Doug Bowman: “The Wired office when I joined, in 1996”
Tag: wired
Mechanical watches partake of what my friend John Clute calls the Tamagotchi Gesture. They’re pointless in a peculiarly needful way; they’re comforting precisely because they require tending.
William Gibson. This is the last time I’m gonna plug Distrust That Particular Flavor, I promise. The John Clute essay he’s referencing is in The Book of End Times.
Are There Fundamental Laws of Cooking? | Wired.
They found that [the food pairing hypothesis] was true, at least when it came to Western cooking. North American and Western European cuisines, which share many of the same ingredients, both adhere to the food pairing hypothesis: Foods in the same recipe often have the same underlying molecular components. However, once we stray from these cuisines, the food pairing hypothesis breaks down. East Asian and Southern European recipes use ingredients that do not overlap in their flavor compounds, implying that these styles of cooking are in fact quantitatively distinct.
I’m a big believer in boredom. Boredom allows one to indulge in curiosity, and out of curiosity comes everything.
Steve Jobs. Sort of paraphrasing here.
How To Raise A Superstar | Wired Science | Wired.com
Single-minded focus too soon can be a hindrance. Better to branch out and learn how to practice and fail well.
15th Anniversary: The Brian Eno Evolution
What do people want from Art? I don’t know the full answer, but one thing I’m increasingly sure of is that they want life. They want the sense that there is something going on, that something real and exciting and of its moment has been captured […]
In an age of digital perfectibility, it takes quite a lot of courage to say, “Leave it alone” and, if you do decide to make changes, quite a lot of judgment to know at which point you stop. A lot of technology offers you the chance to make everything completely, wonderfully perfect, and thus to take out whatever residue of human life there was in the work to start with. […] It’s a misunderstanding to think that the traces of human activity — brushstrokes, tuning drift, arrhythmia — are not part of the work. They are the fundamental texture of the work, the fine grain of it.
Mark Larson 