Who Made That Progress Bar?

Daniel Engber explores the evolution of the progress bar in The New York Times:

Is a progress bar a tool to make us more efficient or a sop that helps us pass the time? Its ancestor, the pen-and-paper “progress chart,” showed up in the early 20th century and was hailed at the time as a major innovation. It “refers all facts to the irreducible and final element of human life — time,” wrote Walter Polakov, an early pioneer in project management (and dedicated Marxist), in 1923. “Because it is true to the human dimension, it is both human and humane; hence it obliterates conflicts between men and management, promotes the fullest exercise of man’s creative forces and places work in its proper relation to life.”

Why Making Technology Easier to Use Isn't Always Good

Tim Wu for The New Yorker's blog Elements:

In 1964, Life magazine, in an article about “Too Much Leisure,” asserted that “there will certainly be a sharp decline in the average work week” and that “some prophets of what automation is doing to our economy think we are on the verge of a 30-hour week; others as low as 25 or 20.” Obviously, we blew it. Our technologies may have made us prosthetic gods, yet they have somehow failed to deliver on the central promise of free time. The problem is that, as every individual task becomes easier, we demand much more of both ourselves and others. Instead of fewer difficult tasks (writing several long letters) we are left with a larger volume of small tasks (writing hundreds of e-mails). We have become plagued by a tyranny of tiny tasks, individually simple but collectively oppressive. And, when every task in life is easy, there remains just one profession left: multitasking.

Life After Pi: A Cautionary Tale About Art And Bankruptcy

“Life After Pi” is a short documentary about Rhythm & Hues Studios, the L.A. based Visual Effects company that won an Academy Award for its groundbreaking work on “Life of Pi”– just two weeks after declaring bankruptcy. The film explores rapidly changing forces impacting the global VFX community, and the Film Industry as a whole.

This is only the first chapter of an upcoming feature-length documentary “Hollywood Ending,” that delves into the larger, complex challenges facing the US Film Industry and the many professionals working within it, whose fates and livelihood are intertwined.

As Technology Gets Better, Will Society Get Worse

Tim Wu for The New Yorker's technology blog Elements:

Comfort-seeking missiles, we spend the most to minimize pain and maximize pleasure. When it comes to technologies, we mainly want to make things easy. Not to be bored. Oh, and maybe to look a bit younger.

Our will-to-comfort, combined with our technological powers, creates a stark possibility. If we’re not careful, our technological evolution will take us toward not a singularity but a sofalarity. That’s a future defined not by an evolution toward superintelligence but by the absence of discomforts.

The sofalarity (pictured memorably in the film “Wall-E”) is not inevitable either. But the prospect of it makes clear that, as a species, we need mechanisms to keep humanity on track. The technology industry, which does so much to define us, has a duty to cater to our more complete selves rather than just our narrow interests. It has both the opportunity and the means to reach for something higher. And, as consumers, we should remember that our collective demands drive our destiny as a species, and define the posthuman condition.

Ken Burns' New iPad App Turns U.S. History Into Beautiful Mixtapes

The app, simply called “Ken Burns,” allows the user to surf an overarching timeline year by year, seeing how clips from each film line up chronologically with – and, as Burns says, “speak to” – each other. Zoom in on 1869, for example, and a cloud of clips from The Civil War, The West, and The National Parks orbit in parallax formation around one another; swipe to 1930, and it’s clips from Jazz, Prohibition, Baseball, Huey Long, Thomas Hart Benton and The Dust Bowl. You can also watch its six playlists straight through – they range in length from 20 minutes to an hour long – or select individual clips à la carte.
 

The concept came out of a conversation Burns was having two years ago with MacKinnon, who is the music entrepreneur behind Hear Music and has known Burns since they worked together on music components for 2001′s Jazz.

“Ken and I were talking about how his films were in the search engines of iTunes and Netflix, and they’re always the top-rated thing when they run on PBS, but there wasn’t a digital place where all of his films were presented as one thing, as an integrated body of work,” says MacKinnon. “Then he paused for a second, and looked at me and said, ‘I really love my iPad.’”

Download the app but only if you are prepared to lose your day to it.