{"id":5702,"date":"2014-02-16T15:30:08","date_gmt":"2014-02-16T20:30:08","guid":{"rendered":"http:\/\/blogs.law.harvard.edu\/yulelog\/?p=5702"},"modified":"2014-02-16T15:30:35","modified_gmt":"2014-02-16T20:30:35","slug":"the-sunday-diigo-links-post-weekly-210","status":"publish","type":"post","link":"https:\/\/archive.blogs.harvard.edu\/yulelog\/2014\/02\/16\/the-sunday-diigo-links-post-weekly-210\/","title":{"rendered":"The Sunday Diigo Links Post (weekly)"},"content":{"rendered":"<ul class=\"diigo-linkroll\">\n<li>\n<p class=\"diigo-link\"><a href=\"http:\/\/vimeo.com\/85499260\">David Simon on America as a Horror Show on Vimeo<\/a><\/p>\n<p class=\"diigo-description\">Must-watch.<br \/>\nQUOTE<br \/>\nDavid Simon, creator of the TV series \u2018The Wire,\u2019 talks with Bill about America\u2019s capitalism crisis. It\u2019s a reality check from a journalist who uses TV drama to report on America from the bottom up. &#8220;The horror show is we are going to be slaves to profit. Some of us are going to be higher on the pyramid and we&#8217;ll count ourselves lucky and many more will be marginalized and destroyed.&#8221;<br \/>\nUNQUOTE<\/p>\n<p class=\"diigo-tags\"><span>tags:<\/span> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/bill_moyers\">bill_moyers<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/david_simon\">david_simon<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/socialcritique\">socialcritique<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/socialjustice\">socialjustice<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/video\">video<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/vimeo\">vimeo<\/a><\/p>\n<\/li>\n<li>\n<p class=\"diigo-link\"><a href=\"http:\/\/www.technologyreview.com\/news\/524621\/sell-your-personal-data-for-8-a-month\/?utm_campaign=newsletters&amp;utm_source=newsletter-daily-all&amp;utm_medium=email&amp;utm_content=20140212\">Startup Datacoup Will Pay You $8 a Month If Your Feed It Data from Facebook, Twitter, and Your Credit Card | MIT Technology Review<\/a><\/p>\n<p class=\"diigo-description\">Ugh. And also: If my data is so valuable (and it is!), why should I get paid a measly $8 per month for it? Hmm?<br \/>\nQUOTE<br \/>\nBut Hogan claims that what Datacoup collects can be especially useful to advertisers because few data providers can combine traces of a person\u2019s online activity with a record of their spending activity. \u201cBoth of those are valuable; when you layer one on the other you unlock more value, and there\u2019s no way to do that other than from the user themselves,\u201d he says. Validation for this idea\u2014and competition for Datacoup\u2014comes from Twitter and Facebook, which work with data broker Datalogix to link people\u2019s social media activity and the things they buy (see \u201cFacebook Starts Sharing What It Knows About You\u201d).<br \/>\nUNQUOTE<\/p>\n<p class=\"diigo-tags\"><span>tags:<\/span> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/big_data\">big_data<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/data\">data<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/mit_techreview\">mit_techreview<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/startups\">startups<\/a><\/p>\n<\/li>\n<li>\n<p class=\"diigo-link\"><a href=\"http:\/\/www.womenyoushouldknow.net\/little-girl-1981-lego-ad-grown-shes-got-something-say\/\">The Little Girl from the 1981 LEGO Ad is All Grown Up, and She\u2019s Got Something to Say<\/a><\/p>\n<p class=\"diigo-description\">Good stuff.<br \/>\nQUOTE<br \/>\n\u201cIn 1981,\u201d explains Giordano, \u201cLEGOs were \u2018Universal Building Sets\u2019 and that\u2019s exactly what they were\u2026for boys and girls. Toys are supposed to foster creativity. But nowadays, it seems that a lot more toys already have messages built into them before a child even opens the pink or blue package. In 1981, LEGOs were simple and gender-neutral, and the creativity of the child produced the message. In 2014, it\u2019s the reverse: the toy delivers a message to the child, and this message is weirdly about gender.\u201d (&#8230;)<br \/>\n\u201cBecause gender segmenting toys interferes with a child\u2019s own creative expression. I know that how I played as a girl shaped who I am today. It contributed to me becoming a physician and inspired me to want to help others achieve health and wellness. I co-own two medical centers in Seattle. Doctor kits used to be for all children, but now they are on the boys\u2019 aisle. I simply believe that they should be marketed to all children again, and the same with LEGOs and other toys.\u201d<br \/>\nUNQUOTE<\/p>\n<p class=\"diigo-tags\"><span>tags:<\/span> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/lego\">lego<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/gender\">gender<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/toys\">toys<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/girls\">girls<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/opportunity\">opportunity<\/a><\/p>\n<\/li>\n<li>\n<p class=\"diigo-link\"><a href=\"http:\/\/www.theatlanticcities.com\/commute\/2014\/02\/2014s-endless-snow-has-least-been-good-transportation-nerds\/8352\/\">2014&#8217;s Endless Snow Has at Least Been Good for Transportation Nerds &#8211; Sarah Goodyear &#8211; The Atlantic Cities<\/a><\/p>\n<p class=\"diigo-description\">This is great: curb extensions or neckdowns are ways to make streets safer for pedestrians. With the many snowfalls we&#8217;ve had this winter, it&#8217;s possible to document how plowed snow creates neckdowns, called sneckdowns (and documented via hashtag on Twitter), proving that streets don&#8217;t need to be as wide as they all too often are.<br \/>\nQUOTE<br \/>\nWay back in 2006, New York\u2013based Clarence Eckerson of Streetfilms shot a video showing how heavy snowfall creates natural neckdowns, as plows push snow to the curb and cars take only the space that they need \u2014 leaving the untouched snow to mark the space that maybe isn\u2019t all necessary for cars. He expanded on the concept in another film in 2011. Then, this winter, thanks to frequent heavy snowfalls across most of the country, Eckerson and a few like-minded people started talking about the concept again. They decided that they needed a catchy name for the snowy neckdowns in order to help spread the concept on social media. Soon enough, a hashtag was born.<br \/>\nUNQUOTE<\/p>\n<p class=\"diigo-tags\"><span>tags:<\/span> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/curb_extensions\">curb_extensions<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/neckdowns\">neckdowns<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/sneckdowns\">sneckdowns<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/snow\">snow<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/pedestrians\">pedestrians<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/atlantic_cities\">atlantic_cities<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/sarah_goodyear\">sarah_goodyear<\/a><\/p>\n<\/li>\n<li>\n<p class=\"diigo-link\"><a href=\"http:\/\/www.wired.com\/underwire\/2014\/02\/history\/\">Netflix and Google Books Are Blurring the Line Between Past and Present | Underwire | Wired.com<\/a><\/p>\n<p class=\"diigo-description\">Our relationship to the present does seem altered by the omni-availability of the past&#8230;<br \/>\nQUOTE<br \/>\nThis omnipresence of the past has weird effects on contemporary culture. Take any genre of music, from death metal to R&amp;B to chillwave, and the cloud directs you not just to similar artists in the present but to deep wells of influence from the past. Yes, people still like new things. But the past gets as much preference as the present\u2014Mozart, for example, has more than 100,000 followers on Spotify. In a history glut, the idea of fashionability in music erodes, because new songs sit on the same shelf as songs recorded five, 25, and 55 years ago, all of them waiting to be discovered. In this eternal present, everything can be made contemporary.<br \/>\nUNQUOTE<\/p>\n<p class=\"diigo-tags\"><span>tags:<\/span> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/history\">history<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/wired_magazine\">wired_magazine<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/paul_ford\">paul_ford<\/a> <a href=\"https:\/\/www.diigo.com\/user\/lampertina\/internet_archive\">internet_archive<\/a><\/p>\n<\/li>\n<\/ul>\n<p class=\"diigo-ps\">Posted from <a href=\"https:\/\/www.diigo.com\">Diigo<\/a>. The rest of my favorite links are <a href=\"https:\/\/www.diigo.com\/user\/lampertina\">here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>David Simon on America as a Horror Show on Vimeo Must-watch. QUOTE David Simon, creator of the TV series \u2018The Wire,\u2019 talks with Bill about America\u2019s capitalism crisis. It\u2019s a reality check from a journalist who uses TV drama to report on America from the bottom up. &#8220;The horror show is we are going to [&hellip;]<\/p>\n","protected":false},"author":311,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[290],"tags":[],"class_list":["post-5702","post","type-post","status-publish","format-standard","hentry","category-links"],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/posts\/5702","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/users\/311"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/comments?post=5702"}],"version-history":[{"count":2,"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/posts\/5702\/revisions"}],"predecessor-version":[{"id":5704,"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/posts\/5702\/revisions\/5704"}],"wp:attachment":[{"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/media?parent=5702"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/categories?post=5702"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/tags?post=5702"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}