Here at KF we treat the Internet as a tool for good, like TED, but unlike irresponsible adults and digital dictators -- we'd definitely (maybe) pay for content, like Chatroulette -- while the e-waste is piling up and is Google in trouble? The Vice squad are doing well (they must be taking daily naps, keeping insomnia at bay while having multiple fantasies), but things aren't so good for America's unemployed (maybe Wall Street should help out?), Mexico's drug war, Somalian extremism, or Asia's boom. At least we're not waiting for a plane in one of the world's strangest airports -- hanging out at "The Boneyard" would be more fun -- we prefer the geek chic of amazing libraries.

As good students we're slumming it for the future of urban living, setting our sights on an end to Aids and child "training" (no matter how much the little darlings cost), seeing stars with Britain's leading cosmologist (if the "brain drain" doesn't get him first), and hankering after a Lightbotz or a copy of the first Superman comic. Sounds make us buy but the French use shock tactics, while Abby Road gets listed and JFK's last moments are now viewable. Time for a bit of idolizing; Gill Scott-Heron, Django Rienhardt and... Imelda Marcos? Perhaps not. But it's very confusing, what with grime going mainstream, Prada going to the opera, and London abuzz with Fashion Week and bloggers. DeLillo's in control (wonder if he's vetoing Google Books?) so lets talk rules for writers -- The National Enquirer's been playing by them (John Baldessari must approve of their copy-and-paste journalism). Irving Penn flies the flag for classic technique and the old guard storm the Whitney Biennale, but Photoshop belies its age.

Thirsty for knowledge, we're checking out SANAA's floating library, paying close attention to good design via Pentagram's Paula Scheur and Luke Hayman, Cecil Balmond's Tokyo show and Herzog & De Meuron's VitraHaus. We're learning from The Hurt Locker and Polanski's triumph, while Christopher Walken contemplates life and death in Hollywood -- he'd be far worse in Britain, where distributors shun quality films and home-grown talent flops.