Hacker, Hoaxer, Whistleblower, Spy: The Many Faces of Anonymous by Gabriella Coleman
In the Plex: How Google Thinks, Works, and Shapes Our Lives by Steven Levy
I’m Feeling Lucky: The Confessions of Google Employee Number 59 by Douglas Edwards
The Googlization of Everything (and Why We Should Worry) by Siva Vaidhyanathan
Search & Destroy: Why You Can’t Trust Google Inc. by Scott Cleland with Ira Brodsky
Alphabet Juice: The Energies, Gists, and Spirits of Letters, Words, and Combinations Thereof; Their Roots, Bones, Innards, Piths, Pips, and Secret Parts, Tinctures, Tonics, and Essences; With Examples of Their Usage Foul and Savory by Roy Blount Jr.
Reading the OED: One Man, One Year, 21,730 Pages by Ammon Shea
The First English Dictionary, 1604 by Robert Cawdrey, with an introduction by John Simpson
Is the library, storehouse and lender of books, as anachronistic as the record store, the telephone booth, and the Playboy centerfold?
Increasing numbers of Twitterers don’t even pretend to be human. Or worse, do pretend, when they are actually bots. The scary thing is how easily we can be fooled.
What if a person could survive past his bodily death, to be reconstituted in another form? That is the question Marcel Theroux explores in his new novel, Strange Bodies.
Hundreds of novelists who happen to be female were being systematically removed from the Wikipedia category “American novelists” and assigned to the category “American women novelists.” Who’s responsible?
The Library of Congress is now stockpiling the entire corpus of all public tweets. But effectively searching this mass of unstructured data, this barnyard of straw, will be more difficult than people may think.
The word “information” has grown urgent and problematic—a signpost seen everywhere, freighted with new meaning and import. We hardly need the lexicographers of the Oxford English Dictionary to tell us that, but after all, this is what they live for.
Christian Marclay’s day- and night-long masterpiece, composed of thousands of clips spanning the history of cinema, forms a kaleidoscopic lens into the culture’s experience of time.