#silo — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #silo, aggregated by home.social.
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Can we all agree that they have a terrible turbine design in the #silo show
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Le #silo se referme toujours un peu plus.
Avant, sur #DeviantArt, tu pouvais te promener et télécharger des trucs sans compte.
Et puis il y a qqs années le téléchargement a nécessité un compte.
Et puis depuis qqs semaines, on ne peut même plus naviguer entre les pages. Seule la première est disponible ; pour le reste, faut se loguer.
La #merdification jusqu'au bout.
(Bon, d'accord, DeviantArt s'était merdifié depuis un moment déjà mais il y avait encore de-ci de-là des trucs intéressants)
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Le #silo se referme toujours un peu plus.
Avant, sur #DeviantArt, tu pouvais te promener et télécharger des trucs sans compte.
Et puis il y a qqs années le téléchargement a nécessité un compte.
Et puis depuis qqs semaines, on ne peut même plus naviguer entre les pages. Seule la première est disponible ; pour le reste, faut se loguer.
La #merdification jusqu'au bout.
(Bon, d'accord, DeviantArt s'était merdifié depuis un moment déjà mais il y avait encore de-ci de-là des trucs intéressants)
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Le #silo se referme toujours un peu plus.
Avant, sur #DeviantArt, tu pouvais te promener et télécharger des trucs sans compte.
Et puis il y a qqs années le téléchargement a nécessité un compte.
Et puis depuis qqs semaines, on ne peut même plus naviguer entre les pages. Seule la première est disponible ; pour le reste, faut se loguer.
La #merdification jusqu'au bout.
(Bon, d'accord, DeviantArt s'était merdifié depuis un moment déjà mais il y avait encore de-ci de-là des trucs intéressants)
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Wahou les trois infos du jour !
- La saison 3 de Silo arrive. On a des images à vous montrer !
- Evil Dead Burn, le trailer est là. L'horreur aussi...
- Dmitry Glukhovsky - L'avant-poste, c'est notre chronique du jour et ce roman est fou !Tous les jours sur Actusf, on vous raconte l'imaginaire !
#silo #HughHowey #EvilDead #EvilDeadBurn #DmitryGlukhovsky #sciencefiction #sciencefictionbook ##sciencefictionfan #dystopie #librairie #romans #Metro2033 #horreur #fantastique #SébastienVanicek
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Wahou les trois infos du jour !
- La saison 3 de Silo arrive. On a des images à vous montrer !
- Evil Dead Burn, le trailer est là. L'horreur aussi...
- Dmitry Glukhovsky - L'avant-poste, c'est notre chronique du jour et ce roman est fou !Tous les jours sur Actusf, on vous raconte l'imaginaire !
#silo #HughHowey #EvilDead #EvilDeadBurn #DmitryGlukhovsky #sciencefiction #sciencefictionbook ##sciencefictionfan #dystopie #librairie #romans #Metro2033 #horreur #fantastique #SébastienVanicek
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Wahou les trois infos du jour !
- La saison 3 de Silo arrive. On a des images à vous montrer !
- Evil Dead Burn, le trailer est là. L'horreur aussi...
- Dmitry Glukhovsky - L'avant-poste, c'est notre chronique du jour et ce roman est fou !Tous les jours sur Actusf, on vous raconte l'imaginaire !
#silo #HughHowey #EvilDead #EvilDeadBurn #DmitryGlukhovsky #sciencefiction #sciencefictionbook ##sciencefictionfan #dystopie #librairie #romans #Metro2033 #horreur #fantastique #SébastienVanicek
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Wahou les trois infos du jour !
- La saison 3 de Silo arrive. On a des images à vous montrer !
- Evil Dead Burn, le trailer est là. L'horreur aussi...
- Dmitry Glukhovsky - L'avant-poste, c'est notre chronique du jour et ce roman est fou !Tous les jours sur Actusf, on vous raconte l'imaginaire !
#silo #HughHowey #EvilDead #EvilDeadBurn #DmitryGlukhovsky #sciencefiction #sciencefictionbook ##sciencefictionfan #dystopie #librairie #romans #Metro2033 #horreur #fantastique #SébastienVanicek
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Wahou les trois infos du jour !
- La saison 3 de Silo arrive. On a des images à vous montrer !
- Evil Dead Burn, le trailer est là. L'horreur aussi...
- Dmitry Glukhovsky - L'avant-poste, c'est notre chronique du jour et ce roman est fou !Tous les jours sur Actusf, on vous raconte l'imaginaire !
#silo #HughHowey #EvilDead #EvilDeadBurn #DmitryGlukhovsky #sciencefiction #sciencefictionbook ##sciencefictionfan #dystopie #librairie #romans #Metro2033 #horreur #fantastique #SébastienVanicek
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La saison 3 de la série de science-fiction Silo dévoile son teaser !
Qui a suivi jusqu'ici ? C'est bien comme adaptation ?
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If you're a fan of #silo, well . . . https://www.youtube.com/watch?v=C9-_VVX9BvE
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Apple TV continua a rafforzare la sua offerta sci-fi con la terza stagione di Silo, in arrivo il 3 luglio. La serie post-apocalittica, composta da 10 episodi, si concluderà il 4 settembre.
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I've been out in the hills doing deliveries for a change and I came upon these relics on the way back down a valley.
History is around every corner out here.
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Yay! Finally, some good post-apocalyptic news!
Apple’s globally acclaimed drama “Silo,” starring and executive produced by Rebecca Ferguson, returns for season three on July 3, 2026
Apple TV reveals first look at the new season from Emmy Award winner Graham Yost, with an expanding cast that includes Colin Hanks, Ashley Zukerman and Jessica Henwick
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Yay! Finally, some good post-apocalyptic news!
Apple’s globally acclaimed drama “Silo,” starring and executive produced by Rebecca Ferguson, returns for season three on July 3, 2026
Apple TV reveals first look at the new season from Emmy Award winner Graham Yost, with an expanding cast that includes Colin Hanks, Ashley Zukerman and Jessica Henwick
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Yay! Finally, some good post-apocalyptic news!
Apple’s globally acclaimed drama “Silo,” starring and executive produced by Rebecca Ferguson, returns for season three on July 3, 2026
Apple TV reveals first look at the new season from Emmy Award winner Graham Yost, with an expanding cast that includes Colin Hanks, Ashley Zukerman and Jessica Henwick
-
Yay! Finally, some good post-apocalyptic news!
Apple’s globally acclaimed drama “Silo,” starring and executive produced by Rebecca Ferguson, returns for season three on July 3, 2026
Apple TV reveals first look at the new season from Emmy Award winner Graham Yost, with an expanding cast that includes Colin Hanks, Ashley Zukerman and Jessica Henwick
-
Yay! Finally, some good post-apocalyptic news!
Apple’s globally acclaimed drama “Silo,” starring and executive produced by Rebecca Ferguson, returns for season three on July 3, 2026
Apple TV reveals first look at the new season from Emmy Award winner Graham Yost, with an expanding cast that includes Colin Hanks, Ashley Zukerman and Jessica Henwick
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Silo Season 3 gets a teaser trailer. Watch it here https://www.liveforfilm.com/2026/04/21/silo-season-3-gets-a-teaser-trailer/
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‘Silo’ Sets Season 3 Release Date; Unveils Teaser & First-Look Photos
#News #Trailers #AppleTV #Premieredates #Silo #Trailershttps://deadline.com/2026/04/silo-season-3-release-date-trailer-photos-apple-tv-1236866439/
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Dust: Book Three of the Silo Series "Juliette, now mayor of Silo 18, doesn’t trust Silo 1, especially its leader, Donald" Sale: $19.99 to $1.99 by Hugh Howey Rating: 4.6/5 (28,626 Reviews) #SciFi #Dystopian #PostApocalyptic #Thriller #Books #Silo #HughHowey #BookSky
Dust: Book Three of the Silo S... -
นวัตกรรมใหม่มักจะเกิดจากข้ามสาย #silo #multidisciplinary #interdisciplin...
https://youtube.com/shorts/KsDKyZ7VWkQ?si=UWnuGUuME7k7bOGo -
Movie TV Tech Geeks #TVNews #RebeccaFerguson #Silo #AppleTV Rebecca Ferguson's Sci-Fi Masterpiece Stages a Comeback http://dlvr.it/TRmP8r
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Today’s charity shop haul. #Silo #CharityShopBooks #bookstodon #books #HughHowey #BenAaronovitch
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While waiting for Silo and Foundation new seasons to come back, have started a rewatch of Stargate Atlantis, as there's nothing much else of interest out there currently and I've rewatched all my other scifi series from start to finish too many times..
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#Silo → Dritte Staffel zur Hit-Serie von #AppleTV kommt diesen Sommer
https://www.macprime.ch/a/news/silo-dritte-staffel-zur-hit-serie-von-apple-kommt-diesen-sommer
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Apple TV’s Silo Completes Filming of Its Epic Final Season
Apple TV announced that the fourth season of the sci‑fi series Silo has finished filming. The news confirms that the show will wrap up its story after this final season. Fans can now look forward to the conclusion of the saga that began with Rebecca Ferguson in the lead role....
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#Silo → Vierte und letzte Staffel zu #AppleTV Hit-Serie ist abgedreht
https://www.macprime.ch/a/news/silo-vierte-und-letzte-staffel-zu-apples-hit-serie-ist-abgedreht -
Apple TV’s Silo Completes Filming of Its Epic Final Season
Apple TV announced that the fourth season of the sci‑fi series Silo has finished filming. The news confirms that the show will wrap up its story after this final season. Fans can now look forward to the conclusion of the saga that began with Rebecca Ferguson in the lead role....
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Golden hour over the Mersey: where industry meets the serenity of the Tasmanian coast.
Devonport, Tasmania, Australia.
© All Rights Reserved by Kev Peirce.
#Photo #Photography #Australia #Tasmania #Silo #Devonport #MerseyRiver #CradleCoast #GoldenHour
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As filmagens da quarta temporada de #Silo foram concluídas! 🎉 Agora é torcer para que a estreia no #AppleTV não demore muito! 😀 https://www.instagram.com/p/DVmsxkaDRIA/
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TIL "Silo" was filmed just 15 miles from where I am! - "Perfect for an apocalypse! How the nuclear bunker became TV’s hottest property" - https://www.theguardian.com/tv-and-radio/2026/feb/26/perfect-for-an-apocalypse-how-the-nuclear-bunker-became-tvs-hottest-property
#silo #sciencefiction #tv #hertfordshire -
Movie TV Tech Geeks #TV #SciFi #Silo #3BodyProblem 10 New Sci-Fi Shows That Deserve More Attention http://dlvr.it/TQp477
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Rebecca Ferguson’s $715 Million Sci-Fi Epic Is Hypnotizing Audiences on PVOD – Collider
From article…By Rahul Malhotra, Published 1 day ago
Rahul Malhotra is a Weekend News Writer for Collider. From Francois Ozon to David Fincher, he’ll watch anything once. He has been writing for Collider for over two years, and has covered everything from Marvel to the Oscars, and Marvel at the Oscars. He also writes obsessively about the box office, charting the many hits and misses that are released weekly, and how their commercial performance shapes public perception. In his time at Collider, he has also helped drive diversity by writing stories about the multiple Indian film industries, with a goal to introduce audiences to a whole new world of cinema. Swing and a miss > measured victory. Also, #JusticeForHan. (He/Him).
It’s rare for an actor to be involved in one genre-defining project in their career, but Rebecca Ferguson is effortlessly balancing two. Not only does she headline the acclaimed Apple TV sci-fi series Silo, which will return with a third season this year, she also plays a pivotal supporting role in director Denis Villeneuve‘s Dune trilogy, which will also return with a third installment later this year. The first Dune film was released during the pandemic in 2021, as a part of Warner Bros.’ controversial slate of films that debuted day-and-date in theaters and on the HBO Max streaming service. Despite the studio’s self-defeating strategy, the movie emerged as one of the biggest box office hits of the year, and a sequel was immediately green-lit. Dune: Part Two debuted exclusively in theaters in 2024, and delivered an even bigger box office haul. The movie recently witnessed a surge in viewership on PVOD, despite being available to stream on HBO Max.
According to FlixPatrol, it was among the most-watched movies on the domestic Apple TV charts, when the leader board was topped by fellow sci-fi hit Predator: Badlands. Produced on a reported budget of $190 million, Dune: Part Two grossed $715 million at the worldwide box office. It was also a critical hit, earning praise for its visuals and narrative scope. Based on the seminal sci-fi books by Frank Herbert, the films are headlined by Timothée Chalamet, and examine themes of power, corruption, and legacy. Dune: Part Two is now sitting at a “certified fresh” 92% critics’ score and a “verified hot” 95% audience score on the aggregator website Rotten Tomatoes, where the consensus reads, “Visually thrilling and narratively epic, Dune: Part Two continues Denis Villeneuve’s adaptation of the beloved sci-fi series in spectacular form.”
‘Dune: Part Three’ Is Set for a Clash Against ‘Avengers: Doomsday’
By comparison, the first Dune was produced on a reported budget of $165 million, and ended up grossing over $410 million worldwide. It holds an 83% score on RT, and was the recipient of six Oscars, from 10 nominations in total. Dune: Part Two earned five Academy Award nods itself, including in the Best Picture category. Chalamet and Ferguson are set to return, along with Zendaya, Florence Pugh, and Josh Brolin, for Dune: Part Three, which has been scheduled for a highly anticipated box office clash against Avengers: Doomsday this December. You can catch up on the first two films in the meantime, and stay tuned to Collider for more updates.
Continue/Read Original Article Here: Rebecca Ferguson’s $715 Million Sci-Fi Epic Is Hypnotizing Audiences on PVOD
Tags: Collider, Denis Villeneuve, Dune: Part Three, Dune: Part Two, Epic Films, Florence Pugh, Josh Brolin, Movies, Rebecca Ferguson, Sci-Fi, Science Fiction, Silo, Zendaya
#Collider #DenisVilleneuve #DunePartThree #DunePartTwo #EpicFilms #FlorencePugh #JoshBrolin #Movies #RebeccaFerguson #SciFi #ScienceFiction #Silo #Zendaya -
The Page Isn’t Dead, Your Attention Is Under Siege
Every few years we are invited to attend the same funeral. Someone declares that nobody reads anymore, that the printed page is finished, that books are an aging technology destined to become a museum object while the living culture migrates to earbuds and short video. It is a tempting story because it flatters our sense that we are witnessing a clean break with the past, a decisive turn of the wheel.
But there is an immediate problem with the obituary. You are reading this right now, right?
That small fact does not prove that reading is thriving, but it does expose the real situation: the page is not dead so much as displaced. Reading has been pushed from the center of ordinary daily life into the margins between pings, feeds, meetings, errands, exhaustion, and the restless need to check what someone else is saying somewhere else.
The more accurate question is not whether books are dead, but what kinds of reading are being replaced, by what, and who benefits from the replacement.
Begin with what refuses to disappear. Print persists, stubbornly, in a market that has had more than enough time to abandon it if abandonment were truly inevitable. In U.S. print tracking that publishers and booksellers use, print book unit sales in 2024 totaled roughly 782.7 million, a slight increase over 2023, and notable precisely because it contradicts the simplistic narrative of collapse.
Now set beside it the other undeniable reality: audio is not a novelty. It is a major growth engine, and it is rapidly becoming the default way many people “read” books in the practical sense of finishing them.
The Audio Publishers Association reported U.S. audiobook sales revenue of $2.22 billion in 2024, up 13 percent over 2023, with digital audiobooks accounting for virtually all revenue. Industry reporting from the Association of American Publishers likewise places digital audio well into the multi-billion-dollar range and growing strongly year over year.
So the honest headline is not that books are dead. The honest headline is that books are mutating into a two-body system: print persists as a durable cultural technology, while audio expands as the most convenient literary delivery system ever built. The question is what this mutation does to attention, comprehension, memory, and the moral habits that a serious reading culture quietly trains.
Here is where the real crisis lives, and it is not a format war.
It is the collapse of leisure reading as a daily practice. A major study published in iScience, drawing on the nationally representative American Time Use Survey from 2003 to 2023, reports a sharp drop in the share of Americans who read for pleasure on an average day, from roughly 28 percent in 2004 to about 16 percent in 2023. The same research emphasizes widening disparities by income, education, race, and geography, which should trouble anyone who still believes reading is part of a democratic baseline rather than a luxury good for the secure.
It is worth saying plainly what is at stake. Reading is not only entertainment. It is one of the few broadly accessible disciplines that trains sustained attention, inference, patience, perspective-taking, and the capacity to follow an argument beyond a slogan. When that habit shrinks, it is not merely culture that changes; it is citizenship that thins.
Why does it feel, in the body, as if nobody reads? Because the default posture of modern media is designed to fracture the mind. The attention economy does not merely offer alternatives to reading; it profits from making deep attention difficult. That is why the battle is less about paper versus headphones and more about whether anyone can still defend unbroken time against systems engineered to interrupt it.
Across the contemporary media landscape, the pattern is visible in sober measurement. Recent national communications data in the United Kingdom reports substantial daily online time for adults and heavy use of platform video, including YouTube, which has become a default entertainment and information channel.
Even if you resist importing one country’s metrics into another’s conclusions, the direction remains unmistakable: devices have shifted the human posture from sit down and attend to carry it with you and sample.
At this point, many people reach for a comforting relativism: perhaps listening is simply the new reading, perhaps it is all the same, perhaps we should stop worrying. I reject the smug sneer that listening is cheating, because it is historically illiterate and culturally vain. For most of human history, literature lived in voice: in recitation, sermon, theater, public reading, storytelling. Audio is not a betrayal of literature. It is one of literature’s native bodies returning with modern convenience.
But the return of voice does not erase the distinct cognitive environment of the page. Listening is not inferior. It is different. Scholarly reviews comparing audiobook listening and print reading emphasize again and again that outcomes depend on context, text type, and learner characteristics, which is another way of saying that the medium shapes the mind in specific, contingent ways.
Listening is temporal and flowing; it can deepen immersion and restore tone, pacing, irony, and emotion through performance. Yet it can also invite passivity when treated as background noise, a productivity hack, a way to consume a book while doing something else. The art of listening, like the art of reading, requires intention, and our era trains intention poorly.
The printed page survives not because it is romantic, but because it performs certain tasks better than anything else. A printed book is finite, quiet, and spatial.
It does not ping.
It offers stable visual architecture, which matters when you are following a complex argument, revisiting earlier claims, tracking structure, or simply trying to remember where an idea lived on the page.
This is not nostalgia; it is cognition. Large-scale research syntheses comparing reading comprehension on paper versus screens have found a modest but consistent comprehension advantage for paper in many settings, with the size of the gap influenced by factors such as time pressure and reading purpose. Screens can host deep reading, yes, but most screens are not designed to protect it. Most screens are designed to keep you moving.
If there is a single sentence that captures the future, it is this: print will increasingly become a premium environment for attention, while audio will increasingly become the most widespread on-ramp to books. Consumer research from the audiobook industry reports that a majority of American adults have listened to an audiobook, which makes audio not an edge case but a normalized channel for literary experience.
There is another force constricting reading that has nothing to do with social video and everything to do with power: restriction. If we speak honestly about the death of reading, we must name the political and institutional assault on access.
PEN America’s reporting on U.S. public school book bans for the 2023 to 2024 school year documents 10,046 instances of bans affecting 4,231 unique titles. The American Library Association’s data for 2024 reports hundreds of censorship attempts across libraries, schools, and universities, involving thousands of titles. A society does not innocently drift away from books while simultaneously organizing to remove books from young readers’ reach. One is a technological pressure; the other is a deliberate project.
So what is the future of the word on the page? It will not die off, but it will change its social role. Reading will become less default and more chosen, more ritualized. People will read the way some people now cook from scratch: as an act that signals values, protects mental health, and asserts autonomy against convenience.
That is a loss, because reading as a democratic baseline is better than reading as a boutique practice, but it is also a realistic description of where our incentives have pushed us.
The book will also become more explicitly multi-modal.
Not in the shallow sense of attaching gimmicks to text, but in the practical sense that many works will live as a set: print for study and annotation, audio for performance and immersion, digital text for portability and search. Industry survey work already suggests emerging tensions about synthetic narration versus human performance, pointing toward a future in which audio splits into low-cost synthetic delivery and premium human interpretation.
And the word will become more contested, not less. As reading time becomes scarcer and access becomes more politicized, books become sharper symbols.
That is exactly why they are targeted. It is also why libraries, schools, and independent bookstores remain civic institutions rather than mere retailers. The future of the page will be decided less by technology than by whether citizens insist that access to ideas is not negotiable.
If you want the historical arc, it is not a clean fall from Eden but a long series of shifts in media attention. Industrial printing expanded mass literacy and mass publishing; television displaced some leisure reading; early digital text and then smartphones turned reading into an always-available screen activity; algorithmic short-form video normalized rapid sampling as a default leisure pattern. By the early 2020s, measurable decline in daily pleasure reading had become stark even as print unit sales remained resilient and audio revenues surged.
The lesson is that forms persist. What changes is the ecology of attention.
My conclusion is simple and unsentimental. Books are not dead. Print is not finished. Audio is not the enemy. The real enemy is the conversion of human attention into a strip-mined resource, and the use of moral panic to restrict access to what remains.
A culture that abandons deep reading does not merely lose a pastime. It loses a mode of thought that underwrites serious self-government.
So yes, the word will transform. It will hybridize. It will travel by paper and by voice and by pixels. But whether it dies off depends on something far more basic than format.
It depends on whether we still believe, stubbornly and publicly, that sustained attention is a virtue, that access to books is a civic right, and that the interior life is not an inconvenience to be optimized away.
And if you are reading this right now, you already know the page is not dead. You are holding it open.
#audiobooks #bolesBooks #davidBoles #digtal #ereader #experience #life #meaning #reading #silo #socialMedia #words -
The Page Isn’t Dead, Your Attention Is Under Siege
Every few years we are invited to attend the same funeral. Someone declares that nobody reads anymore, that the printed page is finished, that books are an aging technology destined to become a museum object while the living culture migrates to earbuds and short video. It is a tempting story because it flatters our sense that we are witnessing a clean break with the past, a decisive turn of the wheel.
But there is an immediate problem with the obituary. You are reading this right now, right?
That small fact does not prove that reading is thriving, but it does expose the real situation: the page is not dead so much as displaced. Reading has been pushed from the center of ordinary daily life into the margins between pings, feeds, meetings, errands, exhaustion, and the restless need to check what someone else is saying somewhere else.
The more accurate question is not whether books are dead, but what kinds of reading are being replaced, by what, and who benefits from the replacement.
Begin with what refuses to disappear. Print persists, stubbornly, in a market that has had more than enough time to abandon it if abandonment were truly inevitable. In U.S. print tracking that publishers and booksellers use, print book unit sales in 2024 totaled roughly 782.7 million, a slight increase over 2023, and notable precisely because it contradicts the simplistic narrative of collapse.
Now set beside it the other undeniable reality: audio is not a novelty. It is a major growth engine, and it is rapidly becoming the default way many people “read” books in the practical sense of finishing them.
The Audio Publishers Association reported U.S. audiobook sales revenue of $2.22 billion in 2024, up 13 percent over 2023, with digital audiobooks accounting for virtually all revenue. Industry reporting from the Association of American Publishers likewise places digital audio well into the multi-billion-dollar range and growing strongly year over year.
So the honest headline is not that books are dead. The honest headline is that books are mutating into a two-body system: print persists as a durable cultural technology, while audio expands as the most convenient literary delivery system ever built. The question is what this mutation does to attention, comprehension, memory, and the moral habits that a serious reading culture quietly trains.
Here is where the real crisis lives, and it is not a format war.
It is the collapse of leisure reading as a daily practice. A major study published in iScience, drawing on the nationally representative American Time Use Survey from 2003 to 2023, reports a sharp drop in the share of Americans who read for pleasure on an average day, from roughly 28 percent in 2004 to about 16 percent in 2023. The same research emphasizes widening disparities by income, education, race, and geography, which should trouble anyone who still believes reading is part of a democratic baseline rather than a luxury good for the secure.
It is worth saying plainly what is at stake. Reading is not only entertainment. It is one of the few broadly accessible disciplines that trains sustained attention, inference, patience, perspective-taking, and the capacity to follow an argument beyond a slogan. When that habit shrinks, it is not merely culture that changes; it is citizenship that thins.
Why does it feel, in the body, as if nobody reads? Because the default posture of modern media is designed to fracture the mind. The attention economy does not merely offer alternatives to reading; it profits from making deep attention difficult. That is why the battle is less about paper versus headphones and more about whether anyone can still defend unbroken time against systems engineered to interrupt it.
Across the contemporary media landscape, the pattern is visible in sober measurement. Recent national communications data in the United Kingdom reports substantial daily online time for adults and heavy use of platform video, including YouTube, which has become a default entertainment and information channel.
Even if you resist importing one country’s metrics into another’s conclusions, the direction remains unmistakable: devices have shifted the human posture from sit down and attend to carry it with you and sample.
At this point, many people reach for a comforting relativism: perhaps listening is simply the new reading, perhaps it is all the same, perhaps we should stop worrying. I reject the smug sneer that listening is cheating, because it is historically illiterate and culturally vain. For most of human history, literature lived in voice: in recitation, sermon, theater, public reading, storytelling. Audio is not a betrayal of literature. It is one of literature’s native bodies returning with modern convenience.
But the return of voice does not erase the distinct cognitive environment of the page. Listening is not inferior. It is different. Scholarly reviews comparing audiobook listening and print reading emphasize again and again that outcomes depend on context, text type, and learner characteristics, which is another way of saying that the medium shapes the mind in specific, contingent ways.
Listening is temporal and flowing; it can deepen immersion and restore tone, pacing, irony, and emotion through performance. Yet it can also invite passivity when treated as background noise, a productivity hack, a way to consume a book while doing something else. The art of listening, like the art of reading, requires intention, and our era trains intention poorly.
The printed page survives not because it is romantic, but because it performs certain tasks better than anything else. A printed book is finite, quiet, and spatial.
It does not ping.
It offers stable visual architecture, which matters when you are following a complex argument, revisiting earlier claims, tracking structure, or simply trying to remember where an idea lived on the page.
This is not nostalgia; it is cognition. Large-scale research syntheses comparing reading comprehension on paper versus screens have found a modest but consistent comprehension advantage for paper in many settings, with the size of the gap influenced by factors such as time pressure and reading purpose. Screens can host deep reading, yes, but most screens are not designed to protect it. Most screens are designed to keep you moving.
If there is a single sentence that captures the future, it is this: print will increasingly become a premium environment for attention, while audio will increasingly become the most widespread on-ramp to books. Consumer research from the audiobook industry reports that a majority of American adults have listened to an audiobook, which makes audio not an edge case but a normalized channel for literary experience.
There is another force constricting reading that has nothing to do with social video and everything to do with power: restriction. If we speak honestly about the death of reading, we must name the political and institutional assault on access.
PEN America’s reporting on U.S. public school book bans for the 2023 to 2024 school year documents 10,046 instances of bans affecting 4,231 unique titles. The American Library Association’s data for 2024 reports hundreds of censorship attempts across libraries, schools, and universities, involving thousands of titles. A society does not innocently drift away from books while simultaneously organizing to remove books from young readers’ reach. One is a technological pressure; the other is a deliberate project.
So what is the future of the word on the page? It will not die off, but it will change its social role. Reading will become less default and more chosen, more ritualized. People will read the way some people now cook from scratch: as an act that signals values, protects mental health, and asserts autonomy against convenience.
That is a loss, because reading as a democratic baseline is better than reading as a boutique practice, but it is also a realistic description of where our incentives have pushed us.
The book will also become more explicitly multi-modal.
Not in the shallow sense of attaching gimmicks to text, but in the practical sense that many works will live as a set: print for study and annotation, audio for performance and immersion, digital text for portability and search. Industry survey work already suggests emerging tensions about synthetic narration versus human performance, pointing toward a future in which audio splits into low-cost synthetic delivery and premium human interpretation.
And the word will become more contested, not less. As reading time becomes scarcer and access becomes more politicized, books become sharper symbols.
That is exactly why they are targeted. It is also why libraries, schools, and independent bookstores remain civic institutions rather than mere retailers. The future of the page will be decided less by technology than by whether citizens insist that access to ideas is not negotiable.
If you want the historical arc, it is not a clean fall from Eden but a long series of shifts in media attention. Industrial printing expanded mass literacy and mass publishing; television displaced some leisure reading; early digital text and then smartphones turned reading into an always-available screen activity; algorithmic short-form video normalized rapid sampling as a default leisure pattern. By the early 2020s, measurable decline in daily pleasure reading had become stark even as print unit sales remained resilient and audio revenues surged.
The lesson is that forms persist. What changes is the ecology of attention.
My conclusion is simple and unsentimental. Books are not dead. Print is not finished. Audio is not the enemy. The real enemy is the conversion of human attention into a strip-mined resource, and the use of moral panic to restrict access to what remains.
A culture that abandons deep reading does not merely lose a pastime. It loses a mode of thought that underwrites serious self-government.
So yes, the word will transform. It will hybridize. It will travel by paper and by voice and by pixels. But whether it dies off depends on something far more basic than format.
It depends on whether we still believe, stubbornly and publicly, that sustained attention is a virtue, that access to books is a civic right, and that the interior life is not an inconvenience to be optimized away.
And if you are reading this right now, you already know the page is not dead. You are holding it open.
#audiobooks #bolesBooks #davidBoles #digtal #ereader #experience #life #meaning #reading #silo #socialMedia #words -
The Page Isn’t Dead, Your Attention Is Under Siege
Every few years we are invited to attend the same funeral. Someone declares that nobody reads anymore, that the printed page is finished, that books are an aging technology destined to become a museum object while the living culture migrates to earbuds and short video. It is a tempting story because it flatters our sense that we are witnessing a clean break with the past, a decisive turn of the wheel.
But there is an immediate problem with the obituary. You are reading this right now, right?
That small fact does not prove that reading is thriving, but it does expose the real situation: the page is not dead so much as displaced. Reading has been pushed from the center of ordinary daily life into the margins between pings, feeds, meetings, errands, exhaustion, and the restless need to check what someone else is saying somewhere else.
The more accurate question is not whether books are dead, but what kinds of reading are being replaced, by what, and who benefits from the replacement.
Begin with what refuses to disappear. Print persists, stubbornly, in a market that has had more than enough time to abandon it if abandonment were truly inevitable. In U.S. print tracking that publishers and booksellers use, print book unit sales in 2024 totaled roughly 782.7 million, a slight increase over 2023, and notable precisely because it contradicts the simplistic narrative of collapse.
Now set beside it the other undeniable reality: audio is not a novelty. It is a major growth engine, and it is rapidly becoming the default way many people “read” books in the practical sense of finishing them.
The Audio Publishers Association reported U.S. audiobook sales revenue of $2.22 billion in 2024, up 13 percent over 2023, with digital audiobooks accounting for virtually all revenue. Industry reporting from the Association of American Publishers likewise places digital audio well into the multi-billion-dollar range and growing strongly year over year.
So the honest headline is not that books are dead. The honest headline is that books are mutating into a two-body system: print persists as a durable cultural technology, while audio expands as the most convenient literary delivery system ever built. The question is what this mutation does to attention, comprehension, memory, and the moral habits that a serious reading culture quietly trains.
Here is where the real crisis lives, and it is not a format war.
It is the collapse of leisure reading as a daily practice. A major study published in iScience, drawing on the nationally representative American Time Use Survey from 2003 to 2023, reports a sharp drop in the share of Americans who read for pleasure on an average day, from roughly 28 percent in 2004 to about 16 percent in 2023. The same research emphasizes widening disparities by income, education, race, and geography, which should trouble anyone who still believes reading is part of a democratic baseline rather than a luxury good for the secure.
It is worth saying plainly what is at stake. Reading is not only entertainment. It is one of the few broadly accessible disciplines that trains sustained attention, inference, patience, perspective-taking, and the capacity to follow an argument beyond a slogan. When that habit shrinks, it is not merely culture that changes; it is citizenship that thins.
Why does it feel, in the body, as if nobody reads? Because the default posture of modern media is designed to fracture the mind. The attention economy does not merely offer alternatives to reading; it profits from making deep attention difficult. That is why the battle is less about paper versus headphones and more about whether anyone can still defend unbroken time against systems engineered to interrupt it.
Across the contemporary media landscape, the pattern is visible in sober measurement. Recent national communications data in the United Kingdom reports substantial daily online time for adults and heavy use of platform video, including YouTube, which has become a default entertainment and information channel.
Even if you resist importing one country’s metrics into another’s conclusions, the direction remains unmistakable: devices have shifted the human posture from sit down and attend to carry it with you and sample.
At this point, many people reach for a comforting relativism: perhaps listening is simply the new reading, perhaps it is all the same, perhaps we should stop worrying. I reject the smug sneer that listening is cheating, because it is historically illiterate and culturally vain. For most of human history, literature lived in voice: in recitation, sermon, theater, public reading, storytelling. Audio is not a betrayal of literature. It is one of literature’s native bodies returning with modern convenience.
But the return of voice does not erase the distinct cognitive environment of the page. Listening is not inferior. It is different. Scholarly reviews comparing audiobook listening and print reading emphasize again and again that outcomes depend on context, text type, and learner characteristics, which is another way of saying that the medium shapes the mind in specific, contingent ways.
Listening is temporal and flowing; it can deepen immersion and restore tone, pacing, irony, and emotion through performance. Yet it can also invite passivity when treated as background noise, a productivity hack, a way to consume a book while doing something else. The art of listening, like the art of reading, requires intention, and our era trains intention poorly.
The printed page survives not because it is romantic, but because it performs certain tasks better than anything else. A printed book is finite, quiet, and spatial.
It does not ping.
It offers stable visual architecture, which matters when you are following a complex argument, revisiting earlier claims, tracking structure, or simply trying to remember where an idea lived on the page.
This is not nostalgia; it is cognition. Large-scale research syntheses comparing reading comprehension on paper versus screens have found a modest but consistent comprehension advantage for paper in many settings, with the size of the gap influenced by factors such as time pressure and reading purpose. Screens can host deep reading, yes, but most screens are not designed to protect it. Most screens are designed to keep you moving.
If there is a single sentence that captures the future, it is this: print will increasingly become a premium environment for attention, while audio will increasingly become the most widespread on-ramp to books. Consumer research from the audiobook industry reports that a majority of American adults have listened to an audiobook, which makes audio not an edge case but a normalized channel for literary experience.
There is another force constricting reading that has nothing to do with social video and everything to do with power: restriction. If we speak honestly about the death of reading, we must name the political and institutional assault on access.
PEN America’s reporting on U.S. public school book bans for the 2023 to 2024 school year documents 10,046 instances of bans affecting 4,231 unique titles. The American Library Association’s data for 2024 reports hundreds of censorship attempts across libraries, schools, and universities, involving thousands of titles. A society does not innocently drift away from books while simultaneously organizing to remove books from young readers’ reach. One is a technological pressure; the other is a deliberate project.
So what is the future of the word on the page? It will not die off, but it will change its social role. Reading will become less default and more chosen, more ritualized. People will read the way some people now cook from scratch: as an act that signals values, protects mental health, and asserts autonomy against convenience.
That is a loss, because reading as a democratic baseline is better than reading as a boutique practice, but it is also a realistic description of where our incentives have pushed us.
The book will also become more explicitly multi-modal.
Not in the shallow sense of attaching gimmicks to text, but in the practical sense that many works will live as a set: print for study and annotation, audio for performance and immersion, digital text for portability and search. Industry survey work already suggests emerging tensions about synthetic narration versus human performance, pointing toward a future in which audio splits into low-cost synthetic delivery and premium human interpretation.
And the word will become more contested, not less. As reading time becomes scarcer and access becomes more politicized, books become sharper symbols.
That is exactly why they are targeted. It is also why libraries, schools, and independent bookstores remain civic institutions rather than mere retailers. The future of the page will be decided less by technology than by whether citizens insist that access to ideas is not negotiable.
If you want the historical arc, it is not a clean fall from Eden but a long series of shifts in media attention. Industrial printing expanded mass literacy and mass publishing; television displaced some leisure reading; early digital text and then smartphones turned reading into an always-available screen activity; algorithmic short-form video normalized rapid sampling as a default leisure pattern. By the early 2020s, measurable decline in daily pleasure reading had become stark even as print unit sales remained resilient and audio revenues surged.
The lesson is that forms persist. What changes is the ecology of attention.
My conclusion is simple and unsentimental. Books are not dead. Print is not finished. Audio is not the enemy. The real enemy is the conversion of human attention into a strip-mined resource, and the use of moral panic to restrict access to what remains.
A culture that abandons deep reading does not merely lose a pastime. It loses a mode of thought that underwrites serious self-government.
So yes, the word will transform. It will hybridize. It will travel by paper and by voice and by pixels. But whether it dies off depends on something far more basic than format.
It depends on whether we still believe, stubbornly and publicly, that sustained attention is a virtue, that access to books is a civic right, and that the interior life is not an inconvenience to be optimized away.
And if you are reading this right now, you already know the page is not dead. You are holding it open.
#audiobooks #bolesBooks #davidBoles #digtal #ereader #experience #life #meaning #reading #silo #socialMedia #words -
Opmerkelijk... steeds gaan 🐦+🐦⬛ achter elkaar naar dezelfde feeder? Blijkbaar maakt 1 'n keuze> de andere volgen óf zouden ze ruiken wat er in zit?
Óf herkennen ze aan de buitenkant dat in de rechter feeder de meeste zonnepitjes zitten, gepeld, dus makkelijk en snel te snacken...?🤣#vogels #Voeren #silo #tuinvogels #winter #sneeuw #pinda #zaad #zonnepitten #eten #snack #birds #vogelsvanmastodon #feeder #backyardBirdFeeders #news #snow #food #GreatTits #bluetits #sparrows
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I only made it through 9 books in 2025. Not my best, but not my worst.
#books #bookstodon #booklist2025 #ReadingCommunity #reading #StoryGraph #storygraphwrapup #graphicnovels #graphicnovel #amulet #johnlecarre #johnlecarré #reddwarf #silo
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Ten best TV/streaming drama series first seen in 2025
There are/were some absolutely stellar dramatic television and streaming series that either premiered or were first seen in 2025. Apple and Netflix dominate the list with eight of the Top 10.
As residents of “The Land of Enchantment” it is especially fun to see places we know in New Mexico on both Dark Winds and Plur1bus. With these two show being so well done, they generate a lot of pride, as well.
Kudos to all the shows listed and those associated with them.
Peace!
_______
- The Diplomat (Seasons 2 and 3) – Netflix – this show is SOOOOO good!
2. Severance (Season 1) – Apple
Source: severance-tv.fandom.com3. Dark Winds (Seasons 1-3) – AMC/Netflix – love this show and the four main characters, as well as Gordo!
Source: rottentomatoes.com4. Department Q (Season 1) – Netflix – best new dramatic series of 2025
Source: en.wikipedia.org5. Plur1bus (Season 1) – Apple – Rhea Seehorn is fabulous!
Source: geeksandgamers.com6. Severance (Season 2) – Apple
7. The Handmaid’s Tale (Season 6) – Hulu
8. Slow Horses (Season 5) – Apple
9. Silo (Season 2) – Apple
10. The Morning Show (Season 4) – Apple
#darkWinds #departmentQ #entertainment #fun #plur1bus #severance #silo #slowHorses #streaming #television #theDiplomat #theHandmaidsTale #theMorningShow #tv
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Pluribus: Starttermin der neuen Sci-Fi-Serie des Breaking Bad-Schöpfers auf Apple TV+
Apple TV+ setzt im Science-Fiction-Segment neue Akzente. Das Unternehmen hat offiziell den Star
https://www.apfeltalk.de/magazin/news/pluribus-starttermin-der-neuen-sci-fi-serie-des-breaking-bad-schoepfers-auf-apple-tv/
#News #TV #AppleTV #Episodenstruktur #Foundation #GenreSerie #Neuromancer #Pluribus #RheaSeehorn #ScienceFiction #Serienstart #Severance #Silo #Streaming #Verffentlichung #VinceGilligan -
This image captures the historic Grain Silo in Cape Town, transformed into a contemporary art museum. The interplay of form and shadow on its weathered concrete surface reflects a sense of rhythm and rebirth, honouring its industrial past while embracing new artistic purpose
#architecture #riochgr #heritage #capetown #bw #silo #blackandwhite #transformation #southafrica #bnw #zeitzmocaa #photography #africa #capetown #photo #art -
Apple TV+ erhält 13 Nominierungen bei den BAFTA Television Awards 2025
Apple TV+ wurde insgesamt 13 Mal für die diesjährigen BAFTA Tel
https://www.apfeltalk.de/magazin/tv/apple-tv-erhaelt-13-nominierungen-bei-den-bafta-television-awards-2025/
#News #TV #AppleTV #Awards #BadSisters #BAFTATelevisionAwards2025 #BrettGoldstein #BritischeTVProduktionen #Earthsounds #GaryOldman #MastersOfTheAir #Originalmusik #Serien #shrinking #Silo #SlowHorses #Streaming #TheVelveteenRabbit #VisuelleEffekte -
Alle, die #whatsapp verlassen und zu #Signal wechseln tun was gutes. Manche wechseln zu #threema. Manche zu beiden.
Fehler No. 1 schon gefunden? Signal ist wie Whatsapp in blau:
- man ist unter sich (#walledgarden, #Silo )Außerdem:
- braucht man ein Smartphone und Zugang zu einer Telefonnummer, auf die ein Account registriert wird (eingeschränkte #Teilhabe),
- ist es ein zentraler Dienst
- der irgendwo(tm), _vermutlich_ hier mit überwiegend Atom, Kohle und Öl (?) betrieben wird: https://www.netify.ai/resources/applications/signal.
- also bei #Amazon #aws, #google und #microsoft.
- Aber: #bigtechmussweg und ich bevorzuge es, meinen Dienstleister aufgrund verschiedener Krieterien selbst wählen zu können. UND dabei alle meine Kontakte erreichen zu können, OHNE zig Apps installieren und Verträge schließen zu müssen.Das sind ein paar Gründe, warum ich auf [matrix] setze.
https://element.io/de/matrix-in-deutschland
https://joinmatrix.org/edit: SIM-Karte nicht erforderlich, kann auch eine andere Telefonnummer sein
#dachtedaswaerwichtig #joinmatrix
#klimawandel #digitaleselbstbestimmung -
Silo, season 2 review, the danger is everywhere https://oldaintdead.com/silo-season-2-review-the-danger-is-everywhere/ #AmberTemplemore, #AviNash, #ChinazaUche, #ClarePerkins, #Common, #HarrietWalter, #HughHowey, #RebeccaFerguson, #RemmieMilner, #ShaneMcRae, #Silo, #SteveZahn, #TimRobbins, #WomenDirectors
