital-political-economy of cultures that live by networks and the machinary (soft/hard/hashtag-y) that underpin it all. All this #newaesthtic #ooo #futureofproduction stuff is the excess. The unexpected, unplanned for result. It’s the things that happen without one self-consciously *going after* #newaesthetic / object-oriented ontological / future of network connected things sensibilities." A calm, rational, open-ended commentary from Julian. I liked this point.

"We'll only really understand what we're doing when it stops feeling new, when we have a sense of history about what we're making." Better keep on making, then. (This is good. Also: well done Phil. It's important to say well done, and this is a lot of effort, and it's been brilliant. Finishing in May! Gosh).

"Next time somebody's trying to sell you on the awesomeness of their new data technique, ask to see a prototype. If they haven't got that far, it's snake oil." Everything in this article is, basically, true. It's a really good run-down of all the issues that emerge in the reality of dealing with data-driven products at any scale."

"I want to love books, but if the publisher treats them merely as interchangeable units, where the details don’t matter so long as the bits, the “content”, is conveyed as cheaply as possible, then we may be falling out of love." Phil buys a new volume of Pepys, finds it's now being printed on-demand, and talks a little about the perceived quality of such books. In short: if you're not expecting it, and it's a change to the usual, it makes you feel a bit like the publisher doesn't care about it.

"I suppose the point I was driving to that I let myself get derailed from is that all these trends in western cinema developed over time. It moved in eras of film, from the silent film, to the beginning of the talkies, to the pulp westerns, to their revival with Stagecoach and the classical period of westerns, to the revisionist and spaghetti westerns to the brooding psychological westerns of today. What RDR fails to pick up on is that these are all products not only of the time they were set, but the time they were made." This is a good post on one of my problems with the (generally very good) Red Dead Redemption: rather than trying to be *a* Western, it tries to ape *all* Westerns, and thus is all over the place tonally. Better examples in the full body – worth a read.

"Thinking about what defines a particular game medium, one doesn’t always consider elements like the player’s physical posture, and where they sit relative to their fellow players. But the experience of playing a digital game with a friend on the iPad proves quite different than that of sitting side-by-side on a couch with Xbox controllers in hand, or sitting alone with a mic strapped to your head. Your sense of posture and presence is part of the game’s medium, as much as the material of the game’s manufacture. Playing Small World gave me a frisson of novel confusion, marrying the player-interactivity of a board game with the board-interactivity of a computer game. I felt the seam that joined them, but it felt right. This was something new, comfortable, and fun." Jason McIntosh on how tablet gaming is similar to the "cocktail" cabinets of old.

Today's Guardian, from Phil, which is brilliant, for all the reasons explained in his post about it.

"Although the finished site looks nothing like a newspaper I think it has more in common with newspapers’ best features than most news websites do. The sense of browsing quickly through stories and reading the ones that catch your eye, feels similar." Phil is smart. This is good.

"Valve subtly guides the player’s attention toward significant events and objects by using elements naturally found in the game world. This allows the player to retain control of their perspective without getting lost or confused, and contributes to an overall immersive experience." Matthew Gallant puts together a nice selection of screengrabs to illustrate Valve's craft.

"There was an implicit value judgement in Greenfield's talk between the "purely sensory experiences" of raves or today's computer games, and the cognitive activities of reading a book or listening to a symphony, which, because they make us "see one thing in terms of another thing", involve a more mature mental engagement. For Greenfield, the Beethoven was a higher experience because it offered an "escape from the moment", where a rave was about losing yourself to the "thrill of the moment". I think that's a flimsy distinction, since both are about submitting to the sensory power of music. I'd like to see the difference in brain activity between somebody "escaping" life's mundanities and another person "thrilling" to the implacable now of the beat."

"I thoroughly enjoy the more real time nature of these diary fragments popping up among my friends’ updates. It’s easy to picture @samuelpepys conducting his business and pleasure, travelling around London — from his home near the Tower of London to Deptford to Westminster — when he’s updating you on his progress during the day." Phil on the joy of small updates from things that aren't (quite) people.

"Sony acts like a character in a Charlotte Brontë novel–they seem to think they have an entire lifetime to seize the moment."

"The point here, is that the flickr team did not wake up one morning and think: “You know, if we captured THIS kind of data, we could create this mashup; so let’s create an application.” Instead, they re-used data they were already capturing, and brought out something very interesting indeed. By creating tools which match their data (and could be used with other data of the same kinds), flickr is able to expose layers of value from the rich-pickings of their own data-cloud. The good stuff is where the data are." Yes, it is.

"Some people love this kind of aggregation. Good for them. I, however, am human and my eyes glaze over when trying to comprehend a chronological stream of equally-weighted events, a format only robots could love. This is rubbish… There must be better ways of showing such “here’s what I’m up to” information." Phil talks about some problems he's been trying to solve with dashboard displays.

"A magnificent, huge orca-like beast, swimming calmly through the vast ocean beneath my smoke-belching craft. She was a beauty. And she instantly became my Moby Dick. “I’m coming back for you”, I thought. Big Shirl is a reason to reach level 80. I have no doubt the grind will get to me before too long, or that the thought of repeatedly running the same dungeons or battlegrounds come level 80 will turn me off all over again… In these early days though, before everyone in it knows everything, it’s an explorer’s paradise. That’s why I play MMOs." A nice, thoughtful article from a first look at WotLK from Alec Meer

"Wow. Ever get the feeling you've been thrown for a loop? I did just that, when I worked out that GSW commenter and erudite game blogger, PixelVixen707, appears to be not just a smart game blogger, but a fictitious front for some kind of damn weird ARG/online story." Down the rabbit hole we go, again.

"SourceForge is about projects. GitHub is about people… This is a pivot of the traditional open source project website. A pivot from project to programmer. I love the pivot."

"At the start it seemed reasonable to think that Mirror's Edge could stand entirely on the merits of its brilliant core concept, and not need to include extraneous and negligibly attractive features to appeal to as many people as possible. But, no, this is the video game business." This is the stuff that's scaring me most about Mirror's Edge.

"…in recent years, [the stage has] moved away from those practices. Today, we better understand the importance of offering kids the very best we can do. They are no different from the rest of us. They respond positively to quality, and they quickly grow bored and restless with mediocrity… We might consider a similar approach to video games. If we want our kids – heck, if we want all of us – to enjoy quality games, we must pay attention to and promote those games that deliver quality."

From Duncan Harris; postcards from post-apocalyptic DC.

Course notes from Stanford's Cocoa programming course.