文章来源:云南日报网|2016开奖记录开奖结果l2016开奖记录开奖结果l发布时间:2019-12-13 06:45:55  【字号:      】


  Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.

  Have you ever used an online translator to translate a phrase to another language and then back again? And somewhere along the way, deep in the machine and language itself, the meaning is modestly but perceptibly changed?

  As an art director for the print edition of The New York Times, I often find myself adapting digital projects for the newspaper, and it feels a bit like that. I end up thinking a lot about how information is consumed and interpreted in different ways when its form is altered. It’s not that the medium is the message; it’s that the medium is a container and shapes the message to its contours.

  With that in mind, I teamed up with Tala Safié, a freelance art director, to bring the feeling of the internet to the newspaper. The project, “Internetting with Amanda Hess,” a special section about online culture, is in this Sunday’s New York Times.

  The section is drawn from a series of psychedelic video essays edited by Shane O’Neill and hosted by Amanda Hess, a critic at The Times who writes about the internet. It covers everything from the rapid ascendance of dog memes to the dark side of parenting YouTube.

  “If you’re trying to describe memes in a column, it can be very difficult,” Ms. Hess said. “The videos gave us the ability to show, not tell.”

  Video offered a concise, natural way to talk about the internet on the internet, but the trade-off was nuance. While videos allowed for another layer of visual information to accompany the essay, their arguments had to be stripped down to clock in under six minutes or so, and the series never made it to print.

  Fred Bierman, a design director for the newspaper, began to explore giving the series a home in print after reading through the video transcripts by chance, and he recruited Ms. Safié and me for the task. Given the subject matter and the on-its-face absurdity of putting internet videos into print, we set out — tongue planted firmly in cheek — to reconsider some of the basic assumptions of a newspaper.

  The section may strike some readers as unusual and disorienting. The orientation changes several times; the paging is atypical; the text is interrupted by images. Also, a large, disembodied cat head is floating on the cover.

  But the design is not a frivolous decoration, nor is it a joke. It’s structurally significant to the story form and the way that these essays are understood.

  “I hope it’ll be delightful, but also challenging,” Mr. Bierman said. “It’s not a typical newspaper product.”

  The internet is rife with interruptions and distractions, so Ms. Hess and Mr. O’Neill annotated the essay transcripts with fresh context, digressions, and comments from viewers — all of which appear only in print, breathing new life into the essays and adding extra layers of nuance to the arguments.

  We often experience or consume content on the internet in a fragmented, free-associative way — an article here, a video there — and so each essay lives on a discrete sheet, not a page. Full-sheet poster illustrations by Erik Carter and Tracy Ma in the style of found imagery break the text flow; and the posters, too, are peppered with overlays of decontextualized thumbnails.

  “When you think about the internet, you think about interruptions that you get online: ads, pop-ups,” Ms. Safié said. “We translated that to print by actually having the flow of information be interrupted by illustrations as you’re navigating the issue.”

  Just as the internet is not read linearly, there is also no single, correct order to the section. There are no page numbers, and the pages can (and should) be rearranged in different ways to elicit different connections and meanings between the essays and posters.

  By putting Internetting in the paper, we hoped to touch on a truth long heralded by artists like Paul Soulellis and Hito Steyerl: As the internet bleeds into “meatspace” in increasingly distressing and creative ways, internet culture becomes culture, and it’s important to understand lest we find the world suddenly unrecognizable.

  To bring the online offline is to cut it out and see its edges. When translated to print, the interruptions and distractions that feel seamless online are jarring and challenging. How do you disconnect without unplugging? It’s a feature, not a bug.

  “Internetting with Amanda Hess” is out in this Sunday’s print New York Times.

  Follow the @ReaderCenter on Twitter for more coverage highlighting your perspectives and experiences and for insight into how we work.



  2016开奖记录开奖结果l“【你】【不】【是】【说】【当】【时】【也】【有】【魔】【族】【在】【吗】?【混】【沌】【异】【兽】【的】【肉】【都】【被】【伏】【元】【戟】【抢】【夺】【走】【了】【吗】?”【葛】【东】【旭】【不】【置】【可】【否】【地】【点】【点】【头】,【接】【着】【问】【道】。 “【没】【有】,【据】【说】【那】【一】【战】【除】【了】【老】【祖】【受】【伤】,【还】【有】【几】【位】【道】【仙】【也】【都】【受】【了】【伤】,【最】【终】【星】【主】【只】【抢】【了】【不】【到】【一】【半】【血】【肉】。”【秦】【雅】【英】【回】【道】。 【葛】【东】【旭】【点】【点】【头】,【暗】【忖】:“【一】【半】【不】【到】,【估】【计】【也】【就】【只】【能】【支】【持】【伏】【元】【戟】【突】【破】【为】【道】【树】【道】【仙】。

“【老】【奴】【没】【胡】【说】。” 【李】【婆】【子】【心】【知】【自】【己】【既】【已】【暴】【露】,【如】【今】【想】【要】【保】【命】【唯】【有】【老】【实】【交】【代】【一】【切】。 “【大】【少】【夫】【人】【答】【应】【给】【老】【奴】【的】【女】【儿】【找】【个】【好】【人】【家】,【以】【此】【要】【求】【老】【奴】【为】【她】【办】【事】,【在】【世】【子】【妃】【的】【饭】【菜】【里】【下】【药】。【老】【奴】【一】【时】【鬼】【迷】【心】【窍】,【才】【做】【下】【了】【这】【等】【糊】【涂】【事】。【无】【颜】【为】【自】【己】【分】【辨】,【但】【求】【郡】【王】【妃】【和】【世】【子】【妃】【万】【莫】【牵】【连】【娟】【娟】…” 【娟】【娟】【就】【是】【她】【女】【儿】,【现】【在】【已】

【票】【房】【不】【是】【评】【价】【一】【部】【电】【影】【好】【坏】【的】【标】【准】,【但】【在】【电】【影】【节】【上】【斩】【获】【多】【项】【奖】【项】【却】【是】。 【在】【权】【威】【的】【银】【川】【国】【际】【电】【影】【节】【上】,《【最】【后】【的】【王】》【拿】【下】【了】【最】【佳】【影】【片】【奖】,【最】【佳】【导】【演】【奖】,【和】【众】【望】【所】【归】【的】【最】【佳】【女】【主】【角】【奖】。 【这】【个】【奖】【项】,【含】【金】【量】【之】【足】,【难】【以】【想】【象】。 【这】【一】【晚】,【宋】【曼】【的】【身】【价】【继】【续】【上】【涨】。 【这】【是】“【一】【片】【封】【后】”。 【尽】【管】【有】【人】【说】【宋】【曼】【是】【因】【为】

  【夫】【妻】【男】【女】【之】【间】【的】【事】【情】,【只】【有】【当】【局】【者】【自】【己】【明】【白】,【旁】【观】【者】【很】【难】【说】【清】【楚】,【基】【本】【全】【靠】【猜】【测】。【对】【于】【我】【们】【同】【时】【代】【的】、【周】【围】【人】【的】【夫】【妻】【关】【系】,【我】【们】【尚】【且】【说】【不】【清】【楚】,【我】【们】【凭】【什】【么】【去】【判】【断】【几】【百】【年】【前】【哪】【个】【皇】【帝】【害】【怕】【他】【的】【皇】【后】,【是】【真】【怕】【还】【是】【假】【怕】?2016开奖记录开奖结果l“【王】【爷】,【您】【该】【不】【会】【是】【等】【奴】【婢】【接】【了】【后】,【想】【要】【敲】【诈】【奴】【婢】,【或】【者】【让】【奴】【婢】【与】【你】【做】【什】【么】【交】【易】【吧】?”【苏】【陌】【沫】【警】【惕】【看】【了】【南】【宫】【逸】【一】【眼】。 “【本】【王】【缺】【你】【那】【点】【银】【子】?” 【苏】【陌】【沫】:“……” 【也】【是】。 “【王】【爷】,【你】【确】【定】【你】【真】【的】【是】【清】【醒】【着】【的】?” “【苏】,【陌】,【沫】。”【南】【宫】【逸】【看】【着】【苏】【陌】【沫】【的】【眼】【神】【阴】【鸷】【而】【幽】【深】。 【好】【吧】,【一】【看】【就】【是】【清】【醒】【的】

  【草】【原】【上】【的】【游】【牧】【部】【落】,【向】【来】【以】【强】【者】【为】【尊】,【而】【作】【为】【西】【部】【鲜】【卑】【大】【王】【的】【素】【利】,【自】【然】【是】【属】【于】【强】【者】【的】【范】【畴】。 【而】【战】【场】,【更】【是】【强】【者】【的】【舞】【台】! 【只】【有】【最】【强】【大】【的】【那】【人】,【才】【能】【够】【称】【霸】【这】【样】【的】【舞】【台】。 “【素】【利】,【纳】【命】【来】!”【冲】【锋】【在】【前】【的】【公】【孙】【续】【爆】【喝】【一】【声】。 【其】【面】【部】【表】【情】【狰】【狞】,【挥】【舞】【手】【中】【的】【霸】【王】【枪】,【不】【停】【的】【催】【动】【坐】【下】【的】【战】【马】,【冲】【入】【了】【敌】【阵】【之】

  【更】【或】【许】【还】【会】【被】【别】【人】【认】【为】【是】【心】【虚】【的】【表】【现】,【可】【若】【是】【顺】【着】【白】【念】【的】【意】【思】,【怕】【是】【接】【下】【来】【就】【要】【被】【白】【念】【牵】【着】【鼻】【子】【走】【了】。【所】【以】,【太】【后】【此】【刻】【的】【脸】【色】【才】【会】【黑】【了】【下】【来】,【她】【在】【想】【该】【怎】【么】【样】【拒】【绝】【白】【念】【的】【好】。 【太】【后】【身】【旁】【的】【皇】【后】,【脸】【色】【也】【不】【是】【很】【好】。【她】【以】【为】【只】【要】【太】【后】【出】【面】,【白】【念】【怎】【么】【着】【也】【要】【给】【太】【后】【一】【个】【面】【子】,【不】【再】【提】【起】【这】【件】【事】。【如】【此】,【她】【和】【韩】【贵】【妃】【这】【一】

  “【咳】【咳】。” 【门】【外】【的】【咳】【嗽】【声】,【紧】【接】【着】【就】【是】【高】【跟】【鞋】【砸】【在】【地】【上】【的】【声】【响】。 【沐】【戚】【的】【脸】【色】【变】【了】【变】,【冲】【男】【人】【说】【道】,“【这】【件】【事】【等】【会】【再】【说】,【我】【还】【有】【事】【处】【理】。” 【和】【他】【耽】【误】【的】【时】【间】【太】【长】【了】,【乔】【梧】【已】【经】【把】【人】【带】【到】【指】【定】【的】【地】【点】。 【王】【德】【搂】【紧】【怀】【里】【的】【乔】【梧】,【环】【绕】【空】【荡】【荡】【的】【走】【廊】【和】【四】【周】【的】【墙】【壁】,【一】【脸】【的】【坏】【笑】:“【小】【美】【人】,【你】【这】【是】【要】【和】【我】【睡】【吗】