https://t.co/no0C8ANzwr

It's been twenty years, to the day, since I published my first blog-post.

I'm a blogger.

Blogging - publicly breaking down the things that seem significant, then synthesizing them in longer pieces - is the defining activity of my days.

https://t.co/lksXhU6HKM

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Over the years, I've been lauded, threatened, sued (more than once). I've met many people who read my work and have made connections with many more whose work I wrote about. Combing through my old posts every morning is a journey through my intellectual development.

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It's been almost exactly a year I left Boing Boing, after 19 years. It wasn't planned, and it wasn't fun, but it was definitely time. I still own a chunk of the business and wish them well. But after 19 years, it was time for a change.

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A few weeks after I quit Boing Boing, I started a solo project. It's called Pluralistic: it's a blog that is published simultaneously on Twitter, Mastodon, Tumblr, a newsletter and the web. It's got no tracking or ads. Here's the very first

I don't often do "process posts" but this merits it. Here's how I built Pluralistic and here's how it works today, after nearly a year.

I get up at 5AM and make coffee. Then I sit down on the sofa and open a huge tab-group, and scroll through my RSS feeds using @newsblur.

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One of the most Monkey's Paw things about my life is my relationship to books. When I was a teenager, I read all the way through the school and public libraries, spent everything I had on books, and still couldn't get enough and dreamt of more.

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Today, as a reviewer, I have more books than I can possibly read, huge, teetering mountains of books that I'm desperate to read, far beyond my ability to ever get through them. Periodically, I declare "book bankruptcy," sweep away the backlog and start over.

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Even then, my eyes are bigger than my stomach: I keep back a few books that I can't bear to part with and promise myself I'll read them someday. Usually I don't, but I just did, and boy did I ever make the right call with @TheUniverse's BROAD

I have read a LOT of histories of computing, and I had a front row seat for a lot of the events depicted in this book - people I worked with, people I worked against - and yet I was surprised over and over again with details and perspectives I'd never encountered.

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For example, for some reason, my ninth grade computer science course included lengthy readings on ENIAC, Univac, the Mark I and the Mark II, but none of those mentioned that they were all programmed exclusively or primarily by women.

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Accountancy is more likely to be mocked than celebrated (or condemned), but accountants, far more than poets, are the unacknowledged legislators of the world.

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Though "bean counters" are employed by firms, they are notionally bound by a professional code of ethics every bit as serious as the Hippocratic Oath: "count things honestly." Without an accurate accounting of quantities, you can't make good decisions on quality.

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Though accountancy concerns itself with counting things, it is inextricably bound up with the realm of ideas, and accounting conventions (how you account for things) are philosophical matters, not empirical ones.

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It's no coincidence that #ModernMonetaryTheory owes more to accountancy than it does to economics. Economic accounts of the economy have an unfortunate tendency to proceed from first principles, creating models based on pure reason, without checking in on the actual world.

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For example, neoclassical econ's "homo economicus," the rational value-maximizing actor who populated so many models; or economists' insistence on targeting inflation with interest rates; or treating national "debts" like they were household debts.

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As it's #AppreciateADragonDay let's do some classic covers from Dragon magazine!

Tony DiTerlizzi's cover art for Dragon magazine #242, December 1997.

Dragon magazine issue 106, February 1986. Cover by Keith Parkinson.

Dragon Magazine #71, March 1983. Cover by Clyde Caldwell.

Dragon magazine issue 65, September 1982. Cover by Clyde Caldwell.

The Fast and the Furious is a 2001 action film directed by Rob Cohen and starring Vin Diesel, Michelle Rodriguez, Jordana Brewster, and Paul Walker. The Fast and the Furious is first film in the The Fast and the Furious franchise, distributed by Universal Pictures.

The film was released June 22, 2001 and grossed $207.3 million. In 2003, The Fast and the Furious was followed by the sequel 2 Fast 2 Furious.

Brian O'Conner is an undercover Los Angeles copwho aspires to become a detective.

When he is tasked to stop hijackers led by Dominic Torettofrom stealing expensive electronics equipment off of trucks, Brian must choose between his obligation to the LAP and his friendship with Toretto after he becomes good friends with his family.

The film opens at a dockyard where a container is loaded onto the trailer of a semi-truck. The truck then departs the dockyard and one of the dock workers makes a phone call to an anonymous party on the other end, informing them on how to identify the truck.

ugh i wanted to do a thread about the wars in Star Wars and how the two outlying wars (the clone wars in the prequels and the cold war/civil war in the sequels) are really weird but i don't feel like it any more.

my first argument is that the Clone Wars were a really complex morally gray moment in Star Wars canon in like, 5 different directions and I'd kind of like to know why Lucas did that.

especially with the direct line that's drawn in the OT with the allegory of WW2 and Vietnam with the rebels being the Vietnamese and the Empire being America. That...doesn't exist in the Clone Wars.

for starters: it's weird it's called the Clone Wars. I get why, because that's what Kenobi calls it in STAR WARS, but the clones are a small facet in the larger story of the war.

the clones basically only exist as a macguffin in AOTC that is...extremely confusing ultimately. Because if you accept that Sidious has this grand master plan to use this war to destabilize the Republic and form an Empire...it's way too complex.

The more I think about the Bruce Springsteen Jeep ad, the more disgusted I get. It's allegedly a call for unity, but it is drenched in a very particular culture's iconography: a Christian church (that superimposes the cross on the US flag), farms, rural living, "the middle" ...

... it's all so white. This is the "America" of nationalist fairy tales: rural land, settled by self-reliant white farmers & good Christians. It's all trucks & dust & manual labor & squinting at the horizon while wiping sweat from your brow. This is the kind of "unity" ...

... designed to comfort (or at least not threaten) white people. It says, "let's unify by joining together to reaffirm America's mythical self-conception, despite the real-world violence & repression it has always entailed."

If I'm, I dunno, a latino housekeeper in Vegas or black Uber driver in Sacramento, what's in the commercial for me? What does this kind of "unity" promise me? What can I find in "the (mythical) middle"? Nothing. It's not for me.

If America ever does come together in some kind of social solidarity again (which looks pretty doubtful), it's not going to be around the myths & iconography of 20th century hegemonic white culture in the US. It's going to be around something NEW -- new stories, new icons.

Authors, you deserve an agent who…

Replies to your emails in a timely fashion, and lets you know when they won’t be able to.
(1/13)

Reads your manuscripts, revisions, outlines, and other materials in a timely fashion, provides an EDA when needed, and lets you know if a delay occurs.
(2/13)

Communicates in a way that works for YOU, be that email, texting, or phone, and is open FROM THE CALL STAGE about any forms of communication they are unable or unwilling to use.
(3/13)

Understands and respects YOUR publishing goals, and is upfront and honest about how realistic they are.
(4/13)

Respects your decision to turn down any offer, for any reason, and to hold out for YOUR minimum requirements for taking an offer.
(5/13)