As we now know, cyberspace did not liberate human society from pre-existing socioeconomic hierarchies and power structures.

The web's earliest architects and pioneers fought for their vision of freedom on the Internet at a time when it was still small forums for conversation and text-based gaming. They thought the web could be adequately governed by its users without their needing to empower anyone to police it.

In theory, the maturation of the Internet should have killed off the desire for zines entirely.

The Internet is especially adept at compressing humanity and making it easy to forget there are people behind tweets, posts, and memes.

Thinking about Amazon's restraints - the company has never tried to introduce a social network or an email service, for example - you can understand something about the future Amazon seems to envision: A time when no screen is needed at all, just your voice.

Artists have long urged cultural introspection by creating work that forces awareness of our current political and economic landscape.

I live in Brooklyn and work in Manhattan, two of the most liberal places in the country.

Obama routinely pushed policy that pleased the tech-savvy, including his successful effort to keep broadband suppliers from giving preferential treatment to bigger web companies over individuals.

Making space to deal with the psychological toll of racism is absolutely necessary.

Traditional guidebooks have never quite done it for me. Too often, they seem to be aimed at a certain type of comfortable, middle-class traveler.

When people talk about how the Internet has changed the way we travel, they typically lament the way our compulsion to document removes us, somehow, from the actual experience.

The rise of the social web promised a new era of personalization for globe-trotting. But like many things born online, as popularity of the new tools increased, efficiency and usefulness began to decrease.

People in tech love to see their work as embodying the 'hacker ethos': a desire to break systems down in order to change them. But this pride can often be conveyed rather clumsily.

Technology can be part of a solution, but it takes far more than software to usher in reform.

Perhaps all of us have come to rely too deeply on machinery and software to be our allies without wondering about the cost: the way technology doesn't fix problems without creating new ones.

The radical power of 'queer' always came from its inclusivity. But that inclusivity offers a false promise of equality that does not translate to the lived reality of most queer people.

Someday, maybe we'll recognize that queer is actually the norm, and the notion of static sexual identities will be seen as austere and reductive.

The future will bring new possibilities and ideas - and new terms for them.

Our contemporary analogues to the personal notebook now live on the web - communal, crowdsourced, and shared online in real time. Some of the most interesting and vital work I come across exists only in pixels.

Social media might one day offer a dazzling, and even overwhelming, array of source material for historians.

Getting a tattoo is arguably one of the most insane decisions a sensible human can make.

Matching tattoos don't ensure the longevity of a friendship, any more than any other mutual hardship.

Most efforts to approximate normal human behavior in software tend to be creepy or annoying.

For all the advances in tech that let us try on various guises to play around with who we are, it seems that we just want new ways to be ourselves.

Hair extensions and wigs are not the same thing. Wigs are for old ladies and drag queens. Extensions are for women who want longer hair. To be safe, never bring it up if you think a woman is wearing either. No good comes of it.

Girls are supposed to be feminine and demure. Comedy isn't about that, so you just have to unlearn it. Certain women are so pretty, they can't go weird enough to be funny. You have to be willing to be ugly. I'm lucky my face can look so hideous.

I live in New Orleans part of the year, and it's a really fun eating town. I bought two homes there, one to live in and one as an investment. They love to eat, drink and dress up in costumes. There are so many reasons to dress up - Mardi Gras, Halloween, Southern Decadence.

I think I'm comedy-attractive, but it's never gonna be me and Charlize Theron up there.

I would say 90 percent of the scripts that show up on my door are women who have had lots of plastic surgery that are married to rich men - sort of a trophy wife.

I hate Spanx.

With Christopher Guest films, we have a lot of say.

Physically, no one would ever consider me for the serial-killer lady.

I always fall for the guy that, like, has to blow me off because he needs to go do something with his dog. I love those kind of guys.

I was like a waitress that got a job once in a while, and then Stifler's mom happened, and everything changed.

I know what I am capable of. I read a character, and if I can say to myself, 'I know this woman,' then I take the role.

It's a great compliment when the beautiful ones laugh.

As a single woman, I reap the benefits of being Stifler's mom.

I love Australia, and I especially love those rugby players.

Gina Gershon was a year ahead of me in college.

Meryl Streep was my hero. I wanted to be that type of actor more than anything.

It was always the cliche of men leaving their wives for younger women. The playing field is sort of even now. Women make their own salaries. They can do the exact same thing and can have a younger man.

I play so many weirdos in movies that it's nice to play an attractive woman.

The one thing that has helped sustain my career as an actress and a comedian is that people generally view me as fundamentally stupid.

No one purposefully paints a bad painting. It's someone who's trying to do a good painting, but it's terrible. I have one with a matador, and the bull is going through the blanket. You can tell the painter didn't know how to paint it.

I have been able to sniff out a phony.

A man's ability to haggle is never a turn-on. The only thing less romantic than how much you paid is how much you saved. The last thing we want to hear is how you talked the jeweler down on our new earrings.

I went out with seven actors in a row. There are problems with that. I've had the really good-looking dramatic actor, and that has its problems. And then I'll go out with the funny guy. It's almost like the funny guy has more to prove.

I always remember this neighbor who would ask me to babysit for her. She looked like Jayne Mansfield, and I remember babysitting for, like, five hours and she would pay me 80 cents, with a phony smile. I used to go home fuming to my mum.

There is something about a phony that creeps me out so much.

I always date younger men. For some reason that's just the way it's gone, because younger guys have always asked me out and I accept.