6
" As any American with children knows, our children have at least one bright, clear reason for being: to furnish subjects for digital photographs that can be corrected, cropped, captioned, organized, categorized, albumized, broadcast, turned into screen savers, and brandished on online social networks. "
― , Magic and Loss: The Internet as Art
9
" Over the past two decades screens have proliferated, filling our purses, pockets, and bedside tables. The living room is no longer configured around a single blazing digital fireplace, the television; instead it flashes with decentralized brushfires: ereaders, tablets, laptops, desktops, smartphones, televisions, refrigerator screens. As for the radios and bookshelves that were supposed to vanish with the digitalization of the American home, they’ve stubbornly remained. "
― , Magic and Loss: The Internet as Art
18
" Spritz is for not-real readers, evidently. And here’s where our most sacred class values come in, pounded with a mallet. It’s no surprise that the Atlantic and the New Yorker serve as the old guardians, policing the borders of literacy. Spritz works, they concede, for stuff you have to read—discovery, briefs, memos, and social media “updates” for data merchants and info tradesmen—but not for the pleasure reading of books that defines the bona fide man of leisure and letters. Juxtaposing a moral line on a class line, Spritz, several reviewers argue, is not for virtuous people who like to read. It is for subliterate business types who have to read. "
― , Magic and Loss: The Internet as Art