A blog by Don Melanson.
Recent Tweets @donmelanson
Liked Elsewhere

Box Brown’s latest for Distro.

Some reading recommendations from latest issue of Distro. Click on through or check the app for the links (or click below).

  • “Maniac Tentacle Mindbenders: How ScummVM’s unpaid coders kept adventure gaming alive” by Richard Moss, Ars Technica
  • “Our Weirdness is Free” by Gabriella Coleman, Triple Canopy
  • “A Brief History of Clocks” by William J.H. Andrewes, Scientific American 
  • “Can We Build Tomorrow’s Breakthroughs?” by David Rotman, Technology Review
  • “William Gibson’s Future Is Now” by Pagan Kennedy, The New York Times

Latest editorial for Engadget.

Every year at CES, the tech-watching masses engage in a bit of trendspotting — an attempt to identify the one or two big themes of the show that may or may not come to define the year in technology. Some years those are easy to spot (tablets and 3D TV were two big ones recently), and other times they involve a bit of guesswork. This year, one of the most oft-cited trends is the “ultrabook.” Judging from the companies’ announcements at the show and some of the coverage they’ve received, you might think that’s a new sort of device or a radically new type of laptop. But, really, they’re just laptops. Small, thin laptops — but laptops.

It’s actually Ultrabook, with a capital “U,” and a (TM). The name is a wholly-owned creation of Intel, and the hype you’ve seen for them at CES is only just the beginning. Intel is reportedly planning its biggest advertising push in eight years to promote Ultrabooks, and it’s clearly already done a decent job of bringing hardware manufacturers on board the bandwagon. How many new “laptop” announcements do you remember from CES?

Bowie, “Blackout.”

Such is the power of his prose that when I glanced up from the pages of this book and surveyed the street-side around me, I felt as if I were wearing Gibson-glasses. Cars lumbered past like ponderous elephants of rusty steel, not so different from the cars of 30 years ago, and seemed not to belong in the same world as the tattooed kid punching code into his laptop nearby. Under the spell of this book, I suddenly understood my surroundings not as a discrete contemporary tableau but as a hodgepodge of 1910, 1980, 2011 and 2020.
Pagan Kennedy on William Gibson’s “Distrust That Particular Flavor,” The New York Times.

If any trailer this year deserves to be watched frame by frame, it’s this. Around 44 second mark, especially.

Science fiction. 

But is The Girl with the Dragon Tattoo a cyberpunk story? If you think of cyberpunk as a purely science fictional subgenre, then no. If, however, cyberpunk is a way of telling stories about the collision between crime, technology, and human augmentation - well, you’re about to see the most cyberpunk movie of the year.