The Triplets of Belleville can be read as a commentary on hyperreality.

OK, yes, I'm full of myself today because I learned that word this week. Bear with me.

The cyclist is at the center of a moral drama, in which his mother seeks to protect him and others seek to abuse him; both sides profit from his labor. But he is oblivious to all of it, because the landscape unspooling before him constitutes his reality, whether it is actual or a projected film. He is not aware of the difference. He does not know how close he comes to disaster.

This is the core notion of hyperreality— the state in which consciousness cannot distinguish the real from the virtual. In a technological society, there is a risk that we will all be enabled to inhabit our fantasies to such an extent that we ignore what is transpiring in the real.

There are those who would say this has already happened.

A classic from the vault:

2 cups almond milk

1/4 cup brown sugar, maybe a little more

1/4 cup peanut butter (the real stuff, not the hydrogenated oil crap)

1 tsp vanilla

Mix well. Fire up the ice cream maker. Pour it in. Wait. Yum.

Makes 1 pint. (I halved the recipe tonight, because I knew I was gonna eat it all. Mmmf.)

Peanut butter stands in for dairy fat much better than most things do. Everybody's afraid of peanuts now which is a shame because most of us aren't allergic and they are yummy.

This recipe stands well on its own. You don't have to smother it in chocolate or extra sugar. You do have to like peanuts.

Yesterday my kid needed an escort to a summer camp reunion in Central Park. So we hopped on MegaBus and I faded away once she found her peers at Columbus Circle.

Columbus Circle is also home to the Museum of Arts and Design. Which is home to all sorts of things.

High points for me included Orly Cogan's "bittersweet obsession," an embroidery piece exploring the relationship between food and drug addiction. There is something compelling about edgy work in this medium.

Similarly, Stephen Dixon's "21 countries" is a series of dinner plates, each of which "commemorates" an invasion carried out by the United States in the 20th century. When I look at these, I see the ceramic tiles of the stations of the cross that hung in our kitchen when I was growing up. It's hard to look away.

The museum also currently features the "MAD Biennial," in which several floors display the works of "makers" from all over the city. I found a lot of that work less than intriguing, with some notable exceptions, particularly the musical instruments and turntables, most of which were intended to be played as well as seen. I would have loved to stumble upon a concert.

Probably the biggest clinker for me is Rafael de Cárdenas' "nightclub" that took up much of a floor. It's a nightclub with deep blue lighting and terrariums full of fake plants. Okay, I guess I get it, but the trouble for me is that I already know a nightclub with nobody in it and the lights on is just a cave. I've stayed until last call before, after all.

Apparently there are performances in the nightclub at certain times, and maybe it takes on a whole new aspect then.

After the museum I rented myself a bike and orbited Central Park. I attempted to rent a CitiBike; the kiosk took several minutes to walk me through the process, then rejected me with no explanation. I wound up renting from the more traditional place just inside the park. Which gave me a bike whose right-hand gearshift didn't work at all. Which I figured out while climbing hills to get back again, through the north woods. But I still had a blast.

As you've noticed by now, One Post Wonder got a major facelift today. Sean Puckett has done a sweet job, removing clutter and improving the user experience while respecting and enhancing the best of what was already there. I'm stoked to have a collaborator who grasps where I'm trying to go.

A few changes may take a moment to get used to. There is only one button to change your userpic now; it's on the "Me" page, where people had the most luck finding it. And the buttons to move text blocks, video blocks, and photo blocks appear only when necessary. The buttons to add new blocks appear only at the end of the article– but you can then use the arrows to rearrange the blocks. We both feel this is a good compromise to make things less confusing overall.

With a second contributor joining the project, now is a good time to review the core values of OPW:

No more than one post per day! That's the point. This rule may be bent but not broken. For instance we may introduce "indulgences" which recharge slowly, but you won't be able to post twice times a day, every day. Not even for money.

No big-brother filtering. The "one post per day" rule allows you to filter posts yourself. If you're not riveted, just don't click the arrow to keep reading.

This is a business, but you can opt not to be the product. We may profit from its operation, so long as we are able to focus on the best interests of our users as well as the bottom line. We will eventually explore operating OPW as a "B corporation" to help lock this core value in place. We may display advertising, but you will have the option of paying a membership fee to see no ads.

You own your posts. You grant us a license to show them to people by posting them here. Duh.

Thanks again for believing in what we're doing. More improvements are coming down the pike.

So apparently kickstarter is not the right way to fund scaling up your social network.

Their guidelines prohibit campaigns "to fund websites or apps focused on e-commerce, business, and social networking."

Interesting. But there are lots of ways to go about scaling the site, and the work before us right now doesn't require more money. It requires solving the riddle of building interest and bringing intact networks of friends aboard.

I stumbled across this discovery while hoping to answer an unrelated question: how to fund adding certain features to the Apostrophe open source CMS. That, my employer could do on kickstarter, but it sounds out of their usual line.

Today I changed logins so that your login should "stick" for a long time, rather than just the current browser session. And I added a little nudge to invite a friend if you haven't done so yet (or more accurately, not since today, since I just started keeping track).

Also, Sean Puckett shared a post about his work toward improving the look and feel of the site. Can't wait!

OK, that was really over the top.

I participated in a flash mob tonight.

Some band called World Town Sound System played Rittenhouse Square, and they put out a call for salsa dancers to show up.

I could see several problems as soon as I got there:

1. The song wasn't salsa, exactly

2. They'd restricted access to the front of the stage, where they wanted us to be

3. They had no idea how many of us there would be

But hey, what the hell. It worked out. I came across a salsera of my acquaintance who hadn't shown up with a partner and we managed to dance without harming ourselves or others in the tight space available.

The band ain't bad. Their songs kinda sound similar to one another for the most part, but the energy's great.

In One Post Wonder news: I've been offered help with the visual design of One Post Wonder, and Progress is being Made. Thanks to Sean Puckett for jumping in.

So I've eased up on my own changes to the look and feel to see what happens there. I'll be concentrating on the functionality in the meanwhile.

Took another kizomba class last night. The instructor said straight up that "Angolans don't dance kizomba like this, traditional kizomba has a little more distance, but 'kizomba feeling' is very close."

That fits with what I see when I watch kizomba videos on the interwebs. The people who invented the dance don't feel the need to be quite so far in each other's space. Interesting.

On the One Post Wonder front, here's what's new in the last couple of days:

• Counter for new posts, also for new comments and followers
• Page title also includes a count of notices and new posts waiting
• Added clearly labeled "Edit Profile Picture" button to "Me" page
• Started "signing" emails to keep them out of spam folders– maybe

Also, I've received a welcome offer of help with the visual design side of things, which is awesome, and we'll see where that leads.

In the near future I plan to add a nightly email digest, sent only if you haven't been on the site. This will be something you can shut off, of course.

A challenge for you: follow two new people today, and comment on two posts.

I just ordered a novel on Amazon. I ordered it because I heard about it on One Post Wonder. As one does.

The Philly Geek Awards have been running for four years now. This is the third time I've attended.

The Awards were co-founded by Tim Quirino, a former coworker of mine at P'unk Avenue. He's since gamboled off to design things at Facebook.

I have to say, they do an outstanding job seeking out nominees from outside the average white male Philly programmer's bubble.

Every year I come home with a program full of stuff I need to check out immediately:

Jason Richardson and the Black Tribbles, origaminc's These French Fries Are Terrible Hot Dogs, Jason Osder's MOVE documentary Let the Fire Burn, and Kid Kazo's Philly street art are all high on my list.

Of course I've been enjoying Kazo's work for years without knowing whose it was. One of the perks of living in the city.

Kyle Cassidy, with whom many of you are familiar, was nominated in the photography category this year after serving memorably as a presenter. He was nominated for his famous photographs of librarians. Which are the centerpiece of a touring exhibition narrated by Neil Gaiman. And he didn't win. Whaaaaat!

Well... since P'unk Avenue is twice nominated and never a bride in the website category, I can relate.

And did I mention the Geek Awards are held at the Academy of Natural Sciences? Where they roll out the red carpet and let you hang with the tortoise? On said carpet?

Without question, one of the sweetest things that happens in Philly any given year. If you live in town, make a point of snagging tickets next time.

I've been dancing salsa since 2006. For as long as I've been dancing, salsa and its cultural siblings bachata and merengue have been the steps in the clubs. Swing is cool, but you can't go out to a club and just find people doing it; I missed that particular revival.

For the first time in my personal experience– and keep in mind I'm only eight years old as a dancer– a new step is pushing onto the floor. And it's not a latin step. It's from Angola.

I first saw kizomba here in the states a couple years back. And I thought, "this is not gonna catch on until we 'fix' it for us Americans. Because it's too close and too sensual, and that kind of thing weirds us out unless we know exactly what the rules are. And it's also really creative and places a super-high premium on the guy's ability to lead effectively with his body. Maybe once they water it down and make it safe it'll catch on."

Now kizomba is catching on. Last night I took a couple hours of beginner kizomba class and tried out easy steps with a roomful of friends from the salsa community. Good times, and everybody was a lot cooler with the intimacy of the dance than I had unfairly expected. The popularity of bachata, a similarly close latin style, probably helps.

But the real surprise is what I found when I started searching youtube for "kizomba angola." And even more so when I searched for "kizomba luanda." (Luanda is the capital of Angola.)

It turns out a lot of the kizomba songs people dance to in Angola are... peppy and cheerful. And not everybody dances "all up ins" with their partner, either. I'm watching leads who can steer very effectively and sensually with just a forearm. And punctuate the dance with closer contact, not maintain it all the time.

All that "you have to be chest to chest or you're doing it wrong" stuff? That's coming from us!

Serves me right. I gotta remember to check my assumptions at the door of the club.