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。

在犹他州数据中心

《连线》本月的封面报道描述了美国****局（NSA）如何建立美国最大的数据中心，以存储和分析从谷歌搜索和在线收据到数十亿封电子邮件和被截获的电话在内的一切。

连线：詹姆斯班福德-****局正在建设国家最大的间谍中心（注意你说什么）

Flowing through its servers and routers and stored in near-bottomless databases will be all forms of communication, including the complete contents of private emails, cell phone calls, and Google searches, as well as all sorts of personal data trails—parking receipts, travel itineraries, bookstore purchases, and other digital "pocket litter." It is, in some measure, the realization of the "total information awareness" program created during the first term of the Bush administration—an effort that was killed by Congress in 2003 after it caused an outcry over its potential for invading Americans’ privacy.

关于**时钟

本周的《纽约客》将介绍克里斯蒂安·马克莱是如何**《时钟》的，这部24小时制的电影挖掘了电影历史，在银幕上呈现了数万条对当前时间的引用，从迷失在翻译中到排斥。当你在看这部电影的时候，扎迪·史密斯还为《纽约书评》写了去年四月看这部电影的经历。

纽约人：丹尼尔·扎勒夫斯基-时间

A techie intern was enlisted to scour the Internet for clocks. After embedding a clip—a boy in bed, checking his watch at 4:20 A.M.—in the opening bars of "Screen Play," Marclay had a dangerous thought: "Wow, wouldn’t it be great to find clips with clocks for every minute of all twenty-four hours?"

论策展

一个由大卫卡尔、玛丽亚波波娃、马克斯林西、米娅夸利亚雷罗和诺亚布里尔组成的SXSW小组——以及策展人的Codefollowup发布会——在本周拉开了关于策展、正确链接和归属意识的许多争论的序幕。马特·兰格提供了一些观点，而且↬。

马特·兰格：马特·兰格-别叫它策展

First, let’s just get clear on the terminology here: "Curation" is an act performed by people with PhDs in art history; the business in which we’re all engaged when we’re tossing links around on the internet is simple "sharing." And some of us are very good at that! (At least if we accept "very good" to mean "has a large audience.")

论黑客攻击

MichaelLopp将90年代的野蛮人、Facebook和苹果一贯的创新能力编织在一起，讨论健康公司为什么会接受“黑客攻击”

兰兹在休息：迈克尔洛普-黑客是重要的

Facebook is worried about the growth paradox, which goes something like this: The end result of successful hacking is product, and that product needs to grow by building more things. The more you grow, the more things you have, and the more you need people whose job is simply to coordinate the increasingly interdependent building activities. These people, called managers, don’t create product, they create process.

论出版

亚历克西斯·马德里加尔（Alexis Madrigal）挖掘了哈珀杂志出版商约翰·R·麦克阿瑟（John R.MacArthur）最近关于该杂志在线存在的社论。

大西洋报：亚历克西斯·马德里加尔-纸骗子肆虐互联网

I want to work with my community to break stories and tell jokes, to highlight injustice and find better ways of solving problems. That means reaching readers where they are. People's lives aren't divided into "offline life" and "online life," even if we'd like to pretend that's the case. People on Capitol Hill use the Internet. People on Main Street use the Internet. People on Wall Street use the Internet. The Internet is where the action is: it's where all the elegant, dirty, pretty, lowbrow, brilliant ideas come together to commingle and evolve.

拖车上

华尔街导演安德鲁·斯坦顿的约翰·卡特（JohnCarter）的票房将近2.5亿美元，这是其在票房第二个周末的次级演出，秃鹰获得了影片的独家报道——以及它的广告宣传活动——出了问题。

秃鹫：克劳德·布罗德瑟·阿克纳——约翰·卡特如何被第一部预告片毁灭的内幕故事

This more frantic trailer reveals the most problematic part of John Carter, and possibly why it was doomed to underperform no matter what happened: Because the Barsoom books were so influential to cinema's greatest sci-fi auteurs, just about everything in it had already been plundered and reused by other hits. And as a result, the more that was revealed of John Carter, the more derivative it looked, even if its source had originated these ideas.

为什么

Annie Lowrey详细描述了她在代码学习方面的努力，以及她对Ruby社区中一位受欢迎的程序员和作家“为什么”的奇怪失踪（“信息**”）的探索。

安妮·洛瑞-哪里’为什么？

On Aug. 19, 2009, his personal site stopped loading. He stopped answering email. A public repository of his code disappeared. His Twitter account—gone. Hackety Hack—gone. Dozens of other projects—gone.

在那家游戏公司

Ian Bogost教授（来自Cow Clicker fame）用ThatGame公司的游戏和它最近的成功之旅来谈论艺术家作品的演变。注意：扰流器靠近末端。不要错过Vox游戏剧组回顾。

大西洋：伊恩博格斯特-作为一个游戏工作室艺术家的肖像

Journey's anonymous multiplayer interacti*** are touching, but they are also tragic, like a Beckett novel with characters in red robes mumbling, "I can't go on, I'll go on" in inscrutable pictograms. At one point in the deep scarlet shadow of the caves, I swear I saw my companion crumble to dust.

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。