January 3, 2014
The NYT editorial board argues clemency for Edward Snowden
— "He may have committed a crime to do so, but he has done his country a great service." #
The Atlantic reverse-engineers Netflix's subgenre categories
— awesome data journalism by Alexis Madrigal with a genre generator by Ian Bogost #
Lessons from DayZ's early access
— the biggest innovation from Minecraft, and a growing model for all media #
Year in Metafilter 2013
— part of Metafilter Labs, data experiments from the 15-year-old community #
Song Exploder
— new Maximum Fun podcast asks artists to break apart one of their songs with isolated audio #
Extracting reflected hidden faces from pupils in photographs
— combine this with deblurring, and we're in "let's enhance" territory #
A Second Christmas Morning
— Jason Scott announces the Internet Archive's Console Living Room project #
Anatomy of a Spelunky miracle
— Doug Wilson's approachable breakdown of one of gaming's most insane feats #
Alexis Madrigal on soundboard telemarketers
— reminds me of the celebrity soundboard pranks of the early 2000s #
Shia LaBeouf plagiarizes Dan Clowes for short film
— then plagiarized his apology from Yahoo Answers #
A Year of the New Disruptors
— one of my favorite new podcasts revisits its first four interviewees, one year later #
Annalee Newitz on the linguistics of the doge meme
— "Doges bring a subversive plurality to the LOLcat's stark, single statements." #
Glitch in the Afterlife
— Stewart Butterfield writes about the decision to put Glitch's art assets into the public domain #
Matthew Rothenberg's behind-the-scenes of making Emojitracker
— kind of intense how much went into creating it #
John Roderick on the Long Winters and his unlikely career
— "An indie-rock label really did save my life." #
Download all your Gmail and Google Calendar data
— IMAP was an option for backups, but very cumbersome (via) #
Polygon's history of the boys-only stereotype for videogames
— tracking the shift to heavily gendered marketing in the '90s (via) #
Buzzfeed report on ad licensing for indie musicians
— "These big companies are the last people paying musicians what they are worth." (via) #