“I can’t imagine anything I wouldn’t do for Dwyane,” he says.

Wade, bleeding, fell at Haslem’s feet after Hansbrough’s hard foul. The game and series were still close then, though Miami would outscore Indiana 86-58 immediately after Haslem’s retaliation on Hansbrough and would extinguish the Pacer season in Indiana the game after that, an angry Wade providing the 17-for-25 punctuation that will echo throughout Indiana’s offseason. Wade got on the team flight with game ball in hand after finishing Indiana with 41 points and 10 rebounds, and he asked his rowdy teammates to please quiet down as he handed that symbolic ball over to Haslem.

“For my brother,” Wade said for all to hear. “For his sacrifice. I don’t think we win this series without him.”

“Way to cook their asses,” Haslem told Wade."

"Egan says that it took a year to "control and calibrate" the story she's now tweeting; her tight prose doesn't exactly invite replies. But the shift into Twitter is a truly modern serialization technique; there's more going on here than simply contemporary fiction meted out 140 characters at a time."

"Though the economics of the business have drastically changed since our purchase of The Buffalo News, I believe newspapers that intensively cover their communities will have a good future. It’s your job to make your paper indispensable to anyone who cares about what is going on in your city or town."

"I cant tell you why other people write, but I
write in order to keep from going insane.
my head, I expect'd turn inside out if my hands
were t leave me."

"The greatest commencement address ever is now more than three decades old. And it’s safe to say it will never be surpassed or even equaled. It belongs to the ages."

"In 1979, its author summed up the condition of modern man by noting that, quote, more than at any other time in history, humanity is at the crossroads: one path leads to despair and utter hopelessness; the other, to total extinction. Let us pray we have the wisdom to choose correctly. Unquote."

"Bang. That’s all she wrote. With that one paragraph, Woody Allen, filmmaker and philosopher-king, made Graduation Day his bitch for all time. No point in any of us trying to bring anything new to this game; Woody has killed it dead. That he never actually gave the remark at any commencement is beside the point. True, it appeared only as a column in the New York Times, but so what? Linked as it is to no actual college or university, Allen’s address is now the preserve of graduates everywhere. It was mine when I slipped the surly bonds of the University in Maryland in 1983, and it belongs to you all now, here today. And if this forlorn little planet is still spinning when your children’s children roll up and smoke their diplomas a couple short decades from now, it’ll be theirs as well."

"A key phrase to keep in mind in any 5 Why exercise is "people do not fail, processes do"."

"So how, then, do they make their decisions? Turns out, every pass play is a pure demonstration of human feeling. Scientists have in recent years discovered that emotions, which are often dismissed as primitive and unreliable, can in fact reflect a vast amount of information processing. In many instances, our feelings are capable of responding to things we're not even aware of, noticing details we don't register on a conscious level."

"Their strategy for staying alive is to be barely alive at all."

"You swam across a wide and wild sea and you made it all the way to the other side. That it feels different here on this shore than you thought it would does not negate the enormity of the distance you traversed and the strength it took you to do it."

"The man could not shave himself. In lieu of a belt, he knotted a rope or a discarded necktie around his waist. Mornings, he needed two or three ounces of gin in his orange juice if he was to steady his hand to eat the breakfast that would very likely prove his only meal of the day. Thereafter a diminishing yellow tint in the glass might belie the fact that now he was drinking the gin neat, which he did for as many hours as it took him to. Ultimately he would collapse — sometimes sensible enough of his condition to lurch toward a bed, though more often he would crash down into a chair, and once it was across my phonograph."

"The basic rule you gave us was simple and heartbreaking. A story to be effective had to convey something from writer to reader and the power of its offering was the measure of its excellence. Outside of that, you said, there were no rules. A story could be about anything and could use any means and technique at all—so long as it was effective."

[...]

"You said, "It's going to take a long time, and you haven't any money. Maybe it would be better if you could go to Europe."

"Why?" I asked.

"Because in Europe poverty is a misfortune, but in America it is shameful. I wonder whether or not you can stand the shame of being poor."

"A personal site is where you don’t have to compromise. Even if you lose some readers. Even if some people hate what you’ve done. Even if others wonder why you aren’t doing what everyone else who knows what’s what is doing."

"...for poetry to be used as an instrument of seduction, the first requirement is that it be understood. No American girl was likely to fall for a guy who reads her love poems in Serbian as they sip Coke."

"But critics, let yourselves go. Dunham has Hannah’s back. Hannah doesn’t need our motherly concern, our chivalrous evocation of the women’s lib barricades. As we have already learned from the pilot episode, Hannah is smart and perceptive and funny and not (usually) a total doormat—she just hasn’t figured out where she herself would like a sex scene such as this to go."

"Facebook’s management team has always been on-message. But now that it’s a publicly traded company, we can expect that candid, unplanned comments to the press are gone for good. That’s why we hit up the best source for the inside scoop on Facebook — one that’s no longer there. Dustin Moskovitz may have left Facebook to launch his own startup, Asana, but he’s still got plenty to say about the company he co-founded with Mark Zuckerberg."

"It was a nook, really, created by the shape of the building around it and the needs of the air conditioning system when the company’s new headquarters were built. Animator Andrew Gordon discovered it while investigating a human-sized hatch in the back wall of his new office. After finding that the tunnel ended in a ‘lost space’, he decided to start decorating."

"we tell stories to continue ourselves..."

"There's another line in the story that's been zipping around my brain like a rocketship since I read it: "The appetite for actual light was at first appeased by symbols." It's a beautiful sentence, but what matters most is that that subtle little "at first"—and everything it implies about what's going to happen next."

"Samuel Beckett, born in a suburb of Dublin in 1906, was a native English speaker. However, in 1946 Beckett decided that he would begin writing exclusively in French. After composing the first draft in his second language, he would then translate these words back into English. This difficult constraint – forcing himself to consciously unpack his own sentences – led to a burst of genius, as many of Beckett’s most famous works (Malloy, Malone Dies, Waiting for Godot, etc.) were written during this period. When asked why he wrote first in French, Beckett said it made it easier for him to “write without style.”

"Beckett would later expand on these comments, noting that his use of French prevented him from slipping into his usual writerly habits, those crutches of style that snuck into his English prose. Instead of relying on the first word that leapt into consciousness – that most automatic of associations – he was forced by his second language to reflect on what he actually wanted to express. His diction became more intentional."

"An additional skill that is sought-out, honed and refined is something we call "Bubble Compartmentalization" -or the ability to block everything else out for long periods of time, except specific visual and observation skills -basically the ability to sit still, observe and calculate without losing your mind."

"As well as imbuing them with a narrative, successful sellers of handmade and vintage goods take immense care in describing the detail of their goods."

"Decisions are made by those who show up. Don't ever forget that you're a citizen of this world."

"Revealing influences is the confidence of a true creative person: you can see where the ideas come from, because even with the same ingredients I know you can’t bake what I’m about to with it."

"I just have to much to do to roam around stuff like this. It seems like a great thing. I just can't do it. I killed my facebook page years ago because time clicking around is just dead time. Your brain isn't resting and it isn't doing. I think people have to get their heads around this thing. All this unmitigated input is hurting folks. My opinion."

"AS: During this record, we went back to the verse in "Mr. Tambourine Man", which is a song I was obsessed with when I was 15: "To dance beneath the diamond sky with one hand waving free." We were in the van, coming back from a show, halfway through writing the album, and I remember hearing that verse. We both wanted that feeling to be encapsulated in our record.

"VL: You want the words to create feelings, and also these intense visuals. As a person who writes lyrics, it's not always about literal heartbreak, but rather the negative space and the feelings around it. How do you describe a feeling without saying "this is the feeling"? How do you take something completely natural, that will eventually transfer to the listener, but not just settle for that instant feeling of "you hurt me," and go to an imaginary landscape instead? It's the most intense task.

"And I'm sorry, but musicians are not chefs. You don't like music because of the way it tastes, where [artists] never want to disappoint a paying customer. Music is about your feelings. Stop pleasing people. You please yourself, and if people like it, great. Beach House is our life. Someone asked us, "What are your hobbies?" And there are small things, but this is every day of our lives.

"AS: Beach House was my life before our first album came out. It was weird, because people would always ask, "Why are you doing that all the time?" But now people don't think I'm weird because I play organs all day."

"His great sin is that he never looked the part: The ruddy complexion and the insubordinate hair and that godawful mustache that should never have belonged to anyone with more solemnity and poise than an East Baltimore Street pimp, drunk and luckless, down to his last working girl."

"It's time we thought about leaving the body behind."

"Rather than implying that founders should socialize less and work more (although he may feel that way), Gross was pointing out that it’s often easier to sell a product that intensely appeals to a narrow market than one that loosely appeals to a broad one."

""I wanted to distance myself as far as possible from those pasty-faced corpses in suits I saw in airline-magazine ads," he writes in his 2005 autobiography, "Let My People Go Surfing." "If I had to be a businessman, I was going to do it on my own terms.""

"If there's a question about if it's necessary, remove it."

"Like most literary geeks, I’ve read a lot of Jorge Luis Borges. If you haven’t, look into the influences of your favorite writers, and you may find the Argentine short-story craftsman appearing with Beatles-like frequency. Indeed, Borges’ body of work radiates inspiration far beyond the realm of the short story, and even beyond literature as commonly practiced. Creators from David Foster Wallace to Alex Cox to W.G. Sebald to the Firesign Theater have all, from their various places on the cultural landscape, freely admitted their Borgesian leanings. That Borges’ stories — or, in the more-encompassing term adherents prefer to use, his “fictions” — continue to provide so much fuel to so many imaginations outside his time and tradition speaks to their simultaneous intellectual richness and basic, precognitive impact. Perhaps “The Garden of Forking Paths” or “The Aleph” haven’t had that impact on you, but they’ve surely had it on an artist you enjoy."

"9. Excessive side projects. Side projects are like comfort food for coders. I’m a believer in doing a side project here and there to keep burnout at bay. Unfortunately, there was a period where I overdosed on them and was working on enough side projects to rival my real startup. I think it’s particularly easy to fall into this trap when your company is new but not brand new, i.e. traversing the Trough of Sorrow. Better to just suck it up and stay focused on product."

"“THE ONLY PEOPLE FOR ME ARE THE MAD ONES, THE ONES WHO ARE MAD TO LIVE, MAD TO TALK, MAD TO BE SAVED, DESIROUS OF EVERYTHING AT THE SAME TIME, THE ONES WHO NEVER YAWN OR SAY A COMMONPLACE THING, BUT BURN, BURN, BURN, LIKE FABULOUS YELLOW ROMAN CANDLES EXPLODING LIKE SPIDERS ACROSS THE STARS AND IN THE MIDDLE YOU SEE THE BLUE CENTERLIGHT POP AND EVERYBODY GOES ‘AWWW!’”

"During lunch, I check in on my favorite writers. In my regular rotation each week: Willa Paskin at Salon, Mary H.K. Choi at MTV and Wired, Edith and everyone at The Hairpin, Mat Honan at Gizmodo, Parislemon, Amanda Peyton on Tumblr, Robin Sloan’s blog, Shortform blog, Chris Dixon, Silicon Filter, Anil Dash, Waxy.org, Liz and Peter at All Things D, Guernica, The New Inquiry, Jonah Lerer, Clive Thompson, Vulture’s Mad Men and Game of Thrones recaps, The New Yorker’s Culture Desk, the picks of Longform, Rembert Browne and Jay Caspian King at Grantland, Anthony de Rosa at Reuters, David Carr and Brian Stelter, RConversation, Daring Fireball, Farhad Manjoo, Fred Wilson, Matt Buchanan and John Herrman at BuzzFeed FWD, Matt Stopera, Whitney Jefferson and Katie Notopoulos at BuzzFeed, Alexis Madrigal at The Atlantic, Rebecca Greenfield at The Atlantic Wire, Tim Carmody at Wired, Kashmir Hill at Forbes, to name a few."

"When talking about Zuckerberg’s most valuable personality trait, a colleague jokingly invokes the famous Stanford marshmallow tests, in which researchers found a correlation between a young child’s ability to delay gratification—devour one treat right away, or wait and be rewarded with two—with high achievement later in life. If Zuckerberg had been one of the Stanford scientists’ subjects, the colleague jokes, Facebook would never have been created: He’d still be sitting in a room somewhere, not eating marshmallows."

"Dissanayake posed that question boldly in her first book: "Since all human societies, past and present, so far as we know, make and respond to art, it must contribute something essential to human life. But what?" A biologist, she proposed, would consider art a set of behaviors rather than a class of objects. Dissanayake was more interested in sculpting than in marble statues and even more intrigued by dynamic arts like singing and dancing. She reasoned that if natural selection had shaped these behaviors—as it had shaped every other functional aspect of human design—then the behaviors must result from predispositions that gave hominids an advantage over their competitors as they evolved. What was that advantage? Dissanayake has looked for it in children's play, premodern ritual, and mother-infant attachment. There is no consensus among evolutionary psychologists that she has discovered the definitive answer. But there is a widespread belief that she has found the right way to ask the question."

"The universe is real but you can’t see it. You have to imagine it. Once you imagine it, you can be realistic about reproducing it."

"David Chang’s search for the perfect restaurant."

"Kevin Rose and Instagram founder Kevin Systrom sit down to chat about Systrom's growing up with computers, his time spent at Stanford, and landing an internship at a startup destined to be worth billions. This ultimately led to launching his own startup which is now 15 million users strong and one of the fastest growing social networks on the planet!"

"There's basically one thing you have to do: you have to make every single detail perfect, and you have to limit the number of details."

"Too often in technology, design is applied like a veneer after the hard work is done. That approach ignores how essential design is in our lives. Our lives are beset by clutter, not just of physical goods but of ideas and options and instructions—and design, at its best, lets us prioritize. Think of a supremely honed technology: the book. It elegantly organizes information, delivering it in a compact form, easily scanned asynchronously or in one sitting. The ebook is a worthy attempt to reverse-engineer these qualities—a process that has taken decades and chewed up millions in capital. But still, despite the ingenuity and functionality of the Kindle and the Nook, they don’t entirely capture the charms of the original technology. Good design is hard."

"For Christ sake write and don't worry about what the boys will say nor whether it will be a masterpiece nor what. I write one page of masterpiece to ninety one pages of shit. I try to put the shit in the wastebasket. You feel you have to publish crap to make money to live and let live. All write but if you write enough and as well as you can there will be the same amount of masterpiece material (as we say at Yale)."

"Creating passionate users is NOT about finding ways to make everyone like you. It's about finding ways to use your own passion to inspire passion in others, and anything with that much power is bound to piss off plenty of status-quo/who-moved-my-cheese people. Bring it on."

"David Heinemeier Hansson is a partner at 37signals, a privately-held Chicago-based company committed to building the best web-based tools possible with the least number of features necessary."

"There seems to be an understanding, band-wide, that simplicity and a low-key way can still allow for mystery and deep complexity. This has caused some confusion in the critical response. Long and positive articles were written about the “half-hearted try,” and how the band’s most expressive gesture was “the shrug.” But, in speaking with these guys, one gets the sense, right away, that they mean what they say, that they aren’t going to get too worked up about it and that any so-called “pose” is really much closer to a “stance.” Or, even, very plainly, just a way of being."

"“Nobody could make a movie better than Stanley Kubrick–in history,” says Steven Spielberg in this revealing 1999 interview with British filmmaker Paul Joyce. Spielberg sat down with Joyce just four months after Kubrick’s sudden death from a heart attack. He talks about the emotional effect Kubrick’s films had on him when he was a young man, the friendship the two men shared after Spielberg became successful, and Kubrick’s James Joyce-like ability to reinvent himself with each new work. “He was a chameleon,” Spielberg says. “He never made the same picture twice. Every single picture is a different genre, a different story, a different risk. The only thing that bonded all of his films was the incredible virtuoso that he was with craft.”

"Citizen Kane blazed many new trails. The cinematography, the story telling, the special effects, the soundtrack — they were all innovative. And they were all woven into an artistic whole by a 26 year old director making his first film. Years later, Welles explained the alchemy of Kane. Ignorance, he said, was perhaps the genius of the film. “I didn’t know what you couldn’t do. I didn’t deliberately set out to invent anything. It just seemed to me, why not? And there is a great gift that ignorance has to bring to anything. That was the gift I brought to Kane, ignorance.”

"As training camp continued, and the internal conversations about signing Crawford heated up, McMillan had grown irritated. Entering his seventh season in Portland, McMillan had transformed the franchise from laughingstock to respectability by placing team above all. Nothing he was hearing from Crawford suggested he would be a team player. His gut told him not to endorse signing Crawford."

"See, when you make the wrong decisions in business you lose money but you don’t lose time and time is very precious because we don’t know how much we have."

"That comes out of my experiences as a teacher, and something a college professor of mine told me: it’s not about making students love the same things that you do, but showing them that they can love something just as much. And that it’s OKAY, it’s IMPORTANT, for them to find something that they love that much.

"For me, a big part of that is finding deep, associative connections between things that seem unrelated. That’s just how my brain works, and what it responds to. So the way I sometimes described my posts for kottke.org is that they were each like two or three shorter posts, like Jason might write, but all mashed up together."

"Stop doing all those drugs. Get some sleep. At least sometimes. It is good for you. Figure out your voice. I know that is what everyone is trying to do, but don’t let other voices convolute your own voice.

"But I wouldn’t want to give a student too much advice. Part of it is that they have to figure it out themselves."

"The biggest reason we cling to the 8 person focus group, conducted in a grey room in front of a grey mirror with grey people, is that we are dependent on a research supply chain that is broken. And there are four reasons, all mutually dependent and a bit circular, why this chain is broken."

"The blog post is the first in a series of posts that attempts to outline what a modern web development toolchain looks like and how to use the best-of-breed tools for efficient, effective development. Part two will outline how to use to set up your Terminal, zsh, and vim"

"There's a little moment that's very intense. And as it comes up into the light of day, it expands-because it's been living down deep in my mind under all this pressure. It starts to bob to the surface and it finally becomes filled with all sorts of details. Finally, I see the whole scene, complete with characters."

"So I don’t know how the brain makes stories, but it must have to do with deep memories or deep symbols. Certainly when I was writing The Middle Stories there was no conscious deliberation — it was just one sentence following rather quickly on the heels of the previous sentence. I was trying to write as quickly as possible at the time, like to make myself into a kind of writing machine, where I was at once very alert and very exact, trying to write these stories that would come out perfectly, and which I wouldn’t have to edit. So I was training myself to do what felt right in each moment. In some way, it felt like dancing. There’s brain-thought when you’re dancing, but mostly it’s in your body — your body decides your next move. In the case of writing, I think it’s as much in the fingers as in the head. Maybe the fingers get you deeper than the brain does."

"Don't ignore your dreams; don't work too much; say what you think; cultivate friendships; be happy."

"I’ve been asked to explain my approach to managing product development. This topic applies to individual designers and programmers as much as managers. The goal is not to take what we already do and do it faster or more efficiently. The goal is to have more information and flexibility in our process so we can make better decisions and better products."

"And the final step, the one that un-buries history the most, is to put the whole thing online in a piecemeal collage, one that can be exploded, rearranged, reallocated, contrasted, collected, and isolated.

"This work begins with a reordering of the table of contents according to subtle themes, subtext, length considerations, date spread, and of course, humor. And it doesn’t end with the publication of the magazine. Disorder is essential in getting this magazine online and into your feeds.

"As the online editor, I sometimes feel like my job is to make something beautiful, just to hack it apart for kindling. Here’s the way I (mostly) think about it instead: any link to a fragment of LQ is a breadcrumb that can bring you back to the whole. Every magazine wants to lead you back to the mothership, but when you finally pick up an issue of Lapham’s Quarterly, what you have isn’t the end of your own curation and the beginning of our vision. It’s the start of a new reading in a closed-off sphere that also resembles the web you came from: a rabbit hole of thought that you’ll gladly fall into."

"Forty years ago, Willie, Waylon, Jerry Jeff, and a whole host of Texas misfits grew their hair long, snubbed Nashville, and brought the hippies and rednecks together. Country music has never been the same."

"If most of the value is now in the initial creative act, there’s little benefit to traditional hierarchical organization that’s designed to deliver the same thing over and over, making only incremental changes over time. What matters is being first and bootstrapping your product into a positive feedback spiral with a constant stream of creative innovation. Hierarchical management doesn’t help with that, because it bottlenecks innovation through the people at the top of the hierarchy, and there’s no reason to expect that those people would be particularly creative about coming up with new products that are dramatically different from existing ones – quite the opposite, in fact. So Valve was designed as a company that would attract the sort of people capable of taking the initial creative step, leave them free to do creative work, and make them want to stay. Consequently, Valve has no formal management or hierarchy at all."

"The commercial world guards its secrets. The game is competitive and money is the prize. The non-profit world, when it is functioning the way it should, upholds a spirit of generosity and common good. The two cultures tend not to mix very well, but Jesse Thorn ("The Sound of Young America," now "Bullseye") has brought to Transom a big-hearted and wise Manifesto in which he tells you how to make good things and, more surprisingly, how to make money at it. He could have kept the secrets to himself. Instead, he wrote "Make Your Thing: 12 Point Program for Absolutely, Positively 1000% No-Fail Guaranteed Success" with fascinating parables from comedy, hip-hop, blogging, cartooning and more. Jesse's own experience stretches across all sorts of independent media and performance. His words are practical and inspirational, and funny. They'll help you do better work. Jesse is donating his secrets in the best non-profit tradition."

"Our speaker at the March 2012 Portland/CreativeMornings was Aaron James Draplin (draplin.com). The event was generously hosted by Ziba (ziba.com) and sponsored by 52 Limited (52ltd.com). Many thanks to Pro Photo Supply (prophotosupply.com) for lending us the gear to capture the talk and to Paul Searle (psearle.com) for shooting and editing this video."

"This was a staggeringly strange way to create a piece of pop music. At the time, there were two basic ways to write a song. The first was to be like the Bob Dylan that Dylan was trying to escape: compose serious lyrics on a serious topic. The second way was to compose an irresistible jingle full of major chords. Such predictability is precisely what Dylan wanted to avoid; he couldn't stand the clichéd constraints of pop music. And this is why that "vomitific" writing was so important: Dylan suddenly realised that it was possible to celebrate vagueness, to write lines that didn't insist on making sense. He would later say that Like A Rolling Stone was his first "completely free song... the one that opened it up for me".

"In retrospect, we can see that the composition allowed Dylan to fully express, for the first time, the diversity of his influences – Arthur Rimbaud, Fellini, Bertolt Brecht and Robert Johnson. There's some Delta blues and "La Bamba", but also plenty of Beat poetry, Ledbetter, and the Beatles. What Dylan did was find the strange thread connecting those disparate voices. During those frantic first minutes of writing, his right hemisphere found a way to make something new out of this incongruous list of influences, drawing them together into a catchy song. He didn't yet know what he was doing – the ghost was still in control – but he felt the excitement of an insight, the subliminal thrill of something new. ("I don't think a song like Rolling Stone could have been done any other way," Dylan insisted. "You can't sit down and write that consciously... What are you gonna do, chart it out?")"

"Harmon begins pacing the room, slowly launching into a discourse that’s part Socratic inquiry, part one-man improv show. He lists examples of anything in the culture that might show how powerful men treat the weak: Goodfellas, Neil LaBute films, Freudian theory, even the actorly essence of Goodman himself. The whole spiel is immensely entertaining—like hearing a version of Billy Joel’s “We Didn’t Start the Fire” that’s been rewritten by a semiotics-obsessed video-store clerk—and it concludes with Harmon reenacting Ned Beatty’s famous monologue in Network."

"They've won countless awards for their graphic work, but now it's time to dive behind what makes America's most venerated general interest newspaper stand a world apart. Graphics director Steve Duenes and his team of 30-some journalists at The New York Times turn around images at a breakneck daily, if not an hourly, pace, sorting and sifting through reportage to provide the clearest visualization of data possible."

White said he hated the limitations society imposed when it came to relationships. “I’ve always felt it’s ridiculous to say, of any of the females in my life: You’re my friend, you’re my wife, you’re my girlfriend, you’re my co-worker,” he said. “This is your box, and you’re not allowed to stray outside of it.” I told him it sounded as if monogamy might not be for him, and he laughed. “You think?” he said. “I gave that up a long time ago. Those rules don’t apply anymore.”

"This is one of those moments when the art world sidles over toward a visual technology and tries to get all metaphysical. This is the attempted imposition on the public of a new way of perceiving reality. These things occur. They often take a while to blossom. Sometimes they’re as big and loud as Cubism, sometimes they perish like desert roses mostly unseen. But they always happen for good and sufficient reasons. Our own day has those good and sufficient reasons."

"In the months since my biography of Jobs came out, countless commentators have tried to draw management lessons from it. Some of those readers have been insightful, but I think that many of them (especially those with no experience in entrepreneurship) fixate too much on the rough edges of his personality. The essence of Jobs, I think, is that his personality was integral to his way of doing business. He acted as if the normal rules didn’t apply to him, and the passion, intensity, and extreme emotionalism he brought to everyday life were things he also poured into the products he made. His petulance and impatience were part and parcel of his perfectionism."

"People who say print is going away aren’t looking at what is happening to the technology of printing books. Digital technology doesn’t just make it easier to move bits; it often makes it easier to move atoms, too."

"There’s a feeling of thinness that I believe many of us grapple with working digitally. It's a product of the ethereality inherent to computer work. The more the entirety of the creation process lives in bits, the less solid the things we’re creating feel in our minds.[3] Put in more concrete terms: a folder with one item looks just like a folder with a billion items. Feels just like a folder with a billion items. And even then, when open, with most of our current interfaces, we see at best only a screenful of information, a handful of items at a time."

"This interview with Kurt Vonnegut was originally a composite of four interviews done with the author over the past decade. The composite has gone through an extensive working over by the subject himself, who looks upon his own spoken words on the page with considerable misgivings . . . indeed, what follows can be considered an interview conducted with himself, by himself."

"We find ourselves not by turning inward toward what we imagine is inside us, but by the act of looking outward at the world. The self is nothing without what it looks at. On its own, it’s inert. Kick it. Poke it. It seems dead. But point it at something else — Doritos, lawn darts, abandoned mines in Upper Michigan, a cappella groups, Dungeons & Dragons — and it perks up. Thus a focus on our obsessions, however nerdy, creepy, lovely, allows the self to emerge and live and blink a little in the bright light. In other words, the best way to write about ourselves is to write about something specific in the world. We don’t write about ourselves. We write ourselves."

"By “authority” I simply mean the right to be listened to, a legitimate claim on public attention. You begin to have authority as a journalist not when you work for a brand name in news (although that helps) but when you offer a report that users cannot easily get on their own. If we go way back in journalism history, the first people to claim this kind of authority were those who could say… I’m there, you’re not, let me tell you about it."

"Kimo's high expectations set a new pace for me. He taught me “the standard pace is for chumps” - that the system is designed so anyone can keep up. If you're more driven than “just anyone” - you can do so much more than anyone expects. And this applies to ALL of life - not just school."

"The Little Coder’s Predicament arises from the following problem: We live in world of astonishingly advanced technologies, easy to use and all around us. Your grandmother has a smartphone. Your 2-year-old can play with an iPad. But the technology behind such marvels is complex and invisible, abstracted away from the human controlling it. Nor do these technologies offer us many ready chances to do basic programming on them. For nearly all of us, code, the language that controls these objects and in a way controls our world, is mysterious and indecipherable."