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
To absorb it or build your own Robert Smithson and other so-called land artists simply disengaged from architecture, placing their works in America's open landscape, leaving behind the museums and galleries Smithson referred to as "tombs". A new "expanded field" allowed artists to contextualize their work beyond the institutional frame of the museum or the commercial structure of a gallery. Richard Serra, who also began to move outdoors, at times chose to "attack" architecture, creating structures that disrupted or overwhelmed the buildings around them. The artists of the Light and Space movement took another tack. Rather than fight or flee the architecture, they explored and manipulated it, approaching architecture as a kind of found object, creating a series of rooms that incorporated architecture and architectural structures directly into their art. Bruce Nauman summarized it well: "When you work in a gallery or museum, the architecture is a given. If you wanted to have a show, you didn't have a choice, except to deal with it. You had to find a way to either absorb architecture into the piece of build your own." Michael Auping, Stealth Architecture: The Rooms of Light and Space Conditional art architecture