Inside Thomas Pynchon’s most underrated novel
Atop the Almaden Tower in downtown San Jose — the world headquarters of Adobe Systems Inc. — sits a singular art installation. Four amber wheels rotate every few seconds in a seemingly innocuous and frankly nonsensical digital display. The installation, known as the “San Jose Semaphore,” is the brainchild of the data-driven media artist Ben Rubin and first appeared — or began transmitting — in August 2006 to the mass bamboozlement of passersby. What was going on, they cried? Was it that most millennial of things — a sign? For those less likely to be beguiled by some concealed piece of chicanery, the circles were little more than frivolous decoration, another example of Adobe splashing the cash on some geometric garnishing.
