Nicholas Carr is the author of The Shallows, a Pulitzer Prize finalist, and The Glass Cage, among other books. Former executive editor of the Harvard Business Review, he has written for The Atlantic, the New York Times, and Wired. He lives in Boulder, Colorado.
Human beings are information omnivores: we are constantly collecting, labeling, and organizing data. But today, the shift from the physical to the digital is mixing, burning, and ripping our lives apart. In the past, everything had its one place—the physical world demanded it—but now everything has its places: multiple categories, multiple shelves. Simply put, everything is suddenly miscellaneous.
In Everything Is Miscellaneous, David Weinberger charts the new principles of digital order that are remaking business, education, politics, science, and culture. In his rollicking tour of the rise of the miscellaneous, he examines why the Dewey decimal system is stretched to the breaking point, how Rand McNally decides what information not to include in a physical map (and why Google Earth is winning that battle), how Staples stores emulate online shopping to increase sales, why your children's teachers will stop having them memorize facts, and how the shift to digital music stands as the model for the future in virtually every industry. Finally, he shows how by "going miscellaneous," anyone can reap rewards from the deluge of information in modern work and life.
From A to Z, Everything Is Miscellaneous will completely reshape the way you think—and what you know—about the world.
With razor wit, Nicholas Carr cuts through Silicon Valley’s unsettlingly cheery vision of the technological future to ask a hard question: Have we been seduced by a lie? Gathering a decade’s worth of posts from his blog, Rough Type, as well as his seminal essays, Utopia Is Creepy is “Carr’s best hits for those who missed the last decade of his stream of thoughtful commentary about our love affair with technology and its effect on our relationships” (Richard Cytowic, New York Journal of Books).
Carr draws on artists ranging from Walt Whitman to the Clash, while weaving in the latest findings from science and sociology. Carr’s favorite targets are those zealots who believe so fervently in computers and data that they abandon common sense. Cheap digital tools do not make us all the next Fellini or Dylan. Social networks, diverting as they may be, are not vehicles for self-enlightenment. And “likes” and retweets are not going to elevate political discourse. Utopia Is Creepy compels us to question the technological momentum that has trapped us in its flow. “Resistance is never futile,” argues Carr, and this book delivers the proof.