We may not know the length of a quintillionth of a second, but sometimes it seems as though work, family and play bring us a seamless flow of quintillions of tasks every day. In the 19th century, the railroads forced towns to synchronize their clocks — until then all ticking on their own local time set by the noon sun. Today, the technological drivers of our global economy are bringing the whole Earth into sync. UC Berkeley professors teach online classes with assignment deadlines set on global Greenwich Mean Time. Call center employees in Manila clock in as the sun rises in New York. A sleeping watch salesman in Carmel bolts awake for a 1 a.m. call from Hong Kong about a rare Rolex, and a Palo Alto tech CEO holds a 6:30 a.m. conference call with a French client whose clock says it is 3:30 p.m.

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Stanford spokeswoman Lisa Lapin said the university addressed the concerns of graduate students with families by designing the project in a way that allows them to continue living in a cluster of units on the north side of Escondido Village between Serra Street and Stanford Avenue. Graduate students with families were initially concerned that the proposed housing would break up their current arrangement, which has them living around courtyards where students can play and families live close enough to each other to offer support.

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Two weeks later, Tao House’s Old Barn in the Danville hills will be the site of a very different sort of revival: the first presentation of O’Neill’s “Iceman” in the Bay Area since 1975. Written in 1939, premiering on Broadway in 1946, and set in the anesthetizing atmosphere of a West Side New York City down-and-dirty barroom, every character is high on alcohol’s perfume and the smoke of personal “pipe dreams.” Reverberating with tension when the group’s traveling ringleader blasts holes in their boozy bubbles, the classic tale comes loaded with contemporary disharmonies. As a master storyteller, O’Neill knew that losing one’s life’s dream was akin to losing one’s life and therefore, “Iceman” is inherently relevant and dramatic, zombies or no zombies.