As a digital technology writer, I have had more than one former student and colleague tell me about digital switchers they have serviced through which calls and data are diverted to government servers or the big data algorithms they've written to be used on our e-mails by intelligence agencies.
The easiest way to figure out who the customer is in an online space is to figure out who is paying for the thing. Usually, the people paying are the customers. So on Facebook, the people paying are marketers. That makes them the customers. And it means we are the product being delivered to those customers.
I don't think tablets are where we should be focused. But I do think they could end up being an efficient way of delivering textbooks. They're just not really that, yet. There's all sorts of poisons and mined minerals and carnage that goes on to make a tablet. Way more than to print a book. Or a bunch of books.
We know that people are less open in conversations if the other conversant puts a cell phone on the table. Even if it's turned off. The sign is enough to close the mind and make a prospective client or lover less likely to do what you ask. As people realize this, they'll start putting away phones or turning them off.
Fantasy sports went a long way toward developing the sabermetrics formulas used not only by oddsmakers but general managers in hiring players. So the amateur fantasists ended up creating some of the algorithms that Oakland GM Billy Bean's statisticians used to win games with less salary money available for star players.
Part of an icon's power comes from its indivisibility. The swoosh cannot be further deconstructed into its component parts. Just as golden arches mean McDonald's, and the little red tab means Levi's, the swoosh is Nike. The product is its icon, inseparably and without exception. To buy a pair of Nike shoes is to buy the Nike swoosh.
Many billboards and magazine ads have resorted to showing isolated body parts rather than full-body portraits of models using or wearing products. This style of photography, known in the industry as abstract representation, allows the viewer to see himself in the advertisement, rather than the model.