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    <title>Leanne Betasamosake Simpson - Wayfinding With Beavers: Generating Theory Together - YouTube</title>
    <dc:date>2026-04-10T01:30:10+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Leanne Betasamosake Simpson is a renowned Michi Saagiig Nishnaabeg scholar, writer and artist, who has been widely recognized as one of the most compelling Indigenous voices of her generation. Her work breaks open the intersections between politics,  story and song—bringing audiences into a rich and layered world of sound, light, and sovereign creativity. Working for two decades as an independent scholar using Nishnaabeg intellectual practices, Leanne has lectured and taught extensively at universities across Canada and the United States and has twenty years experience with Indigenous land based education. She holds a PhD from the University of Manitoba, and teaches at the Dechinta Centre for Research & Learning in Denendeh.

Leanne is the author of seven books, including her new novel Noopiming (US release from UMP February 2021), which was named a best book of the year by the Globe and Mail. This Accident of Being Lost,  won the MacEwan University Book of the Year; was a finalist for the Rogers Writers’ Trust Fiction Prize and the Trillium Book Award; was long listed for CBC Canada Reads; and was named a best book of the year by the Globe and Mail, the National Post, and Quill & Quire.  As We Have Always Done:  Indigenous Freedom Through Radical Resistance was awarded Best Subsequent Book by the Native American and Indigenous Studies Association.  A Short History of the Blockade: Giant Beavers, Diplomacy and Regeneration in Nishnaabewin was published by University of Alberta Press in February 2021, and her new project a collaboration with Robyn Maynard, Rehearsals for Living is forthcoming from Knopf Canada in 2022. Leanne’s new critically acclaimed and Polaris Prized short-listed album, Theory of Ice was released by You’ve Changed Records in March 2021.

In this presentation, award-winning writer Leanne Betasamosake Simpson uses Michi Saagiig Nishnaabeg stories, storytelling aesthetics, and practices to explore the generative nature of Indigenous blockades through our relative, the beaver—or in Nishnaabemowin, Amik. Moving through genres, shifting through time, amikwag stories become a lens for the life-giving possibilities of dams and the world-building possibilities of blockades, deepening our understanding of Indigenous resistance as both a negation and an affirmation."]]></description>
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    <title>Wayfinding: How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:47:39+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Science journalist M. R. O’Connor traveled to the Arctic, Australia, and the South Pacific to talk to master navigators who find their way using environmental cues and to learn how they are trying to preserve these unique practices in the age of GPS. Along the way, she explores fascinating aspects of our species’ navigation faculties and how they are connected to our profound capacities for exploration, memory, and storytelling, resulting in powerful connections to the world around us and topophilia (the love of place).

O’Connor’s stories have appeared in The New Yorker, Foreign Policy, Slate, The Atlantic, and Nautilus. Her reporting has received support from the Pulitzer Center on Crisis Reporting, The Nation Institute’s Investigative Fund, and the Alfred P. Sloan Foundation. In 2016, she was a Knight Science Journalism Fellow at MIT. A graduate of Columbia’s Graduate School of Journalism, she lives in Brooklyn, NY.

The Mariners' Evening Lecture Series is graciously funded in part by the York County Arts Commission"]]></description>
<dc:subject>mro'connor 2023 navigation wayfinding environment place arctic australia southpacific senses gps sensing observation noticing knowledge memory exploration storytelling oraltradition topophilia human humans oralhistory indigenous indigeneity waysofsensing land location bodies embodiment language</dc:subject>
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    <title>The Pull of Primitive Navigation - The New Yorker | The New Yorker</title>
    <dc:date>2026-04-09T23:40:17+00:00</dc:date>
    <link>https://www.newyorker.com/tech/annals-of-technology/finding-the-way-back-primitive-navigation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["he Harvard professor John Huth first offered his course “Science of the Physical Universe 26: Primitive Navigation” in 2007. Since then, he has taught around five hundred undergraduates about the rudiments of analogue way-finding (sun, stars, tides, weather, wind) in a range of cultures (Berber, Norse, Polynesian, early European). Huth is an experimental particle physicist; he was involved in the discovery of both the top quark and the Higgs boson. He is also an avid outdoorsman and, when it comes to navigation, a smartphone and G.P.S. skeptic. “All empiricism has to start with stuff that is immediately palpable to you,” he told me recently. “The march of education, especially in the sciences, has been divorced from that reality, and I think that’s where you have to start.” He began one of his lectures this spring with a question: “Which way is the wind blowing outside? Anyone notice?” The assembled students, about fifty in all, were silent. “Southeast?” one ventured. “Northeast,” Huth said.

As a species, humans lack many of the biological gifts that allow other animals to get around. A loggerhead turtle, for example, begins to take its bearings within a couple of hours of hatching, using magnetite crystals in its brain to sense Earth’s magnetic field. (Spiny lobsters, monarch butterflies, and termites have similar compasses.) Honeybees get from nectar to hive and back in part by judging the position of the sun, which they can sense, even on a cloudy day, from patterns in polarized light. Where biology has failed humans, we have substituted culture. Throughout our evolutionary history, we have created ad-hoc systems of knowledge that organize environmental information and make it transmissible to the next generation. Often, difficult and monotonous landscapes—desert, sea, ice—resulted in more intricate systems. Several thousand years before the magnetic compass was invented, Pacific Islanders had worked out how to navigate by star compasses and read ocean swells for information about nearby land. (Part of Huth’s summer vacation this year will be spent in the Marshall Islands, learning similar techniques from local sailors.)

In some places, navigational traditions became inextricable from spiritual cosmologies. The Europeans who settled Australia considered the Aboriginal peoples to be idle wanderers of the bush, but in fact many of them travelled along songlines—paths with songs attached to them that commemorate the passage of primordial beings who created the world. The words of the songs described the continent and the routes across it. One Aboriginal group, in particular—speakers of Guugu Yimithirr, a traditional language of Far North Queensland—uses an absolute rather than an egocentric perspective to describe space (in other words, not “Move to your left” but “Move southeast”). According to the psycholinguist Stephen Levinson, this has given them an almost superhuman capacity to orient themselves, night or day, using both relatively commonplace cues, such as sun and seasonal winds, and more specialized ones, such as the appearance of sand dunes and termite mounds. Levinson concluded, with admiration, that the Guugu Yimithirr speakers achieve “in software what pigeons apparently achieve in hardware.”

Many of the world’s navigation systems have been lost to time or replaced with technology—or, in the case of the songlines, damaged through cultural oppression. For the British author and self-styled “natural navigator” Tristan Gooley, their disappearance signifies a cultural and philosophical impoverishment. “By using a GPS to find our way instead of clues available in the world itself, we devalue the experience of traveling anywhere,” he told me in an e-mail. And there may be neurological consequences, too. We build cognitive maps in the hippocampus, the same area in which episodic memory and future planning take place. Advanced technologies insure that we use our brains as little as possible. In a series of studies in 2010, a group of researchers at McGill University, in Montreal, reported that exercising spatial memory and way-finding in everyday life increases hippocampal function and gray matter, whereas underuse of these functions in older adults may contribute to cognitive impairment. (One of the researchers, Véronique Bohbot, told the Boston Globe that she no longer uses satellite-navigation devices.)

As part of his course, Huth asks his students to study the night sky. This spring, they learned the coördinates of some twenty-two stars and their celestial paths, then went to the roof of the Harvard University Science Center to identify a handful of them. What he has found over the course of eight years of teaching primitive navigation, Huth told me, is that the more attuned to the environment his students become, the more their awareness seems to expand. “Sometimes they’re engaging in this material and experiencing an epiphany to other aspects of their life,” he said. Louis Baum, a Ph.D. candidate in physics and a teaching fellow for the course, told me that he and his colleagues find the same. “We get philosophical about it—about how knowing where you are helps you know your place in the world,” he said. Whereas the modern stargazer is liable to look up with a sense of existential wonder, if not dread, our ancestors may have seen in that lovely firmament a map of home.

On the roof of the Science Center, Huth named the stars as they flickered into view: Spica, Antares, Altair, Dubhe, Pollux. As he did so, a student approached, brimming with excitement. He had recognized several stars and measured their altitude and azimuth. “Before this, I was looking at the stars online,” he said. “It’s actually a little easier when you are up here and see it in real life.”"]]></description>
<dc:subject>mro'connor 2015 wayfinding johnhuth weather gps maps mapping navigation senses sensory biology nature multidisciplinary multispecies mroethanhuman culture intelligence tristangooley pacificislanders marshallislands polynesia berbers higgsboson knowledge australia aborigines language stephenlevinson guuguyimithirr véroniquebohbot philosophy aboriginal indigenous indigeneity waysofsensing sensing place land location</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=brrGT5kIhqY">
    <title>M.R. O'Connor - Wayfinding: The Science and Mystery of How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:39:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=brrGT5kIhqY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["M.R. O’Connor is a graduate of Columbia University’s Graduate School of Journalism who writes about the politics and ethics of science, technology and conservation. She is the author of two acclaimed books about the cutting edges of contemporary scientific research, with a third on the way. Her first book, Resurrection Science: Conservation, De-Extinction and the Precarious Future of Wild Things (St. Martin’s Press, 2015) and was one of Library Journal and Amazon’s Best Books of The Year. Her second book, Wayfinding: The Science and Mystery of How Humans Navigate the World (St. Martin’s Press, 2019) is an exploration of navigation traditions, neuroscience and the diversity of human relationships to space, time and memory. Its writing was supported by the Alfred P. Sloan’s Program for the Public Understanding of Science, Technology & Economics. About the book, Kirkus Reviews writes that “O'Connor talked to just the right people in just the right places, and her narrative is a marvel of storytelling”; Nature explains that “[O’Connor walks the labyrinth of the brain’s time-and-space-mapping hippocampus. And, on the road, she meets astrophysicists, anthropologists and traditional wayfinders — such as Bill Yidumduma Harney of Australia’s Wardaman culture, who steers by thousands of memorized stars”; and Science notes that “O’Connor’s coverage of the cognitive map theory… is deep and broad.” She is currently writing a book called Ignition (Bold Type Books) on fire ecology and prescribed burning, for which she became certified as a wildland firefighter.

Her work has appeared online in The Atavist, Slate, Foreign Policy, The New Yorker, Nautilus, UnDark and Harper’s. A pair of recent essays for The New Yorker include “A Day in the Life of a Tree” and “Dirt Road America,” a feature piece about Sam Correro, who has spent decades stitching together maps of continuous pathways of dirt roads across the United States. In 2008/2009, O’Connor served as a reporter for The Sunday Times, an English-language newspaper in Colombo, Sri Lanka. Her investigative reporting on topics like disappearances in Sri Lanka’s civil war, global agriculture trade in Haiti, and American development enterprises in Afghanistan have been funded by institutions such as the Pulitzer Center on Crisis Reporting, The Phillips Foundation and The Nation Institute’s Investigative Fund. For a long time, she made her bread and butter as a stringer covering crime, courts and breaking news in New York City for publications such as The Wall Street Journal and New York Post, and covered the criminal justice beat for the online investigative site The New York World. She is. She lives in Brooklyn, NY with her partner, the screenwriter Bryan Parker, and their two sons.

Sponsored by the College of Science, Technology, Engineering and Mathematics, the Department of Psychology, the School of Communication and the Honors Program."]]></description>
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</item>
<item rdf:about="https://www.theideasletter.org/essay/the-center-and-the-periphery/">
    <title>The Center and The Periphery - The Ideas Letter</title>
    <dc:date>2026-04-09T20:49:27+00:00</dc:date>
    <link>https://www.theideasletter.org/essay/the-center-and-the-periphery/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://afraw.substack.com/p/the-center-and-the-periphery ]]]></description>
<dc:subject>afrawang 2026 ipodtouch jailbreaking 2010s technology china apple 2011 shenzhen computers computing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d43b4dca8182/</dc:identifier>
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<item rdf:about="https://newsletter.dancohen.org/archive/vibe-analysis/">
    <title>Vibe Analysis</title>
    <dc:date>2026-04-09T20:48:14+00:00</dc:date>
    <link>https://newsletter.dancohen.org/archive/vibe-analysis/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Despite its unserious name, vibe coding shows promise for elements of serious scholarly work"]]></description>
<dc:subject>dancohen vibecoding ai artificialintelligence 2026 johnunsworth annotation comparison sampling humanities digitalhumanities technology royrosenzweig software sarahbull claudecode claude cameronblevins scholarship handwriting handwritingrecognition</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://aeon.co/videos/a-vivid-portrait-of-montana-built-from-call-in-radio-clips">
    <title>A vivid portrait of Montana built from call-in radio clips | Aeon Videos</title>
    <dc:date>2026-04-09T20:36:27+00:00</dc:date>
    <link>https://aeon.co/videos/a-vivid-portrait-of-montana-built-from-call-in-radio-clips</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Between 1997 and 2007, residents of Montana were invited to call into the Yellowstone Public Radio show Your Opinion, Please each Friday evening to discuss ‘any subject that is on your mind that can be discussed in public’. This documentary from the US director Marshall Granger pairs a series of static shots from across the scenic, sprawling and sparsely populated state with archival audio from the show, where radio waves provided residents a public square for civil discussion. Throughout, recurring subjects include the Iraq War, the effects of regional development and the search for the meaning of poetry. Deliberately paced and composed with care, the resulting short makes for a gentle yet captivating portrait of time and place that, for many US viewers, likely brings to mind what’s changed and what hasn’t in the decades since."]]></description>
<dc:subject>marshallgranger film montana radio 2026 yellowstone civics us iraqwar</dc:subject>
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    <title>Earth's Smells Are Disappearing Because of Climate Change, and It's a Vast Cultural Loss</title>
    <dc:date>2026-04-09T20:32:36+00:00</dc:date>
    <link>https://www.smithsonianmag.com/science-nature/earths-smells-are-disappearing-because-of-climate-change-and-its-a-vast-cultural-loss-180988496/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A triple threat of pollution, extinction and warming temperatures is altering the way the planet smells. Scientists are only beginning to understand the stakes for humans"]]></description>
<dc:subject>smells smell scents climate climatechange globalwarming senses serenajampel science luciajacobs ceciliabembibre odeuropa noses sensing sensory multisensory jielingxiao multispecies morethanhuman well-being wellbeing rachelherz covid-19 coronavirus pandemic nature immunesystem idelfonsonogueira 2026</dc:subject>
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<item rdf:about="https://www.techdirt.com/2026/04/07/the-new-york-times-got-played-by-a-telehealth-scam-and-called-it-the-future-of-ai/">
    <title>The New York Times Got Played By A Telehealth Scam And Called It The Future Of AI | Techdirt</title>
    <dc:date>2026-04-09T20:30:05+00:00</dc:date>
    <link>https://www.techdirt.com/2026/04/07/the-new-york-times-got-played-by-a-telehealth-scam-and-called-it-the-future-of-ai/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>nytimes ai fraud journalism artificialintelligence 2026 telehealth eringriffith matthewgallagher medvi samaltman media aibubble aislop openloop aihype</dc:subject>
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<item rdf:about="https://www.thenation.com/article/activism/ai-luddites-bernie-sanders/">
    <title>As AI Breathes Down Our Necks, It’s Time for a Luddite Renaissance | The Nation</title>
    <dc:date>2026-04-09T20:28:39+00:00</dc:date>
    <link>https://www.thenation.com/article/activism/ai-luddites-bernie-sanders/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nineteenth-century textile workers longed to stay human in a machine age. So do we."]]></description>
<dc:subject>johnnicoles luddism neoluddism luddites neoluddites ai artificialintelligence resistance 2026 berniesanders anthropic darioamodei history technology elonmusk xai openai chatgpt samaltman</dc:subject>
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<item rdf:about="https://www.frontporchrepublic.com/2026/04/the-age-of-ai-parenting/">
    <title>The Age of AI Parenting - Front Porch Republic</title>
    <dc:date>2026-04-09T20:27:18+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/04/the-age-of-ai-parenting/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Altman, while acknowledging that people can and have parented before AI, stated that he cannot imagine parenting without it."

...

"Parenting questions, according to reporter Adrianna Rodriguez, are popular among AI users. She lists several common ones: “Is my child hitting their developmental milestones?” “What should I do if my child has a fever?” “How do I handle toddler tantrums?” “Am I good parent?” This trend received more attention when Sam Altman, CEO of OpenAI, confessed in an interview on The Tonight Show, with Jimmy Fallon, that he could not “imagine having gone through, figuring out how to raise a newborn without ChatGPT.” Altman, like many others, finds solace in the convenience and ease of AI, but depending on machines to mediate parental relationships carries many risks, among them the likelihood that children won’t trust or respect their parents and will go straight to the machines themselves.

Interestingly, AI is presented by both Rodriguez and Altman as a guide for parents with their many questions. This ever-present deity-like assistant never slumbers and can not only pull data down through the ages from all the experts but can also offer those tender words of comfort that parents need in difficult moments. Altman, in his interview with Fallon, described AI as a “general purpose sort of life adviser.” Here, the first threat is already establishing an afront upon the authority of the parent. While it is described merely as an adviser and assistant, it is no mere assistant and certainly not worthy of the title, adviser. Altman, while acknowledging that people can and have parented before AI, stated that he cannot imagine parenting without it. His world, including his very child, is only accessible through the power of a screen. Even though his child is only 8 months old, there is coming a day when the child will be able to process and understand not only his father but his father’s “adviser,” and the dividing line may not be so clear as Altman would believe.

Altman admits that he feels bad for using ChatGPT in his parenting, but this guilt seemed more due to his own questions than the fact that he was using it in the first place. His panic regarding whether his son was on track developmentally sent him not to a fellow human being, family or friend, but to his trusted adviser, ChatGPT. It is rather telling that Altman describes the answer that he got back as “great,” though it’s not clear what basis he had for this judgment. It’s doubtful he asked his own parents or a mentor about the merits of the machine answers.

Parents turning more to AI and less to family and friends are getting a poor substitute to fill our natural need for human connections. A child raised by ChatGPT-asking parents may well seek fewer human interactions than their parents, as they watched their parents building relationships with a machine instead of people. Altman is playing with the same fire as the parents in Ray Bradbury’s “The Veldt.” In Bradbury’s short story the parents experience a loss of connection with their children and lose any authority over them. Slowly, the children are consumed by the virtual reality like machine in their nursery, and in the end the parents are consumed by the machine at the wishes of the children. Technology dependence is not simply a worry for children but for adults as well. A parent’s overuse of technology, especially in parenting, threatens to blur the lines in our most natural relationships. What will happen as the child learns to ask ChatGPT instead of parents?

For Altman, AI might be an “adviser” or a personal assistant, but Altman’s child will perhaps see through the veil and find AI as the source of authority. Just as the parents allow more room for the computer program in “The Veldt,” so does AI continue to encroach upon human relationships and trust. Even in his own examples on the Late Show, Altman evaluates ChatGPT’s answers based on his life experiences and relationships that are not bound to a screen display. While he can apply such wisdom and questioning, it is not clear how future generations that grow up relying on AI for guidance will develop the broader awareness needed to test machine knowledge.

Here lies the danger for the generation raised by parents assisted by AI: where does it end? If the iPad generation has taught us anything it is that technology pushes into areas once reserved for parents and human relationships. Playtime is now for the computer rather than for the parent and child. Learning is now tapping a button rather than searching and wondering alongside other people. Humanity was created for dependence upon each other, but our greatest achievements currently replace opportunities to form relationships. If parenting relies on AI, then parents should not be shocked as their children go to AI rather than to their parents for meaningful answers to their questions.

After all, Altman’s child will eventually learn that his father finds him a very inefficient form of intelligence. As Altman explained to another interviewer who asked about AI’s energy usage, “it also takes a lot of energy to train a human. It takes like 20 years of life and all of the food you eat during that time before you get smart.” Altman’s child might have reason to doubt that someone who thinks like this would love him or care much about helping him develop as a person.

As the Tonight Show interview drew to a close, Fallon turned to any cons or worries that Altman had regarding AI, and his answer was the rate of change. Not change in general, only the current rates of change for AI. He is half right; the rate is worrisome, but the nature of change is just as worrisome. The nature of AI is to replace reality with its measurements and functions, and this is a poor trade. Altman and others have fooled themselves into believing that they have left the cave, but instead they have willingly chained themselves to the wall and gladly swapped the substance for the shadow."]]></description>
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<item rdf:about="https://www.wheresyoured.at/ai-is-really-weird/">
    <title>AI Is Really Weird</title>
    <dc:date>2026-04-09T20:25:19+00:00</dc:date>
    <link>https://www.wheresyoured.at/ai-is-really-weird/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Table of Contents

We Are Not In The Early Days of AI, And It’s Weird To Say That We Are

Why Is Everybody Lying About What AI and “Agents” Can Actually Do?

Let’s Talk About The Actual Consequences of Coding LLMs

The Economics Of AI Are Weird And Bad, And It’s Even Weirder That People Try And Normalize Them

It’s Very Weird That The Media Ignored My Reporting on OpenAI’s Revenues, and Anthropic’s Statement That It Made $5 Billion In Revenue Through March 9, 2026

It’s Weird That The Media Continues To Normalize OpenAI And Anthropic Losing Billions of Dollars

Does Anthropic Measure Its Gross Margins Based On How Much Revenue A Model Made Rather Than Revenue Minus COGS?

OpenAI and Anthropic Lose Billions of Dollars, But The Media Normalizes It In Any Way It Can, Acting As If Model Training Is Capex When It’s Actually A Cost of Goods Sold

Anthropic’s Revenue Growth Is Weird and Suspicious — How Did It Go From $700 million in monthly revenue in December 2025 to $2.3 to $2.5 billion in April 2026?

Anthropic’s Sonnet and Opus 4.6 Models Burn More Tokens Than Previous Models, and enable a 500% Larger 1 Million Token Context Window By Default, Artificially Inflating Costs For Similar Gains

Does Meta’s “TokenMaxxing” Account For A Quarter of Anthropic’s Revenue?

Measuring Worker Output In Token Consumption Is Incredibly Weird, and TokenMaxxing Is Not A Sustainable Business Model

TokenMaxxing Is A Valley-Wide Problem, Raising The Costs of Running Any Software Team Based On How AI-Crazed Your CEO Has Become — And When Cost Cuts Begin, API Revenue Will Collapse

The AI Bubble Is Weird, Irrational and Wasteful, And It’s Even Weirder That It’s A Fringe Opinion To Say So"

...

"I can’t get over how weird the AI bubble has become.

Hyperscalers are planning to spend over $600 billion on data center construction and GPUs predominantly bought from NVIDIA, the largest company on the stock market, all to power generative AI, a technology that’s so powerful that none of them will discuss how much it’s making them, or what it is we’re all meant to be so excited. 

To make matters weirder, Microsoft, a company that spent $37.5 billion in capital expenditures in its last quarter on AI, recently updated the terms and conditions of its LLM-powered “Copilot” service to say that it was “for entertainment purposes only,” discussing a product that apparently has 15 million users as part of enterprise Microsoft 365 subscriptions, and is sold to both local and national governments overseas, including the US federal government.

That’s so weird! What’re you doing Microsoft? What do you mean it’s for entertainment purposes? You’re building massive data centers to drive this! 

Well, okay, you’re building them at some point. As I discussed a few weeks ago, despite everybody talking about the hundreds of gigawatts of data centers being built “to power AI,” only 5GW are actually “under construction,” with “under construction” meaning anything from “we’ve got some scaffolding up” to “we’re about to hand over the keys to the customer.” 

But isn’t it weird we’re even building those data centers to begin with? Why? What is it that AI does that makes it so essential — or, rather, entertaining — that we keep funding and building these things? Every day we hear about “the power of AI,” we’re beaten over the head with scary propaganda saying “AI will take our jobs,” but nobody can really explain — outside of outright falsehoods about “AI replacing all software engineers” — what it is that makes any of this worthy of taking up any oxygen let alone essential or a justification for so many billions of dollars of investment."

...

"And with that incredibly easy access, only 3% of households pay for AI. Boosters will again use this talking point to say that “we’re in the early days,” but that’s only true if you think that “early days” means “people aren’t really using it yet.” 

Yet the “early days” argument is inherently deceptive.

While the Large Language Model hype cycle might have only begun in 2022, the entirety of the media and markets have focused their attention on AI, along with hundreds of billions of dollars of venture capital and nearly a trillion dollars of hyperscale capex investment. AI progress isn’t hampered by a lack of access, talent, resources, novel approaches, or industry buy-in, but by a single-minded focus on Large Language Models, a technology that has been so obviously-limited from the very beginning that Gary Marcus was able to call it in 2022. 

Saying it’s “the early days” also doesn’t really make sense when faced with the rotten and incredibly unprofitable economics of AI. The early days of the internet were not unprofitable due to the underlying technology of serving websites, but the incredibly shitty businesses that people were building. Pets.com spent $400 per customer in customer acquisition costs, millions of dollars on advertising, and had hundreds of employees for a business with a little over $600,000 in quarterly revenue — and as a result, nothing about its failure was about “the early days of the internet” at all, as was the case with Kozmo, or any number of other dot com flameouts. 

Similarly, internet infrastructure companies like Winstar collapsed because they tried to grow too fast and signed stupid deals rather than anything about the underlying technology’s flaws."

...

"I think it’s also worth asking at this point what is is we’re actually fucking doing. 

We’re building — theoretically — hundreds of gigawatts of data centers, feeding hundreds of billions of dollars to NVIDIA to buy GPUs, all to build capacity for demand that doesn’t appear to exist, with only around $65 billion of revenue (not profit) for the entire generative AI industry in 2025, with much of that flowing from two companies (Anthropic and OpenAI) making money by offering their models to unprofitable AI startups that cannot survive without endless venture capital, which is also the case for both AI labs.

Said data centers make up 90% of NVIDIA’s revenue, which means that 8% or so of the S&P 500’s value comes from a company that makes money selling hardware to people that immediately lose money on installing it. That’s very weird! Even if you’re an AI booster, surely you want to know the truth, right? 

The most-prominent companies in the AI industry — Anthropic and OpenAI — burn billions of dollars a year, have margins that get worse over time, and absolutely no path to profitability, yet the majority of the media act as if this is a problem that they will fix, even going as far as to make up rationalizations as to how they’ll fix it, focusing on big revenue numbers that wilt under scrutiny.

That’s extremely weird, and only made weirder by members of the media who seem to think it’s their job to defend AI companies’ bizarre and brittle businesses. It’s weird that the media’s default approach to AI has, for the most part, been to accept everything that the companies say, no matter how nonsensical it might be.

I mean, come on! It’s fucking weird that OpenAI plans to burn $121 billion in the next two years on compute for training its models, and that the media’s response is to say that somehow it will break even in 2030, even though there’s no actual explanation anywhere as to how that might happen other than vague statements about “efficiency.”

That’s weird! It’s really, really weird!

It’s also weird that we’re still having a debate about “the power of AI” and “what agents might do in the future” based on fantastical thoughts about “agents on the internet” that do not exist, cannot exist, and will never exist, and it’s fucking weird that executives and members of the media keep acting as if that’s the case. It’s also weird that people discussing agents don’t seem to want to discuss that OpenAI’s Operator Agent does not work, that AI browsers are fundamentally broken, or that agentic AI does not do anything that people discuss.

In fact, that’s one of the weirdest parts of the whole AI bubble: the possibility of something existing is enough for the media to cover it as if it exists, and a product saying that it will do something is enough for the media to believe it does it. It’s weird that somebody saying they will spend money is enough to make the media believe that something is actually happening, even if the company in question — say, Anthropic — literally can’t afford to pay for it.

It’s also weird how many outright lies are taking place, and how little the media seems to want to talk about them. Stargate was a lie! The whole time it was a lie! That time that Sam Altman and Masayoshi Son and Larry Ellison stood up at the white house and talked about a $500 billion infrastructure project was a lie! They never formed the entity! That’s so weird!

Hey, while I have you, isn’t it weird that OpenAI spent hundreds of millions of dollars to buy tech podcast TBPN “to help with comms and marketing”? It’s even weirder considering that TBPN was already a booster for OpenAI! 

It’s also weird that a lot of AI data center projects don’t seem to actually exist, such as Nscale’s project to make “one of the most powerful AI computing centres ever” that is literally a pile of scaffolding, and that despite that announcement the company was able to raise $2 billion in funding.

It’s also weird that we’re all having to pretend that any of this matters. The revenues are terrible, Large Language Models are yet to provide any meaningful productivity improvements, and the only reason that they’ve been able to get as far as they have is a compliant media and a venture capital environment borne of a lack of anything else to invest in. 

Coding LLMs are popular only because of their massive subsidies and corporate encouragement, and in the end will be seen as a useful-yet-incremental and way too expensive way to make the easy things easier and the harder things harder, all while filling codebases full of masses of unintentional, bloated code. If everybody was forced to pay their actual costs for LLM coding, I do not believe for a second that we’d have anywhere near the amount of mewling, submissive and desperate press around these models. 

The AI bubble has every big, flashing warning sign you could ask for. Every company loses money. Seemingly every AI data center is behind schedule, and the vast majority of them aren’t even under construction. OpenAI’s CFO does not believe that it’s ready to go public in 2026, and Sam Altman’s reaction has been to have her report to somebody else other than him, the CEO. Both OpenAI and Anthropic’s margins are worse than they projected. Every AI startup has to raise hundreds of millions of dollars, and their products are so weak that they can only make millions of dollars of revenue after subsidizing the underlying cost of goods to the point of mass unprofitability. 

And it’s really weird that the mainstream media has a diametric view — that all of this is totally permissible under the auspices of hypergrowth, that these companies will simply grow larger, that they will somehow become profitable in a way that nobody can actually describe, that demand for AI data centers will exist despite there being no signs of that happening.

I get it. Living in my world is weird in and of itself. If you think like I do, you have to see every announcement by Anthropic or OpenAI as suspicious — which should be the default position of every journalist, but I digress — and any promise of spending billions of dollars as impossible without infinite resources.

At the end of this era, I think we’re all going to have to have a conversation about the innate credulity of the business and tech media, and how often that was co-opted to help the rich get richer.

Until then, can we at least admit how weird this all is?"]]></description>
<dc:subject>edzitron ai artificialintelligence nvidia openai llms microsoft chatgpt meta perplexity garymarcus 2026 2022 aibubble aihype stevenlevy ezraklein jackclark anthropic claude marcoargenti infosys chatbots claudecode coding software economics growth revenue business darioamodei media reporting finance google</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1bcac0cbb0e5/</dc:identifier>
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<item rdf:about="https://www.quantamagazine.org/carlo-rovellis-radical-perspective-on-reality-20251029/">
    <title>Carlo Rovelli’s Radical Perspective on Reality | Quanta Magazine</title>
    <dc:date>2026-04-09T20:15:09+00:00</dc:date>
    <link>https://www.quantamagazine.org/carlo-rovellis-radical-perspective-on-reality-20251029/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The theoretical physicist and best-selling author finds inspiration in politics and philosophy for rethinking space and time."]]></description>
<dc:subject>carlorovelli 2025 zacksavitsky physics reality mathematics philosophy worldview space time quantummechanics hegoland buddhism nagarjuna objects observereffect karlpopper thomaskuhn richardfeynman stepehnhawking copernicus galileo truth observation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5afe9fb43808/</dc:identifier>
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<item rdf:about="https://psyche.co/guides/how-to-get-to-know-your-neighbourhood">
    <title>How to get to know your neighbourhood | Psyche Guides</title>
    <dc:date>2026-04-09T05:31:04+00:00</dc:date>
    <link>https://psyche.co/guides/how-to-get-to-know-your-neighbourhood</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Whether you are a newcomer or you’ve lived there for years, learn to look closer and deepen your connection"

...

"Maybe you just moved to the neighbourhood or just started working there. Maybe you’re a visitor who’s staying awhile. Or a teen exploring on your own for the first time. You could even be a longtime resident. If any of these describes you, there are aspects of your neighbourhood that you don’t know. And because knowing each other, knowing our history and taking part in local institutions is what strengthens our communities, rooting ourselves in place has never been more necessary. This Guide offers some strategies for knowing your neighbourhood in a new and deeper way.

A neighbourhood is the product of people and culture. It’s as much a feeling as it is an area on a map: many people can sense it in their bodies when they cross into their own neighbourhood. No neighbourhood has just one story, nor even just one neighbourhood. People often disagree on its boundaries or names; there are overlapping neighbourhoods and micro-neighbourhoods. And throughout, there are multiple, even contradictory histories, imaginings, claims and meanings.

While neighbourhoods are often written about from an urban point of view, rural and suburban places have their own shapes of neighbourhood. These might be geographically larger than some urban neighbourhoods if they involve the reach of a car – though this can be true in cities, too – and they might intersect more with natural or agricultural spaces in addition to built ones. Wherever we live, most of us have a need to connect with the people around us, to feel that we belong where we find ourselves. I invite you to interpret this Guide for wherever you are, wherever you go.

Why you should take a closer look at your neighbourhood

Whenever I move to, work in or visit a new neighbourhood, I’m curious to know what other people are seeing and feeling in this place, without judgment or constraint. I want to know how it works. To see all the layers. This is partly because researching and photographing neighbourhoods is what I do professionally – but the impulse is also personal, and one I’ve had since childhood. Maybe it’s one you share?

Beyond satisfying our curiosity, getting to know a neighbourhood is a way to build capacity for compassion, to avoid that all-too-human inclination to see others as less real than ourselves. Really being with the people who live around you is an essential part of recognising our shared humanity, even our shared fate, recognising that we each belong to something larger than ourselves. In this time of loneliness and division, getting to know your neighbourhood and neighbours might be something close to an existential necessity. Overcoming collective crises requires negotiation and collaboration across differences, and it isn’t easy work. The muscles for it need to be built. So, think of getting to know your neighbourhood – through small talk, listening, learning history, contributing – as a low-stakes way to build those muscles, to be ready when the stakes are much higher.
A man sitting in a diner booth Looking at various papers. He is surrounded by windows with a view of the street outside.

Lotto, Golden Gate Donuts, Telegraph Avenue, Oakland, US, 2006

Even in a neighbourhood you think you already know, you can learn completely new things. This happened for me on New York’s Lower East Side. I grew up nearby, lived there, and worked in a community centre there. But I never knew the story of its contested 14-square-block area until I was teaching a class in which I collaborated with housing activists and public historians. Only then did I find out that the parking lots I’d long skirted on my walks were the site of homes torn down in the late 1960s, the result of a failed urban renewal project. The displaced residents, I learned, were promised that they could return to new apartments. Instead, the site sat vacant, an open wound of discrimination and deceit.

Knowing this story changed my life. I worked on projects in this place for almost a decade, even writing a book, Contested City (2019), about it. More importantly, in knowing that history and talking with those directly impacted by it, I came to understand where people’s deep emotions about the place came from, why the 50-year fight to get affordable housing built there mattered so much, and why I should contribute what I could.

Getting to know a neighbourhood is about taking the time to listen, notice and ask questions, to take part, to risk something of yourself. It’s about recognising that you exist in a particular place and time, shaped by other places and other times. In part, of course, this process happens naturally as you make your daily way through a place, as long as you’re paying attention. But to help you go deeper, I’ll share some specific practices that grow from the work of urban researchers, artists and community organisers – people whose job it is to see the invisible linkages in a place. Because that’s part of what it is to know a place: to see what isn’t there, but also very much is.

Key points

1. Knowing your neighbourhood better is good for you and the community. It’s a way to pursue your curiosity, build knowledge and connection, and grow your capacity for compassion.

2. Read the neighbourhood. Use all your senses to explore what its signs (official and unofficial), sounds, traces left by neighbours, buildings, boundaries and books can tell you about its people and history.

3. Explore the neighbourhood at different times. Break out of your routine and observe the crowds, activities and features that emerge at different hours, days and seasons.

4. Take part. Spend time in local gathering places and pay attention to people’s concerns and interests.

5. Give something of yourself. Share something you make with neighbours, join a local group, volunteer, or find other ways to have a stake in the neighbourhood."]]></description>
<dc:subject>gabriellebendiner-viani urbanism neighborhoods 2026 listening noticing observation place slow small local urban senses history connection curiosity seasons time signs sounds sound architecture boundaries</dc:subject>
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<item rdf:about="https://www.lenkaclayton.com/">
    <title>LENKA CLAYTON</title>
    <dc:date>2026-04-09T02:45:06+00:00</dc:date>
    <link>https://www.lenkaclayton.com/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>art mail_art nets kites rocks air wind stones small_things buttons</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2155c007a440/</dc:identifier>
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<item rdf:about="https://www.lenkaclayton.com/#/on-air-/">
    <title>LENKA CLAYTON: On Air</title>
    <dc:date>2026-04-09T02:40:18+00:00</dc:date>
    <link>https://www.lenkaclayton.com/#/on-air-/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Exhibition with Phillip Andrew Lewis at 820 Liberty, Pittsburgh / On view until December 15th 2024 / Commissioned by The Pittsburgh Cultural Trust 

Exhibition of new work including five sculptures, a feature-length video The Wind, and the public artwork A Sudden Gust of Wind. 

“There is no photograph of the wind.

The wind has prompted and ended wars, dispersed seeds and caused famine, facilitated animal migration, and physically shaped our surroundings. Despite being experienced by every being everywhere, it remains invisible to us. We perceive the wind only by its effect on other things: bending grasses, shaking trees, drying washing, holding flags aloft, spinning weathervanes, filling sails. The works in On Air explore this unseen force. Throughout the gallery, air currents are harnessed to activate, inflate, scatter, and interfere with things. The rear portion of the gallery features “The Wind”, a new long-form film meticulously constructed from over 1,000 clips featuring wind scenes sourced from other films–ranging from romcoms to westerns to spy dramas and horror movies. Typically, a b-list presence, wind footage in films often foreshadows imminent, often ominous change or provides an emotional or temporal cut or transition. In “The Wind,” these overlooked moments accumulate in an increasing intensity according to the Beaufort Wind Scale, progressing from barely perceptible quivering plants to a tornado that tears a building from its foundations. On Air was developed in dialogue with A Sudden Gust of Wind, a newly commissioned public artwork also by Lenka Clayton and Phillip Andrew Lewis, featuring two hundred kite sculptures installed in trees throughout Downtown Pittsburgh. (Look out of the window).”]]></description>
<dc:subject>wind air art weather</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8a1228c8f805/</dc:identifier>
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</item>
<item rdf:about="https://www.lenkaclayton.com/#/button-exchange/">
    <title>LENKA CLAYTON: Button Exchange</title>
    <dc:date>2026-04-09T02:39:29+00:00</dc:date>
    <link>https://www.lenkaclayton.com/#/button-exchange/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Exhibition at The Crocodile by Jason Fulford, November 2024 - April 2025

This was an exhibition that was experienced by people who came across the photographer and publisher Jason Fulford in person. He carries a bag around with him that contains one solo exhibition at a time, which he shares with people he meets in his daily life. 

People were invited to participate by allowing one of the buttons on their clothing to be removed and replaced with a button from the previous participant. The new button is sewn on carefully with red thread. This process is repeated with the next participant. Sixty buttons were exchanged, one person at a time.]]></description>
<dc:subject>buttons small_things smallness miniature exhibitions</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fa5922a01de4/</dc:identifier>
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<item rdf:about="https://www.worldofinteriors.com/story/naturalistic-flowers-aesme-studio-book-review">
    <title>Aesme Studio’s debut book sees floristry rewilded | THE WORLD OF INTERIORS</title>
    <dc:date>2026-04-09T02:36:58+00:00</dc:date>
    <link>https://www.worldofinteriors.com/story/naturalistic-flowers-aesme-studio-book-review</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[At each location, they chat with the gardeners and assemble a series of arrangements using locally found flowers – and any ‘weed’ picked in their midst. A core tenet of the Aesme Studio manifesto, indeed, is to champion weeds and less desired plants; happily, Ally and Jess don’t shy away from pairing bouquets of roses with sprouts of tufty grass – which they once did for a wedding, to initial apprehension but ultimate applause. As any wizened gardener will delight in telling you, a weed is just a flower in the wrong place....

Naturalistic Flowers is not just a single achievement; it is a flower compendium, a garden directory and an internal monologue rolled into one. The meandering writing and emphasis on mood over method may frustrate readers seeking a practical guide to floristry, but the moral of the story is disarmingly simple: a flower arrangement can begin from any garden, any park, or – with a dash of imagination – any overgrown roadside. Flowers and ‘weeds’ crop up everywhere – and if you’re ever in doubt over the name of something and have time to spare, just ask a gardener.]]></description>
<dc:subject>plants weeds flowers recipes</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ab6c91d23cf8/</dc:identifier>
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<item rdf:about="https://alanwmoore.net/project/colab-abc-no-rio/">
    <title>Colab ABC No Rio - Alan W. Moore</title>
    <dc:date>2026-04-09T02:35:06+00:00</dc:date>
    <link>https://alanwmoore.net/project/colab-abc-no-rio/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Archiving/Anarchy; Irony. The documentation of an essentially anti-materialistic expression by means of collecting and preserving the material objects produced by that ethos presents an ideological conundrum…. The intent of this paper is to address this paradox by describing the physical byproduct of a dying (if not already dead) culture of collective resistance – an archive that belies the archival norm: An historical time capsule that, with due respect and adequate attention could reveal the mechanism of a bona fide social experiment. A non-conformist mode of creation, where presentation, protest and celebration are the functional tools of social progress….

Why would a collective of individuals, whose overriding philosophy contests the very idea of “history”, and whose very existence, dedicated to the subversion of the acquisitional (read: capitalistic) logic that collecting conjures, be intrinsically engaged from the very beginning with archival concerns? ABC No Rio’s identity is largely defined by its physical location – Manhattan’s Lower East Side (Loisaida). But what is its raison d’être – the force that has made it the lone survivor of an era so glamorized by film and fiction, now that the escalation of real estate prices fostered by self perpetuated hype has sent its East Village contemporaries [i.e., other art galleries and performance spaces] the way of the dodo?

To understand No Rio’s motives for archiving is to appreciate that ABC No Rio is best defined by its activity. This is possible by examining its past, present and planned programming. The documentation of fliers, invitations, posters, publicity materials, working files, and accumulated artwork, encapsulates not only the phenomenal cultural milieu of the ‘80s, but also No Rio’s equally important ideological function as artworld gadfly. Study of these materials will show the radicalism of its common goals at inception, the externally inflicted duress, its internal contention, and the later phase of renaissance. As an art facility with international impact, a local community center, and an anarchist squat all rolled into one, No Rio is unique. Understanding ABC No Rio by way of its archives will illustrate the commonality of contemporary American art inasmuch as art has been defined as a cultural battleground, a subversive element, a political threat. It is my hope that the samples from No Rio’s past will help seal the common bonds connecting all the arts, no matter the medium or where they may be placed in the social hierarchy.]]></description>
<dc:subject>archives misfit squats</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:3e476ba1d7ba/</dc:identifier>
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</item>
<item rdf:about="https://monoskop.org/Colab">
    <title>Colab - Monoskop</title>
    <dc:date>2026-04-09T02:29:15+00:00</dc:date>
    <link>https://monoskop.org/Colab</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[creation of Colab artists’ TV series on Manhattan Cable (1978–1984); “All Color News”, “Potato Wolf” and “Red Curtain”. Additionally the grant funded the continued publication of X Motion Picture Magazine (1979), the ABC No Rio Cultural Center (1980-82, ongoing) a public creative space born from The Real Estate Show, as well as Tellus Audio Cassette Magazine (1984) [2], NightShift Theater (1979), Spanner Magazine (3 issues, 1979), MWF Video Club (established in 1986) and Bomb Magazine (1981). ]]></description>
<dc:subject>cable_access television cassettes micro_cinema smallness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8240efeb2f34/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cassettes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:micro_cinema"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:smallness"/>
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<item rdf:about="https://wp.nyu.edu/orphanfilm/2026/04/01/mwf/">
    <title>Andrea Callard &amp; Ana Marie on XFR MWF – Orphan Film Symposium</title>
    <dc:date>2026-04-09T02:26:26+00:00</dc:date>
    <link>https://wp.nyu.edu/orphanfilm/2026/04/01/mwf/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[n 1977, the New York City artists’ group Collaborative Projects Inc. (COLAB) formed as a collective after a series of open meetings among artists. The meetings were vivid and fun, as well as arduous with long discussions and arguments. Half of the artists wanted to exhibit paintings, sculptures, and printed materials. Others made films, performances, and music. The art gallery system was small, and it felt unavailable. COLAB artists began working together to interact directly with live audiences and collectors. DIY exhibits in lofts and storefronts, cable TV shows and an early microcinema, New Cinema. The artists shared small amounts of money to help make things happen. 1978-80 meeting notes include efforts to imagine a distribution plan for media works....

The MWF tape collection has always been central to the DNA of XFR Collective. It is why we exist. In an effort to preserve highlights from the collection, Alan Moore proposed the New Museum exhibition “XFR STN.” From July 17th to September 8, 2013, 597 tapes were transferred from MWF’s collection, the New Museum’s collection, and from the general public. After the exhibition ended, Andrea Callard and a small group of dedicated artists and archivists began meeting regularly in her home to continue the work of preserving underseen and underrepresented magnetic media, and to disseminate information on how anyone can carry on the same work with their own tapes.]]></description>
<dc:subject>collaboration micro_cinema smallness video_art preservation video</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:edb052ffc3d5/</dc:identifier>
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</item>
<item rdf:about="https://www.thesunview.org/">
    <title>Luncheonette &quot;Never closed. Never open.&quot;</title>
    <dc:date>2026-04-09T02:10:17+00:00</dc:date>
    <link>https://www.thesunview.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Sunview Luncheonette is a co-operative, a storefront on pause, a member-based social club, a sometimes microvenue for art, poetics, regionalism, mutual aid, and commoning. It floats above the second largest oil spill in US history, down the street from an active EPA Superfund site. It is resistant to traditional forms of commerce, commodification, and to gentrification. It is above all, an “approach,” and least of all, an “outcome.” It is unknown. It is hopeful. It saves you a seat at the counter. ]]></description>
<dc:subject>artist_restaurant adaptive_reuse venue</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:0c87b5cad2f9/</dc:identifier>
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<item rdf:about="https://californiarevealed.org/do/2eeab704-26a7-4527-994c-e3fac527b317">
    <title>[SFMoMA Raymond Saunders Interview] | California Revealed</title>
    <dc:date>2026-04-08T07:02:50+00:00</dc:date>
    <link>https://californiarevealed.org/do/2eeab704-26a7-4527-994c-e3fac527b317</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>raymondsaunders 1994 art sfmoma</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://email.kcrw.com/raymond-saunders-david-zwirner">
    <title>How California shaped Raymond Saunders</title>
    <dc:date>2026-04-08T07:00:07+00:00</dc:date>
    <link>https://email.kcrw.com/raymond-saunders-david-zwirner</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 1994, the visual artist Raymond Saunders sat down for a rare interview [https://californiarevealed.org/do/2eeab704-26a7-4527-994c-e3fac527b317 ] with the San Francisco Museum of Modern Art. The Pittsburgh-raised painter had called the Bay Area home for nearly 30 years by that point, living close enough to Oakland’s California College of the Arts (CCA) — where he taught painting — that he could stop by his home for lunch before returning to campus. The conversation reveals that Saunders didn’t move to San Francisco to become enmeshed in the freewheeling art scene of the late 1960s; as he explained in the interview, California spoke to him for a different reason. “California felt physical to me in the way that there was land, sky, water, in a relationship and light, and it was warm,” he said. “I prefer to be in California really for just those reasons, that I like how it feels.”

The artist, who died last year at 90, was perhaps best known for creating collage-style canvases on chalkboard-black backgrounds. East Coast artists influenced his development, but it was in California where he harnessed a distinctive physicality, spaciousness, and emotiveness in his work. An exhibition at David Zwirner in East Hollywood, now in its final weeks, culls together 10 of Saunders’ abstract and assemblage-style paintings, along with ephemera he amassed, rightfully positioning him as an important California artist. What distinguishes Saunders’ paintings is that his work is not “just emotional-feeling, but really textured,” says Ebony L. Haynes, who curated the exhibition, Raymond Saunders: Notes From LA, his first solo show in the city in over a decade. “There’s a presence to the materials and the work and the composition that perhaps he was able to realize, or really feel and work through, in a place like California.”

[image: "A painting by Raymond Saunders features half of which looks like a chalkboard, the other like white paper. On top are squiggles and dribs and drabs of paint. / Raymond Saunders, We Try, 1985. (Estate of Raymond Saunders)"]

Saunders was born in 1934 in Homestead, Pennsylvania, just outside Pittsburgh. While taking art classes in public school, he was drawn to the sense of play inherent within artistic creation. These ways of learning inspired Saunders, who believed these methods were just as legitimate as an elite arts education, which he also pursued — attending the Carnegie Institute of Technology (now Carnegie-Mellon) and the California College of Arts and Crafts (which became CCA).

Haynes says that Saunders was intrigued by the idea of someone without formal training making a mark and appreciated artists like Cy Twombly, who didn’t hew to realism or formal styles. These influences converged in his own improvisational painting techniques, with Saunders relying on instinct and his own curiosities to carve out a singular lane for himself. Among these proclivities: A lifelong fascination with collecting postcards, buttons, and letters, in addition to the found objects he frequently collaged onto his paintings (some of which are displayed in the gallery, alongside his paintings). A constant of Saunders’ vocation as an educator involved opening up his studio so that students could learn from one another, himself included.

One of the largest and most striking pieces in the Zwirner show, It Wasn’t Easy Being a First Grader (1979/1984) — at top — takes the childhood art class as the subject of the painting itself: On a deeply saturated cornflower-blue canvas, there are exploratory squiggles, as well as the inclusion of whole crayons pasted onto the piece. The rigors of that era are also seen in the inclusion of familiar notebook lines, the same ones where school-aged children practice writing their name in cursive ad nauseam, with Saunders intricately spelling out “Raymond” near the top of the work. Chalky sketches of stick figures abound in another canvas, We Try (1985), situated alongside delicate drawings of vases and pomegranates, a riot of spray paint drips cutting through the chalkboard-esque backdrop.

[image: "A mostly black canvas features a collage at top with the numerals "1983." Below are squiggles of gray spraypaint. / Raymond Saunders, Untitled, 1983. (Estate of Raymond Saunders)"

Identity was also a critical, albeit fraught, strain in Saunders’ work. In the late 1960s, the artist made a name for himself by resisting the art world’s insistence that he — by virtue of his artmaking and his identity as a Black man — adhere to a specific formal tradition. Later in the decade, Saunders penned a now-famous pamphlet, Black Is a Color, wherein he rejected a Black artistic canon as described by Ishmael Reed, a poet active in the Black Arts Movement. In it, Saunders asked why he, and his fellow artists who happened to be Black, should be considered outliers rather than part of the broader pantheon of artmaking. “I feel like he had a dream of really just being a true artist's artist, and he couldn't remove his identity as a Black man from that, nor did I think he wanted to,” says Haynes. “But I think his practice was in balancing those two prongs: of exploring the kind of painting and art and mark-making he was most interested in, while balancing how the world saw him and he saw himself.”

Yet Saunders rarely weighed in on the way his work was received, at least publicly. He preferred to lead a quiet life: teaching in the Bay Area, decamping to Paris for the summer, where he had a home, and rarely discussing his work, even among friends. Despite his prolific output and influence, Saunders was never a towering figure like some of his contemporaries. “His exhibition history is more expansive and consistent than so many artists I know of showing in New York in the ‘60s,” says Haynes. “He was around and present and able to sustain himself as an artist. But I feel like he's not somebody written about in a chapter of an art history book.” Zwirner’s show presents a new way into the conversation about this unique painter’s salient body of work."]]></description>
<dc:subject>paulamejía 2026 california art smoma cca sanfrancisco collage davidzwirner raymondsaunders</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5a3b18618dab/</dc:identifier>
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<item rdf:about="https://bruces.medium.com/whatever-happens-to-music-will-happen-to-ai-2026-9a4482a2a012">
    <title>Whatever Happens to Music Will Happen to AI (2026) | by Bruce Sterling | Mar, 2026 | Medium</title>
    <dc:date>2026-04-08T06:55:53+00:00</dc:date>
    <link>https://bruces.medium.com/whatever-happens-to-music-will-happen-to-ai-2026-9a4482a2a012</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>brucesterling 2026 ai artificialintelligence future music art technology trends jazzage aiethics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8e676b177bfb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ai"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:future"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:trends"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jazzage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aiethics"/>
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</item>
<item rdf:about="https://www.oaklandreviewofbooks.org/sideshow-history-oakland/">
    <title>The noise about sideshows</title>
    <dc:date>2026-04-08T06:36:35+00:00</dc:date>
    <link>https://www.oaklandreviewofbooks.org/sideshow-history-oakland/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The screeching moral panic over the sideshow hides what it really is: an event, shaped by cops and capital flight, where Oakland youth fights for a place to play."

[See also:

"Black sonic politics in Oakland, in nine sounds: A playlist.
Alex Werth (as told to Tommy Craggs)"
https://www.oaklandreviewofbooks.org/black-sonic-politics-in-oakland-in-nine-sounds/ ]]]></description>
<dc:subject>2026 bayarea oakland sideshows alexwerth sound play 2025 police policing tommycraggs</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:23de2ebcbe43/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:oakland"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alexwerth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sound"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2025"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:policing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tommycraggs"/>
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</item>
<item rdf:about="https://www.kqed.org/news/12078602/in-a-tech-hub-like-the-bay-area-why-do-bart-announcements-sound-so-ancient">
    <title>In a Tech Hub Like the Bay Area, Why Do BART Announcements Sound So Ancient? | KQED</title>
    <dc:date>2026-04-08T06:34:59+00:00</dc:date>
    <link>https://www.kqed.org/news/12078602/in-a-tech-hub-like-the-bay-area-why-do-bart-announcements-sound-so-ancient</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bay Area Rapid Transit — or BART — was a brand new, cutting-edge transportation system when it opened in 1972. Since then, its reputation has become a bit less high-tech. And while riders hear a variety of voices making announcements throughout the BART system, there are two that sound different — robotic, synthesized voices, one male and one female, that sound like they are from yesteryear.

And at least one rider has taken particular note.

“I never understood what it was saying,” Bay Curious listener Jimmy Tobin said.

It seems like a blatant contradiction to him that trains running through communities at the heart of the AI boom sound like they’re from the first computers ever made. He wants to know why these robotic announcements have never been updated."]]></description>
<dc:subject>bart sanfrancisco bayarea trains sound 2026 anadealmeidamaral</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:88f80048cf27/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sanfrancisco"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bayarea"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:trains"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2026"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anadealmeidamaral"/>
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</item>
<item rdf:about="https://thefunambulist.net/magazine/the-no-state-solution/ending-well-and-the-records-we-make-along-the-way">
    <title>Ending Well and the Records We Make Along the Way - THE FUNAMBULIST MAGAZINE</title>
    <dc:date>2026-04-08T04:06:14+00:00</dc:date>
    <link>https://thefunambulist.net/magazine/the-no-state-solution/ending-well-and-the-records-we-make-along-the-way</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This text by Courage Dzidula Kpodo is based on his architecture thesis. It is centered on a five-acre land project he undertook in mountainous Ghana understood as a living record shaped by history, ecology, and collective labor. Through the making of paths, the observation of trees, and the reuse of laterite walls, he proposes “future records”: material and social practices that honor past uses while enabling non-extractive, locally grounded futures beyond anthropocentric and Eurocentric design models....

I have come to see the land as a record, one that remembers more than the humans who move across it. But the land does not record alone. Recording is a continuous, reciprocal process: it happens as humans interact with the land, tracing paths, shaping soil, moving materials, planting, harvesting, and acknowledging its ecological and spiritual rhythms. A record in the land is not passive; it is not a sign of the past. It signals, accumulates, directs. It bears the stories of movement and labor, traces of hands and tools, echoes of what has been planted, harvested, and abandoned. But the question that anchors this text is not just what a record is, but what a record can do. Can a record be generative? Can it project forward, inscribing past and present into an evolving story? I call this possibility the future record....

this project explores how existing material forms: paths carved for cocoa transport, historic building materials, and spiritually-significant trees, can be reactivated to serve new economic, social and cultural functions. Rather than imposing external development models, the work asks: how can the land’s own material and economic record guide the creation of alternative futures, revitalizing not only livelihoods but also cultural practices, knowledge systems, and communal relationships of the people that live and work on it?...

Yet these paths were never fixed. As cocoa production declined in this region from the 1940s onward, the paths came to connect to farms cultivating a plural mix of crops, plantain, cassava, maize, and forested areas. Over the years, I walked and mapped the various paths that led to the 5-acre land. The gentlest was the path from Yaa Aso, the community named after its founding matriarch. It was also the longest, and the preferred route of harvest by most farmers atop the mountains.

Along this path, I noted adjacent functions of rest, gathering, and water stations. Hunters would track game with dogs along it. I began to imagine the path as the spine of a new kind of record: one that acknowledges its past as a conduit of extraction but does not repeat it, instead offering a framework for envisioning new, non-extractive futures....

he first of these material formations is the Newbouldia laevis tree, a spiritual and ecological anchor grown across West Africa’s societies as a protective plant. It is commonly known as the “African boundary plant,” since European travelers first observed it indicates property lines. It marks the separation between public and private and is believed to neutralize the potential negative intentions of a guest entering a home. Even though it bears no commodifiable product, its cultural significance predisposes the tree to a range of mechanical, medicinal, and spiritual functions. It is known by many names across West Africa; among the Anlo-Eʋe, who cultivate and use it the most in Ghana, it is called Avia....

The tree thus functions as a record of presence, belief and continuity, pointing to where people first rooted themselves and how they understood the land they would inhabit....

My ongoing work seeks to delink from anthropocentric and Eurocentric modes of recording and spatial production, particularly those that position the architect as the primary author of future worlds. Instead, it turns toward marginal ways of thinking and building that—precisely because they are excluded from dominant frameworks—offer more encompassing and holistic grounds for imagining shared, beyond-human futures. ]]></description>
<dc:subject>geoarchives land records archives paths trees borders mapping critical_cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6355f562955d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:geoarchives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:land"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:records"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:paths"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:borders"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:critical_cartography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.lizflyntz.net/collaborationagreement">
    <title>The Collaboration Agreement — Liz Flyntz</title>
    <dc:date>2026-04-08T03:33:01+00:00</dc:date>
    <link>https://www.lizflyntz.net/collaborationagreement</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[What’s problematic about collaboration?

Everything that is wrong with the world and human interaction is potentially a pitfall of collaboration. When collaborations go wrong, relationships and artworks can be destroyed, and the cracks often appear along the fault lines of historic bias and discrimination.
What’s The Collaboration Agreement?

The Collaboration Agreement is meant to be a living document that you can be adapted according to need, and change many times over the lifetime of a collaboration. The different questions and sections are just suggestions – users can ignore what doesn’t apply or elaborate in great detail where it’s important.

This isn’t a legally binding or enforceable document; rather it is a set of labeled sections of questions that can help a group structure  communication around shared work. The labels themselves were developed by thinking through some of the possible problems that can arise around collaboration. 

Please make a copy of The Collaboration Agreement document template in order to edit. 
References and Resources on Collaboration and Governance

I looked at many sources while developing this document. An often updated (and possibly someday annotated) working version of the bibliography can be found here. A few useful online resources include: 

Manifesto for Tender Collaborative Work by press_press
 https://presspress.info/content/3-document/2-manifesto-for-tender-collaborative-work/a-tender-talk.pdf

Study Collaboration - Resources by Study Center for Group Work
https://studycollaboration.com/#resources

The Loomio Cooperative Handbook
https://loomio.coop/working_together]]></description>
<dc:subject>collaboration protocol</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:3687658a0aa7/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:protocol"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?app=desktop&amp;v=ESln_GNUprs&amp;t=181s">
    <title>Virtual Insights: An Ecology of Quilts - YouTube</title>
    <dc:date>2026-04-08T01:35:05+00:00</dc:date>
    <link>https://www.youtube.com/watch?app=desktop&amp;v=ESln_GNUprs&amp;t=181s</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[An Ecology of Quilts: The Natural History of American Textiles traces the relationship between the environment and traditional quilting practices through a selection of quilts from the Museum’s rich collection, dating from the 18th to the 20th centuries.

The show’s co-curators—AFAM’s Deputy Director and Chief Curatorial & Program Officer, Emelie Gevalt and the Museum’s Art Bridges Fellow, Austin Losada—will lead a walkthrough of the galleries in dialogue with one another. Together, the speakers will highlight selected quilts and accompanying materials on view—including watercolors, historical illustrations, swatch books, raw fibers, dye stuff samples, and instructional video—while exploring the botanical knowledge and industrial techniques involved in producing textile materials, colors, and patterns.

With a focus on the environmental impact of quiltmaking, this walkthrough is a unique opportunity to learn about the many facets of global material culture that emerged in the early modern period and profoundly shaped the United States in the 18th, 19th and 20th centuries.
]]></description>
<dc:subject>quilts textiles materiality exhibition ecology feminism herbarium botany botanical_knowledge</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f0292bf8854c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:quilts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:textiles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:materiality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:exhibition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:ecology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:feminism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:herbarium"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:botany"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:botanical_knowledge"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://folkartmuseum.org/exhibitions/an-ecology-of-quilts-the-natural-history-of-american-textiles/">
    <title>An Ecology of Quilts: The Natural History of American Textiles | American Folk Art Museum</title>
    <dc:date>2026-04-08T01:32:02+00:00</dc:date>
    <link>https://folkartmuseum.org/exhibitions/an-ecology-of-quilts-the-natural-history-of-american-textiles/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[An Ecology of Quilts: The Natural History of American Textiles brings together approximately 30 examples, spanning the 18th to 20th centuries, from the Museum’s rich collection of more than 600 quilts and presents them from an ecological perspective, tracing patterns of relationships between the environment and traditional quilting practices.

This groundbreaking exploration of the natural history of American textiles proposes an eco-critical inquiry into the many facets of global material culture that emerged in the early American republic through the 20th century.

Looking beyond the quiltmaker, An Ecology of Quilts is centered around the origins of textile production and how it informs the artistry of quiltmaking, exploring the environmental and social impact of cultivating and harvesting raw materials; the networks of overland and ocean trade required to transport dyestuffs, fibers, and fabrics; and the technologies and industrial techniques developed to process them, such as the cotton gin—all of which allowed quiltmaking to flourish as a quintessential American art form.]]></description>
<dc:subject>quilts textiles ecology environment materiality</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:006fb77203c1/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:textiles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:ecology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:environment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:materiality"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=vSWsJL8_RZ0">
    <title>40,000 photos that never saw the light of day in his lifetime - YouTube</title>
    <dc:date>2026-04-07T21:05:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vSWsJL8_RZ0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["W. Eugene Smith’s Jazz Loft Project is one of the most obsessive and overwhelming bodies of work ever created in photography. In this video, I break down how Smith documented life inside a New York loft filled with musicians, artists, and constant movement, capturing over 40,000 images and recording thousands of hours of audio. This wasn’t just street photography or documentary work, it was total immersion. Living inside the space he photographed, Smith blurred the line between observer and participant, building a project that feels alive decades later. If you’re interested in long-term projects, commitment to a single idea, and what it actually means to dedicate your life to photography, this is one of the most important projects you can study."

[See also:
https://www.themarginalian.org/2009/11/25/the-jazz-loft-project/ ]]]></description>
<dc:subject>weugenesmith photography 2026 jazz stangetz theloniousmonk robertfrank music doncherry alicecoltrane sonnyrollins billevans rolandkirk paulblay eddiecosta sonnyclark henrygrimes edgarbateman eddielistengart billcrow ronniefree royhayes zootsims linhallday haloverton royhaynes</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e9ce1ca868ef/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:weugenesmith"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2026"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jazz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stangetz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theloniousmonk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertfrank"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:doncherry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alicecoltrane"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sonnyrollins"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:billevans"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rolandkirk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paulblay"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eddiecosta"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sonnyclark"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:henrygrimes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:edgarbateman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eddielistengart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:billcrow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ronniefree"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:royhayes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:zootsims"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:linhallday"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:haloverton"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:royhaynes"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.spaceshuttlealmanac.com/copy-of-china-report">
    <title>Chinese Manned Spaceflight</title>
    <dc:date>2026-04-07T19:53:09+00:00</dc:date>
    <link>https://www.spaceshuttlealmanac.com/copy-of-china-report</link>
    <dc:creator>maciej</dc:creator><dc:subject>china space</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:maciej/b:f780d106f1ec/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:maciej/t:china"/>
	<rdf:li rdf:resource="https://pinboard.in/u:maciej/t:space"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://just-tech.ssrc.org/our-network/dorothy-santos/">
    <title>Dorothy Santos – Just Tech</title>
    <dc:date>2026-04-07T17:31:28+00:00</dc:date>
    <link>https://just-tech.ssrc.org/our-network/dorothy-santos/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Infrastructure of Feeling: Voices of Emergency and Crisis Media is a research project that investigates the complex relationships between care, crisis preparedness, and surveillance. The project aims to bring awareness related to both how emergency infrastructures operate and the psychological challenges of serving the public as a first responder. Another necessary area that will be researched is the effects of automation in relation to the emergency dispatcher’s role. With language detection softwares on the rise, this work will examine the multitude of ways the public gains greater awareness of technology that might provide supplemental care needed in life threatening situations.]]></description>
<dc:subject>emergency crisis media care</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:dab18b006d88/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:emergency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:crisis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:care"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/interactive/2026/03/31/magazine/quit-smartphone-addiction-social-media.html">
    <title>Why Some Young People Are Ditching Their Smartphones for Dumbphones, Flip Phones - The New York Times</title>
    <dc:date>2026-04-07T16:52:05+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2026/03/31/magazine/quit-smartphone-addiction-social-media.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The challenge for them, and for the Sleke, is that in the gap between initial epiphany and the release of the device, the market for alternatives to the full-featured smartphone became extremely crowded. Jordan and Boer no longer have the field to themselves. “I’ve watched it grow into a really diverse spectrum of options,” Jordan acknowledged to me.

On one end of that spectrum are the true dumbphones of the sort sold by the Finnish company Human Mobile Devices, the licensee of the Nokia name. On the other are so-called distraction-blocker apps that run on traditional smartphones: Brick, Freedom, AppBlock and Brainrot, which was created by the 27-year-old software engineer Yoni Smolyar and boasts as its most notable feature a cartoon cranium that literally disintegrates the longer the user spends online. And somewhere in the middle are devices like the Light Phone III, a beautifully designed, dumbphone-adjacent matte box equipped with a decent camera, a pared-down mapping application and a rudimentary music player.]]></description>
<dc:subject>smarthphone devices refusal digital_detox</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1d716bf9ae0f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:smarthphone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:devices"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:refusal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:digital_detox"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.clir.org/pubs/reports/story-of-the-modern-seed-library/">
    <title>The Story of the Modern Seed Library • CLIR</title>
    <dc:date>2026-04-06T21:30:46+00:00</dc:date>
    <link>https://www.clir.org/pubs/reports/story-of-the-modern-seed-library/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This study explores the relationship between humans and seeds, from the first agricultural societies 12,000 years ago to the modern era of centralized agribusiness corporations. Authors Jennifer K. Embree and Neyda V. Gilman argue that seeds, like any resource, have been a tool for human power, control, and development. As genetic biodiversity in plant life collapses due to climate change, Embree and Gilman offer seed libraries as a community-centered service that libraries can provide to combat food insecurity while celebrating biodiversity. Both faculty-ranked academic librarians at Binghamton University, the authors were inspired to write this publication as they worked together to launch their library’s Sustainability Hub in 2021, which includes the campus’s first seed library.

The Story of the Modern Seed Library is part of the Pocket Burgundy series, which features concise publications on various topics within the information and cultural heritage communities.]]></description>
<dc:subject>seeds seed_libraries library_field</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2c613bcc49e4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:seeds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:seed_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://journal.voca.network/unhoused-murals/">
    <title>VoCA Journal Unhoused Murals</title>
    <dc:date>2026-04-06T21:00:44+00:00</dc:date>
    <link>https://journal.voca.network/unhoused-murals/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Museo a Cielo Abierto de Valparaíso (MaCA) is a collection of twenty murals and a mosaic, conceived in 1991 by Chilean painter, architect, and academic Francisco Méndez, and born from a mural workshop de la Universidad Católica de Valparaíso. Through an agreement with the Municipality, this initiative enabled the artistic transformation of public spaces in Valparaíso, Chile, and was inaugurated in 1992."]]></description>
<dc:subject>valparaíso murals art 2026 magdalenadardelcoronado 1992 franciscoméndez pucv publicspace museums maca andreagiunta pedagogy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bebba877aea5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:valparaíso"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:murals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2026"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magdalenadardelcoronado"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1992"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:franciscoméndez"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pucv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publicspace"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:museums"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maca"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:andreagiunta"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pedagogy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.coyotemedia.org/an-open-letter-to-larussell/">
    <title>An Open Letter to LaRussell</title>
    <dc:date>2026-04-06T19:51:15+00:00</dc:date>
    <link>https://www.coyotemedia.org/an-open-letter-to-larussell/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The rapper made an error with the song “Heaven Sent,” writes fellow Bay Area emcee Rocky Rivera. But not listening to his community was the bigger mistake."

...

"Ed. note: Up until this year, Vallejo rapper LaRussell had been enjoying something of an unprecedented ascent. Known for his independent, community-centered approach to the music industry, LaRussell spent the first weeks of 2026 on a well-received promotional campaign for his song “I’m From the Bay.” In February, shortly after announcing a somewhat controversial deal with Jay-Z’s Roc Nation, he headlined the Super Bowl’s official tailgate party. 

Then, in March, LaRussell released a song called “Heaven Sent,” with lyrics that describe Donald Trump, Jeffrey Epstein, and Hitler, among others, as being “heaven sent.” Did he mean that they’re gifts from heaven? Or that we are all capable of being pedophiles and dictators? 

Despite widespread backlash on social media, LaRussell has declined to apologize. Instead, he called anyone who disagreed with him “haters” and blocked those who left critical comments — then deactivated his social media accounts entirely. Veteran Bay Area emcee and journalist Rocky Rivera is among those who was blocked for offering her feedback before LaRussell’s Instagram account was deactivated. We invited her to expand on her thoughts for COYOTE."

...

"Dear LaRussell,

I hope this message, well, finds you. You are currently away from all socials: the first break I’ve seen you take since you came onto the Bay Area music scene nearly a decade ago.

You don’t know me, but I am a huge supporter of what you’ve done in and for the Bay Area. I’m a veteran hip-hop journalist with a track record of supporting local artists. I’m also an artist, myself. I was raised in San Francisco and now live in Oakland; I’m deeply connected to my communities in both. 

What you’ve done in your short amount of time on the scene must be applauded, including your “pay what you want” economic model and backyard shows, which have brought joy and a sense of community to so many. And your run-up to the Super Bowl this year was revolutionary. Since the beginning, I’ve championed your unconventional strategy, your obvious connection to your fans, and your commitment to doing things your way. That will always stand. But on the way to carving out your fanbase and community, you created a fortress. An echo chamber. I, and many others, tried to warn you, but you’ve made it clear you’re not listening.

We all can agree that the first mistake was not listening to your engineer when he told you not to release this song. But the cascading events that followed point to an even bigger issue: an inability to hear feedback from the fans who put you where you are today. 

From an industry standpoint, the way you handled this controversy also brings up questions about your team. Had they been truly looking out for you, they would have advised you to a) take a second before responding and really listen to what your fans are saying; b) issue an apology, therefore ending the discussion; and c) use this experience to inform the next time you write a bar that could be misconstrued or a song that may be irresponsible to release. Save. Yourself. The Trouble. Or just, Save Yourself.

None of this needed to happen. It definitely didn’t need to be doubled down on (then tripled, then quadrupled).

What I won’t do is argue over semantics: I don’t care whether there’s a dash between “heaven” and “sent,” nor how Merriam-Webster defines it. That part was just lazy writing. I won’t do a back-and-forth with your Christian followers and their platitudes of creationism either; we will have to agree to disagree. As a peer, I will gently advise you to re-examine the circle you keep around you. From your manager’s responses, to your mom’s rally in your honor, to your fans’ blind loyalty, it’s all beginning to look like cultish behavior. Behavior that is preventing you from learning, or from being vulnerable with the community you created — a community to whom you do owe an apology. Because whether it was intentional or not, you hurt people. 

As an artist who has learned to deal with being a public figure, I can also appreciate that it’s hard to drown out the noise. When you’re young and famous, you don’t realize how powerful you can be, so you cast critics as “haters.” And, yes, many of them are. They’ve been wanting to criticize you, waiting for you to fuck up your “community” angle and call you performative. They say things like, “I always thought he was corny…” and find this moment vindicating as another misstep on your end: a way to say you didn’t read the proverbial room. 

But not everybody is a hater. Many of us have been rooting for you, the way you’ve put on for Vallejo, for the youth in your recent school campus videos for “I’m From the Bay.” Hell, I wasn’t even that mad when you signed to Roc Nation and said those things about Lil’ Wayne. However, it was around then that I started seeing you address your “haters” more frequently — who were, to be clear, people accurately pointing out that your proud “independent hustle” was at odds with your signing to a corporate label owned by the most famous Black capitalist of our generation, Jay-Z. 

In retrospect, the storm was building from this moment on, as you adopted a defensive stance that inoculated you from future criticisms, constructive or not. 

The Latin root word for “accountability” is “to reckon,” which we have come to associate with Biblical terms.  And your fans are doing just that: reckoning.  People are weighing your recent actions against the real good you’ve done — what you’ve given the Bay in terms of entrepreneurial spirit and independent hustle — and they’re conflicted about it. 

These fans are also giving you vital information: Because it’s not always immediately apparent when you’ve caused harm, you need indicators. Ideally, your loved ones are people who you can trust to be honest. They’re not enablers. Fans and peers giving you thoughtful, critical feedback are not misunderstanding you on purpose. They are doing what good friends should do and urging you to reconsider your perspective — to place yourself in a nonbeliever’s shoes, a survivor’s shoes, and consider the impact of your words. 

There is no injustice in what you did to yourself. There is only self-sabotage. You, being Icarus. The Sun being, well … Heaven Sent.

Please don’t take a page from the book of the president when it comes to damage control. Nor Epstein. Nor “Adolf.” They were not accountable. They were never truly punished — not made to understand how they’ve harmed so many. They did not face their reckoning and make it to the other side a changed person. 

But I still believe you can, if you are brave enough to listen and reflect. To use this time to ask the important question: Who do I trust enough to tell the truth to me, even when I cannot tell it to myself? That is a philosophical question. That takes shadow work — not spiritual bypassing. If you want to know if you’re wrong, you have to pay attention to the rationale of your critics. If they start making more sense than your followers, then you have your answer in front of you, where it has always been. 

Still in your corner,

Rocky"]]></description>
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    <dc:date>2026-04-06T19:45:24+00:00</dc:date>
    <link>https://placesjournal.org/article/oakland-and-the-ghosts-of-urbicide/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A specter of Blackness haunts Oakland, California, lingering palpably in cultural and material landscapes that have been shaped by generations of Black Oaklanders."]]></description>
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<item rdf:about="https://om.co/2026/04/05/951836/">
    <title>Sam Always Wins – On my Om</title>
    <dc:date>2026-04-06T19:33:51+00:00</dc:date>
    <link>https://om.co/2026/04/05/951836/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["<blockquote>“Sam Altman has it. You could parachute him into an island full of cannibals and come back in 5 years and he’d be the king.” — @paulg</blockquote>

<blockquote>Anytime anyone underestimates or tries to do an end run around @sama, I remind myself of this golden nugget from PG, the man who knew him best before he became Sam the man. Just a reminder for present and future @OpenAI employees and investors. (My Tweet)</blockquote>

Over the past week or so I noticed that CFO Sarah Friar and AGI chief Fidji Simo were doing the press. Why them and not Sam? We know Sam loves being in the spotlight. Was there some kind of palace coup in the works?

Well, there might have been something to my late night ruminations. The Information reports that Altman has excluded Friar from key financial meetings. She has been reporting to Simo, not him, since August 2025. Ironic, considering OpenAI plans to go public soon and the CFO is a key player. Simo is now taking medical leave to treat an ongoing neuroimmune condition.

PG quote looms large!"]]></description>
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<item rdf:about="https://www.newyorker.com/magazine/2026/04/13/sam-altman-may-control-our-future-can-he-be-trusted">
    <title>Sam Altman May Control Our Future—Can He Be Trusted? | The New Yorker</title>
    <dc:date>2026-04-06T19:08:46+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2026/04/13/sam-altman-may-control-our-future-can-he-be-trusted</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["New interviews and closely guarded documents shed light on the persistent doubts about the head of OpenAI."

[via:

"Sam Altman is “unconstrained by truth.”
https://www.theverge.com/ai-artificial-intelligence/907421/sam-altman-is-unconstrained-by-truth

A long, and at times funny, report in The New Yorker on Altman’s will to power, people-pleasing, and alleged pattern of deceit, compiled from notes, memos, and more than 100 interviews. Altman’s reputation has given rise to grimmer rumors – hiring sex workers, the sexual pursuit of minors, even involvement in murder – that The New Yorker found no evidence for. Increasingly, the question is not whether computers are intelligent but whether OpenAI’s leadership is."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=zkT4GNXOLRg">
    <title>Black Anarchism in the US: William C. Anderson - YouTube</title>
    <dc:date>2026-04-06T18:27:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=zkT4GNXOLRg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When state violence and systemic denial of full citizenship by the state makes true belonging impossible for Black people, Black anarchists have envisioned and fought for a free life beyond the state. In this episode of Rattling the Bars, author William C. Anderson explores the rich, radical tradition of Black anarchism and its connection to prison abolitionist movements."]]></description>
<dc:subject>williamcanderson williamanderson 2026 anarchism blackanarchism us abolition abolitionism stateviolence</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2c8144ef418b/</dc:identifier>
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</item>
<item rdf:about="https://www.noemamag.com/limiting-not-just-screen-time-but-screen-space/">
    <title>Limiting Not Just Screen Time, But Screen Space - NOEMA</title>
    <dc:date>2026-04-06T02:54:40+00:00</dc:date>
    <link>https://www.noemamag.com/limiting-not-just-screen-time-but-screen-space/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We no longer think a robot is intelligent just because it can move in a world built for bodies like ours. Large language models (LLMs), in our imagination, are conversational beings without bodies, without any friction of environment. We speak to them as if they were somewhere nearby, and yet they are not anywhere our imaginations can place. And so we begin to accept the strange premise that intelligence might exist outside of the physical world, floating above the constraints that make human life legible.

Yet intelligence is environmental.

My colleague at Williams College, Joe Cruz, notes that for an AI to strike us as authentically intelligent, it will have to be embodied, because many of the features we value in human (and animal) intelligence arose from the task of keeping a body alive as it moves through shared space. We recognize dogs as intelligent, for instance, in part because they have facility in our built and social spaces, communicating through shared emotional expressions, having evolved to live within our environments. Some cognitive scientists argue that intelligence cannot be made sense of in isolation from body and environment at all. 

The sci-fi image of the floating brain that finds a body and learns to walk (or to love) has the steps reversed. We learn through our bodies; we sense the world, make decisions about it and act within it. Intelligence that is disembodied will not seem like intelligence to us. 

And yet, in Silicon Valley, the opposite vision holds sway. Powerful people, including tech experts and many of our elected officials, believe that with LLMs, we will find a better way of living together, a better way of governing our shared environment.

Sam Altman, the CEO of OpenAI, has argued that AI acceleration will usher in an “Intelligence Age” of “unimaginable” and “shared” prosperity and “astounding triumphs” like “fixing the climate.” Deep learning, he explains, is an algorithm that can truly learn the rules behind any distribution of data. The more compute and data available, the better it can help people “solve hard problems.” 

Altman’s vision collides with basic truths of how people live. We care for places because we inhabit them. Love of place arises through our bodies as much as our minds.

But those committed to disembodied intelligence reach for a different solution: total representation. If the model cannot dwell in the world, the world must be made to dwell in the model as a “digital twin,” rendered at ever finer resolution, until environment becomes data and data becomes environment. 

Argentinian author Jorge Luis Borges’ parable “On Exactitude in Science” imagines an empire that produces a map the exact size of the territory. It is a useless tool, one that becomes territory itself. “In the Deserts of the West,” Borges concludes his story, “there are Tattered Ruins of that Map, inhabited by Animals and Beggars.”

<blockquote>“What would it mean to limit not only screen time, but screen space?”</blockquote>

Those dreaming of a nascent cognitive revolution are imagining that Borges’ one-to-one map will be finally useful — that if we just feed enough text, enough human knowledge, into the machine, it will comprehend the world in a way we never can. 

Even if we had the time, labor and energy to attempt this, why would we? Why not put that effort into talking to each other? 

The alternative is an increasingly familiar solipsism. A solipsistic person believes the self is the only reality. Other minds, other bodies, may as well be an illusion. 

Today’s internet bends us toward solipsism. We no longer imagine ourselves to be placing our images and our voices into the internet. We imagine ourselves — our physical beings — to be living within it. We imagine the internet to be our environment.

In “Trick Mirror,” journalist Jia Tolentino warned that the internet, once imagined as a space of freedom, had become a mechanism for surveillance, performance and commodification. Online life encourages self-optimization and branding at the expense of connection. “In physical spaces, there’s a limited audience and time span for every performance,” Tolentino writes. “Online, your audience can hypothetically keep expanding forever, and the performance never has to end.” 

Tolentino focused on time, but this internet is an endless stage, too, one with no wings, no exit, no place to step off and be alone again. 

“brb” once acknowledged departure and faith in return. It reminded us of the body behind the screen. Now, we are infinitely available, and AI is sold to us as the tireless and needless assistant. But our bodies continue to live in the world with stubborn persistence, despite Silicon Valley’s dream of the immortal avatar, the ability to upload our essence into a durable machine, which is a dream of escaping death and environment alike.

Most of the questions worth asking are not about how to transcend the environment, but how to inhabit it. How to live together in shared space. 

Many social, historical and economic forces led me to check my work email in the bathroom. Among them is the way we have come to imagine the internet not as a place we go, but as a space we inhabit. We make sense of abstract experience through bodily metaphors grounded in orientation and sensation: Up is good, down is bad, warmth is affection, weight is importance. These metaphors shape how we act and what we value. 

Window, weather: Change the metaphor and you change the possibilities for thought and action. If the internet once taught us to say “brb,” perhaps the work ahead is to recover that ethic of interruption, to remember the body in a room, waiting to return."]]></description>
<dc:subject>2026 lauramartin interner web online ai artificialintelligence intelligence bodies embodiment physical environment senses wireless wifi mobile attention privacy space sharedspace smartphones place chatgpt samaltman openai connectivity gps jiatolentino spikejonze her llms joecruz socialspaces emotions cognition cognitivescience borges connection audience time performance freedom boredom surveillance commodification solipsism data representation sensory decisionmaking isolation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:afe49fb94827/</dc:identifier>
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</item>
<item rdf:about="https://emergencemagazine.org/essay/wildflower-beauty-and-the-search-for-home/">
    <title>Wildflower Beauty and the Search for Home – David George Haskell</title>
    <dc:date>2026-04-06T00:22:46+00:00</dc:date>
    <link>https://emergencemagazine.org/essay/wildflower-beauty-and-the-search-for-home/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Biologist David George Haskell turns to the deep-time evolutions and tangled histories of wildflowers that grow around his home in Atlanta, Georgia, to learn how we might find a deeper sense of belonging in the places we live."]]></description>
<dc:subject>davidgeorgehaskell 2026 nature wildflowers place atlanta georgia time multispecies morethanhuman plants biology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:38ee4c03bfe7/</dc:identifier>
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</item>
<item rdf:about="https://bombmagazine.org/articles/2007/04/01/wallace-shawns-the-fever/">
    <title>BOMB Magazine | Wallace Shawn's The Fever</title>
    <dc:date>2026-04-06T00:20:59+00:00</dc:date>
    <link>https://bombmagazine.org/articles/2007/04/01/wallace-shawns-the-fever/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>wallaceshawn thefever 2007</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a82f5e95fabd/</dc:identifier>
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</item>
<item rdf:about="https://wischik.com/lu/senses/fever.html">
    <title>The Fever, by Wallace Shawn</title>
    <dc:date>2026-04-06T00:18:50+00:00</dc:date>
    <link>https://wischik.com/lu/senses/fever.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>wallaceshawn literature politics thefever</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f73d231951b2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wallaceshawn"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=G5buUquvf1I">
    <title>Unfolding the Deleuze Seminars: Experimental Pedagogy, Philosophy, and Politics inside Deleuze's Classroom (with Charles J. Stivale) - YouTube</title>
    <dc:date>2026-04-06T00:15:54+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=G5buUquvf1I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What would it mean to experience philosophy not as a body of knowledge to be transmitted, but as a sensation to be felt? Craig is joined by Charles J. Stivale, author of Unfolding the Deleuze Seminars 1970-1987 and co-director of the Deleuze Seminars Archive at Purdue, and Dr. Bob Langan to reconstruct the atmosphere of Deleuze's legendary classroom: the overcrowded rooms, the student contestations, and the radical pedagogical experiment that post-68 French university life made possible. This is the closest you're going to get to sitting at Deleuze's feet on a Tuesday afternoon. Continuing discussion is available for subscribers via our Patreon account.

Unfolding the Deleuze Seminars, 1970-1987: Summaries and Commentary -  https://edinburghuniversitypress.com/book-unfolding-the-deleuze-seminars-1970-1987.html

Dr. Bob Langan's links:
https://www.roberthlangan.com/
ig: roberthlangan

Jung and Spinoza: Passage Through The Blessed Self - https://www.routledge.com/Jung-and-Spinoza-Passage-Through-The-Blessed-Self/Langan/p/book/9781032851853 "

[Aslo here:
https://open.spotify.com/episode/3O4a66ePEKHXusdvZx9MnR
https://podcasts.apple.com/us/podcast/unfolding-the-deleuze-seminars-experimental-pedagogy/id1512615438?i=1000759422080 ]]]></description>
<dc:subject>acidhorizon deleuze 2026 charlesstivale boblangan teaching howweteach pedagogy philosophy politics highered highereducation academia colleges universities gillesdeleuze spinoza pierrebourdieu foucault michelfoucault</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:highered"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:highereducation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:academia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:colleges"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:universities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gillesdeleuze"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spinoza"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pierrebourdieu"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:foucault"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:michelfoucault"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.departmentofinformation.org/information/">
    <title>Information About the Department of Information - Department of Information</title>
    <dc:date>2026-04-05T22:20:54+00:00</dc:date>
    <link>https://www.departmentofinformation.org/information/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Information About the Department of Information
The Department of Information Main Campus Building A as seen on a warm, summer afternoon, 2024, Office of Public Awareness Division of Film, Radio, Television, and Books Rare Media Archives

Main Campus Buildings A, B, D, and F through N—as well as the Xerox Climate Lab and the parking lot tiki hut that sells tropical-themed hotdogs on Tuesdays—are currently closed due to fumigation and pest control activities. If you report to one or all of those buildings please telework until you receive notification from your supervisor that the rodent infestation has been resolved. Thank you.

The Department of Information is a production of Tomato Laboratories. It has been creating space for thought and giving meaningful ideas the bureaucracy they deserve since 2021.

The Department is located in the basement of an unremarkable 1950’s-era federal modernist building reserved for anomalous, experimental, and quasi-official government-parallel offices and agencies.

For all intended purposes this website will be used to disseminate interesting and timely content related to art, design, and culture.

]]></description>
<dc:subject>bureaucracy aesthetics_of_administration manuals paperwork</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:afcdd2a68745/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:aesthetics_of_administration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:manuals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:paperwork"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.ideastream.org/community/2025-06-02/clevelands-new-library-branch-will-share-its-home-with-senior-residents">
    <title>Cleveland's new library branch will share its home with senior residents | Ideastream Public Media</title>
    <dc:date>2026-04-05T20:28:15+00:00</dc:date>
    <link>https://www.ideastream.org/community/2025-06-02/clevelands-new-library-branch-will-share-its-home-with-senior-residents</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Cleveland Public Library will break ground on a new facility in the Detroit-Shoreway neighborhood on Friday. When completed, the building will have a unique tenant on the top floor.

The new Walz library branch at the corner of West 80th Street and Detroit Avenue will include 51 affordable apartments for seniors 55 years and up.

Beth Madden, of Northwest Neighborhoods CDC, said it’s a dream project for her, and for seniors.

"Residents will have access to the library through the elevator or stairs during library opening hours," Madden said. "But they will have to abide by the same hours as the rest of the public."

The Karam Senior Living Apartments will be for seniors with incomes 60% or less than the area median income. It will also have a community room and wellness center.

Madden called it "a really amazing opportunity, especially for a vulnerable population."]]></description>
<dc:subject>libraries mixed_use co_location architecture housing aging</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:bb28e3273be5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mixed_use"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:co_location"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:housing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:aging"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://punkpreservationists.org/">
    <title>Punk Preservationists</title>
    <dc:date>2026-04-05T20:00:22+00:00</dc:date>
    <link>https://punkpreservationists.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The goal of AFAAB is to preserve both the spirit and the structure of the AFAAB building (aka the Visual Arts Building, Toaster, Art Barn, or “Old Art Building”) and to provide a dynamic and creative physical and virtual creative space for the Antioch College community. We are “punk preservationists”. We seek to approach architectural preservation with an irreverent, DIY, and community-focused ethic that mirrors the ideals of Antioch College, a longstanding bastion of radical pedagogy and progressive politics.The Ant Farm Antioch Art Building Creative Preservation Initiative (aka ‘AFAAB’) was initiated by Catalina Alvarez (filmmaker and former Antioch College faculty member in the Arts division) and Liz Flyntz (designer, curator, Antioch alum and Antioch Visiting Artist) in early 2020 at the height of the pandemic lockdown. Later Flyntz and Alvarez were joined by Tim Noble (Antioch alum, architectural researcher, and sculptor).

Many Antioch College students have been instrumental to this project including Leander Johnson, Ty Clapsaddle, Lola Nelson-Betz, Michael Perea, Oren-Andrew Wentzel, Zoë Johnson, Rosemary Compton, Ryn McCall, and Tennyson Love. We’ve been helped by artists, architects, researchers, and historians including Michael Casselli, Scott Sanders, Giorgia Aquilar, and Victoria Keddie. The AFAAB structure was designed by Doug Michels and Tom Morey (members of the radical architecture, media art, and design groups Ant Farm and Southcoast, respectively) in 1971. It was designed to be built quickly and cheaply using off-the-shelf industrial materials, and to provide flexible teaching spaces that would allow different artistic disciplines to “intermingle”. The look and feel of the building is a vibrant, bright, Neo-Bauhaus workshop, with a huge gallery space, print studio, painting studio, and ceramic space surmounted by classrooms, screening rooms, and a fourth floor of lofted open individual studios. The exterior walls of the first floor are garage doors that open on all four sides to allow large artworks to be moved and light and air to pour into the space. ]]></description>
<dc:subject>preservation radical_pedagogy alternative_school</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d363195d17a9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:radical_pedagogy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:alternative_school"/>
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</item>
<item rdf:about="https://www.criterion.com/current/posts/9093-planet-of-the-tapes-a-conversation-with-alex-ross-perry?srsltid=AfmBOorfXZAgOzaqF52IQLIWSFGGMyPCh5OlDrjT2ZNFRZSIyBFMffXY">
    <title>Planet of the Tapes: A Conversation with Alex Ross Perry | Current | The Criterion Collection</title>
    <dc:date>2026-04-05T19:25:52+00:00</dc:date>
    <link>https://www.criterion.com/current/posts/9093-planet-of-the-tapes-a-conversation-with-alex-ross-perry?srsltid=AfmBOorfXZAgOzaqF52IQLIWSFGGMyPCh5OlDrjT2ZNFRZSIyBFMffXY</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I highly recommend Michael Z. Newman’s Video Revolutions: On the History of a Medium, a book that analyzes video not as a technology but as a dynamic cultural concept that has shifted in meaning and status in relation to film and television. It’s a book I found really useful in working on this movie. A big part of it was this sudden idea that you could tape the game, or tape the news and watch it when your kid goes to bed, or tape your favorite show and fast-forward through the commercials, which you can imagine would have seemed huge for people. I can’t even imagine how exciting it was for people that had grown up watching TV in the sixties and seventies to suddenly have a godlike control over their entertainment, including the fast-forward button....

It was the start of a movie as a commodity. Prior to that, for fifty-plus years, the theatrical experience was ephemeral. You would experience [a movie], and then it would go away. You would have your memories of it, and then maybe you’d see it again someday in some other form. Suddenly you could say, “Oh, I love that movie, I have it at home, I watch it all the time,” or “I’ll loan it to you.” And suddenly the consumers became the archivists. You could sit in your home and have a shelf of your favorite movies. Clearly in retrospect, that is the moment when the consumer’s relationship with what a movie is changed forever. They went from being these magical objects that flew by you like a comet that you were lucky to get to see, to something that was just around all the time....

What is it about the eighties that made that the golden era?

    The stores were just totally gnarly. They all looked different. Some of them had a thousand, two thousand, three thousand tapes, they really weren’t that vast. Not a cavernous retail space, but a narrow spot in a strip mall. And for me as a six-year-old, that was magical. To be getting a haircut, walking at the strip mall, and there’s just some tiny little spot with neon lighting and unregulated horror movies in front of you.]]></description>
<dc:subject>television tape VCR film</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4c9d6fb54ebb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:television"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:tape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:VCR"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:film"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://bethmathews.substack.com/p/digital-sign-painting-what-ive-learned">
    <title>Digital Sign-Painting: Handcrafted Methods in These Digital Times</title>
    <dc:date>2026-04-05T18:51:15+00:00</dc:date>
    <link>https://bethmathews.substack.com/p/digital-sign-painting-what-ive-learned</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[As a graphic designer who works primarily digitally, I still find myself studying hand-crafted methods and thinking about how to apply those techniques to my digital work. In my design workshops, I talk a lot about staying authentic to the time period we’re recreating digitally, for example, through the accuracy of typefaces for the era. If we’re designing a “1930s card”, then the typefaces need to be from the 1930s or before!

So, when thinking about recreating the look of hand-painted signage in our digital designs, I think it’s important to head to the sources, study them, and then actively use what we’ve learned in our work rather than strictly relying on our design programs to tell us how a “drop shadow” should look. Also, I want to mention that I bow down to sign-painters and realize that we could never recreate the fullness and greatness of their talents digitally. But I do love the idea of learning from their methods to help us become better digital designers!]]></description>
<dc:subject>lettering typography signs sign_painting shadows</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e8d709018d2b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:lettering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:typography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:signs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sign_painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:shadows"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.flickr.com/groups/419512@N22/pool/with/54218847728">
    <title>CONTROL ROOMS | Flickr</title>
    <dc:date>2026-04-05T18:49:53+00:00</dc:date>
    <link>https://www.flickr.com/groups/419512@N22/pool/with/54218847728</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>control_rooms dashboards interface_design</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f8bd7d346a46/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:control_rooms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:dashboards"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:interface_design"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://bethmathews.substack.com/p/why-so-many-control-rooms-were-seafoam">
    <title>Why So Many Control Rooms Were Seafoam Green</title>
    <dc:date>2026-04-05T18:49:20+00:00</dc:date>
    <link>https://bethmathews.substack.com/p/why-so-many-control-rooms-were-seafoam</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In the fall of 1919, Faber Birren entered the Art Institute at the University of Chicago, only to drop out in the spring of 1921 to commit himself to self-education in color, as such a program didn’t exist. He spent his days interviewing psychologists and physicists and conducted his own color studies, which were considered unconventional at the time. He painted his bedroom walls red vermillion to test if it would make him go mad.

In 1933, he moved to New York City and became a self-appointed color consultant, approaching major corporations to sell the idea that appropriate use of color could boost sales. He convinced a Chicago wholesale meat company that the company’s white walls made the meat unappealing. He studied the steaks on various colored backgrounds and determined that a blue/green background would make the beef appear redder. Sales went up, and soon a number of industries hired Faber to bring color theory into their work, including the leading chemical and wartime contract company, as well as the Manhattan Project building designer, DuPont...

With the increase in wartime production in the US during WWII, Birren and DuPont created a master color safety code for the industrial plant industry, with the aim of reducing accidents and increasing efficiency within plants. These color codes were approved by the National Safety Council in 1944 and are now internationally recognized, having been mandatory practice since 1948. The color coding went as such:

    Fire Red: All fire protection, emergency stop buttons, and flammable liquids should be red

    Solar Yellow: Signifies caution and physical hazards such as falling

    Alert Orange: Hazardous parts of machinery

    Safety Green: Indicates safety features such as first-aid equipment, emergency exits, and eyewash stations.

    Caution Blue: Non-safety information, notices, or out-of-order signage

    Light Green: Used on walls to reduce visual fatigue

Keeping in theme with “control rooms”, I researched the second Manhattan Project plant, the Hanford Site, home to the B Reactor, the first full-scale plutonium production reactor in the world. To my surprise, this site looked like an ode to Birren’s light green and color codes, which makes sense, since his client, DuPont, was also responsible for the design and construction of Hanford.

In Birren’s 1963 book Color for Interiors: Historical and Modern, he writes about research undertaken to measure eye fatigue in the industrial workplace and the effects of interior color on human efficiency and well-being. Using the color chart above, he states that the proper use of color hues can reduce accidents, raise standards of machine maintenance, and improve labor morale....

“Note that most of the standards are soft in tone. This is deliberate and intended to establish a non-distracting environment. Green is a restful and natural-looking color for average factory interiors. Light Green with Medium Green is suggested.”]]></description>
<dc:subject>dashboards control_rooms interface_design color security industrial_design</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e83f4e93d8bb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:control_rooms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:interface_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:color"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:security"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:industrial_design"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.architecturalrecord.com/articles/18116-soil-envisions-a-cleveland-public-library-as-an-open-civic-platform">
    <title>SO–IL Envisions a Cleveland Public Library as an Open Civic Platform | Architectural Record</title>
    <dc:date>2026-04-05T14:32:54+00:00</dc:date>
    <link>https://www.architecturalrecord.com/articles/18116-soil-envisions-a-cleveland-public-library-as-an-open-civic-platform</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[“Let us move on toward the goal of brotherhood,” King said, “toward the goal of personal fulfillment,” echoing sentiments he expressed in his famous 1963 “I Have a Dream” speech, in which he spoke of coming together at the “table of brotherhood.” Brooklyn architecture studio SO–IL adopted this image of a grand table—a place for both study and camaraderie—as the central concept for the new home of the Cleveland Public Library’s Martin Luther King, Jr. Branch.
The library, which opened in January and replaces the original facilities across the street, occupies the first two floors of a new residential tower in the East Side neighborhood of University Circle. Its relocation is both part of a broader decades-long initiative to reinvent the area as a second downtown—named Uptown—and a more localized $417 million housing-development project called Circle Square. The University Circle neighborhood—what Cleveland officials claim is “Ohio’s most spectacular square mile”—does have a lot going for it: an art museum and an art school, the city’s orchestra, botanical garden, and natural history museum, and the university medical center are all nestled there, along a brand-new light-rail line. The old library, a two-story building with a yellow-brick arched colonnade, sits kitty-corner to the new site, but there are plans to eventually build a residential tower there as part of the same development....

Cleveland-based Bialosky Architects designed the nine stories of studios and one-bedroom apartments that sit atop the library, dubbed the Library Lofts. The two teams, however, had to work hand in glove on the design of the superstructure and on aspects that would necessarily affect the library at its base, such as column placement and the fire egress for the apartments...

Beyond the city’s goal of densifying the area, “there was an opportunity to completely rethink what a library is,” says Jing Liu, founder along with Florian Idenburg of SO–IL. As archives have become more digital, libraries today no longer require large bookstacks. Some branches have even reported that their digital-media lending has recently surpassed physical loans. In response, “the library is becoming more of a civic and cultural center rather than just somewhere you go for books,” adds Liu. Thus the idea of the table—a place for work and community—and not the bookshelf became the programmatic core of the library....

A 65-foot-diameter concrete platform occupies the center of the library. Desks, benches, steps, and a teen breakout zone, all milled from cross-laminated timber (CLT), ring the platform. Together, the multifunctional stage/assembly area and the wood built-ins around it compose the conceptual “table.” The platform, which conceals ventilation ducts, can host lectures, movie screenings, and even wrestling matches and dance parties. Acoustic curtains—some of which are composed of multiple layers of cotton and PVC film—on a track above the “table” allow for flexibility while mitigating sound that would otherwise reverberate in the open 23,000-square-foot, double-height space....

While the architects are known for their cultural buildings, this is their first library. “We know how to design public institutions,” says Liu, “but with this experience, we realized that the constituency of a library is very different and much broader than a museum’s.” Cleveland Public Library, whose moniker is “The People’s University,” aims to be a space for everyone in the community, from young children to retirees, those who don’t have access to technology at home or do not have homes...

The second story also includes rentable meeting rooms and a technology learning center. It is designed to allow for secure access for community events after the library has closed and the librarians have left...

Dark, narrow rows of bookshelves for quiet, intimate perusal and personal discovery are replaced with a light-filled, open, and flexible space that aims to bring people together, provide services, and foster self-expression. Or, as Liu concisely puts it, “This is the opposite of shush.” SO–IL’s design invokes King’s philosophy, both through the concept of the “table of brotherhood” and in the details. ]]></description>
<dc:subject>libraries mixed_use housing tables intellectual_furnishings</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:a149ad2b97f2/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mixed_use"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:housing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:tables"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intellectual_furnishings"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theglobeandmail.com/canada/article-books-plants-and-playgrounds-montreal-creates-a-place-to-come-together/">
    <title>Books, plants and playgrounds: Montreal creates a place to come together - The Globe and Mail</title>
    <dc:date>2026-04-05T14:26:09+00:00</dc:date>
    <link>https://www.theglobeandmail.com/canada/article-books-plants-and-playgrounds-montreal-creates-a-place-to-come-together/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Sanaaq Centre in downtown Montreal, which upends the conventions of North American public space. Rather than offering a single function, the 57,000-square-foot space on downtown’s western edge contains multitudes. It combines a public library, a black-box theatre, a media lab, a social services hub, urban agriculture and the café under one roof.
This is a deeply democratic environment that provides people choices: of space, of atmosphere, of activities, between solitude and collective experience...

It is also a design triumph. Created by local architects Pelletier de Fontenay and Architecture49 with interior designers Atelier Zébulon Perron, Sanaaq is the most beautiful and comfortable public building to open in Canada.
The design and the mix of activities are interlinked. The place “serves different types of publics,” Johanna Aman, the centre’s head of public engagement, said in French. “Students, small children, Innu who are visiting, all sorts of people who live in the district.”
And that ethos shaped the bones of the place and its activities: a nearly utopian list that includes a staffed recording studio and a community greenhouse. “This is a community space, and that is what is needed in this district,” said Stéphanie Quer, the head of the Sanaaq library branch.
The facility occupies the first three floors of a new condo building (designed by Menkès Shooner Dagenais Letourneux) on the former site of the Montreal Children’s Hospital. The trapezoidal space was delivered to the city as part of a development deal....

After a complex wish list was assembled through a set of community meetings, the agency Design Montreal launched a two-stage design competition that honed in on a clear conceptual approach. The architect Hubert Pelletier describes the centre as “a radical assemblage,” a mix of activities in which the library is only half of the space. “We embraced this heterogeneity, trying to talk about this mosaic of different people and different communities or origins, but also different functions.”
]]></description>
<dc:subject>library public_space mixed_use housing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:13c15effe2bc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:public_space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mixed_use"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:housing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://4columns.org/frere-jones-sasha/the-revolt-eclipses-whatever-the-world-has-to-offer">
    <title>The Revolt Eclipses Whatever the World Has to Offer | 4Columns</title>
    <dc:date>2026-04-05T08:06:02+00:00</dc:date>
    <link>https://4columns.org/frere-jones-sasha/the-revolt-eclipses-whatever-the-world-has-to-offer</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Idris Robinson’s book presents a radical perspective on the role of martyrdom in the next American revolution."

...

"The common slang term NPC—“non-player character”—marks someone as being run by the software, not acting of free will. There is a phrase that acts as the antipode to NPC: choose your fighter, and this is the concept we should use for Idris Robinson, assistant professor of philosophy at Texas State University and author of The Revolt Eclipses Whatever the World Has to Offer. His first book, it collects notes written on the fly, speeches given at protests, academic parsings, and a few texts it would be imprudent to classify. While reading this brief, convulsive volume, we are riding in a car with three fighters. There is the professor, who revises and animates the concept of “destituent power” by combing through Tronti, Agamben, Benjamin, and Aristotle to find the red threads that bind the idea. There is the young Black man, beset on all sides by unsolicited American advice and global pressure, thinking about suicide on a train platform: the subject in motion. And there is the transitional figure who takes Marx’s dialectical diagram as a prompt to become a philosopher—“philosophy finds its material weapons in the proletariat, so the proletariat finds its spiritual weapons in philosophy”—and discovers a framing for that life in “the hot pandemic summer of 2020.”

But this figure only got there by going into the streets first, and then being so alienated by the “petit bourgeois nonsense” of Occupy that he went into the academy: “The whole ordeal was so irritating that I eventually threw my hands up, filled out a few applications, and went to graduate school.” The “trust fund kids lying about their monthly allowances” are everywhere, so how to fight them as well as the imperial Voltron of death that is America?

Robinson takes the tack here, as a good street tactician, of trying to hold as many positions as he can. At some unspecified point in time, when his “entire existence” was “devoted to finding the next riot,” he goes to Jerusalem. While staying in a hostel, his friend Barry finds the man who might know where the riot is. This “art wizard” is “Peter Pan in a black cape with a bunch of silver jewelry: a complete fucking doofus,” the author tells us. The white man lectures Robinson about “deep connections” he feels with “the most militant of resistance fighters,” bums two cigarettes rather than the one offered, and eventually tells Robinson he sounds “really stupid.” Robinson slaps the cigarette out of the wizard’s mouth and a street fight of sorts ensues, including the wizard receiving a “perfectly executed judo shoulder throw,” also known in the vernacular as an “earth slam.” The purpose of this story is not necessarily to boast about bonking an art wizard but “to shine some light” on the fact that “white people really tend to act a fool when they visit the Holy Land.”

What starts as an amusing anecdote quickly takes flight. Once at the riot, Robinson sees the white people retreating “to a safe distance, while young Brown kids half their age charged the enemy with nothing more than stones.” The passive and idle spectators have revealed something deeper than cowardice. Robinson ties “martyr” to its derivation “from the Greek mārtus, which like the Arabic shahīd means ‘witness.’ ” This helps us understand “the falsity of an attempt to bear witness without achieving martyrdom.” And why is it important to consider that “white leftists and progressives often venture to the Land of Milk and Honey to purify themselves of colonial guilt”? Robinson brings the real point to the surface:

<blockquote>A person must therefore be willing to face both the negative and positive consequences of their participation: to endure the suffering, pain, and even death brought on by state repression, while savoring the bonds of solidarity and the profound euphoria that accompany liberation. The difficult choice faced by the martyr is that it is impossible to indulge in the latter without at least sometimes bearing the hardships of the former.</blockquote>

And it is in the Floyd uprising in that hot summer that we find another unified front, at least for a long moment. A “militant nationwide uprising did in fact occur,” and a “largely multiethnic rebellion managed to spontaneously overcome codified racial divisions.” As in Jerusalem, the riots were “spearheaded by a Black avant-garde,” but “different bodies, different shapes, different genders manifested themselves in the streets together.” How to end racism, a hot topic in what Robinson calls “corporate and academic circles”? Enforce an evenness of experience and consideration—where all assume the same level of risk in the streets and, everywhere all at once, treat each person as a human being. If the latter seems like a given, or some kind of anodyne tea towel, take a moment to seriously consider the moral rot at the center of the American-funded genocide in Palestine, carried out by “Israelis” from New Jersey and Belarus. The colonizer’s prior assumption of guilt is so toxic that Ms. Rachel has been publicly flayed by the AIPAC gang for being, as Hannah Black put it in a reading at the Poetry Project on October 22, “the only living American to believe in public that Palestinians are babies when they’re born.”

Where to bring this energy, the fully committed American agent who embraces martyrdom? A civil war, of course. At his book launch, held in early December at Francis Kite Club on the Lower East Side, Robinson put it simply: “Anything that breaks up America is a good thing.” In the book, he cites Du Bois’s Black Reconstruction as a source for helping to imagine an “emancipatory, liberatory, but nonetheless violent, civil war” that is due for a “second coming.” How do we introduce more dissolving into a huge industrial state that “is already beginning to break and fracture”?

Aside from the material obligation to stay in the streets and be ready to go John Wick for your comrades, there is the more diffuse idea that Robinson chooses to call “destituent power” (after more than one philosopher). He defines it here as “that which moves to sever the relational network of familial and political bonds encompassed by the (American white supremacist) state.” It’s a tricky position, one that is essentially unfinished. Robinson sees the liberal delusions of “intersectionality, identity, and privilege politics as roughly the same kind of trap in the way that it impedes any meaningful change.” The real change is located in this Westernized version of the martyr, the unafraid street subject. “The insurgents in a rebellion enter into a new and different relationship with time,” Robinson tells us. The bridge between subjects to a new social formation is located in this other time. Robinson writes that “the religious tradition tends to understand martyrdom as a gift.” Here we touch on the genuinely radical potential of his book, where Westerners can see martyrdom as “surrendering something lesser for something else of an immeasurably greater value: a judgment that the implicit humanity and lived experience of revolt eclipses whatever the world has to offer.” In plainer terms, ones that hopefully Robinson would not reject, the next American revolution will be infinitely more painful than the first, and the avant-garde will not be made of artists."]]></description>
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<item rdf:about="https://ryanholiday.net/5-years-of-lessons-from-running-my-own-bookstore/">
    <title>5 Years of Lessons From Running My Own Bookstore - RyanHoliday.net</title>
    <dc:date>2026-04-05T07:45:43+00:00</dc:date>
    <link>https://ryanholiday.net/5-years-of-lessons-from-running-my-own-bookstore/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My wife and I were sitting at a cafe in Bastrop, Texas, looking across Main Street at an empty historic storefront.

“You know what would be amazing there?” she said. “A bookstore.”

We started construction on The Painted Porch the first week of March 2020.

Somehow, we didn’t lose all our money. It didn’t blow up our marriage. It’s actually been a great experience and, even more surprising, a pretty good business too.

Five years in, I’ve learned a lot—about business, about books, about myself. Here are some of those lessons:

Crazy can be a competitive advantage. Opening a physical bookstore in 2020 seemed crazy. Not just to me—everyone said so. Retail was shifting online, books were becoming digital, the pandemic was raging, bookstores were closing—not opening. But that’s exactly why it worked. It was crazy because no one else was doing it. It stands out. It’s different.

Look for disconfirmation. As I was thinking about doing the bookstore, I asked a lot of people why I shouldn’t do it. Not that I was looking to be talked out of it. I was asking so I could hear the concerns, the objections, the risks I hadn’t considered. Every one of them raised something I hadn’t thought of and then was then able to address before opening. 

Take some risk off the table. Most big, cool, intimidating things in life comes with a certain amount of risk. But just because you take a big risk doesn’t mean there aren’t ways to take risk off the table. A great piece of advice I got from Allison Hill, who owns Vroman’s and Book Soup in Los Angeles, was to make the bookstore a multipurpose space. The Painted Porch is of course not just a bookstore—it’s my office, my employees’ office, the place where we record podcasts and film YouTube videos. So if nobody comes in and buys books, we’re not necessarily losing money. Multi-use allows you to do more than you ordinarily would—across the board.

Think of it as an experiment. When I was kicking around the idea, Tim Ferriss told me to think of it as an experiment. Try it for two years, he said, and if you hate it at the end or it’s failing, then walk away. This piece of advice was so freeing. It gave me an out—which allowed me to bravely dive in. Because I wasn’t betting my whole life on something, just a contained time commitment. Thinking of every venture, every project as an experiment is a great way to go through life. It lowers the stakes. It minimizes the downside. It lets you take a shot on something that otherwise might be way too intimidating.

Don’t trust conventional wisdom. One of the things I did while I was kicking around the idea is I looked up how expensive it is to start a bookstore. Search results said it was hundreds and hundreds of thousands of dollars—way more expensive than I was interested in. But then I wanted to question whether that number was real. So then I went and looked up how expensive it was to start an ecommerce business—something like Daily Stoic. Search results said it was hundreds of thousands of dollars more than I’d spent to start Daily Stoic. That was really helpful—to learn, oh, these people don’t really know what they’re talking about. Or that there’s a cheaper way, a different way to do it. You don’t have to do it the way that everyone else does it.

Be okay with mediocrity at first. A problem with having really high standards or when you expect a lot of yourself is that it can be hard to start something new. It’s hard to be comfortable with something that’s kind of crappy or mediocre or not all the way there. But there’s a reason most tech start ups think in terms of a minimum viable product. There’s a great Hemingway line—we actually have a shirt with it, and I have a print of it on my wall—it’s one of my all-time favorite quotes: the first draft of everything is shit. I love how The Painted Porch is now, but it took years to get it to where it is. It’s been a continual process of improvement and growth and making changes.

Doing interesting things usually pays off. When I was starting out as a writer, an author gave me a piece of advice I’ve never forgotten: If you want to be a great writer, go live an interesting life. He was right. Great art is fueled by great experiences—or, if not “great” experiences, at least interesting ones. That was in the back of my mind with the bookstore. Even if it failed, I knew the experience of trying to open a small business in rural Texas during a pandemic would be filled with stories. And it has been. I’ve drawn on it constantly—in my writing, my talks, in conversations with people on the podcast. So when you have the choice between the safe, boring path and the interesting one, take the interesting one. It always pays off.

Have a unique proposition. Most bookstores carry thousands of titles. The best one in Austin, BookPeople, stocks over 100,000. We carry about 1,000. It was one of the best decisions we made. We only carry books we love. Not only did this make it cheaper and easier to run the bookstore, it makes us stand out. If people want a specific book, they go to a certain trillion-dollar e-commerce behemoth. If people want to discover new books and have a unique experience, they come to us. We are the only bookstore in the world with our selection.

Create spectacles. Before we opened the store, I was in Bucharest, Romania for a talk. My host took me into a local bookstore that had an enormous globe hanging from the ceiling. I watched as customer after customer came in to take pictures beneath it, before checking out with books. This inspired our now infamous book tower, which I designed to be built on top of an old, broken fireplace. It’s 20 feet tall and made of some 2,000 books, 4,000 nails, and 40 gallons of glue. It was not cheap. It was not easy. But it’s probably one of the single best marketing decisions we made. Invariably, almost every customer that comes in takes a picture of it—plenty more come in because they heard about it and wanted to see it.

The positive externalities are the best part. I’ve gotten a lot out of the bookstore. I’ve learned a lot…about business, about books, about what I’m capable of. Sales have been strong. But the most rewarding part has been what it’s done for other people. Putting books we love out in the world. Creating a gathering place for the people in our community. Building something that makes our small town a little better, a little richer, a little more interesting than it was before. 

Beware of mission creep. Our original plan was that we’d have only a couple hundred books, only my absolute favorite books. But I’m always reading and discovering new favorites. So the temptation to add and add and add is always there. In the military, they call this mission creep—a gradual broadening of objectives as a mission progresses. If you are setting out on a project, it’s something to be aware of.

For everything you add, take something away. There’s a great story of Mark Parker who, just after he became CEO of Nike, called Steve Jobs for advice. Is there anything Nike should do differently? Parker asked. “Just one thing,” Jobs said. “Nike makes some of the best products in the world. Products that you lust after. But you also make a lot of crap. Just get rid of the crappy stuff and focus on the good stuff.” “He was absolutely right,” Parker said. “We had to edit.” Because we’ve always done it this way, is not a good reason. Or in our case, because we’ve always carried this book, is not a good reason. We have to edit.

Have the discipline to not scale. At least once a week, someone asks if we’re going to open a second location. And at least three struggling bookstores have reached out about us acquiring them. The answer is a polite no. “Do Not Go Past The Mark You Aimed For” is one of the most important laws in The 48 Laws of Power. Know when you’ve won. Know what enough is. Know your limits.

Behind mountains are more mountains. That’s a Haitian proverb I love. My wife suggested opening the bookstore in the fall of 2019. Then COVID delayed us a year. Then we didn’t feel right opening for another year. Then a freak storm and some political incompetence shut down the power grid—burst pipes, busted roof. Then a global supply chain crisis made books hard to get. There’s the day-to-day stuff too: employees get sick, the internet goes out, shipments arrive damaged, a toilet leaks, the door won’t shut properly all of a sudden. But that’s how it goes. With most things in life, you don’t overcome one obstacle, you don’t get through the first, second, or third year of your business, and then suddenly you’re magically done with obstacles. No, it’s one damn thing after another. Expect it. Work through it. Keep going.

Learn from the cats. When we were thinking about opening a bookstore, I bought a course from a bookstore consultant. I talked to friends. I talked to bookstore owners while on a book tour. I got a lot of advice, gathered best practices, and learned what worked for others. And yet, the single most popular thing about The Painted Porch is something that never came up…the cats. In 2021, we took a family road trip to Cerro Gordo, the ghost town Brent Underwood has been restoring—my kids are obsessed with his YouTube videos—and came home with two cats who have lived at the bookstore ever since. They’re literally the most popular thing about the store. As one Yelp reviewer put it: “Nice collection of books, clean, very comfy atmosphere, but I’m not going to lie to the great people of Bastrop…I come for the cats.” Lol. So yes, do your research. Yes, learn from others. But keep in mind, some of the best parts of any project are things you can’t possibly predetermine.

Don’t overlook simple solutions. There’s a tendency—especially when you care a lot about something—to overthink it. To assume everything has to be big, polished, expensive, professional. But great ideas can be cheap and easy too. One of my favorite bookstores in the world, Gertrude & Alice in Bondi Beach, puts sticky notes inside their books. Just little handwritten notes from employees about why they liked this or that book. No fancy plaques. No expensive signage. We started doing it at The Painted Porch too. It’s fun, it’s human, and customers love it.

Do things only you can do. Something that’s happened with Daily Stoic over the years is as it has grown, so has the number of copycats. And so we’re constantly asking, what can only we do? With the bookstore, we’re lucky to have authors constantly passing through to record the podcast. While they’re here, they sign books. Sometimes we do live events with them. Those books, those experiences—you can’t get them anywhere else. With AI tools making it easier and easier to copy and replicate and reproduce, it’s more important than ever to find and focus on the things only you can do.

Zoom out. When we were doing a small construction project at the bookstore recently, we moved an old antique bar and found some paint on the wall, covered in plaster. Carefully scraping it away, we found a date: January 16, 1922. What was happening in the world that day? Who were the people who stood there and supervised it being painted? What kind of business was in this space a hundred years ago? How many others have come and gone since? It was a humbling reminder: we’re not the first people to try something in this building, and we won’t be the last. Every project, every place, every person is part of something much bigger—something that started long before us and will continue long after.

If you’re successful, your people should be successful. Nothing feels better than distributing profits or raises to the team. If you don’t take pleasure in that, you’re doing it wrong, prioritizing the wrong things.

If you’ve always wanted to do it…do it. This has happened to me more than once. When my wife and I moved to a farm, I couldn’t believe how many people said, “I’ve always wanted to do that.” Same with opening the bookstore. People hear you have a small-town bookstore and they light up—“I’ve always wanted to do that.” Casey Neistat has a great line: “The right time is right now.” If you’ve always wanted to do something, do it. Stop romanticizing it. Stop overthinking it. Try it. Do it small. Do it your way. But do it.

There are many ways to measure success. One of the first things people want to know is how the bookstore is doing, whether it’s a success. I like to joke, my wife and I are still together, so yes, that’s a big win. We survived. We kept ourselves together despite it all.  

The real answer is that early on, we asked ourselves, what does success look like? And we decided that success was going to be: becoming more community minded, becoming more responsible, becoming better organized, having more fun, making a positive contribution.

With any project or endeavor, there are many ways to measure success. Has it made you a better person? Has it made your community better? Did it challenge you in ways you needed to be challenged? What metrics actually matter to you? Remembering why you did something—and how you defined success at the start—helps you calibrate your decisions along the way. 

It helps you know when you’ve won."]]></description>
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<item rdf:about="https://cosmosmalick.net/2026/04/02/learning-on-the-job.html">
    <title>Learning on the Job | Cosmos Malick</title>
    <dc:date>2026-04-05T07:41:52+00:00</dc:date>
    <link>https://cosmosmalick.net/2026/04/02/learning-on-the-job.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Malick learned filmmaking by trial-and-error, one mistake at a time. He wrote and rewrote. Often after a day of shooting on The Thin Red Line (1998) he would return to his cabin or trailer to write new dialogue that he would give to the actors the next morning. He learned fast; he iterated, again and again. He still does.

He experiments constantly with narrative strategies, with lighting, with composition, with the rhythms of editing. His style of filmmaking has become increasingly sophisticated, but it is, fundamentally, handmade: he became a tactical bricoleur. He improvises, he tries the untried. He always surprises us, and probably surprises himself.

It’s difficult for someone who graduated from Harvard to be an outsider artist, but in many ways Malick is. His connections to the big Hollywood studios have always been tentative and distant; he approaches them when necessary but whenever possible goes his own way. He is one of the great American originals."]]></description>
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    <title>Cosmos Malick</title>
    <dc:date>2026-04-05T07:40:30+00:00</dc:date>
    <link>https://cosmosmalick.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The late great cultural critic and novelist Albert Murray used to speak of the intellectual world he had created — through decades of reading and listening and viewing and talking and arguing — as Cosmos Murray. Murray was one of the great American originals, a well-educated man but also one who made his own way in the world, never content merely to redeploy what he had learned from others but rather always seeking a new synthesis of his own.

Much the same can be said of Terrence Malick, who, though he was educated as a philosopher and worked for a while as a journalist, ended up as a filmmaker — largely self-taught and always self-driven. He is one of the greatest artists that this country has yet produced, and this site will explore his achievement — an achievement which is itself a Cosmos.

So stay tuned. 

N.B.: Terrence Malick himself is not associated with this site in any way."]]></description>
<dc:subject>terrencemalick alanjacobs film filmmaking autodidactism autodidacts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:caf6f2d3ef1c/</dc:identifier>
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</item>
<item rdf:about="https://www.theguardian.com/science/ng-interactive/2026/mar/31/this-feels-fragile-how-a-satellite-smashing-chain-reaction-could-spiral-out-of-control">
    <title>‘This feels fragile’: how a satellite-smashing chain reaction could spiral out of control | Space | The Guardian</title>
    <dc:date>2026-04-05T06:54:34+00:00</dc:date>
    <link>https://www.theguardian.com/science/ng-interactive/2026/mar/31/this-feels-fragile-how-a-satellite-smashing-chain-reaction-could-spiral-out-of-control</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today, the space around Earth can no longer be considered empty. More than 30,000 objects are in orbit, and that figure is rising exponentially"]]></description>
<dc:subject>space fredericko'brien ashleykicrk oliverholmes earth satellites visualization orbit 2026 dataviz us china un jonathanmcdowell astronomy spacex</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:957da552b274/</dc:identifier>
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</item>
<item rdf:about="https://www.pbs.org/show/prairie-prophecy/">
    <title>Prairie Prophecy | PBS</title>
    <dc:date>2026-04-05T06:51:49+00:00</dc:date>
    <link>https://www.pbs.org/show/prairie-prophecy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Wes Jackson Story follows visionary scientist and farmer Wes Jackson, co-founder of The Land Institute, whose lifelong work in perennial agriculture offers a hopeful path toward restoring balance with the Earth. This inspiring film celebrates a vision for a sustainable future"]]></description>
<dc:subject>wesjackson farming agriculture 2026 thelandinstitute land sustainability environment</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c1b8729d7cdf/</dc:identifier>
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</item>
<item rdf:about="https://commongoodmag.com/harlan-hubbards-ohio-river/">
    <title>Harlan Hubbard’s Ohio River | Common Good Magazine</title>
    <dc:date>2026-04-05T06:50:10+00:00</dc:date>
    <link>https://commongoodmag.com/harlan-hubbards-ohio-river/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How a summertime stop along the river shaped the life of “Kentucky’s Thoreau.”"

[via:
https://www.frontporchrepublic.com/2026/04/abundance-chromebooks-and-satellites/

"Michael Winters describes the origin of the painting on the cover of Jayber Crow. Hubbard created it in response to a request from the pastor of Mt. Byrd Christian Church for a baptismal painting: “The painting he created, measuring roughly 4 feet high by 8 feet wide, depicts a contemporary view of the Ohio River. Sunlight comes out of the clouds in the upper right corner, covering the water and summer hills in light. A few buildings, including a church steeple, can be seen in the lower right portion of the painting, but they are not centered or highlighted by the glorious sunlight. If the church was expecting a view of an ancient Jordan River, they instead got something that looked very much like the river just down the hill.”"]]]></description>
<dc:subject>harlanhubbard michaelwinters 2026 kentucky thoreau jaybercrow ohioriver religion spirituality christianity johnmuir place nature land landscape jesus christ jesuschrist art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.oaklandreviewofbooks.org/trash-islands-synthetic-frontiers-review/">
    <title>Invisible circulations</title>
    <dc:date>2026-04-05T06:43:12+00:00</dc:date>
    <link>https://www.oaklandreviewofbooks.org/trash-islands-synthetic-frontiers-review/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Where there's no trash island there."]]></description>
<dc:subject>mayaweeks 2026 plastic plastics evetuck pollution oceans ocean pacificocean oceanography science charlesmoore kimdewolff stefanhelmreich melodyjue maxliboiron seaweed garbage greatpacificgarbagepatch landfills disposability growth expendability culture environment haunani-kaytrask mmurphy interconnectedness interconnected water land ecology carbonsequestration responsibility</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:75022a637428/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=7gKEnfXi6AU">
    <title>Chinese architect Xu Tiantian: “It’s not about starchitecture anymore.” - YouTube</title>
    <dc:date>2026-04-05T06:34:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7gKEnfXi6AU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["”It's not about the area of starchitecture anymore.”

We met Chinese architect Xu Tiantian, who believes in architectural acupuncture and minimal intervention.

”Architecture is for people, right? It's not for the architects. So you want to have the involvement and the ownership of the local people.”

”The mainstream concept of architecture is that one day you're going to build these large-scale high-rises or monuments. I think there's now a very different concept and understanding of architecture. We live in a new time, facing all these difficulties, global challenges, climate change, and disparity everywhere around the world. I think the younger generation may already approach architecture differently today. It's more about what architecture can do instead of what I could make. So, it's probably to take yourself out of this thinking.”

”Architectural acupuncture means that the engagement of architecture is rather minimal. It's not looking for the large-scale monuments, but really working with the necessity, really working with the locally available materials, elements, and cultural contexts. Belonging to the place instead of introducing something completely alien.”

Xu Tiantian (b. 1975 in Fujian) is the founding principal of DnA _Design and Architecture. In recent years, Xu has focused on architecture in China’s rural regions. Her practice is dedicated to rural revitalization through a strategy she describes as “architectural acupuncture”—small-scale, site-specific interventions designed to activate local culture, agriculture, and tourism. In 2019, the United Nations Human Settlements Programme (UN-Habitat) recognized her Songyang “architectural acupuncture” initiative as a global model for urban–rural integration.

Xu received her Bachelor of Architecture from Tsinghua in 1997 and went on to earn a Master of Architecture in Urban Design from Harvard University’s Graduate School of Design (GSD) in 2000. She is currently a professor at the School of Architecture, Tsinghua University. Xu was named an International Honorary Fellow of the American Institute of Architects (AIA) in 2020 and elected a member of the German Academy of Arts (Akademie der Künste) in 2024. In addition, Xu has held visiting professorships at Yale University and the Mendrisio Academy of Architecture in Switzerland.

Her work has been recognized with numerous prestigious awards, including the 2025 Wolf Prize in Architecture, the Berlin Art Prize (2023), the Swiss Architectural Award (2022), the Marcus Prize for Architecture (USA), the Holcim Gold Award for Asia-Pacific, and the UNESCO Global Award for Sustainable Architecture. 
Xu Tiantian was interviewed by Marc-Christoph Wagner at the Louisiana Museum of Modern Art in Humlebæk, Denmark. The conversation took place in January 2026 in connection with the opening of the exhibition Memoryscapes at the Louisiana Museum of Modern Art.

Camera: Jarl Therkelsen Kaldan
Edit: Jarl Therkelsen Kaldan
Produced by: Marc-Christoph Wagner
Copyright: Louisiana Museum of Modern Art, 2026"]]></description>
<dc:subject>architecture design xutiantian 2026 starchitecure starchitects local small rural beauty legacy scale nature buildings bridges bamboo quarries identity simplicity necessity adaptability adaptation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:95d8b7a96881/</dc:identifier>
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</item>
<item rdf:about="https://longreads.com/2026/03/26/craft-in-defiance-of-ai-peter-wayne-moe/">
    <title>Hollow Body - Longreads</title>
    <dc:date>2026-04-05T06:27:09+00:00</dc:date>
    <link>https://longreads.com/2026/03/26/craft-in-defiance-of-ai-peter-wayne-moe/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On attention to craft in defiance of AI."

[via:
https://www.frontporchrepublic.com/2026/04/abundance-chromebooks-and-satellites/

"Peter Wayne Moe teaches writing and was depressed by the ways AI hollowed out his job. “So I signed up for guitar lessons. I wanted to do something with my hands, something real, tangible, and material. Pleasure and mastery. I also wanted to retreat into a familiar role, to become a student again, and to rediscover what it means to, and how one does, learn. I hoped that, in the long hours of practicing, I might somehow cast aside the cynicism and despair overtaking my teaching and so rekindle my love of the classroom—and of life.” The essay he wrote about the experience is brilliant."]]]></description>
<dc:subject>peterwaynemo ai artificialintelligence attention craft 2026 teaching howwteach learning howwelearn slow</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6b6b985970f8/</dc:identifier>
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</item>
<item rdf:about="https://www.nytimes.com/2026/04/01/opinion/high-agency-silicon-valley.html">
    <title>Opinion | All the Worst People Seem to Want to Be ‘High Agency’ - The New York Times</title>
    <dc:date>2026-04-05T06:12:38+00:00</dc:date>
    <link>https://www.nytimes.com/2026/04/01/opinion/high-agency-silicon-valley.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[archived:
https://archive.ph/eRKBX ]

"I first noticed the phrase when it cropped up in conversations among my friends, as a dichotomy: Were we “high agency” or “low agency”? Intuitively, I had a sense of what that meant, and which side of that divide I should want to be on. Was inertia or timidity keeping us in a city, a job or a relationship? Or were we the captains of the ships of our own lives, thinking about career pivots, trying out vibe-coding, remembering that we could move to the desert and start a whole new life?

When asked what skills to develop in the age of A.I., the first one Sam Altman listed was, “Become high agency.” Google search interest in “high agency” has been increasing for five years and spiked enormously in the past year. In a recent article for Harper’s, Sam Kriss noted that in tech job interviews, it’s now common for prospective employees to be asked whether they were “mimetic" or “agentic.”

The basic idea of “agency” has long been theorized and debated in philosophy, in relation to free will and the human capacity for action. It caught on in Silicon Valley, which has long embraced phrases like, “Move fast, break things” and more recently, “You can just do things.” And then “high agency” wormed its way out of tech and into the broader lexicon, cycling through viral X threads, LinkedIn posts and podcasts with self-help leanings. I even noticed my students in a writing class I taught at Yale starting to use it.

“High agency” is now being branded as a personality trait. It implies decisiveness, self-assurance and a willingness to take risks, a predilection for thinking “outside the box” and questioning systems. Some people have more agency innately, but you can cultivate it, at least according to the many online guides to cultivating yours. A low-agency person is a cog in the machine, working a regular job, spending too much time answering emails. They’re what in video games might be called a “nonplayer character.” A high-agency person, on the other hand, might start a company young, spend their mornings writing a novel or get into a prestigious college and decide not to go — time and money that could be spent more efficiently elsewhere, according to the new logic.

It’s good to recognize that you have the power to shape your day-to-day life. You are not entirely at the whim of the forces around you: a bad boss, a stuck-in-the-mud relationship, even the macro forces of the volatile world. An example of high-agency behavior that one of my Yale students gave me: If your button falls off your shirt, do you sew it back on yourself? This vision of agency embodied a resourcefulness that seemed old-fashioned. Indeed, agency is a stark departure from the buzzwords that circulated when I was in college a decade ago. Back then, we talked about how things were “structural,” perhaps to a fault. Agency in its best form is something like Emerson’s notion of self-reliance: “Trust thyself: Every heart vibrates to that iron string.”

“High agency” is individualistic, which means systems are suspect. Britain’s National Health Service, railways, and the American Department of Education? They are all being run in extremely low-agency ways, according to George Mack, an entrepreneur who helped popularize the idea. Education in general is viewed as undermining agency. You’re learning how to stand in line, not studying how to cut it.

If the agency boosters are individualistic, though, this new individualism is not the old-school vision of pulling yourself up by your bootstraps or climbing the ladder. Case in point: The buzz around “high agency” can perhaps be traced to a 2016 podcast (of course) with Eric Weinstein, a former managing director of Thiel Capital. According to Mr. Weinstein, a high-agency person would think, “How am I going to start a business when my credit is terrible and I have no experience?” The traditional answer to that question would be: You don’t. You get a job, clock in, clock out, put a bit in your 401(k) every month, build your credit, and then you can start thinking about starting a business. This vision of success is decidedly out of vogue, and not only in Silicon Valley. The slow, incremental buildup of a life and a career, the accumulation of savings and experience — this seems to hold less appeal to younger generations.

And why would it? The future feels volatile and the rewards of labor are unequal, even absurd: Some people are making stupid money betting on Kalshi, while the job market for recent college graduates is contracting and prices are rising. Nearly half of U.S. adults believe they’ll never be able to afford a home they love, no matter how hard they work, so what would be the point of saving for one? Why not have a little agency and bet it all on red?

But, of course, risk is different for people in different circumstances. There’s that pesky intrusion of “the structural”: There are people who can afford, literally afford, to take big risks — and others for whom starting a business with terrible credit and no experience is simply a bad idea. The valorization of “high agency” is emblematic of a moment when risk-taking is overvalued. It’s an ethos for a gambler’s time, and we’re living in one.

Donald Trump, by running for president with no government experience, was exhibiting extremely high agency; this might even be why it’s an idea that’s so suited for this particular moment. (“You can just do things” — like bomb Iran.) The historical examples Mr. Mack provides in his essay “High Agency in 30 Minutes” include: Wilbur Wright, Elon Musk, MrBeast and a 6-year-old who taught himself how to start a business using YouTube. Mr. Mack also includes a famous old photograph of a man refusing to salute amid a crowd all heiling Hitler. Standing up to Nazi Germany? High-agency behavior, apparently. But it struck me that in a different time, we would have called that “courage.” That word has fallen out of fashion. And there’s a reason. “Courage” has a moral valence that agency doesn’t. Agency is about action, but it tells us nothing of direction.

You can just do things, sure, but what will you do? In the 21st century in America, we’ve collectively lost a sense of moral guidance and don’t even know exactly where to look for it. But it’s still worth looking. To valorize agency without also emphasizing its purpose allows us to ignore harder questions like: How do I live a good life? And what about the collective good? The smash-and-grab mentality elides these questions. Have we forgotten that life might be better lived in concert with others?

Some of our focus on agency might come from a place of fear. People often refer to “agency” as an A.I.-proof trait, a lifeboat, when we’re afraid of being replaced by machines. Even Mr. Altman said so. And yet, ironically, we also talk about A.I. in terms of agency. Bots are agents. People are letting their agents run their lives. (Amusingly, there are two podcasts on Spotify called “High Agency,” one devoted to business and another to A.I. builders.)

We may not agree on whether or not Claude can attain consciousness, but we do agree it can just do things. It can just do things all day long, in fact, and at a faster pace than we can. A.I. can act — without its own direction, but with incredible efficiency and effectiveness. It’s telling that we also use the word “agency” to describe the nature of this action. Maybe this is the endpoint of all this “high agency”: constant hamster wheels of action, unmoored from any values, no compass to be found."]]></description>
<dc:subject>sophiehaigney 2026 agency highagency lowagency samaltman ai artificialintelligence samkriss mimetic agentic siliconvalley personality decisiveness decisionmaking self-assurance risktaking risk npc relationships work labor ericweinstein peterthiel thielcapital business kalshi gambling behavior spotify values morality claude consciousness conscience life living wilburwright elonmusk mrbeast toxicity georgemack education uk nhs individualism selfishness amoral amorality courage</dc:subject>
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    <title>What a plant’s decision-making reveals about intelligence | Aeon Videos</title>
    <dc:date>2026-04-05T06:10:49+00:00</dc:date>
    <link>https://aeon.co/videos/what-a-plants-decision-making-reveals-about-intelligence</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Although vital to survival, the mechanisms that guide plant roots have received limited scientific attention – in part because, hidden underground, they can prove hard to study. This short documentary from the Science Communication Lab profiles the biologist José R Dinneny. Using innovative techniques to reveal root systems, he studies how different plant species have evolved distinct strategies for finding water. The film moves between field sites in Santa Clara, California – to observe how roots respond across rainy and dry seasons – and Dinneny’s laboratory at Stanford University.

This work presents roots as active explorers rather than passive anchors, capable of sophisticated responses, despite lacking a brain or nervous system. Through Dinneny’s expertise, the film raises broader questions about perception, adaptation and what consciousness might mean. As our understanding of how roots ‘think’ grows, so too does our sense of what intelligence might look like beyond the animal world."]]></description>
<dc:subject>plants intelligence morethanhuman multispecies 2026 science decisionmaking josédinneny roots perception adaptation consciousness</dc:subject>
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    <title>An Aroma Most Beguiling - Orion Magazine</title>
    <dc:date>2026-04-05T06:06:57+00:00</dc:date>
    <link>https://orionmagazine.org/article/an-aroma-most-beguiling/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On flowers, perfume, and the science of smell"]]></description>
<dc:subject>smell scent science flowers perfume davidgeorgehaskell 2026 subconscience humans brain conciousness culture biology aromas senses sensory multisensory perfumes plants memories memory ecology</dc:subject>
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<item rdf:about="https://www.dukeupress.edu/content-machines">
    <title>Content Machines: Reading and Writing in the Platform Era, by Sarah Brouillette (2026)</title>
    <dc:date>2026-04-05T06:05:51+00:00</dc:date>
    <link>https://www.dukeupress.edu/content-machines</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While much has been said about the democratization of publishing through the rise of platforms like Amazon’s Kindle Direct Publishing, little attention has been paid to the broader effect these technologies have had on writers, readers, and the publishing industry. In Content Machines, Sarah Brouillette considers how short-form, platform-based, and social media writing on digital mediums like Wattpad and TikTok has reshaped modern publishing, reading, and writing. Brouillette identifies three mutually reinforcing processes that platform capitalism entangles in the publishing industry: the marked feminization of book work; the rise of a bibliotherapeutic vocabulary that grounds reading and writing as self-care work; and the growth of platform-based processes that cheapen content and intensify the pressure to engage in self-promotion and entrepreneurial strategizing. She breaks down the business models that have been key to this transformation and traces the social conditions that make online self-published fiction, especially young adult, romance, and fantasy stories, into spaces for community while, conversely, signaling how these publishing practices depend upon undervalued and feminized labor from marginalized groups. Content Machines is a much-needed survey of the contours of the modern reading and writing landscape."]]></description>
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