我们都知道这种感觉。你在悲伤的夜晚失眠，或者在朦胧的周末清晨蹒跚而行，需要一些阅读的东西，而那一堆未读的书并不能阻止你。为什么不从Twitter和RSS的消防水龙带中休息一下，看看我们每周从网络上收集的关于技术、文化、媒体和未来的重要文章？当然，坐在Instapaper队列中你会感到内疚的还有一件事，但总比再次在Twitter列表上徒劳地拉好。

在@horse\u电子书上

约翰·赫尔曼（John Herrman）在@Horse\u ebooks的Twitter账号上挖掘，这是一个Verge的最爱，他想知道这是什么，为什么它如此令人愉快的怪异，以及它是如何吸引粉丝的，比如山山羊乐队的约翰·达内尔（John Darnelle）。

斯普利塞德：约翰·赫尔曼-马的民谣

We know there are bots, see 'em all the time, but all of them are visibly trying to sell us something with every tweet — GIFT CARD CLICK HERE — whereas the e_books accounts, while their idea is to get you to someplace where you might buy a book?? or maybe just to get ad revenue from the site they link you to, they sort of behave like androids in Blade Runner: they do a decent job of appearing dumbly sentient. Which can be hilarious.

在vcd上

VCD比DVD和雷射碟更便宜，比VHS更方便，内容市场也更大，在90年代在亚洲市场大行其道。

电影艺术观察：大卫·鲍德威尔——潘多拉的数字盒子：从边缘到中心，还是众多中心之一

Debuting in 1993, the VCD was the answer to a film pirate’s prayers. VHS bootlegs degraded with each generation of copying, but digital video enabled every copy to be identical to the source disc. The pressing plants that manufactured music CDs could pump out VCDs en masse. By 1998 China had over 500 VCD companies and produced twenty million players per year. By 2000, players were in about a third of urban households. It became identified with low-end, Asia-centered piracy.

论危险思想

萨沙·弗雷尔·琼斯与“流行碎片”网站“危险思维”的创始人理查德·梅茨格（Richard Metzger）谈论了他的在线“策展和探索”

《纽约客》文化部：萨莎·弗雷尔·琼斯——危险思想背后的思想

It occurred to me when YouTube launched that it would be possible to launch a television "network" on the Web, with almost zero start-up costs, by simply curating it. You aren’t obliged to license anything: you can just link to it.

在谷歌上+

在《综合体》一书中，作家史蒂文·利维（stevenlevy）关注了谷歌（Google）推出的社交搜索功能“search，plus your World”（搜索，加上你的世界），这项功能很有争议，但它并不平衡，偏向于加。

史蒂文·利维：史蒂文·利维——对谷歌来说，加减太多了吗？

No matter what the reas***, the unbalanced delivery of social content in SPYW is unsatisfying. It’s like a music service starting up with a license with just one label, or a map service going live with under half the terrain depicted. If I’m searching for social content, I don’t want to have to figure out which company is naughty or nice. I just want to find the pictures shared with me, whether they were posted to Facebook or Google+.

论书呆子

格雷斯·贝洛采访了《书呆子》的克里斯·哈德维克，讲述了书呆子、Reddit、喜剧的历史，以及主持MTV的《单挑》

锥子：格蕾丝·贝洛——与书呆子克里斯·哈德维克交谈

Also, when I was growing up, nerds weren't billionaires yet. So the popular kids now have sort of glommed on to the nerds because now nerds are powerful. There was no money for nerds then, which meant that there was no political gain, which meant that there was no manipulation of the nerds.

你想在下周的版本中看到你最喜欢的吗？把它们发到@thomashouston或者在下面的评论中分享。