"At the turn of the millennium, the internet seemed full of heartfelt pitches. Millions of users singing the praises of their favourite things – crowding around them, talking about them, calling for others to recognize their charms. Not the sturm und drang of social media: just clear-throated whoops, and echoes. Strangers like Pedro logging on to share their passions, not just once but every week, long after they had earned their Into the Grove membership rights, as if they couldn't help themselves."

"Annoyed to have been following someone else's path, "you hop off the bus, grab a cab… and head straight back to the bus station, looking for another platform". Three years later, something similar happens. "This goes on all your creative life: always showing new work, always being compared to others." What's the answer? "It's simple. Stay on the bus. Stay on the fucking bus."" Yeah, that. Been feeling that a lot, recently.

"On Valentine’s Day, 1980, a couple of weeks shy of my 15th birthday, I saw my first “X” film. The visceral Philip Kaufman remake of Invasion Of The Bodysnatchers, I didn’t have to sneak in through a held-open fire door, wear a false moustache or lower my voice an octave, as per underage tradition. I paid £1 to see it, legally, projected onto a modest screen before an auditorium of arranged plastic chairs at Northampton College of Further Education’s Arts Centre, courtesy of their members-only Film Society." And so begins a lovely, charming article by Andrew Collins, about the battle for his soul (between film and punk-rock), and how, as an earnest sixteen-year-old, you get to see movies. I did this fifteen years later, with a bit less punk rock, and replacing the NCFE Film Club with a VHS recorder and Moviedrome – but it all rings very familiar. Spot-on.

" I think Zemeckis and Gale knew all the timely accoutrements signifying "the present" in Back To The Future would inevitably look like 1985 within just a couple of years; in fact, they were banking on it. Zemeckis and Gale were trying to create an archetypical representation of 1985 just like they did for 1955, with its soda fountains, social repression, and subjugated black people. In this way, Back To The Future only gets better the further we get from the '80s. Everything that defines Marty McFly—how he walks, talks, acts, and dresses—acts as instantly recognizable shorthand for the year he comes from." This is great.

"Let’s own the work that goes live, understand and explain why it is as it is, and work on the skills we need to make sure more good design actually makes it over the line. Otherwise, what’s the point?" Yes.

"Unsurprisingly, having recognizable cartoon characters on the boxes caused kids to rate a cereal as better tasting, affecting their subjective assessment of it."

And yet: this just explains how, and shirks any understanding of what the presentation of that information might signify, and instead, essentially, says "there was information, so I made an app, and everybody likes a league table, so I added league tables". It's data visualisation as technical endeavour, when, of course, it is far more than that; the moment you start presenting any information, you're making a statement about it, and nowhere does Gilfelt talk about what he feels the app signifies, or whether its editorial stance is appropriate, which makes me a bit sad.

"Holga D is a digital camera inspired from the extremely popular cult of Holga and other toy cameras of its kind. Even though it's a digital camera, it retains the qualities and simplicity of the original Holga camera and brings back the joy and delayed gratification associated with good old analog photography." I like this not because it's a digital version of a Holga, but what a digital camera might be like if it took the same approach as a Holga. I also really like the reversible top panel.

"Hybrids are smooth and neat. Interdisciplinary thinking is diplomatic; it thrives in a bucolic university setting. Chimeras, though? Man, chimeras are weird. They’re just a bunch of different things bolted together. They’re abrupt. They’re discontinuous. They’re impolitic. They’re not plausible; you look at a chimera and you go, “yeah right.” And I like that! Chimeras are on the very edge of the recombinatory possible. Actually — they’re over the edge."

Just in case you needed instructions.

Composite keys for Rails/ActiveRecord. Really does appear to work, too, which is nice.

"Still, if you're going to watch a pair of zombies go at each other for eleventy-billion hours, far into the night, it might as well be these zombies. They were incredible, astonishing, indefatigable. They fell over frequently but they never stayed down. My hat goes off to these zombies. Possibly my head goes off to them too." Xan Brooks' live coverage of Isner-Mahut. Some great writing in there.

"Even the likes of Modern Warfare 2 and Bad Company hide their bloodlust behind a figleaf of fictional "what if" scenarios. Medal of Honor turns a real tragedy into a social shooting gallery, and is going to have to tread carefully to avoid belittling the reality it borrows for our amusement." The problems of making videogames about current conflict, especially when the tactless multiplayer audience get their hands on your content. Not sure I'm particularly cool about this in any way. Oh well.

Collecting casual and informal collective-nouns by scraping twitter. The "What Is This" page is very well done, explaining just what the scraper "sees" in a clear fashion. Fun.

"My guess is that you, dear reader, either like bananas or you love them. I love them. I’ve gone through three or four or more in a day, and rare is the day that I go without one. Whether you like them or love them, my guess is you’d be sad to see bananas disappear from your grocer’s shelves. This is entirely possible; in fact, a shortage of bananas, or a significant increase in their price, is virtually guaranteed." Some fascinating stuff on the state of bananas today.