我們都知道這種感覺。你在悲傷的夜晚失眠，或者在朦朧的週末清晨蹣跚而行，需要一些閱讀的東西，而那一堆未讀的書並不能阻止你。為什麼不從Twitter和RSS的消防水龍帶中休息一下，看看我們每週從網路上收集的關於技術、文化、媒體和未來的重要文章？當然，坐在Instapaper佇列中你會感到內疚的還有一件事，但總比再次在Twitter列表上徒勞地拉好。

首先，每週專欄終於有了一個RSS提要，現在來看一個沒有愚人節笑話的列表：

論攝影

馬特·皮爾斯（mattpearce）與攝影及其數碼增強作鬥爭。

最新調查：馬特·皮爾斯-要麼射**，要麼死

I already know that I will likely never pay someone to take a photo for me again, just as the arrival of journalist – replacing iPhones and free downloads of Hipstamatic and Instagram mean that I, too, am ever less likely to get paid. The work of photography once belonged exclusively to laborers. Now it belongs to everybody, it belongs to me, and someday I will put my father out of business forever because of it.

關於小故事

我被作家特朱·科爾的小說《用推特寫奈及利亞拉各斯的“小”新聞故事》迷住了，這是他從法語“fait divers”（“小命運”，或字面上的“事件”）中衍生出來的一種做法。昨天，他宣佈，在國會圖書館報紙檔案館的幫助下，他將撰寫類似於1912年紐約的小故事。在@tejucole跟著他。

特珠科爾網站：Teju Cole-小命運

The stories I tell in the **all fates are more tightly compressed than most fait divers(thanks to the limitation of length Twitter imposes) and often more laconic. I like to flirt with straight reportage, or the appearance of straight reportage. Each tells a truth, a whole truth, but never the whole truth (but this is true of all storytelling). Details are suppressed, secondary characters vanish, sometimes the "important" aspect of the story is sidestepped in order to highlight a poignant detail.

關於熱點

史蒂文·布恩使用蘋果專賣店的免費公共Wi-Fi與流浪者、騙子和無家可歸者交談。

首都紐約：史蒂文·布恩-推雲：麥當勞的熱點和蘋果商店的網路惡棍

This was the future a lot of dystopian sci-fi authors warned us about, where a private, profit-hungry corporation could make itself feel like Mom's house. I loved it. For the ridiculous amount of money Apple had raked in during its stellar iPod/iPhone decade, it was willing to let a few stragglers abuse their sample products, maintaining an aura of Californian liberality.

論隱私權

馬特布坎南呼籲“通用私人模式按鈕。”

FWD：馬特·布卡南-我們需要一個全網際網路的私人模式

You cannot hide what you’re listening to from your friends on Rdio. You cannot have a private pinboard on Pinterest. You cannot hide your favorites on Twitter. You cannot delete titles from your Netflix history. (Netflix isn’t shared on Facebook right now, but it’s not for lack of wanting to.) Spotify freaks out a little bit when the social thing isn’t working and harangues you c***tantly to connect it to your social networks (even though it, admirably, has a private mode).

論阻塞

Choira Sicha讓我們陶醉於阻止人們上網的快樂之中。

錐子：唱詩班西夏-阻止人的樂趣

Every time I see an ad on Twitter, I block the company. (So long, KmartDeals, StaplesUS, Walmart Specials.) Every time someone annoys me majorly, I don't unfollow: I just go the extra mile and block 'em. It's great! You're nuking them from your universe! Am I annoying you? You should block me too!

論規制

michaeljosephgross探討了網路監管的過去、現在和未來。

《名利場》：邁克爾·約瑟夫·格羅斯-*******

The Net has given more individuals more power in a shorter period of time than any new technology in history. And unlike many other world-changing technologies, there is no institutional barrier to access. This has made it, on balance, mostly destructive of institutional authority, especially that of nation-states.

在電影預告片上

邁克·巴特爾（mikebarthel）著眼於電影預告片在過去20年中是如何演變成一種更為發自內心的媒介，它不只是在短短幾分鐘內解釋電影的大部分情節。或者，用這個藉口再看一次普羅米修斯的預告片。

沙龍：邁克·巴特爾——電影預告片革命

Another big change involves the way trailers sound. While the music used tends to be the focus, those noises you hear at the end of the "Prometheus" trailer simply didn’t exist 20 years ago. "That’s a way more subtle effect that I don’t know if the general audience realizes, but people in the industry sure do," said Smith.

關於“數字瘦”

前Flipboard設計師克雷格·莫德（Craig Mod）寫了一本他為記錄和認可團隊構建iPhone應用程式的經驗而創作的實體書。

craigmod.com：Craig Mod-數字↔物理的

By December, every piece of the application had been disassembled, scrubbed, and oiled from a user experience, surface design, and information architecture perspective. Furthermore, every piece of the underlying engineering had been hammered and abused in testing for solidity: just try to crash the thing.

論空間與線

早在1996年，尼爾·斯蒂芬森就講述了世界上最長電線的故事。

連線：尼爾·斯蒂芬森-地球母親委員會

Everything that has occurred in Silicon Valley in the last couple of decades also occurred in the 1850s. Anyone who thinks that wild-ass high tech venture capitali** is a late-20th-century California phenomenon needs to read about the maniacs who built the first transatlantic cable projects (I recommend Arthur C. Clarke's book How the World Was One). The only things that have changed since then are that the stakes have gotten **aller, the process more bureaucratized, and the personalities less interesting.

你想在下週的版本中看到你最喜歡的嗎？把它們發到@thomashouston或者在下麵的評論中分享。