Doug Beube’s contribution to the Open Book Project “reimagines the book as a reconstructible sculpture of maps and zippers.” Image: the Open Book Project, via the Atlantic

• James Wolcott on the scourge of nineties nostalgia: “Mostly a white people’s pastime, nostalgia used to be a pining for an idealized yesteryear, for a prelapsarian world tinted in sepia … the Internet and cable TV have colonized the hive mind and set up carnival pavilions. Now every delight is obtainable and on display at an arcade that never closes … This anxious, ravenous speedup of nostalgia—getting wistful over goodies that never went away—is more than a reflection of the overall acceleration of digital culture, a pathetic sign of our determination to dote on every last shiny souvenir of our prolonged adolescence, and an indictment of our gutless refusal to face the rotten future like Stoic philosophers.”
• With the Open Book project, two professors held “experimental book workshops … to help define what the classic book—and the new book—could be.” Now there’s the Open Bookbook, “an amalgam of essays on and artwork made from books. ‘Not all of these books are made from and with paper-based books … We purposely sought book-like work for the Open Bookexhibition that transcended paper media.’”
• What does a minute feel like? Sixty seconds. What does sixty seconds feel like? A minute. “I was a lab rat in a performance-art piece on the High Line. The artist, an Argentinian named David Lamelas, arranged forty-odd people—friends, tourists, commuters, passersby—shoulder to shoulder, like an extra-long police lineup. ‘The time is now six-thirty-five,’ he announced, looking at his phone. Starting at one end of the queue, we were each supposed to wait for what we estimated to be one minute and then call out the time.”
• In the UK, a new edition of Charlie and the Chocolate Factoryhas a remarkably creepy cover. “It features a cover photograph of a young girl in make-up and marabou feathers, perched on her mother’s knee with the blank-eyed expression of a doll.”
• Eighteen months ago, Steven Soderbergh retired from filmmaking. Now he’s made The Knick, a grisly TV drama series about a hospital in the earliest days of the twentieth century: It’s “a gritty glimpse of Gilded Age New York … The first ten minutes of the premiere are among the most gruesome I’ve seen this year, as [the doctors] attempt an emergency C-section on a woman with placenta previa, an operation they have already failed at twelve times before.”