我們都知道這種感覺。你在悲傷的夜晚失眠，或者在朦朧的週末清晨蹣跚而行，需要一些閱讀的東西，而那一堆未讀的書並不能阻止你。為什麼不從Twitter和RSS的消防水龍帶中休息一下，看看我們每週從網路上收集的關於技術、文化、媒體和未來的重要文章？當然，坐在Instapaper佇列中你會感到內疚的還有一件事，但總比再次在Twitter列表上徒勞地拉好。

在猶他州資料中心

《連線》本月的封面報道描述了美國****局（NSA）如何建立美國最大的資料中心，以儲存和分析從谷歌搜尋和線上收據到數十億封電子郵件和被截獲的電話在內的一切。

連線：詹姆斯班福德-****局正在建設國家最大的間諜中心（註意你說什麼）

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.

關於**時鐘

本週的《紐約客》將介紹克裡斯蒂安·馬克萊是如何**《時鐘》的，這部24小時制的電影挖掘了電影歷史，在銀幕上呈現了數萬條對當前時間的引用，從迷失在翻譯中到排斥。當你在看這部電影的時候，扎迪·史密斯還為《紐約書評》寫了去年四月看這部電影的經歷。

紐約人：丹尼爾·扎勒夫斯基-時間

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?"

論策展

一個由大衛卡爾、瑪麗亞波波娃、馬克斯林西、米婭誇利亞雷羅和諾亞布里爾組成的SXSW小組——以及策展人的Codefollowup釋出會——在本週拉開了關於策展、正確連結和歸屬意識的許多爭論的序幕。馬特·蘭格提供了一些觀點，而且↬。

馬特·蘭格：馬特·蘭格-別叫它策展

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.")

論駭客攻擊

MichaelLopp將90年代的野蠻人、Facebook和蘋果一貫的創新能力編織在一起，討論健康公司為什麼會接受“駭客攻擊”

蘭茲在休息：邁克爾洛普-駭客是重要的

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.

論出版

亞歷克西斯·馬德裡加爾（Alexis Madrigal）挖掘了哈珀雜誌出版商約翰·R·麥克阿瑟（John R.MacArthur）最近關於該雜誌線上存在的社論。

大西洋報：亞歷克西斯·馬德裡加爾-紙騙子肆虐網際網路

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.

拖車上

華爾街導演安德魯·斯坦頓的約翰·卡特（JohnCarter）的票房將近2.5億美元，這是其在票房第二個週末的次級演出，禿鷹獲得了影片的獨家報道——以及它的廣告宣傳活動——出了問題。

禿鷲：克勞德·布羅德瑟·阿克納——約翰·卡特如何被第一部預告片毀滅的內幕故事

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.

為什麼

Annie Lowrey詳細描述了她在程式碼學習方面的努力，以及她對Ruby社群中一位受歡迎的程式設計師和作家“為什麼”的奇怪失蹤（“資訊**”）的探索。

安妮·洛瑞-哪裡’為什麼？

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.

在那家遊戲公司

Ian Bogost教授（來自Cow Clicker fame）用ThatGame公司的遊戲和它最近的成功之旅來談論藝術家作品的演變。註意：擾流器靠近末端。不要錯過Vox遊戲劇組回顧。

大西洋：伊恩博格斯特-作為一個遊戲工作室藝術家的肖像

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.

你想在下週的版本中看到你最喜歡的嗎？把它們發到@thomashouston或者在下麵的評論中分享。