Podcasts about peanut press

There are times when I see a photographer's work that I have an emotional response, a feeling that I am seeing something special. That's what happened the first time I browsed through Victoria Will's website. Photo after photo there was something.... with impact. That doesn't happen very often. Victoria's career in photography began as a photojournalist, but has now moved to a focus on celebrity portraiture, editorial, and commercial assignments. That beginning, however, is readily obvious. Her images feel spontaneous, like she just happens to be there with a camera while some A List actor, or Hall of Fame musician. happened to be posing. Victoria's portraits just feel honest and authentic. Victoria's images have appeared in the pages of some of the top publications, including Vogue, The New York Times, and Rolling Stone, ESPN and W Magazine. Commercial campaigns for brands like Carhartt, Levis, Netflix, Hulu, Epix, AT&T, Bose, Samsung, Ralph Lauren, and Miller High Life have also used her work. Her About Page says that her approach is "rooted in collaboration and meaningful connection where she seeks intimacy, authenticity, and elegance with a thoughtful eye and composition". I would probably just describe her work as magic, but I guess her wording is probably better for the website. You don't get to this level of success, and talent, without other people noticing, and she has a crazy collection of awards. Victoria has been recognized by American Photography, PDN Photo Annual, and Communication Arts, and her imagery has been the subject of both solo and group exhibitions internationally. Her first monograph, Borne Back, a collection of tintype portraits, was published in 2017 by Peanut Press. Tintype photography is something I know very little about, or more accurately, nothing at all. Luckily for all of us, Profoto has a video on their YouTube channel documenting the process. You can check out "Victoria Will Shoots the Stars at Sundance" here. In 2023, Victoria became one of the newest members of the Canon Explorer of Light program, an honor I will say is so very well deserved. She is one of the best working today. Join Canon Explorer of Light Victoria Will and me as we explore tintype photography, and discuss her tintype image of famed actor Sam Shepard, on this Behind the Shot. Connect with Victoria Website: victoriawill.com Instagram: @victoriawill Twitter: @vwillphoto Victoria's Book Borne Back: peanutpressbooks.com Profoto Video on Victoria Shooting Tintypes Victoria Will Shoots the Stars at Sundance: youtube.com Victoria's Photographer Picks Dana Scruggs: danascruggs.com | @danascruggs Benedict Evans: benedictevans.com | @benedict_evans

Today on the B&H Photography Podcast we are joined by Craig Semetko, a documentary and street photographer who is much more than those two descriptors. He came to photography from a career in performance and comedy and that makes a lot of sense, noting the observational skill and humor found in his compositions. His first book, UNPOSED, published in 2010, with a forward by Elliott Erwitt, was followed by India Unposed, in 2014. Sly, ironic, absurd, all come to mind when you see the moments he captures and we talk about how it’s hard to photograph “funny,” about attitudes and techniques, and the difference between laughing with someone and at them. We also ask about the work he has done during the pandemic shutdown. After a break, we welcome photographer Ashly Stohl. A Leica Ambassador, Stohl’s best known work concentrates on her family, particularly her three children. She is also the publisher and co-founder of Peanut Press, begun in 2015 with her first book, Charth Vader, which takes a look at her youngest son, clearly a big fan of Star Wars. Her second book, Days and Years, follows up with an intimate portrait of her three children. A quote from Stohl sums up why she is a welcome judge for our Leica Photo Challenge: “There is a saying that all portraits are really self-portraits. So, what are portraits of your kids? They are portraits of a parent. I take pictures of my kids, and if you’ll look closely you’ll also see me in there—my worries and fears, my attempts to correct the problems of my own childhood, my heart and my struggles.” Join us for this inspiring and enjoyable episode. Photograph © Craig Semetko

We’re back! It has been a busy few weeks over here and the podcast, unfortunately, has taken a bit of a back seat. I’m on it, though, and normal service is resumed. If not a little rusty!So welcome, to Outerfocus 49 with Ashly Stohl.Ashly is a photographer from LA and co-founder or Peanut Press, (along with previous guest, David Carol).She was a finalist in the 11th Julia Margaret Cameron awards, has work held in collections at the International Centre of Photography and..........Full show notes at - www.outerfocuspodcast.com Support the show (https://www.patreon.com/outerfocuspodcast)

Most photographers seem to operate with a pane of glass between themselves and their subjects. They just can’t get inside and know the subject.” – Edward SteichenWelcome to the Outerfocus Podcast!And we’re back with a bang!This week we are joined by David Carol. A photographer, lecturer, writer, curator and publisher. We talk with David about how he got started in photography, right from owning his first camera at the age of 18 and his first job at The Image Bank, to more recently being retired and publishing photography books with his publishing company, Peanut Press. History of photography this week (very) briefly touches on Edward Steichen. To be fair, we’ll probably go into more detail about Steichen next week as trying to stay on one subject was a bit like trying to herd wild cats. A plethora of things were discussed this week, including: processing film, cameras, Rolex watches and David’s top five influential photographers, among many other things.We hope you enjoy listening as much as we enjoyed having this conversation. Links:https://en.wikipedia.org/wiki/Edward_SteichenICPGuest Links: https://www.davidcarol.comhttps://peanutpressbooks.comHost Links:https://www.outerfocuspodcast.cominfo@outerfocuspodcast.comBradley Hansonhttps://www.bradleyhanson.comhttps://www.facebook.com/bradleyhansonphotographyhttps://www.instagram.com/bradleyhansonphotography/https://twitter.com/bradleyhansonIan Weldonhttp://ianweldon.comhttps://www.instagram.com/not_wedding_photography/https://www.facebook.com/Ian-Weldon-Photography-124854627581367/Books:

No Plan B by David J. Carol was published by Peanut Press Books in 2017. The book is a retrospective of David’s work with 32 black and white images and an afterward by photojournalist Jason Eskenazi. No Plan B is a David’s fifth book and is a culmination of images from David’s road trips from the Arctic Ocean to post-Soviet Russia, from the Mojave Desert to the streets of Istanbul taken between 1993 and 2016. David was born in New York City, and attended the School of Visual Arts and The New School for Social Research, where he studied under Lisette Model. He was the first assignment photographer for The Image Bank photo agency (now part of Getty Images) at the age of 26. David has traveled the world taking pictures for himself and others for over thirty years. David is a photographer first and foremost, he has most recently worked daily in the real world of commercial photography as the Director of Photography at Outfront Media (formerly CBS Outdoor). Currently he is Editor-in-Chief at Peanut Press Books, a new imprint that publishes high quality photography books. He is a contributing writer for Rangefinder Magazine and Photo District News, is a judge for the prestigious PDN Photo Annual, and reviews the work of developing photographers at Palm Springs Photo Festival, ASMP Fine Art, APA, Filter Photo Festival and at Savannah College of Art and Design. In his work as a curator, he has shaped shows at The Center for Fine Art Photography in Colorado, Darkroom Gallery in Vermont, and Lightbox Gallery in Oregon. He also serves on the Board of Advisers for the Center for Alternative Photography: Penumbra Foundation. No Plan B is available in two bindings; the black trade edition, and a white limited edition, which includes a gelatin silver print signed and numbered by the artist. No Plan B is available for sale online at Peanut Press. Learn more about your ad choices. Visit megaphone.fm/adchoices

No Plan B by David J. Carol was published by Peanut Press Books in 2017. The book is a retrospective of David’s work with 32 black and white images and an afterward by photojournalist Jason Eskenazi. No Plan B is a David’s fifth book and is a culmination of images from David’s road trips from the Arctic Ocean to post-Soviet Russia, from the Mojave Desert to the streets of Istanbul taken between 1993 and 2016. David was born in New York City, and attended the School of Visual Arts and The New School for Social Research, where he studied under Lisette Model. He was the first assignment photographer for The Image Bank photo agency (now part of Getty Images) at the age of 26. David has traveled the world taking pictures for himself and others for over thirty years. David is a photographer first and foremost, he has most recently worked daily in the real world of commercial photography as the Director of Photography at Outfront Media (formerly CBS Outdoor). Currently he is Editor-in-Chief at Peanut Press Books, a new imprint that publishes high quality photography books. He is a contributing writer for Rangefinder Magazine and Photo District News, is a judge for the prestigious PDN Photo Annual, and reviews the work of developing photographers at Palm Springs Photo Festival, ASMP Fine Art, APA, Filter Photo Festival and at Savannah College of Art and Design. In his work as a curator, he has shaped shows at The Center for Fine Art Photography in Colorado, Darkroom Gallery in Vermont, and Lightbox Gallery in Oregon. He also serves on the Board of Advisers for the Center for Alternative Photography: Penumbra Foundation. No Plan B is available in two bindings; the black trade edition, and a white limited edition, which includes a gelatin silver print signed and numbered by the artist. No Plan B is available for sale online at Peanut Press. Learn more about your ad choices. Visit megaphone.fm/adchoices

No Plan B by David J. Carol was published by Peanut Press Books in 2017. The book is a retrospective of David’s work with 32 black and white images and an afterward by photojournalist Jason Eskenazi. No Plan B is a David’s fifth book and is a culmination of images from David’s road trips from the Arctic Ocean to post-Soviet Russia, from the Mojave Desert to the streets of Istanbul taken between 1993 and 2016. David was born in New York City, and attended the School of Visual Arts and The New School for Social Research, where he studied under Lisette Model. He was the first assignment photographer for The Image Bank photo agency (now part of Getty Images) at the age of 26. David has traveled the world taking pictures for himself and others for over thirty years. David is a photographer first and foremost, he has most recently worked daily in the real world of commercial photography as the Director of Photography at Outfront Media (formerly CBS Outdoor). Currently he is Editor-in-Chief at Peanut Press Books, a new imprint that publishes high quality photography books. He is a contributing writer for Rangefinder Magazine and Photo District News, is a judge for the prestigious PDN Photo Annual, and reviews the work of developing photographers at Palm Springs Photo Festival, ASMP Fine Art, APA, Filter Photo Festival and at Savannah College of Art and Design. In his work as a curator, he has shaped shows at The Center for Fine Art Photography in Colorado, Darkroom Gallery in Vermont, and Lightbox Gallery in Oregon. He also serves on the Board of Advisers for the Center for Alternative Photography: Penumbra Foundation. No Plan B is available in two bindings; the black trade edition, and a white limited edition, which includes a gelatin silver print signed and numbered by the artist. No Plan B is available for sale online at Peanut Press. Learn more about your ad choices. Visit megaphone.fm/adchoices

为什么人的精神和身体需要垃圾，为什么非 1080p 不看说明你老了，新闻汇总，以及 John Siracusa 对不鸟万如一（曾用名：李如一）的影响。 每月三十元，支持不鸟万如一和 Rio 把《IT 公论》做成最好的科技播客。请访问 itgonglun.com/member。 可能有人已经知道了：安卓版 Pocket Casts 目前无法下载 IPN 播客网络旗下的节目，是因为它不支持 Server Name Indication。开发者已经解决了这一问题，将在下一次更新时修复。 Soylent 还在吃，但每天至少会吃一顿「真正的」食物。饥饿感仍旧存在，不过我还有自己所信奉的玄学：无论是精神还是肉体，都需要摄入一定程度的（广义的）垃圾才能维持基本的 robustness。洁癖不仅是不性感的，更是法西斯的。有人不是说了吗？如今的科幻小说主题，就是「一个看上去很像苹果专卖店的极权国家」。苹果的迪斯尼家庭式价值观以及对垃圾的无爱一向是我的心头大恨。看，那个教女人手淫的游戏 HappyPlayTime 最近就被 App Store 以反色情的名义封禁了。 看到这里你当然明白，所谓垃圾并不是「被丢掉不要的东西」，而是「被某些人在某些特定条件下丢掉不要的东西」。在一个复数且富庶的开放性社会，这才应该是垃圾的本义。垃圾是社会空间中松动柔软的部分，完全没有垃圾的社会是什么社会？理想中的共产主义社会。 John Siracusa 的 Mac OS X 评论终结了。虽然我并没有完整地看过其中任何一篇，但 Siracusa 的其它写作、播客以及人格对我产生了很大影响。在本期节目中深感自己辞不达意，希望这篇通讯能弥补遗憾。 一年一度的长篇 Mac OS X 评论投下的巨大阴影无疑会遮蔽 Siracusa 其它零散文章的光华，但我很怀疑那些评论和《尤利西斯》或 David Foster Wallace 的《Infinite Jest》一样，属于大家假装自己读过的东西。除了这个延续了十五年的传统之外，Siracusa 的写作均属小品。如果那篇剖析自我的〈Hypercritical〉不算的话，大部分都是对某种科技现象或作品的评论。我第一次注意到他的写作功力，是 2008 年的这篇关于 Chrome 浏览器的〈Straight out of Compton〉。当人人都在谈论 Google 为了推广这款新浏览器请 Scott McCloud 画的这本漫画，或是把标签页放到窗体顶部是多么大胆的行为时，Siracusa 是这么说的： Google’s approach with Chrome is different. Rather than removing features from existing web browsers, Google has taken its brightly colored forearm and swept the table absolutely clean. Forget about menu separators; why even have a bookmarks menu? Hell, why have a menu bar at all? Start with nothing. Assume nothing. Add features only as needed, and only in service of a well-defined design concept. That’s what’s most exciting about Chrome: not the individual features Google has added, not the most prominent aspects of its user interface, such as the top-mounted tabs. All of that stuff will be tried and tested in the market. But the approach, the philosophy, the sheer chutzpah on display…that is a thing of beauty. 文字不是用眼睛看，而是用耳朵听的。请忘掉小学和中学那恐怖的语文课，把这两段文字朗诵出来。它们背后包含的想法属于共识——Google 推出 Chrome 时并没有丝毫隐藏野心的意愿——但那种掷地有声的文气在科技写作中非常罕见。 2009 年的〈The Once and Future e-book: on Reading in the Digital Age〉很可能是 Siracusa 最被忽略的力作。这篇讲述电子书前世今生的文章在很长时间里都定义了我对电子出版和数字阅读的理解。它消灭了我对于屏幕阅读的分别心，让我明白并不只有所谓「严肃阅读」才值得被严肃对待。身为 2002 年就投身电子出版行业（Peanut Press）的程序员，Siracusa 在亲身经历了失败之后，在新一代电子阅读方兴未艾的时刻（Kindle 诞生于 2007 年末，iPad 诞生于 2010 年），对阅读的未来给出了冷静的分析和热诚的展望。在全文的最后两段他写道： Let me leave you with a quote from another Peanut Press founder, one which reflects his not-entirely unfounded optimism about the subtle seduction of e-books: “You know what we call people who finally try e-books after they’ve sworn they could never read on a handheld device? ‘Customers.’” It happened to me; it could happen to you. I hope it does, because the future of e-books has been a long time coming. I just hope it gets here soon. 这不是你那「干货满满」的文字。所谓的干货满满，难道不正是庸俗功利主义的完美体现吗？这也不是盲目乐观派的那种「未来一定好」论调——那是没有过去和现在的人的特征。Siracusa 在愤世嫉俗和技术信仰之间找到了最好的平衡点。他总是享受当下的生活，但也从未对未来丧失希望。 我愿意把 Siracusa 称之为文人科技作者，这一点直接体现在他对用典的热衷。在 Accidental Tech Podcast 里他没少笑话听不懂流行文化典故的 Casey Liss 和 Marco Arment，而他的文章也屡次逼近用典过度的边缘。1992 年的电影《Singles》？Beastie Boys 的《Sabotage》歌词？〈Straight out of Compton〉是 Hip-Hop 乐团 N.W.A. 在 1988 年发表的一张专辑名称，文中最后一句「Tell ‘em where you’re from」也来自同名歌曲。和中国古典写作一样，典故是对自身传统中的文脉的确认，也是和其他知识生产者在异次元空间的对话。Siracusa 的文风是独一无二的，但他从来不顾影自怜。 在某一集的 Accidental Tech Podcast 里，Siracusa 曾说自己是一个极度趋利避害的人，因此不会选择创业。以他对技术的理解，以及在业界十数年的编程经验，若想要寻求资本的帮助来「干一番事业」，想必不是没有可能。可以想像若是在今天的中国，会有多少人劝诫他「不要一辈子为别人打工」。但所谓「真正优秀的人不会为别人打工」显然是一种充满恶意的谎言，社会的整体性强大只有在各层级都保持坚实的前提下才有可能成立。在我看来，John Siracusa 这类作者的存在和美国科技业的辉煌有一种共生关系。他的写作证明了科技是如今智识生活的一部分，也是打在那些认为只有实干才有价值的机会主义者脸上的一记响亮耳光。在一切都可以消费的今天，消费者或许得不到他们以为自己想要的，但几乎总是能得到他们真正想要的。一个只有枪稿、新闻通稿以及非粉即黑心态的科技媒体圈，只不过证明了它的受众真正想要的是什么。 不鸟万如一最近在玩的 app（Rio 最近没有玩什么 app） Does Not Commute Propellerhead Take 最近我们读的一些文章 TidBITS 已经做了廿五年 去过纽约的朋友都在地铁里见过老鼠吧？ 虚拟现实不光是用眼睛看，还是用耳朵听的 相关链接 Server Name Indication Kraftwerk Tron Shoegazing 奇点 Neil Cybart Pandyland 的 Apple Watch 漫画 Soylent Scott Forstall 在 Twitter 宣布自己当上了百老汇歌舞剧 Fun Home 的监制 itBit IT 公论 №5: 比特币：投资神器还是 geek 玩具？ Pebble SeaNav US 教女人手淫的游戏 HappyPlayTime John Siracusa 在 Ars Technica 的文章列表 Siracusa 的 Yosemite 评论相关统计 Siracusa 对游戏 Ico 的评论 Siracusa 对 Chrome 浏览器的评论：Straight out of Compton N.W.A. 的专辑《Straight Outta Compton》 《他来自江湖》 Phil Schiller 在 Twitter 上对 Siracusa 的 OS X 评论的评价 The Incomparable 播客 №194（《魔女宅急便》） Google Chrome 刚推出时的漫画 Siracusa 对游戏 Journey 的评论 人物简介 不鸟万如一：字节社创始人。 Rio: Apple4us 程序员。

为什么人的精神和身体需要垃圾，为什么非 1080p 不看说明你老了，新闻汇总，以及 John Siracusa 对不鸟万如一（曾用名：李如一）的影响。 每月三十元，支持不鸟万如一和 Rio 把《IT 公论》做成最好的科技播客。请访问 itgonglun.com/member。 可能有人已经知道了：安卓版 Pocket Casts 目前无法下载 IPN 播客网络旗下的节目，是因为它不支持 Server Name Indication。开发者已经解决了这一问题，将在下一次更新时修复。 Soylent 还在吃，但每天至少会吃一顿「真正的」食物。饥饿感仍旧存在，不过我还有自己所信奉的玄学：无论是精神还是肉体，都需要摄入一定程度的（广义的）垃圾才能维持基本的 robustness。洁癖不仅是不性感的，更是法西斯的。有人不是说了吗？如今的科幻小说主题，就是「一个看上去很像苹果专卖店的极权国家」。苹果的迪斯尼家庭式价值观以及对垃圾的无爱一向是我的心头大恨。看，那个教女人手淫的游戏 HappyPlayTime 最近就被 App Store 以反色情的名义封禁了。 看到这里你当然明白，所谓垃圾并不是「被丢掉不要的东西」，而是「被某些人在某些特定条件下丢掉不要的东西」。在一个复数且富庶的开放性社会，这才应该是垃圾的本义。垃圾是社会空间中松动柔软的部分，完全没有垃圾的社会是什么社会？理想中的共产主义社会。 John Siracusa 的 Mac OS X 评论终结了。虽然我并没有完整地看过其中任何一篇，但 Siracusa 的其它写作、播客以及人格对我产生了很大影响。在本期节目中深感自己辞不达意，希望这篇通讯能弥补遗憾。 一年一度的长篇 Mac OS X 评论投下的巨大阴影无疑会遮蔽 Siracusa 其它零散文章的光华，但我很怀疑那些评论和《尤利西斯》或 David Foster Wallace 的《Infinite Jest》一样，属于大家假装自己读过的东西。除了这个延续了十五年的传统之外，Siracusa 的写作均属小品。如果那篇剖析自我的〈Hypercritical〉不算的话，大部分都是对某种科技现象或作品的评论。我第一次注意到他的写作功力，是 2008 年的这篇关于 Chrome 浏览器的〈Straight out of Compton〉。当人人都在谈论 Google 为了推广这款新浏览器请 Scott McCloud 画的这本漫画，或是把标签页放到窗体顶部是多么大胆的行为时，Siracusa 是这么说的： Google’s approach with Chrome is different. Rather than removing features from existing web browsers, Google has taken its brightly colored forearm and swept the table absolutely clean. Forget about menu separators; why even have a bookmarks menu? Hell, why have a menu bar at all? Start with nothing. Assume nothing. Add features only as needed, and only in service of a well-defined design concept. That’s what’s most exciting about Chrome: not the individual features Google has added, not the most prominent aspects of its user interface, such as the top-mounted tabs. All of that stuff will be tried and tested in the market. But the approach, the philosophy, the sheer chutzpah on display…that is a thing of beauty. 文字不是用眼睛看，而是用耳朵听的。请忘掉小学和中学那恐怖的语文课，把这两段文字朗诵出来。它们背后包含的想法属于共识——Google 推出 Chrome 时并没有丝毫隐藏野心的意愿——但那种掷地有声的文气在科技写作中非常罕见。 2009 年的〈The Once and Future e-book: on Reading in the Digital Age〉很可能是 Siracusa 最被忽略的力作。这篇讲述电子书前世今生的文章在很长时间里都定义了我对电子出版和数字阅读的理解。它消灭了我对于屏幕阅读的分别心，让我明白并不只有所谓「严肃阅读」才值得被严肃对待。身为 2002 年就投身电子出版行业（Peanut Press）的程序员，Siracusa 在亲身经历了失败之后，在新一代电子阅读方兴未艾的时刻（Kindle 诞生于 2007 年末，iPad 诞生于 2010 年），对阅读的未来给出了冷静的分析和热诚的展望。在全文的最后两段他写道： Let me leave you with a quote from another Peanut Press founder, one which reflects his not-entirely unfounded optimism about the subtle seduction of e-books: “You know what we call people who finally try e-books after they’ve sworn they could never read on a handheld device? ‘Customers.’” It happened to me; it could happen to you. I hope it does, because the future of e-books has been a long time coming. I just hope it gets here soon. 这不是你那「干货满满」的文字。所谓的干货满满，难道不正是庸俗功利主义的完美体现吗？这也不是盲目乐观派的那种「未来一定好」论调——那是没有过去和现在的人的特征。Siracusa 在愤世嫉俗和技术信仰之间找到了最好的平衡点。他总是享受当下的生活，但也从未对未来丧失希望。 我愿意把 Siracusa 称之为文人科技作者，这一点直接体现在他对用典的热衷。在 Accidental Tech Podcast 里他没少笑话听不懂流行文化典故的 Casey Liss 和 Marco Arment，而他的文章也屡次逼近用典过度的边缘。1992 年的电影《Singles》？Beastie Boys 的《Sabotage》歌词？〈Straight out of Compton〉是 Hip-Hop 乐团 N.W.A. 在 1988 年发表的一张专辑名称，文中最后一句「Tell ‘em where you’re from」也来自同名歌曲。和中国古典写作一样，典故是对自身传统中的文脉的确认，也是和其他知识生产者在异次元空间的对话。Siracusa 的文风是独一无二的，但他从来不顾影自怜。 在某一集的 Accidental Tech Podcast 里，Siracusa 曾说自己是一个极度趋利避害的人，因此不会选择创业。以他对技术的理解，以及在业界十数年的编程经验，若想要寻求资本的帮助来「干一番事业」，想必不是没有可能。可以想像若是在今天的中国，会有多少人劝诫他「不要一辈子为别人打工」。但所谓「真正优秀的人不会为别人打工」显然是一种充满恶意的谎言，社会的整体性强大只有在各层级都保持坚实的前提下才有可能成立。在我看来，John Siracusa 这类作者的存在和美国科技业的辉煌有一种共生关系。他的写作证明了科技是如今智识生活的一部分，也是打在那些认为只有实干才有价值的机会主义者脸上的一记响亮耳光。在一切都可以消费的今天，消费者或许得不到他们以为自己想要的，但几乎总是能得到他们真正想要的。一个只有枪稿、新闻通稿以及非粉即黑心态的科技媒体圈，只不过证明了它的受众真正想要的是什么。 不鸟万如一最近在玩的 app（Rio 最近没有玩什么 app） Does Not Commute Propellerhead Take 最近我们读的一些文章 TidBITS 已经做了廿五年 去过纽约的朋友都在地铁里见过老鼠吧？ 虚拟现实不光是用眼睛看，还是用耳朵听的 相关链接 Server Name Indication Kraftwerk Tron Shoegazing 奇点 Neil Cybart Pandyland 的 Apple Watch 漫画 Soylent Scott Forstall 在 Twitter 宣布自己当上了百老汇歌舞剧 Fun Home 的监制 itBit IT 公论 №5: 比特币：投资神器还是 geek 玩具？ Pebble SeaNav US 教女人手淫的游戏 HappyPlayTime John Siracusa 在 Ars Technica 的文章列表 Siracusa 的 Yosemite 评论相关统计 Siracusa 对游戏 Ico 的评论 Siracusa 对 Chrome 浏览器的评论：Straight out of Compton N.W.A. 的专辑《Straight Outta Compton》 《他来自江湖》 Phil Schiller 在 Twitter 上对 Siracusa 的 OS X 评论的评价 The Incomparable 播客 №194（《魔女宅急便》） Google Chrome 刚推出时的漫画 Siracusa 对游戏 Journey 的评论 人物简介 不鸟万如一：字节社创始人。 Rio: Apple4us 程序员。