You're Probably Using the Wrong Dictionary An Essay by James Somers jsomers.net As if a word were no more than coordinatesAnother mind as alive as yoursA soft and fitful lusterPathosAn affection for words Webster's Dictionary, 1913 Edition languagewriting
A brief foray into vectorial semantics An Article by James Somers jsomers.net One of the best (and easiest) ways to start making sense of a document is to highlight its “important” words, or the words that appear within that document more often than chance would predict. That’s the idea behind Amazon.com’s “Statistically Improbable Phrases”: Amazon.com’s Statistically Improbable Phrases, or “SIPs”, are the most distinctive phrases in the text of books in the Search Inside!™ program. To identify SIPs, our computers scan the text of all books in the Search Inside! program. If they find a phrase that occurs a large number of times in a particular book relative to all Search Inside! books, that phrase is a SIP in that book. mathmeaningwordsnotetakingsearchchance
Learning About Work Ethic From My High School Driving Instructor An Essay by James Somers www.theatlantic.com Should we really demand that the guy who checks ticket stubs at the movie theater hones his craft? Well, yes. No job is too low to not warrant care, because no job exists in isolation. Carelessness ripples. It adds friction to the working of the world. To phone it in or run out the clock, regardless of how alone and impotent you might feel in your work, is to commit an especially tragic—for being so preventable—brand of public sin. Bob [the driving instructor] oozes concern; he wants to infect the state of New Jersey with good driving habits. He respects his public role, the fact that the minute he's done with these kids they head straight for their parents' car keys and out onto the roads we share. When I asked him what he likes to do outside of work, he laughed: "This is my life." His reward is the pleasure of depth itself. craftworkethics
The Finish Fetish Artists An Essay www.getty.edu For others, perhaps especially those artists who worked with light and transparency and were involved in the birth of the Light and Space Movement, an immaculate surface is a prerequisite. Helen Pashgian explained this very clearly: “On any of these works, if there is a scratch... that’s all you see. The point of it is not the finish at all – the point is being able to interact with the piece, whether it is inside or outside, to see into it, to see through it, to relate to it in those ways. But that’s why we need to deal with the finish, so we can deal with the piece on a much deeper level”. The importance of a pristine surface calls for a very low tolerance to damage by the artists. The feeling is shared by Larry Bell: “I don’t want you to see stains on the glass. I don’t want you to see fingerprints on the glass... I don’t want you to see anything except the light that’s reflected, absorbed, or transmitted” Seeing Is Forgetting the Name of the Thing One SeesThe light that hits the glassPhenomenal: California Light, Space, Surface lightartinterfacesmaterial