<?xml version="1.0" encoding="UTF-8"?>
 <rdf:RDF xmlns="http://purl.org/rss/1.0/" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:taxo="http://purl.org/rss/1.0/modules/taxonomy/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:cc="http://web.resource.org/cc/" xmlns:syn="http://purl.org/rss/1.0/modules/syndication/" xmlns:admin="http://webns.net/mvcb/">
  <channel rdf:about="http://pinboard.in">
    <title>Pinboard (shannon_mattern)</title>
    <link>https://pinboard.in/u:shannon_mattern/</link>
    <description>recent bookmarks from shannon_mattern</description>
    <items>
      <rdf:Seq>	<rdf:li rdf:resource="https://press.princeton.edu/books/hardcover/9780691268217/computing-in-the-age-of-decolonization?srsltid=AfmBOophd00MbOhl7dswdFkMFIncEAnWA3x5CB1T_D9ZW__6OFCBaGi4"/>
	<rdf:li rdf:resource="https://www.instagram.com/reels/DafqSIPNO1E/"/>
	<rdf:li rdf:resource="https://brooklynrail.org/2026/07/art_books/shanzhai-lyric-endless-garment/"/>
	<rdf:li rdf:resource="https://brooklynrail.org/2026/07/art_books/recursive-apologies-janet-zweig-s-text-generating-sculpture/"/>
	<rdf:li rdf:resource="https://brooklynrail.org/2026/07/artseen/gerhard-richter-landschaften/"/>
	<rdf:li rdf:resource="https://brooklynrail.org/2026/07/artseen/joseph-kosuth-i-shall-offer-it-to-you-as-a-ready-made-product/"/>
	<rdf:li rdf:resource="https://brooklynrail.org/2026/07/artseen/n-dash-geophilia/"/>
	<rdf:li rdf:resource="https://muttartreview.com/products/issue-four?variant=50314227253441"/>
	<rdf:li rdf:resource="https://www.bloomberg.com/news/features/2026-07-15/can-nyc-fix-its-scaffolding-blight?accessToken=eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJzb3VyY2UiOiJTdWJzY3JpYmVyR2lmdGVkQXJ0aWNsZSIsImlhdCI6MTc4NDEzNjIyNSwiZXhwIjoxNzg0NzQxMDI1LCJhcnRpY2xlSWQiOiJUSTdXNjhLR0lGUTUwMCIsImJjb25uZWN0SWQiOiIxOTQxOTk4OTU5NTE0MjE1ODMxRUM1RDNEN0NCQkQ0NiJ9.di7dukE0cv3CSnPrUFwAWiIXr9I7hxXwLddmlZz6SQU&amp;cmpid=citylab-weekly&amp;leadSource=article-gifting"/>
	<rdf:li rdf:resource="https://www.theparisreview.org/interviews/8499/the-art-of-poetry-no-120-harryette-mullen"/>
	<rdf:li rdf:resource="https://www.anythinklibraries.org/anythink-nature-library-grand-opening/"/>
	<rdf:li rdf:resource="https://email.nybooks.com/t/y-e-fchitl-vdrdtyhy-s/"/>
	<rdf:li rdf:resource="https://www.upress.umn.edu/9780816674299/survival-schools/"/>
	<rdf:li rdf:resource="https://studyandspeculativepractice.net/"/>
	<rdf:li rdf:resource="https://www.nypl.org/about/fellowships-institutes/picture-collection-artist/fellows"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2026/07/16/arts/design/teddy-roosevelt-presidential-library-north-dakota.html"/>
	<rdf:li rdf:resource="https://www.are.na/editorial/an-interview-with-the-people-behind-the-cybernetics-library"/>
	<rdf:li rdf:resource="https://hyperallergic.com/the-many-lives-of-frederic-edwin-church/"/>
	<rdf:li rdf:resource="https://www.chronogram.com/arts/julianne-swartz-attunements-al-held-foundation-boiceville/"/>
	<rdf:li rdf:resource="https://mayukofujino.com/about"/>
	<rdf:li rdf:resource="https://www.amandameans.com/"/>
	<rdf:li rdf:resource="https://casco.art/"/>
	<rdf:li rdf:resource="https://casco.art/activity/the-land-school-4siblings-itacateca/"/>
	<rdf:li rdf:resource="https://lcm.loc.gov/issue/july-august-2026/bark-book-of-batak-magic/"/>
	<rdf:li rdf:resource="https://brooklynrail.org/2026/07/art/cristina-iglesias-with-brooke-kamin-rapaport/"/>
	<rdf:li rdf:resource="https://www.publicpolicylab.org/resources/ppl15-the-case-for-mapping/"/>
	<rdf:li rdf:resource="https://brooklynrail.org/2026/07/art/mary-ellen-carroll-with-chloe-stagaman/"/>
	<rdf:li rdf:resource="https://daiquiriheiress.substack.com/p/accessible-archivist-coalition-updates?publication_id=2215450&amp;post_id=207041601&amp;isFreemail=true&amp;r=16n9qh&amp;triedRedirect=true"/>
	<rdf:li rdf:resource="https://www.philamuseum.org/exhibitions/workshop-of-the-world"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2026/07/01/magazine/ai-medical-scribes-doctors.html"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2026/07/10/climate/fcc-space-mirror.html"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2026/07/02/magazine/frictionless-productivity-marketing-tech.html"/>
	<rdf:li rdf:resource="https://www.nyc.gov/mayors-office/news/2026/07/mayor-mamdani-launches--public-interest-technology--pit--crew--t"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2026/07/09/us/data-centers-native-american-tribes.html"/>
	<rdf:li rdf:resource="https://www.culturedmag.com/article/2026/06/09/culture-helen-molesworth-curator-art-laziness/"/>
	<rdf:li rdf:resource="https://www.noshowmuseum.com/en"/>
	<rdf:li rdf:resource="https://www.frieze.com/article/lee-lozano-2004-review"/>
	<rdf:li rdf:resource="https://blanton.emuseum.com/objects/6889/general-strike-piece"/>
	<rdf:li rdf:resource="https://www.culturedmag.com/article/2026/06/15/literature-cay-kim-the-future-perfect/"/>
	<rdf:li rdf:resource="https://www.culturedmag.com/article/2026/06/15/literature-lydia-mathis-desperate-bodies/"/>
	<rdf:li rdf:resource="https://www.culturedmag.com/article/2026/06/15/literature-k-ming-chang-needlemouth/"/>
	<rdf:li rdf:resource="https://www.e-flux.com/education/features/673274/calling-cards-the-2025-graduate-student-curated-exhibitions"/>
	<rdf:li rdf:resource="https://madein-platform.com/"/>
	<rdf:li rdf:resource="https://www.e-flux.com/education/features/169850/making-and-unmaking-the-curator-at-the-center-for-curatorial-studies-at-bard-college"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2026/07/09/theater/questioning-play-new-theater-hollywood.html"/>
	<rdf:li rdf:resource="https://www.instagram.com/p/DYPivG4FA1m/?img_index=1"/>
	<rdf:li rdf:resource="https://www.mike-tully.com/?fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQPOTM2NjE5NzQzMzkyNDU5AAGnjYTU07X1eqazSLSeJ59xkkriIdE6_zO4b67H_iTH8P6X65Mt2-8b_WRuOr0_aem_hp5Ydx7uOqZelNSHBYpEwA"/>
	<rdf:li rdf:resource="https://www.instagram.com/m_tully/"/>
	<rdf:li rdf:resource="https://www.coeval-magazine.com/coeval/strange-rules-mat-dryhurst-and-holly-herndon-at-palazzo-diedo-venice"/>
	<rdf:li rdf:resource="https://berggruenarts.org/en/exhibitions/current-exhibitions-palazzo-diedo/current-exhibitions-palazzo-diedo-strange-rules"/>
	<rdf:li rdf:resource="https://joemuggs.substack.com/p/little-rooms?r=qojd&amp;triedRedirect=true"/>
	<rdf:li rdf:resource="https://buttondown.com/sebchan/archive/105-adventures-in-venice-2026/"/>
	<rdf:li rdf:resource="https://www.elle.com/it/lifestyle/viaggi/a71805708/bologna-biblioteca-umberto-eco-libri/"/>
	<rdf:li rdf:resource="https://querent.substack.com/p/this-spatial-dimension-to-my-thoughts?publication_id=82291&amp;post_id=205786245&amp;isFreemail=false&amp;r=s9ot&amp;triedRedirect=true"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2026/07/08/opinion/ai-google-gemini-search-questions.html"/>
	<rdf:li rdf:resource="https://sonialmeida.com/"/>
	<rdf:li rdf:resource="https://mitpress.mit.edu/9780262052597/alan-dunn/"/>
	<rdf:li rdf:resource="https://brooklynrail.org/2026/07/film/finding-community-at-non-films-dark-room/"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2026/07/07/dining/driscolls-berries.html"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2026/06/09/arts/music/lost-music-venues-britain-v-and-a-museum.html"/>
	<rdf:li rdf:resource="https://medium.com/doctoral-futures-perspectives/what-were-building-toward-5-insights-from-the-doctoral-futures-townhalls-4d09c08f672f"/>
	<rdf:li rdf:resource="https://www.404media.co/we-are-living-in-a-chatgpt-flyer-pandemic/?ref=daily-stories-newsletter"/>
	<rdf:li rdf:resource="https://www.nationalarchives.gov.uk/professional-guidance-and-services/our-research-and-academic-collaboration/our-research-projects/research-projects/the-many-lives-of-cardboard/"/>
	<rdf:li rdf:resource="https://www.wired.com/story/how-palestinians-are-building-a-digital-archive-that-cant-be-erased/"/>
	<rdf:li rdf:resource="https://substack.com/home/post/p-204000997"/>
	<rdf:li rdf:resource="https://theforest.dothome.co.kr/"/>
	<rdf:li rdf:resource="https://www.google.com/books/edition/System/FiFDAQAAMAAJ?hl=en"/>
	<rdf:li rdf:resource="https://www.amazon.com/Umberto-Eco-Library-World/dp/B0CV5Y4HJB"/>
	<rdf:li rdf:resource="https://www.wantedinmilan.com/news/umberto-eco-library-opens-in-bologna-10-years-after-his-death.html"/>
	<rdf:li rdf:resource="https://www.nytimes.com/2026/06/20/us/politics/dc-newsstand-newsroom-newspapers-magazines.html"/>
      </rdf:Seq>
    </items>
  </channel><item rdf:about="https://press.princeton.edu/books/hardcover/9780691268217/computing-in-the-age-of-decolonization?srsltid=AfmBOophd00MbOhl7dswdFkMFIncEAnWA3x5CB1T_D9ZW__6OFCBaGi4">
    <title>Computing in the Age of Decolonization | Princeton University Press</title>
    <dc:date>2026-07-18T02:53:34+00:00</dc:date>
    <link>https://press.princeton.edu/books/hardcover/9780691268217/computing-in-the-age-of-decolonization?srsltid=AfmBOophd00MbOhl7dswdFkMFIncEAnWA3x5CB1T_D9ZW__6OFCBaGi4</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[India today is widely recognized for producing world-class tech talent and Silicon Valley leaders, yet captures only a fraction of the global tech industry’s profits, primarily providing skilled but inexpensive labor for Western corporations. Computing in the Age of Decolonization uncovers the overlooked history behind this paradox, tracing India’s ambitious but ultimately thwarted drive to build a self-reliant computing industry from the 1950s to the 1980s.

After independence in 1947, Indian scientists and policymakers at institutions such as the Tata Institute of Fundamental Research saw computing as central to national sovereignty, economic growth, and scientific advancement. Through projects such as the groundbreaking TIFRAC computer and the decisive expulsion of IBM, they aimed for technological independence. But almost immediately, these initiatives faced powerful political and economic headwinds. Indian computer scientists grappled with Cold War politics, international trade imbalances, US corporate monopolies, and strategic decisions by India’s technocratic elite, who favored profitable technical services over costly investments in research and manufacturing.

In narrating this lost future, Computing in the Age of Decolonization shows that genuine technological independence requires more than technical expertise—it demands addressing enduring political and social structures rooted in colonial legacies. As global struggles over technology intensify, this book reveals how historical pathways continue to shape contemporary battles for technological and economic sovereignty.]]></description>
<dc:subject>computing_history global_computing india decolonization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8b892ac38541/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:computing_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:global_computing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:india"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:decolonization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.instagram.com/reels/DafqSIPNO1E/">
    <title>Miniatures: Coracle Press, 1977</title>
    <dc:date>2026-07-18T02:41:57+00:00</dc:date>
    <link>https://www.instagram.com/reels/DafqSIPNO1E/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>miniature miniature_books</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:01be5ede4921/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:miniature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:miniature_books"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://brooklynrail.org/2026/07/art_books/shanzhai-lyric-endless-garment/">
    <title>Shanzhai Lyric’s Endless Garment - The Brooklyn Rail</title>
    <dc:date>2026-07-18T02:35:13+00:00</dc:date>
    <link>https://brooklynrail.org/2026/07/art_books/shanzhai-lyric-endless-garment/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Since 2015, Shanzhai Lyric—the moniker for the collaborative duo Ming Lin and Alex Tatarsky—has collected knockoff wearables, often Chinese-made, that garble and remix English text. Rather than understanding these linguistic fragments as broken language, Lin and Tatarsky frame them as pseudo-poetic forms, merely another stage in the English language’s eternal evolution and itineraries. Displacing the authorial expressionism of lyric poetry, these abstract inscriptions are the byproducts of globalized circuits of commerce, the uncanny result of iterative acts of mimicry, theft, and (mis)translation. Shanzhai Lyric’s research is collected in a web-based database and an extensive Instagram trove of shirts; as Lin and Tatarsky have written in their newly released publication, “An infinite scroll. An endless garment.” Their archive of more than five hundred counterfeit T-shirts has also materialized in sprawling installations and poetry-style readings from crumpled masses of clothing at arts organizations from Brooklyn to Vienna and Leeds....

Endless Garment is the first publication to index a portion of this textual-textile accumulation, drawing from collected shirts, photographs submitted by friends and followers, and errata encountered in markets from Beijing and Barcelona to Panama City and Sunset Park. Though the book’s cover discloses a messy assemblage of clothing, scattered clauses from which are recognizable on the pages within, the interior is printed imageless with black text on white pages, rendering the amassed apparel into one, long-form stream of babble. The book’s table of contents outlines distinct thematic sections—including “Empire,” “Fashion,” and “Love”—but there's a wryness to the words and phrases that fall under a given header: one page in the “Femalie” section (a strange portmanteau that might rhyme both with “female” and “family”) reads, “WE SHOUL ALL B FEMENIS / BEIBI.” Section markers are absent in the book itself, as if to suggest the looseness of these imposed, conceptual armatures. Instead, the texts ramble associatively through spare pages of concrete accumulations that highlight vague connections between blocks of texts.]]></description>
<dc:subject>fashion textile art translation error text_art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e6594c245f9a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:fashion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:textile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:translation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:error"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:text_art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://brooklynrail.org/2026/07/art_books/recursive-apologies-janet-zweig-s-text-generating-sculpture/">
    <title>Recursive Apologies: Janet Zweig’s Text Generating Sculpture - The Brooklyn Rail</title>
    <dc:date>2026-07-18T02:28:51+00:00</dc:date>
    <link>https://brooklynrail.org/2026/07/art_books/recursive-apologies-janet-zweig-s-text-generating-sculpture/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Her Recursive Apology lends its name—in a slightly mutated form—to the title of Inventory Press’s new monograph about the text-generative sculptures that Zweig created between 1990 and 2010. The scenario I describe relating to the eponymous work’s origin is, ultimately, a fabricated one. These apologies were not typed by a woman office-worker, but generated randomly by four Macintosh computers operating on a BASIC program coded by the artist herself. Throughout her oeuvre, Zweig probes how computer codes might exceed the limitations of their step-by-step instructions to confuse, invent, distort, and inspire. The boundary between algorithm and affect is intentionally blurred....

While René Descartes’s cogito compels us to ask whether a computer could ever truly think for itself, Zweig queries whether a computer could ever worry. Her machines are frequently overcome by anxiety and self-doubt, their endless torrents of text resembling the ruminations of an overactive imagination. In Mind Over Matter (1993), Zweig fed a Macintosh SE computer three self-assured statements: “I think therefore I am” (Descartes), “I am what I am” (Popeye), and “I think I can” (The Little Engine That Could). Reconfigured into new statements by the algorithm, the text transforms from confidence into insecurity. As it sputters lines like “I can think I think therefore I think I can” through the printer, the computer appears to be reassuring itself of its worth despite nagging intrusive thoughts. The resulting paper piles up in a basket attached to a large rock by a pulley, gradually pulling it down....

The essays in the monograph cast the artist’s millennial output as portending two intersecting contemporary phenomena: the “post-truth” politics of the Trump era and dubious LLMs like ChatGPT. For critic Thyrza Nichols Goodeve, Zweig’s computer sculptures reveal how nonsensical absurdity might emerge when hyper-rational algorithms are taken to their logical extremes. To poet Jena Osman, these sculptures bear superficial resemblance to ChatGPT, but ultimately differentiate themselves by inviting collaboration and play—both imaginative actions inhibited by ChatGPT’s narrow predictive models.

ChatGPT derives its authority from its purported ability to define, distinguish, and separate. Yet Zweig’s recursive sculptures, which mutate data as they loop and fold back into themselves, remind us that meaning is messy. This messiness, as book artist and information science scholar Johanna Drucker details in the final catalogue essay, is why linguists developed the subfield of pragmatics to understand the social and cultural parameters in which language is generated. Her note leaves me longing for something largely absent in the book: a consideration of Zweig’s sculptures in the historical context of Clinton-era debates about technology. We know, through Goodeve’s and Osman’s essays, what they anticipate about our present. But what do they say about their present?]]></description>
<dc:subject>text_art artificial_intelligence ChatGPT</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1efb47bd4844/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:text_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:artificial_intelligence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:ChatGPT"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://brooklynrail.org/2026/07/artseen/gerhard-richter-landschaften/">
    <title>Gerhard Richter: Landschaften - The Brooklyn Rail</title>
    <dc:date>2026-07-18T02:06:57+00:00</dc:date>
    <link>https://brooklynrail.org/2026/07/artseen/gerhard-richter-landschaften/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Gerhard Richter’s exquisite landscapes fall somewhere in the middle: camera-derived but not photorealist, personally experienced scenes marked by irresolution and level tonalities, with surfaces that retain legibility but deny clarity. This largely chronological show features twenty-six oils in four galleries dating from 1965 to 2005, when he moved away from the genre. Many are, unsurprisingly, technically intricate. Seestück (Gegenlicht) of 1969 in gallery one mimics the combination printing in Gustave Le Gray’s composite ocean photographs of the 1850s, wherein he used separate plates for the sky and the sea in order to control the lighting. In this 6 ½ foot square painting derived from two photos, Richter produced astonishingly backlit clouds in the broad sky as in El Greco’s View of Toledo (ca. 1599–1600), with a Turnerian sunburst at upper right, and a swelling illuminated ocean surface with reflections that do not quite line up with the solar entity above. It is the depopulated Northern European sublime, its format and glow reclaimed from Mark Rothko’s signature works. At distance it resolves into defined imagery, but up close the brushwork is blended and edges elided, thwarting focus....

Rhineland views from the mid-1980s in gallery three are more highly hued—the photographic equipment has changed. They celebrate the cultivated landscape and other traditions in central horizons, cows as in Golden Age Dutch art, and Jean-Baptiste-Camille Corot–like shady trees with tall foreground grasses. They move away from the sublime towards the pastoral, the picturesque, while retaining Richter’s all-over blurred sfumato. In 1986 the cover of the DuMont catalogue of his work featured his studio with large abstractions lining the back wall and, at center, the painter’s empty chair and a cabinet-sized Venice landscape on his easel, as if to foreground the genre in his practice. ]]></description>
<dc:subject>landscape painting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:0bdd8608d47a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:landscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:painting"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://brooklynrail.org/2026/07/artseen/joseph-kosuth-i-shall-offer-it-to-you-as-a-ready-made-product/">
    <title>Joseph Kosuth: I Shall Offer It To You As A Ready-Made Product - The Brooklyn Rail</title>
    <dc:date>2026-07-18T02:00:31+00:00</dc:date>
    <link>https://brooklynrail.org/2026/07/artseen/joseph-kosuth-i-shall-offer-it-to-you-as-a-ready-made-product/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This point is reiterated by ‘The Sixth Investigation’ (1969), which consists of twenty-eight typewritten index framed cards recording Lewis Carroll’s logic games. Here nonsense carries its own strict internal logic—a parody of any system that mistakes consistency for truth. What appears here is not illustration but the staging of rule-based language as a system that generates its own constraints. From bureaucratic procedure to legal discourse, we inhabit architectures that present themselves as transparent while organizing forms of compliance. Kosuth works within this condition, showing us that the rules are produced rather than given.

Across all these works, Kosuth employs the structures that organize absence: margins that critique the center, canceled sentences that exceed the sentence itself, and self-referential systems in which meaning is continually redirected back into its own conditions of production. At the same time, there is an implicit shift across media—from typewritten index cards to printed text, photographic reproduction, and neon illumination—in which inscription moves from manual trace to mechanical reproduction to electrical display. Meaning is therefore not only structurally constrained but technologically staged across different regimes of presentation. The “ready-made product” (struck through) is never simply given but is presented within the constraints of meaning, canon, and authority, which appear as stable forms only insofar as they continually enact their own instability. Here the political is structural, not polemical.]]></description>
<dc:subject>ready_made language neon text_art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:7df35d381498/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:ready_made"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:language"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:neon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:text_art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://brooklynrail.org/2026/07/artseen/n-dash-geophilia/">
    <title>N. Dash: Geophilia - The Brooklyn Rail</title>
    <dc:date>2026-07-18T01:59:51+00:00</dc:date>
    <link>https://brooklynrail.org/2026/07/artseen/n-dash-geophilia/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In her essay that accompanies the Hill Art Foundation’s current exhibition, N. Dash: Geophilia, curator Suzanne Hudson develops an alphabetical, annotated list of the materials the artist deploys. From acrylic paint to Styrofoam, Hudson (a Brooklyn Rail editor-at-large) considers the ramifications of fabricating art from ingredients that decay or won’t, that are typically seen in fine art—such as stretched canvas—or that are newly elevated as display objects as opposed to the throw-away items that go into the making of art, such as nitrile gloves....

Canvas, earth, ink, rock, string. These introduced, we are ready to encounter Dash’s fifteen additional works, all of which forthrightly make visible the ingredients used by the artist, a truth in materials or “principle of transparency,” as Hudson puts it. But we might still be surprised by the variety of her practice, as well as by an aspect not enumerated in the essay: the opportunity that the artist and curator have taken to explore installation as a medium, using the collections and the architectural quirks of the two levels of the Hill Art Foundation to build an exhibition that teases out the possibilities of siting and juxtapositions. It rewards the engaged viewer with play between Dash’s works, as well as between her works and the art historical objects included in the exhibition.]]></description>
<dc:subject>elements geomedia geological_art rocks</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c871976304b4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:elements"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:geomedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:geological_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:rocks"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://muttartreview.com/products/issue-four?variant=50314227253441">
    <title>Issue Four – Mutt Art Review - Inframince, the Message in Miniature (Conceptual Commodities and N-Dimensional Translation) by Matilda Lin Berke</title>
    <dc:date>2026-07-18T01:41:08+00:00</dc:date>
    <link>https://muttartreview.com/products/issue-four?variant=50314227253441</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[INSIDE THE PEARL II:Inframince, the Message in Miniature (Conceptual Commodities and N-Dimensional Translation) by Matilda Lin Berke

Duchamp was one of many who felt that a new kind of metaphysics was at hand; he was initially drawn to popular mathematical theories (he favored Henri Poincaré) and speculations around the concept of the fourth dimension. But these ideas served as a launchpad for his own idiosyncratic concerns, which he autologically compressed into his concept of infra-mince, or "ultra-thin."
Duchamp refuses to define infra-mince in favor of deriving it empirically through sensory description: the shifting iridescence of silk fabric, the plane of reflection in a mirror, the warmth of a recently vacated seat. These instances represent relational traces of motion or interaction, velleities hovering at the edge of three-dimen-sional space. In dialogue with Pierre Cabanne, the artist states that "through the infra-mince it is possible to pass from the second to the third dimension." In other words, infra-mince quantities allow perception to slip through similarly infra-mince dimensional limits: per Duchamp himself, the cavity between the front and back of a sheet of paper; or, in a more contemporary setting, the presence of the glass television screen revealed by Gretchen Bender's superimposition of vinyl lettering in her 1986-91 series TV Text and Image. Duchamp's Rotoreliefs (1935), two-dimen-sional lithograph discs that produce a three-di-mensional illusion when spun at 40-60 pm, provide a relatively simple example of his optical experiments with inter-dimensional translation...

In Boîte-en-valise, Duchamp condenses his practice into a portable miniature that, as Ecke Bonk notes, "simulates the horizontals and verticals of a room, perfectly to scale." By establishing a kind of "museum without walls" (to borrow André Malraux's phrase) that enabled the artist to curate and display mobile, "lossy" versions of his materialized ideas-squeezing essential attars from his full-size artworks while recontextual-izing them in a kind of matrix: an array containing flattened descriptions of three-dimensional]]></description>
<dc:subject>thinness miniatutre duchamp perception</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d21f031c70bd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:thinness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:miniatutre"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:duchamp"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:perception"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.bloomberg.com/news/features/2026-07-15/can-nyc-fix-its-scaffolding-blight?accessToken=eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJzb3VyY2UiOiJTdWJzY3JpYmVyR2lmdGVkQXJ0aWNsZSIsImlhdCI6MTc4NDEzNjIyNSwiZXhwIjoxNzg0NzQxMDI1LCJhcnRpY2xlSWQiOiJUSTdXNjhLR0lGUTUwMCIsImJjb25uZWN0SWQiOiIxOTQxOTk4OTU5NTE0MjE1ODMxRUM1RDNEN0NCQkQ0NiJ9.di7dukE0cv3CSnPrUFwAWiIXr9I7hxXwLddmlZz6SQU&amp;cmpid=citylab-weekly&amp;leadSource=article-gifting">
    <title>Can NYC Fix Its Scaffolding Blight? - Bloomberg</title>
    <dc:date>2026-07-18T01:12:40+00:00</dc:date>
    <link>https://www.bloomberg.com/news/features/2026-07-15/can-nyc-fix-its-scaffolding-blight?accessToken=eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJzb3VyY2UiOiJTdWJzY3JpYmVyR2lmdGVkQXJ0aWNsZSIsImlhdCI6MTc4NDEzNjIyNSwiZXhwIjoxNzg0NzQxMDI1LCJhcnRpY2xlSWQiOiJUSTdXNjhLR0lGUTUwMCIsImJjb25uZWN0SWQiOiIxOTQxOTk4OTU5NTE0MjE1ODMxRUM1RDNEN0NCQkQ0NiJ9.di7dukE0cv3CSnPrUFwAWiIXr9I7hxXwLddmlZz6SQU&amp;cmpid=citylab-weekly&amp;leadSource=article-gifting</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The sidewalk scaffolding that dots New York City is a fixture of its street life. The bulky overhangs are intended as a safety measure, yet they often block sunlight, obscure visibility for the businesses behind them, and trap people on stretches of sidewalk. Sometimes the dingy green platforms drip unknown substances on pedestrians. “Scaffolding takes away from the beauty of this city we all love,” Mayor Zohran Mamdani said in April. “It makes living here feel cramped, claustrophobic, closed in.”

NYC also has far more of these structures than other cities. Over the past quarter century they’ve become more prevalent, with the number of permits tripling between 2000 and 2020. Today, there are more than 7,500 sidewalk sheds, as they are formally known, covering roughly 330 miles. For scale, that’s enough to encircle Manhattan 10 times. And once they are up, they can persist for years....

To make these safety protections more appealing and less pervasive, the city has been preparing for a makeover, first under former Mayor Eric Adams and now under Mamdani. Officials are in the midst of crafting new rules to prevent sidewalk sheds from languishing. And as part of an effort to make them more attractive, a pair of new designs is on display this summer on a stretch of Lower Manhattan.

The upgrades were mocked up and built by a team that included the engineering firm Arup, architecture firms KNE Studio and Reddymade, and Core Scaffold Systems, and meant to provide a glimpse at what the city hopes will ultimately replace the green sheds....

The prototypes’ bright safety yellow and powder blue pop on the sidewalk. They have fewer, larger posts supporting the structures. The new design also loses the traditional cross bracing that supports the protective platform overhead while inadvertently keeping those walking through penned inside the structure. It means there’s more visibility for the shop or building underneath the shed and freedom of movement for pedestrians passing through. There’s space for benches, bus stops and electric charging stations as well as room for delivery workers to reach their destinations. It’s an acknowledgement that the streetscape has changed, says Tigani.]]></description>
<dc:subject>scaffolding sidewalks</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e65bb4b7bf3d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:scaffolding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sidewalks"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theparisreview.org/interviews/8499/the-art-of-poetry-no-120-harryette-mullen">
    <title>Paris Review - Harryette Mullen, The Art of Poetry No. 120</title>
    <dc:date>2026-07-18T01:04:10+00:00</dc:date>
    <link>https://www.theparisreview.org/interviews/8499/the-art-of-poetry-no-120-harryette-mullen</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[INTERVIEWER

What is your version of N+7?

MULLEN

It’s a game that makes the dictionary a collaborator. Oulipo writers used N+7 as a formula, a mechanical process to alter a preexisting text. What I took from them was the principle of substitution, the idea of transforming a text by substituting a word that has a similar sound or starts with the same letter or is a synonym in slang. “Dim Lady” and “Variation on a Theme Park” and “Junk Mail” were written that way.

INTERVIEWER

How about the way you use the words bitter labor in “Xenophobic Nightmare in a Foreign Language,” that poem based on the text of the 1882 Chinese Exclusion Act?...

MULLEN

It’s the same principle of substitution, which, even before Oulipo, I got from “Jabberwocky,” where Lewis Carroll just inserts nonsense words into what is otherwise a brief, conventional narrative of a hero’s journey. That surprising collision of language is what makes it amusingly poetic. A lot of people have notions about writing that are blocking them from writing, but whenever I feel stuck, I can resort to something like that, some kind of parody or substitution.

INTERVIEWER

What do you think are the notions that get people blocked?

MULLEN

They seem to believe you have to know what you’re going to write⁠—that there’s some unique and beautiful idea that just needs to be transferred from your brain to the page. People think they have to write something that nobody ever thought of, but you can write about ordinary stuff. If you start with a rule and then break the rule, it’s possible to surprise yourself. I like that the rule is there for me to mess with. You can take a text, do something to it, do something else to it, like Jasper Johns painting the flag. This is something I talk about with my creative writing students⁠—you can transform something that already exists.]]></description>
<dc:subject>poetry writing oulipo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4e546f973463/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:poetry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:oulipo"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.anythinklibraries.org/anythink-nature-library-grand-opening/">
    <title>Anythink Nature Library Grand Opening - Anythink Libraries</title>
    <dc:date>2026-07-18T00:55:24+00:00</dc:date>
    <link>https://www.anythinklibraries.org/anythink-nature-library-grand-opening/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The The Anythink Nature Library is a place where curiosity and care for the natural world take root. Grounded in the Environmental Kinship Model and shaped with insight from Indigenous and Native American leaders on the Anythink Nature Library Advisory Council, this experience-driven space invites visitors of all ages to explore their connection to nature through welcoming environments, hands-on TryIts, and guidance from knowledgeable experts — all within a community hub designed for learning, reflection and discovery.]]></description>
<dc:subject>libraries indigenous nature library_field</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5a633f446227/</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:indigenous"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://email.nybooks.com/t/y-e-fchitl-vdrdtyhy-s/">
    <title>NYRB w/ Meghan O'Gielblyn</title>
    <dc:date>2026-07-18T00:53:13+00:00</dc:date>
    <link>https://email.nybooks.com/t/y-e-fchitl-vdrdtyhy-s/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I feel like I should say I’m most terrified of mass cybersecurity breaches or intelligence explosions, but the fear that preoccupies me these days has to do with how AI is changing our relationship to language, writing, and reasoning. I started writing in my teens and early twenties because it was the only way I could engage in a certain level of complex thought. When I was studying theology at a fundamentalist Bible college—where the majority of the coursework is in the study of Scripture—it was in my private journals that I first allowed myself to question the ideology I’d been steeped in for most of my life. The page was a kind of mirror, a way to discover doubts and misgivings that I didn’t feel I could share with anyone, and which were difficult to name when I was simply going about my day, lost in a swirl of idle thoughts and emotions. Writing was basically how I found my way out of that very narrow form of faith. I don’t know that I would have done that if I’d had an institutional subscription to ChatGPT, as many college students do today. It makes me sad to think about a young person who might never cultivate the process of self-discovery that takes place in writing, which is inseparable from thinking—at least the kind of thinking that we associate with complex reasoning and self-knowledge.

This is connected to a more general fear of mine, which is that language models are causing us to devalue all kinds of higher cognitive functions. Any time a machine takes up a skill that was once thought of as uniquely human, like chess or coding, there’s a tendency to dismiss that skill as simple and mechanical. There’s an emerging consensus right now, particularly among AI skeptics, that the most distinctly human qualities are emotion, intuition, the ability to sense and feel. Those are undoubtedly the capacities that most readily distinguish us from machines. But this view risks fetishizing embodiment and emotion, much the same way that previous generations valued reason and language to an outsized degree to prove that humans are distinct from animals. What makes us unique as a species is that we can do all of these things: we share with animals the ability to feel and sense, and we share with machines the capacity to reason through language. It’s also true that we think and speak in ways that are radically distinct from computers, and we feel in ways that are different from animals....

You could argue that AI output, because it has distilled the most pedestrian, noncontroversial conventions of human expression, offers a baseline against which we can measure our own attempts to capture the inherently spontaneous and unpredictable nature of thought. I suppose that’s one thing that excites me....

In The Human Condition, Arendt envisioned a future in which our actions become too complex for our brains to understand, “so that from now on we would indeed need artificial machines to do our thinking and speaking.” In one of Weil’s political essays from the 1930s, she imagines a civilization where “all human activity…was subjected right down to matters of detail to an altogether mathematical strictness, and that without a single human being understanding anything at all about what he was doing.” Both of them pointed out that the abdication of thinking was not unique to our relationship with technology: it’s something we do naturally any time we defer to dogma, common wisdom, or facile clichés. It’s this observation that has most inflected my technological criticism. It’s not that AI is an entirely novel risk. It simply accelerates our tendency to defer to formulaic templates in order to avoid the difficult work of thinking.]]></description>
<dc:subject>automation cognitition writing artificial_intelligence</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8e1df57e89cd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:automation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cognitition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:artificial_intelligence"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.upress.umn.edu/9780816674299/survival-schools/">
    <title>Survival Schools</title>
    <dc:date>2026-07-17T20:38:50+00:00</dc:date>
    <link>https://www.upress.umn.edu/9780816674299/survival-schools/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In the late 1960s, Indian families in Minneapolis and St. Paul were under siege. Clyde Bellecourt remembers, “We were losing our children during this time; juvenile courts were sweeping our children up, and they were fostering them out, and sometimes whole families were being broken up.” In 1972, motivated by prejudice in the child welfare system and hostility in the public schools, American Indian Movement (AIM) organizers and local Native parents came together to start their own community school. For Pat Bellanger, it was about cultural survival. Though established in a moment of crisis, the school fulfilled a goal that she had worked toward for years: to create an educational system that would enable Native children “never to forget who they were.”

While AIM is best known for its national protests and political demands, the survival schools foreground the movement’s local and regional engagement with issues of language, culture, spirituality, and identity. In telling of the evolution and impact of the Heart of the Earth school in Minneapolis and the Red School House in St. Paul, Julie L. Davis explains how the survival schools emerged out of AIM’s local activism in education, child welfare, and juvenile justice and its efforts to achieve self-determination over urban Indian institutions. The schools provided informal, supportive, culturally relevant learning environments for students who had struggled in the public schools. Survival school classes, for example, were often conducted with students and instructors seated together in a circle, which signified the concept of mutual human respect. Davis reveals how the survival schools contributed to the global movement for Indigenous decolonization as they helped Indian youth and their families to reclaim their cultural identities and build a distinctive Native community.

The story of these schools, unfolding here through the voices of activists, teachers, parents, and students, is also an in-depth history of AIM’s founding and early community organizing in the Twin Cities—and evidence of its long-term effect on Indian people’s lives. ]]></description>
<dc:subject>pedagogy alternative_school indigenous</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1ba35ce7abf5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:pedagogy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:alternative_school"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:indigenous"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://studyandspeculativepractice.net/">
    <title>Study + Speculative Practice: Laura Nelson</title>
    <dc:date>2026-07-17T20:27:49+00:00</dc:date>
    <link>https://studyandspeculativepractice.net/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Week 1: Invitation

January 29

Fred Moten, “Anassignment Letters,” Stolen Life (2018)

Fred Moten and Stefano Harney, “The General Antagonism,” in The Undercommons: Fugitive Planning and Black Study (2013), pp 103-118.


February 5

Fred Moten and Stefano Harney, “The General Antagonism,” in The Undercommons: Fugitive Planning and Black Study (2013) (second half)

Robin D.G. Kelley, “Black Study, Black Struggle,” The Boston Review (2016) 

Paulo Freire and Myles Horton, We Make the Road by Walking: Conversations on Education and Social Change (1990)  (choose two or three chapters to read)

Mississippi Freedom School materials

    Notes on Teaching
    Take a few minutes to look through the entire curriculum


Ultra-red Workbooks 

    Radical Education
    Four Protocols for a School of Echoes

Week 4: The Commons

Silvia Federici, “Part Two: On the Commons,” in Re-enchanting the World: Feminism and the Politics of the Commons (PM Press: 2019) [here is the full book, but we will focus on Part Two]

Lauren Berlant, “The Commons: Infrastructures for troubling times,” Environment and Planning D: Society and Space (2016) 

José Esteban Muñoz, “The Brown Commons,” in The Sense of Brown, ed. Joshua Chambers-Letson and Tavia Nyong’o (Duke University Press: 2020)

Joshua Clover, “Riot Now: Square, Street, Commune,” in Riot. Strike. Riot: The New Era of Uprisings (AK Press: 2016)

Juliana Spahr, That Winter the Wolf Came (Verso: 2015)

Week 5: Critical Pedagogies

February 26

Paulo Freire, “Education as the Practice of Freedom,” in Education for Critical Consciousness (Continuum: 1974) 

Rebecca Tarlau, “ Contentious Cogovernance and Prefiguration: A Framework for Analyzing Social Movement–State Relations in Public Education,” Educational Researcher (2021)

Leanne Betasamosake Simpson, “Land as pedagogy: Nishnaabeg intelligence and rebellious transformation,” Decolonization: Indigeneity, Education & Society (2014)

Watch Ericka Huggins and Angela Davis, “Teaching as a Tool for Change” (video) [~1 hour]

Watch Ignacio Agüero, dir. Cien niños esperando un tren (1988) [55 min] 
**if you log in through Princeton Library, you can find a copy

Optional:

Wendy Brown, “Educating Human Capital,” in Undoing the Demos: Neoliberalism’s Stealth Revolution (Zone Books: 2015)

Week 6:  Counter Education, Archival Methods

March 5:

Eli Meyerhoff, “This Quiet Revolution": Alternative Modes of Study with the Experimental College at San Francisco State,” Cultural Studies (2019) (please read this!)

Eva Díaz, The Experimenters: Chance and Design at Black Mountain College (Chicago: 2019) (select a chapter to read)

S.E. Eisterer, ed. In the Daylight of Our Existence: Architectural History and the Promise of Queer Theory (gta Verlag: 2026) (read introduction and look through book)

Beatriz Colomina, Ignacio G. Galán, Evangelos Kotsioris, and Anna-Maria Meister, eds. Radical Pedagogies (MIT Press: 2022) (choose a selection of chapters to read)

Blueprint for Counter Education (1970) (reprinted by Inventory Press)

Radical Pedagogies and Blueprint for Counter Education are in Thorp Library in the English department. I don’t have digital copies, so make sure to stop by sometime in the next week to look through them.

Spend time looking at digitized archival materials from experiments in education:

    Highlander Folk School Digital Archive


    Black Mountain College   
    I’ve linked to the North Carolina State archive, which has thousands of digitized documents, but you might also look at other online archives


    California Labor School (1942-1957)


    San Francisco State Strike Archive

                + a handful of catalogues from the Experimental College

Archives:

    MayDay Rooms (London)
    Interference Archive (Brooklyn)
    After the Fall: Communiqués from Occupied California 

Week 7:  Study Elaborations

March 19

Renee Gladman, The Ravickians (Dorothy: 2011)

Renee Gladman, Ana Patova Crosses a Bridge (Dorothy: 2013) 
Books are in Thorp (in McCosh). Since these arrived late, don’t worry about reading before class. 

Fred Moten and Wu Tsang, “Who Touched Me?” (If I Can’t Dance, I Don’t Want to Be Part of Your Revolution: 2016)

Evie Shockley, “On Seeing and Reading the ‘Nothing’: Poetry and Blackness Visualized,” New Literary History (2019)

Sampada Aranke, “Material Matters: Black Radical Aesthetics and the Limits of Visibility,” e-flux (2017)


Film program for class:

    Fainting Spells (Sky Hopinka, 2018), 11 min
    Chronicles of a Lying Spirit (by Kelly Gabron) (Cauleen Smith, 1992), 6 min
    We hold where study (Wu Tsang, 2019), 19 min
    An Ecstatic Experience (Ja’Tovia Gary, 2015), 6 min


Additional films we may watch selections of:

    Shopping Bag Spirits and Freeway Fetishes (Barbara McCullough, 1979)
    Mi aporte (Sara Gómez, 1972)
    Die Umschulung (Harun Farocki, 1994)
    Love is the Message, The Message is Death (Arthur Jafa, 2013)

Week 8: Deschooling, Convivial Tools

March 25:

Jacques Rancière, The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation (1987) (selection)

Ivan Illich, “Why We Must Disestablish School,” “Phenomenology of School,” and “Learning Webs,” in Deschooling Society (Doubleday: 1971)

Raqs Media Collective, “How to Be An Artist By Night,” Art School: (Propositions for the 21st Century), ed. Steven Henry Madoff (MIT: 2009)

Manuel Callahan, “Repairing the community: UT Califas and convivial tools of the commons,” ephemera: theory & politics in organization (2019)

Raúl Romero Gallardo and  Xavie Gálvez, “The Rebel Education of the Zapatistas,” The Funambulist (2023)



Projects (to peruse):

     
    Materia Abierta 
    Anti-University of London
    Bathers Library
    Universidad de la Tierra (website is down)



Week 9: Collective Ambivalence

April 2

Ethan Philbrick, Group Works: Art, Politics, and Collective Ambivalence (2023) 

Companion sources:

    Julius Eastman, “Gay Guerilla” (1979)
    Regrouping (US: Lizzie Borden, 1976) [75 minutes]
    Simone Forti, Handbook in Motion (1974)


Lily Scherlis, “Experiences in Groups,” N+1 (2025)

Endnotes, “We the Unhappy Few”

Fred Moten, “The Mystic Group” (2019)

Please annotate a page from Ethan’s Group Works or one of the companion texts and write a question or prompt for class. Share these with me by 5pm on Wednesday.

Ethan Philbrick will visit class 


Week 10: Speculative Practice

April 9
Bernadette Mayer’s writing experiments

Ursula K. Le Guin, “The Carrier Bag of Fiction”

Donna Haraway, “Introduction,” “Playing String Figures with Companion Species,” “Sowing Worlds,” and “A Curious Practice,” in Staying with the Struggle: Making Kin in the Chthulucene (Duke University Press: 2016)
Listen to Death Panel podcast, “Organized Abandonment with Ruth Wilson Gilmore” (2022) 

Kay Gabriel, “Abolition as Method,” Dissent (2022)

Andy Hines and Eli Meyerhoff, “Alternative Institutions,” in University Keywords, ed. Andy Hines (Johns Hopkins University Press: 2025)

Re-visit :

Fred Moten and Wu Tsang, “Who Touched Me?” (If I Can’t Dance, I Don’t Want to Be Part of Your Revolution: 2016)

Week 11: Methods

April 16

Arthur Jafa, “Sequencing the Notes” (dir. Jurrell Lewis) (2025)

Katherine McKittrick, “Footnotes (Books and Papers Scattered About the Floor),” in Dear Science and Other Stories (2021)

Walter Benjamin, “Unpacking My Library” (1931), trans. Harry Zohn

Tina M. Campt, “Introduction” and “Haptic Temporalities,” in Listening to Images (Duke University Press: 2017)

Saidiya Hartman, Wayward Lives, Beautiful Experiments: Intimate Histories of Riotous Black Girls, Troublesome. Women, and Queer Radicals (AK Press: 2020) (selection)

Christina Sharpe, “Beauty Is a Method,” e-flux (2019)

Melody Jue, “Underwater Museums: Diving as Method” in Wild Blue Media: Thinking through Seawater (Duke University Press: 2020) [Photos + Notes]

“Swamp Pedagogy”


]]></description>
<dc:subject>study alternative_school speculation methodology x_as_method</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9011977d5a71/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:study"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:alternative_school"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:speculation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:methodology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:x_as_method"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nypl.org/about/fellowships-institutes/picture-collection-artist/fellows">
    <title>The New York Public Library Announces the 2026 Picture Collection Artist Fellows | The New York Public Library</title>
    <dc:date>2026-07-17T18:34:25+00:00</dc:date>
    <link>https://www.nypl.org/about/fellowships-institutes/picture-collection-artist/fellows</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Water Marks

Albert Narath’s project uses the holdings of the Picture Collection to trace the appearance of water as a subject and substance in visual archives. As a term, “water” appears in the list of Picture Collection subject headings both as a stand-alone subject and as a prefix for other terms such as “Water Skiing” and “Waterfall.” For this research, he is particularly interested the ways water also spills over, seeps through, and penetrates into cracks between established categories. In such places, where the contents of folders are identified with words other than water, water collects but has not been consciously collected. By following these trickles and flows in dialogue with a range of subject experts, he hopes to reimagine the Picture Collection as a waterwork. His goal is to draw a constellation of images from the Collection which illuminate the many ways in which human interactions with water—through its collection, distribution, use, and enjoyment—were captured and disseminated in the printed visual media of the 19th and 20th centuries, a period marked by far-reaching flows resulting from the mechanical proliferation of visual culture and the engineering of modern water systems.

Not every color can be printed. Some fall beyond the limits of a printing system, existing just outside what can be reproduced. Printers call this condition “out of gamut.”

While exploring the NYPL Picture Collection, Eva Parra became interested in the gap between the world and its printed image. A tropical landscape, a medical illustration, a magazine advertisement, or a family photograph may all appear natural, yet each has been shaped by the technologies and decisions used to reproduce it. Drawing from more than a century of images in the Collection, The Rest Is Out of Gamut follows these traces of translation, loss, and invention. Combining archival research and risograph printing, the project explores how images have taught us to see the world and asks what always remains just beyond their reach.

Eva Parra is an artist based in New York whose work centers on printmaking, photography, and publishing, exploring how images are reproduced, circulated, and transformed. In 2015, she co-founded Calipso Press in Cali, Colombia, a publishing project and Risograph studio where she designs, edits, prints, and distributes artist books and experimental editions. She has taught workshops and courses at institutions including the School of Visual Arts, Hunter College, and Penumbra Foundation]]></description>
<dc:subject>artist_books printing color risograph water leaks misfits classification pictur_collections</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:80b9765d49d7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:artist_books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:printing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:color"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:risograph"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:water"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:leaks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:misfits"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:pictur_collections"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/07/16/arts/design/teddy-roosevelt-presidential-library-north-dakota.html">
    <title>A Spectacular Theodore Roosevelt Library Deep in the Badlands - The New York Times</title>
    <dc:date>2026-07-17T18:16:55+00:00</dc:date>
    <link>https://www.nytimes.com/2026/07/16/arts/design/teddy-roosevelt-presidential-library-north-dakota.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[You’d be hard-pressed not to like the new $450 million Theodore Roosevelt Presidential Library. It’s an easy charmer and a spectacular work of ecologically minded architecture in the drop-dead gorgeous North Dakota Badlands.

The firm Snohetta in New York designed it. The building is 93,000 square feet of mass-timber and rammed-earth — a huge Hobbit house hugging the precipice of a grassy butte overlooking the tiny town of Medora, N.D....

Presidential libraries are all the rage, if you hadn’t noticed. The podcasters on Dezeen Weekly joked that they’re arriving like buses now: you wait for one and three of them come at the same time.

Barack Obama’s $850 million presidential center opened last month on the South Side of Chicago in a glowering granite tower housing a museum but with no actual library of presidential records. Obama’s records are stored with the National Archives in Maryland and his papers are in the process of being digitized.

President Trump has announced plans for a “library” that he imagines as a skyscraper in downtown Miami containing a Trump-themed museum and luxury hotel but no library, either.

Now along comes Roosevelt’s museum — backed by a private nonprofit unconnected to the National Archives and Records Administration. It’s a presidential library in name only, because Theodore Roosevelt’s physical papers were scattered before presidential libraries even existed. Franklin D. Roosevelt established the first one in the early 1940s, giving his archives to the nation as a gift and building a modest home for them on his estate in the Hudson Valley....

Craig Dykers runs Snohetta’s New York office. Camping on the butte for inspiration, he came upon a pair of stones under a leaf. What resulted was a plan that splits the library into two pavilions, one housing a museum and restaurant, the other an auditorium, offices and classrooms. The two pavilions share a walkable roof.

Walkable roofs have been Snohetta’s signature move since the firm made its bones in the architecture world a couple of decades ago designing the Oslo opera house. The Roosevelt roof is big enough to park a pair of 747s.

From some angles, it can put you in mind of Eero Saarinen’s whale-shaped skating rink at Yale. But its sod floor and planted beds of prairie grasses also suggest earth lodges that tribal nations built across the Great Plains.

The roof’s curves and steel outcroppings for skylights make the building nearly disappear in a landscape of hills and hoodoos....

Up on the butte the library sits to one side, ceding center stage to an expanse of green about the size of an N.F.L. stadium, ringed by a boardwalk. Dykers and his colleagues started collecting and cataloging seeds of local genetic origin to plant on the butte and on the roof before construction began.

The Native Plant Project, as it is called, enlisted volunteers at North Dakota State University to grow plugs and makes the library a showcase petri dish for regenerative ecologies extinguished across the Great Plains by mono-cropping and overgrazing....

Its museum may be as close as we can get today to presidential retrospection. The Roosevelt foundation organized a board of independent scholars to vet the content. The library consulted with the Mandan, Hidatsa and Arikara Nation on the architecture and exhibition, which lionizes Roosevelt but also calls him out on his imperialism and racism, and dives into his troubled relations with Native peoples.

I leave it to Roosevelt experts to assess the particulars, but the exhibition is a multimedia extravaganza and hugely clever romp. ]]></description>
<dc:subject>architecture libraries presidential_libraries landscape native_plants landscape_architecture seeds library_field</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:a86b4a629cfa/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:presidential_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:landscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:native_plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:landscape_architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:seeds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.are.na/editorial/an-interview-with-the-people-behind-the-cybernetics-library">
    <title>An Interview with the People Behind the Cybernetics Library | Are.na Editorial</title>
    <dc:date>2026-07-16T23:49:48+00:00</dc:date>
    <link>https://www.are.na/editorial/an-interview-with-the-people-behind-the-cybernetics-library</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Cybernetics Library is located in a small, sunny room in a co-op in Hell’s Kitchen, a district known more for Broadway and art deco buildings than for intellectual traditions that run against the grain. It’s a ten minute walk from the subway station, where there are no good options for food, save for the hot bar at Whole Foods. I still visit often, in hot, beating-down sun and against sheets of rain, and I have never left feeling dissatisfied. The books at the browsing-only library make for good companions, hundreds of them organized alongside zines, posters, and other miscellany in latticed milk crates stacked on top of each other. But even better companions are the two librarians, David Isaac Hecht and Chaski (Saskia Knowles), who can be found there most days of the week, sitting with their own tall, cross-history stack of books.

David has a recurring joke about the library. It doesn’t only contain books about cybernetics—it actually behaves cybernetically. A loose, broad definition of cybernetics might start with its origin word, the Greek kybernētēs, which means “steersman,” the person who leads a ship through treacherous, unpredictable waters. The study of cybernetics involves systems that react to and change themselves according to feedback; one belief is that constant evolution will protect against entropy’s thrashing waves....

Metadata is an interesting problem for us. We have objects and items that don’t have metadata. Sometimes zines don’t have text, and they don’t fit into the system we use, a catalog called LibraryThing. But the library did something at its origin that’s keeping it flexible: we tagged every single thing in custom ways and went beyond the standard-issue metadata of title, author. A book might have its standard listing from the Library of Congress. Then, we might dive in more and say—well, this book is quietly about the technology of war. We start to encode the collection in more human, flexible terms. You can find two things—let’s say, a map and a book—that wouldn’t be captured by the standard system, but are related on those terms....

We’ve started to sprawl out in other directions to make up for this. There’s a substantial poetry collection in the other room, there's a collection to do with the garden upstairs. In the basement there's a little bookshelf with tool-making and fabrication. There might be something we take and then we're like, actually, this should exist elsewhere. There is a very important book I had by my desk—a MoMA exhibit about Italian kitchen design—and for a while I kept it out because I was like, “no, this is just too disciplinarily focused.” And then I was looking at it again and thought: this is a cybernetic kitchen. Like, wow...

There's something about the hard-to-classify nature of it that keeps it flexible and cybernetic. And safe, maybe. Resistance to an easy definition seems like part of the mode. I'm not personally interested in resolving the tensions or perfectly cataloging every single item here....

we try and present some amount of critical discourse to make sure people respect the complications and contradictions of whatever they’re picking up. It’s important to know that libraries aren’t neutral places of information, too. Mimi Ọnụọha, an artist who was part of our original conference, did a workshop that was about how even the Library of Congress catalog is very unique in its political structures. I don’t think anyone can occupy a space of neutrality. I want people to find things, but I’m also going to be upfront.
]]></description>
<dc:subject>cybernetics little_libraries alternative_libraries classification</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:a1ff26ed1835/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cybernetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:little_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:alternative_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://hyperallergic.com/the-many-lives-of-frederic-edwin-church/">
    <title>The Many Lives of Frederic Edwin Church</title>
    <dc:date>2026-07-16T18:05:33+00:00</dc:date>
    <link>https://hyperallergic.com/the-many-lives-of-frederic-edwin-church/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[From the beginning, Church was always adventurous. He shot to fame while very young after exploding the works of the earlier Hudson River School painters, the first self-consciously American artists, into the much wider world that, for better or worse, the young republic was coming into. The Hudson River painters, chief among them his teacher Thomas Cole, had embraced the wide vistas and the supposedly unspoiled arcadia of the American landscape, creating works that contained a silent but unmistakable plea for the preservation of a natural world and an agrarian democratic order that, they sensed, was vanishing in a rapidly industrializing age.

To their legacy, Church added an element we might call carnivalesque. His works, which, as Johnson explains, brought views from all around the world to a New York still struggling to shuffle off its colonial origins, were fabulous popular attractions, drawing long lines of paying spectators to their dramatically staged unveilings. The greatest of these pictures, like “Heart of the Andes” (1859) in the Metropolitan Museum of Art — which Church helped found in 1870 — are so large and complex that they could double as novels, or as scientific treatises. Church’s goal in that painting was nothing less than the recapitulation, in a single image, of the entire natural world.]]></description>
<dc:subject>olana hudson_river_school frederick_church</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:57efb9d00772/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:olana"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:hudson_river_school"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:frederick_church"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.chronogram.com/arts/julianne-swartz-attunements-al-held-foundation-boiceville/">
    <title>Julianne Swartz’s “Attunements” at Al Held Foundation Explores the Sound of Objects - Chronogram Magazine</title>
    <dc:date>2026-07-16T13:17:11+00:00</dc:date>
    <link>https://www.chronogram.com/arts/julianne-swartz-attunements-al-held-foundation-boiceville/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[When I entered the Al Held Foundation in Boiceville, I was all ears. As a writer about sound, I was here to experience sound art. The show was called “Attunements” after all. I was prepared to let the boundaries of my skin loosen and be inhabited by a sonic landscape. I had been to many sound exhibits before. And in fact, there was a lot of sound in the air. But very quickly, I realized that Julianne Swartz’s work was much more than sonic. The clay sculptures, covered with a copper patina, sat on wooden platforms in round pairings. There was an intimacy in the way the empty vessels circled and seemed to embrace one another. Swartz calls them intervessels, as they are both spatially and sonically connected. She records the vibrations inside each and plays them back, producing loud and low hums that might have been the music of the spheres. My body kept time with the vacillations of notes, a percussive staggering of overtones produced by sine waves in close proximity. The beats in the air echoed those in my chest, a sound beat, a heartbeat, the beating of clay and earth....

If sound is life, these sculptures were alive, not only because sounds emerge from within the copper-burnished clay forms, round and themselves touching, but because the sounds themselves are organic to the vessels. Whereas some sound artists have used technology to alter the human voice, transforming public architectural spaces into numinous fields of novel human feeling (Susan Philipsz), and others invite participants into the tactility of sound (Christine Sun Kim or Janet Cardiff, among others), in this show Swartz animates what usually passes for the motionless and mineral: objects....

t the opening, and in our interview afterwards, Swartz often referred to the agency of the inanimate: the clay “found its own form,” sounds emerged from particular shapes and their configurations. Swartz “harvested” the sounds, creating with them a recorded composition that she then re-embedded in their birthing vessels. The vessels spoke to each other, emitting bass sounds and barely audible vibrations, vacillating between vessel and vessel, a symphony of interlocking breaths....

You often collaborate with creative sound technologist and inventor, Bob Bielecki.

Yes, Bob was my teacher in the Bard MFA program and then later I brought him in as a consultant or sound engineer on several museum projects. In addition we designed and taught a class together at Bard called Sound as a Sculptural Medium. We love to talk about sound, light, electronics and electricity. We have a lot of fun together brainstorming ideas and experimenting with these forces. We have worked on many projects together and are about to start a new one in a huge dome at Yerkes Observatory in Wisconsin.]]></description>
<dc:subject>sculpture clay acoustics sound_art vibration resonance sound_space</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:abed0bae7737/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sculpture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:clay"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:acoustics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sound_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:vibration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:resonance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sound_space"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://mayukofujino.com/about">
    <title>Mayuko Fujino: Nature-Inspired Stencil Art and Cutouts | Mayuko Fujino Cutout &amp; Stencil Art</title>
    <dc:date>2026-07-16T13:12:24+00:00</dc:date>
    <link>https://mayukofujino.com/about</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[ am a self-taught paper cutout and stencil artist from Japan based in Columbia County, NY. Inspired by traditional Japanese stencil textile designs and the Mingei folk art movement, I have been making art since 1999 for clients such as the National Audubon Society, Atlantic Magazine, and the Nature Conservancy.

I am a birder and often find inspiration in the natural landscapes and country life in the Hudson Valley. My goal is to connect with nature lovers and support environmental conservation works through my art.

My greeting cards and art prints are produced in-house and on-demand, using high-quality paper made from sustainable sources. (Available at my Etsy shop.)

Radio has been a big part of my life since 2015. (My radio shows) I host a monthly radio program Beakuency: Meet Bird People in Hudson Valley! on Wave Farm's WGXC, a community radio station based in Greene County, NY.]]></description>
<dc:subject>paper paper_cutting collage japan radio printing upstate birds</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fa7a7bb7b824/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:paper_cutting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:collage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:radio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:printing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:upstate"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:birds"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.amandameans.com/">
    <title>AMANDA MEANS</title>
    <dc:date>2026-07-16T13:10:03+00:00</dc:date>
    <link>https://www.amandameans.com/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>photography water folds condensation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:597966eb25e2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:water"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:folds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:condensation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://casco.art/">
    <title>Casco Art Institute: Working for the Commons - Casco Art Institute</title>
    <dc:date>2026-07-16T01:54:54+00:00</dc:date>
    <link>https://casco.art/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The commons can be described as the natural and cultural resources held in common by a community. For example, community gardens, mutual aid networks, and open source software are all examples of the commons. The commons requires a collaborative process, which we call “commoning,” based on shared ethics and values such as diversity, equity, pluralism, and sustainability. Art is an imaginative way of doing and being, which connects, heals, opens, and moves people into the new social visions. Art is in fact inherent to the commons, as they are shared resources to keep the culture of community alive. In turn, the commons may well sustain art. With art and the commons we can draw a worldview beyond the divides of private and public, to shape together a new paradigm of living together as “we” desire – be it decolonial, post-capitalist, matriarchal, solidarity economies — we name it! ]]></description>
<dc:subject>commons alternative_school utrecht</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6696be8c7a06/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:commons"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:alternative_school"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:utrecht"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://casco.art/activity/the-land-school-4siblings-itacateca/">
    <title>The Land School: 4Siblings &amp; itacateca - Casco Art Institute</title>
    <dc:date>2026-07-16T01:52:53+00:00</dc:date>
    <link>https://casco.art/activity/the-land-school-4siblings-itacateca/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Casco Art Institute: Working for the Commons presents its Autumn 2026 artistic program, The Land School, an exhibition and evolving collaboration between two collectives, the Amsterdam-based 4Siblings and Mexico City-based itacateca. Their shared engagement with land as pedagogy towards ecological regeneration and collective making forms the project’s conceptual core.

4Siblings develops site-specific, land-based practices at the intersection of ecological thinking, pedagogy, and experimental forms of public art. Their work emerges through direct engagement with soil, plants, and local contexts as active collaborators, responding to questions of environmental decline, access to land, and the shifting conditions of contemporary artistic production. They create temporary gardens and outdoor interventions that reflect nomadic, adaptive modes of cultivation and collective practice. Today, 4Siblings’ edible labyrinth, inspired by milpa cultivation in which diverse crops and companion plants grow interdependently, is situated at Buurtwerkplaats Noorderhof in Amsterdam Nieuw-West.

itacateca is a translocal collective and network cultivated since 2022 through Arts Collaboratory, specifically the AC School at documenta fifteen, and in relation to the lumbung ecosystem. They safeguard communal and ecological memory through collective artistic production, archival practice, and peer-to-peer circulation. Conceived as part of the vital and diverse webs that sustain our multispecies communities, their practice creates and preserves self-narrated practical knowledge at the intersection of food, time, and territory, fostering reciprocity and translocal solidarity.]]></description>
<dc:subject>alternative_school land_pedagogy library_field</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:7b18ee4dd91a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:alternative_school"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:land_pedagogy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://lcm.loc.gov/issue/july-august-2026/bark-book-of-batak-magic/">
    <title>Bark Book of Batak Magic</title>
    <dc:date>2026-07-15T19:53:54+00:00</dc:date>
    <link>https://lcm.loc.gov/issue/july-august-2026/bark-book-of-batak-magic/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The book is from an island in Indonesia. It was likely created in the 19th century, but it looks much older. It is thick, heavy and dark. Black wooden boards as covers. Brown pages made of tree bark. On those pages are words and mysterious drawings. It rises 3 inches off the table, looking like a tome of spells and incantations.

Which, actually, it is.

This is “Poda ni pagar si jonnga,” or “Instructions for Magical Protection,” a book used by shamans of the Batak peoples in North Sumatra more than 100 years ago, written in a rarified script that few people could read then and fewer still now.

That was by design. The Hata Poda writing system was reserved for Batak traditional healers or shamans. Given the inroads of Islam, Christianity and other religions across Indonesia over the past centuries, and the rise in regional use of Romanized script, there just aren’t many people who can read it today.]]></description>
<dc:subject>material_texts books bark trees elemental_media</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:beab00b93110/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:material_texts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:bark"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:elemental_media"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://brooklynrail.org/2026/07/art/cristina-iglesias-with-brooke-kamin-rapaport/">
    <title>CRISTINA IGLESIAS with Brooke Kamin Rapaport - The Brooklyn Rail</title>
    <dc:date>2026-07-15T19:52:51+00:00</dc:date>
    <link>https://brooklynrail.org/2026/07/art/cristina-iglesias-with-brooke-kamin-rapaport/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[ou opened two major public projects in 2022: Wet Labyrinth (with Spontaneous Landscape) (2020–22) in the courtyard of the Royal Academy of the Arts in London, and Landscape and Memory in Madison Square Park, New York. It was my great honor to work with you in New York. Both were physical manifestations of your command of bronze, appearing in public space as a living power. You demonstrated this sculptural ferocity because you then transformed that material and critiqued it, by embedding living, growing greenery in, on, or around each of those works. In London, the work rose above the ground plane, to invite people into a maze-like room. In New York, the work was a series of five pools with water tenderly coursing over the bronze surface. Was one project a vessel for living and contemplation, and the other coffin-like—reflective of death or departure?

Iglesias: I wanted to destabilize them by introducing elements that are constantly changing, like water, vegetation, and time. To create a fictional vegetation with imprints of reality in bronze is a way to talk about the importance of memory. In Landscape and Memory, those underground spaces feel like a discovery of an ancient world, I believe. But they represent nature. It existed below the streets and buildings in Manhattan, running towards the Hudson River, as we looked at maps of the city that you facilitated in the New York Public Library. Today, they share that space with cables, roots, mushrooms, and diverse organisms. It is also about the importance of communication. Bronze also has the quality of being able to resist the process of time by reacting with oxidation—that actually protects the material—and to be a vessel for all those organisms that grow with plants and water. The fountain grass that you remember—we planted between the five elements, drawing the stream of water as if the humidity of that water underneath was present. The viewer, the citizen, completed the piece in their imagination....

I’ve been very much related to it, and that was an inspiration. But also, the weather conditions changed so much: how water behaves and changes. The ideas of change and time, movement, are present. Of course, there are the historical fountains in cities as a place to meet. It’s also about showing power and symbols. But, yes, introducing movement, sequences, and reflection into materials that are always otherwise solid—not only bronze, but also aluminum and stone—is a way of using those dimensions as an added material. It creates a shifting surface, something that is never fully fixed. Looking to the sea when I was little, I could feel always how the weather conditions change everything. Water was something that I wanted to bring into the sculpture, along with the use of light. I began to use light and the colored glass as materials of the sculpture in the very early pieces. I have begun to think of light in a similar way, as a material that flows and filters and transforms perception. Light passing through glass can feel almost liquid. I don’t use these elements only as metaphors in a literal sense, but as ways of constructing environments where I make water and light become unstable—somewhere between reality and illusion. I was not initially drawn to water like we were talking now in a biographical sense, but rather as a special condition that allows sculpture to extend beyond its physical limits. I create sequences that work with time and then go beyond what you see or what happens, because you start imagining the flow going further than what you see....

The Michelangelo stairway at the Laurentian Library in Florence that is so baroque, so illusionistic in how it defines a space is a whole work in itself. Many other references are in architecture, in art, from the Étant donnés (1946–66) by Marcel Duchamp, to the writings by Clarice Lispector or Rachel Carson, to Jorge Luis Borges or Fernando Pessoa, or the poems of Emily Dickinson and José Ángel Valente, and many others. Because we were talking about this room, this fog, I think of the capacity of J.M.W. Turner to represent an atmosphere—something that is so intangible. He was a master in painting, but how to get close to that with sculpture?

Also Michelangelo Antonioni, the filmmaker, for the psychology he is capable of creating. In L’avventura, everything happens on an island, and a woman is lost in this group of people. There is this tension that is constructed. It’s about landscape, there, in that island. There is this tension and this psychology that I think good pieces of art have....

We should mention too, that another element in your work is sound; sometimes gentle, rhythmic sounds of the water flowing or coursing, or the intrusive, unplanned sounds of the environment, like the city surrounding your piece, or people raising dialogue in a museum space. Your brother, Alberto Iglesias Fernández-Berridi, is a composer of music for films. Do you think through ideas of sound with your brother? Have you thought of working together? Or maybe you have?]]></description>
<dc:subject>installation water land_art rocks minerals light sculpture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d9709fe3e181/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:installation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:water"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:land_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:rocks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:minerals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:light"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sculpture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.publicpolicylab.org/resources/ppl15-the-case-for-mapping/">
    <title>PPL 15: The Case for Mapping – Public Policy Lab</title>
    <dc:date>2026-07-15T19:43:32+00:00</dc:date>
    <link>https://www.publicpolicylab.org/resources/ppl15-the-case-for-mapping/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In the Navigating Home project, the NYC Department of Social Services (DSS) and the NYC Department of Homeless Services (DHS) wanted to understand how they could better assist New Yorkers experiencing homelessness in transitioning to permanent housing. For three years, our team worked with a dozen shelters across the city to learn why some shelters were more successful in moving people into permanent housing than others. Going in, our team understood how DSS and DHS worked with each other, but there was a lot for us to learn about the nuanced interactions between agency staff, shelter staff, and shelter residents. Talia’s extensive experience with human-centered research and digital service design and my deep understanding of complex government systems complemented each other well, but for both of us, it was our first time delving into a system as complex as New York City’s homeless shelters.

This project taught me about a different kind of mapping than what I was used to. Instead of conducting a spatial analysis of risk, we were mapping processes and experiences. And instead of creating a map of a service and handing it off, our maps were co-created by the people who had firsthand experience of delivering and using that service. ...

As we began to piece together the wide array of experiences across shelter staff and residents, we realized we needed to build a shared understanding of what the system looked like. We took out printer paper and Post-its, and asked frontline staff, program leaders, and shelter residents to describe the shelter experience from their vantage point. Participants mapped out each step of the journey from shelter to permanent housing as they understood it, which helped us identify any gaps and overlaps across the different experiences. There were moments when people were not sure what the next step was, or where the order of steps was inconsistent. “Everyone gives you different information,” one resident noted. We also learned that the existing resource to document residents’ transition to permanent housing, the Independent Living Plan (ILP), wasn’t as useful as it could be, as one frontline provider pointed out: “The ILP is very client-focused but doesn’t include what caseworkers should do to help clients progress.”

We started our research with a rough journey map, sketching out the high-level steps we had gathered from early interviews. By the end of the month, we had a detailed service blueprint visualizing each step, associated touchpoints, and key materials. Mapping this journey wasn’t just useful for our team’s understanding of the system; it served shelter staff and residents as well. Many staff members had different approaches to the move-out process, which meant that residents’ experiences were dependent on the staff member they were working with. Staff needed a standardized visual overview of the rehousing process so that everyone could follow a consistent set of steps....

Coming out of research, we were proud of the service blueprint we made. It was the first map of its kind documenting the rehousing process in New York City. But every time we wanted to display it, we had to unfurl a massive printout that was at least ten feet long and tape it up across the office walls. People had to get really close to read all of the detailed information. The blueprint made sense in the first phase, when we were building an understanding of how the system worked, but it was too complicated to be used by shelter staff in their day-to-day work. They were managing a lot, juggling large caseloads with individualized client needs. What they needed was an easy framework they could remember. 

With that in mind, we decided to take our comprehensive service blueprint and distill it into a more accessible format: a simple poster. The poster, Five Steps to Home, provided a visual explainer of the five main phases of the rehousing process: Choose a Path, Complete Requirements, Look for Housing, Get Approved, and Move In. It was simple, clear, and easy to recall. For each step, we created supporting tools—worksheets, a decision tree, and an eligibility table—drawn from best practices at high-performing shelters across the city. Much of the detailed information from the service blueprint was migrated into worksheets, one for each of the five steps. This suite of materials created more clarity and transparency in the process, helping residents and staff visualize their path forward and make more informed decisions.

Beyond making our materials visually compelling, we had to ensure they were policy-compliant... After a deep dive into policy research, we translated the complicated eligibility rules into visuals that were comprehensible to both staff and residents. It captured the knowledge that was already in staff members’ brains and made it available to residents, so that they were informed about their options. ]]></description>
<dc:subject>civic_infrastructure mapping cartography service_design journey_mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:25176288e94e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:civic_infrastructure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:service_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:journey_mapping"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://brooklynrail.org/2026/07/art/mary-ellen-carroll-with-chloe-stagaman/">
    <title>MARY ELLEN CARROLL with Chloe Stagaman - The Brooklyn Rail</title>
    <dc:date>2026-07-15T19:41:23+00:00</dc:date>
    <link>https://brooklynrail.org/2026/07/art/mary-ellen-carroll-with-chloe-stagaman/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[and one of the key things that we decided early on was that we would have somebody come in as an exhibition designer. CAMH is a parallelogram designed by Gunnar Birkerts with 22-foot ceilings, and we wanted to use that architecture. The exhibition designer Juliana Ziebell had worked at Lina Bo Bardi’s Museu de Arte de São Paulo, which also has a clear-span structure, albeit in a different material.

With the support of the museum’s team, we wanted to make things not only transparent but apparent to the viewer. I didn’t want drywall to make walls, so we decided that we would try to come as close as possible to creating zero waste. This was not about virtue signaling, because there’s so much being destroyed right now. We did it because we could. We ended up getting a sponsorship from the scaffolding manufacturer Layher, and if scaffolding can be beautiful, theirs is. Thanks to how agile CAMH’s team is, and with support from the museum’s head preparator Jeff Shore, we developed a library stack meets Costco warehouse meets Ken Isaacs modular design that creates something new for the viewer. It was Juliana who realized that the scaffold needed to be italic, aslant and drawing from language. The installation and execution of the exhibition is a new work, titled SHALL (2026), and the book coincidentally happened in parallel, with a design by Teo Schifferli....

When you enter the show, there are many different places where it “begins.” One of the first things I saw was a large red neon letter “A.” You’ve often said that all of your work is rooted in language, and I wonder if you can talk a little bit about the specificities of language to your process, as well as your card catalogue index that you’ve used since 1988 to organize your ideas in the studio...

With indestructible language, you generated language as a way to open up towards an audience encounter. Corrections involved ten years of reading different newspapers and cutting from their corrections columns, cataloguing and sorting existing language in any one journal’s mistakes. One of the corrections you gathered read: “Sunday Styles on June 10 erroneously reported the marriage of Virginia Marie Defina and Steven Robert Scott. In fact, as Mr. Scott informed The Times yesterday, the wedding never took place.” So these are pretty major factual errors, right? They’re funny and awkward. But they pull at the seams of the arrangement between published media and ourselves.

Carroll: I’m always interested in mistakes. I made Corrections at the height of print media. The work is not, and I am not, nostalgic. In those sections, I was looking at what the mistakes were and where they were made. Was it something that was factual? Was it something that was societal? There ended up being all of these different ways in which I could classify the mistakes, so then it was a matter of putting them together as a giant facsimile of the New York Times. And then I had an exhibition of the facsimile in 2001 and of course the New York Times made a mistake when they reviewed it. The correction was made and that was the work of art. ]]></description>
<dc:subject>scaffolding shelves exhibition_design card_catalogue display error revision correction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fa404fe1349b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:scaffolding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:shelves"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:exhibition_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:card_catalogue"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:display"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:error"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:revision"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:correction"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://daiquiriheiress.substack.com/p/accessible-archivist-coalition-updates?publication_id=2215450&amp;post_id=207041601&amp;isFreemail=true&amp;r=16n9qh&amp;triedRedirect=true">
    <title>Accessible Archivist Coalition Updates</title>
    <dc:date>2026-07-14T20:23:17+00:00</dc:date>
    <link>https://daiquiriheiress.substack.com/p/accessible-archivist-coalition-updates?publication_id=2215450&amp;post_id=207041601&amp;isFreemail=true&amp;r=16n9qh&amp;triedRedirect=true</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[My team and I have been working behind the scenes to make the Accessible Archivist Coalition bigger and better.

For a while now, with our incredible developer, we have been creating a database from scratch to hold all of the public access information we have gathered that we found to be at risk of permanent digital deletion.

This all started with my Katrina Database a couple of years ago, a keyword-searchable mega-spreadsheet I compiled with hundreds of links to thousands of items related to the facts of Hurricane Katrina.

I began working on this after attempting to research data from the storm and finding that information was severely scattered, or worse, at risk of loss. I downloaded as much as I possibly could and backed it up to prevent it from becoming digital dust. As I was working on gathering information from government websites, however, I noticed press releases about the storm were being removed from the White House’s website.]]></description>
<dc:subject>archives disasters archive_rescue deleting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d10f66898af6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:disasters"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archive_rescue"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:deleting"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.philamuseum.org/exhibitions/workshop-of-the-world">
    <title>Workshop of the World | Philadelphia Museum of Art</title>
    <dc:date>2026-07-13T23:56:26+00:00</dc:date>
    <link>https://www.philamuseum.org/exhibitions/workshop-of-the-world</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Following the 1876 Centennial Exposition in Philadelphia, several local institutions were founded to promote the applied arts.

"Workshop of the World: Arts & Crafts in Philadelphia" marks the 150th anniversary year of one of these institutions, the Philadelphia Museum of Art, and celebrates the creative innovations that emerged from a network of Philadelphia artists, architects, and manufacturers in response to the problems of urban industrialization in the late 19th and early 20th centuries.

Inspired by the ideals of the British Arts and Crafts movement, these artists sought beautify everyday life through simple designs, hand craftsmanship, and pre-industrial models.

A special feature of the Arts and Crafts in the Philadelphia region was the development of craft-based communities outside the city in Bryn Athyn, New Hope, and Rose Valley in Pennsylvania and Arden in Delaware, each of which made a distinctive contribution to the artistic and social transformations of the era. The legacy of Arts and Crafts has continually inspired Philadelphia artists up to the present, where debates about the value of the handmade, integration of art into daily life, and the importance of beauty are still with us.

A multimedia exhibition, "Workshop of the World: Arts & Crafts in Philadelphia" will feature work by well-known figures like Samuel Yellin, Violet Oakley, and Henry Chapman Mercer and also bring to life lesser-known stories of Philadelphia’s artistic and industrial heritage.]]></description>
<dc:subject>craft philadelphia exhibition</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d4fcc03594fa/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:craft"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:philadelphia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:exhibition"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/07/01/magazine/ai-medical-scribes-doctors.html">
    <title>How A.I. Might Change the Way Doctors Think - The New York Times</title>
    <dc:date>2026-07-13T23:08:37+00:00</dc:date>
    <link>https://www.nytimes.com/2026/07/01/magazine/ai-medical-scribes-doctors.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The modern chart began to emerge around the turn of the 19th century, as medicine moved into hospitals, where patients were under observation day after day, their illnesses followed over time. Early American hospital records consisted mostly of admission and discharge books, with more administrative information about patients than clinical details. Eventually, hospitals began preserving fuller case histories, retrospectively copied by scriveners from physicians’ private notebooks. By the end of the century, New York Hospital, one of the country’s first hospitals, advised physicians to write at the bedside “with such care and in such a manner” that their notes could become part of the permanent institutional record.
Editors’ Picks

    Looks as Extreme as the Paris Heat

    We Have 7-Eleven Snacks at Home

    Sex and Surrealism on the French Riviera

This documentation served the hospital’s record-keeping needs more than those of the individual patient. It wasn’t until 1907, at the Mayo Clinic, in Rochester, Minn., that the chart started to be integrated more directly into the patient’s care. Around the same time, nursing observations, test results and other clinical information also began finding their way into the medical record. Henry Plummer, an endocrinologist at Mayo, and his assistant, Mabel Root, created a dedicated record for each patient, gathering a person’s medical history in one file rather than leaving it dispersed across separate ledgers and admissions documents. The patient, not the ward or the single hospital stay, became the organizing principle. A chart now followed a person across visits and time; if the patient returned, another doctor could pick up the thread of his or her care.]]></description>
<dc:subject>charts records paperwork medicine health artificial_intelligence notes diagnosis bodies</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1f884cb3c441/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:charts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:records"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:paperwork"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:medicine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:health"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:artificial_intelligence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:notes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diagnosis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:bodies"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/07/10/climate/fcc-space-mirror.html">
    <title>F.C.C. Approves Test of Space Mirror to Light Night Sky Despite Outcry - The New York Times</title>
    <dc:date>2026-07-13T19:45:12+00:00</dc:date>
    <link>https://www.nytimes.com/2026/07/10/climate/fcc-space-mirror.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The federal government has approved plans by a start-up company to test a satellite that would use a 60-foot mirror to reflect sunlight back to Earth after dark, as part of a project the company says would power solar farms, provide light for rescue workers and illuminate city streets.

In a license issued on Thursday, the Federal Communications Commission gave the green light for Reflect Orbital of Hawthorne, Calif., to launch its Eärendil-1 satellite into low Earth orbit. The company plans to deploy its test satellite this year but has said it eventually wants to send as many as 50,000 big mirrors into space.

The approval came despite a flood of opposition from astronomers, wildlife experts and others who say the light from the mirrors could distract airplane pilots, wreak havoc on astronomical observations and interfere with circadian rhythms, the light-and-dark cycles that help people, animals and plants know when to wake and sleep, to bloom or to migrate.

“It’s terrifying to me that one country can change the night sky for everybody in the world,” said Samantha Lawler, an astronomer at the University of Regina in Saskatchewan, Canada. “I need access to dark skies in order to do my research. If you’ve got giant mirrors shining down, then we’ve lost that.”...

The wider concerns over the project lay beyond the purview of the commission, which issues the licenses needed to deploy satellites, the F.C.C. said. In reviewing satellite applications, it generally checks to ensure that a spacecraft’s radio communications do not create interference problems for others, and that the vessel will be safely disposed of at the end of its operational lifetime.

The federal government’s overall stance is that activities in space are not subject to environmental regulations and review, which apply only to Earth. “Even if the commission had authority to review and condition these operations (which it does not), these harms are unlikely to occur,” the F.C.C. said.]]></description>
<dc:subject>astronomy commons big_tech satellites illumination light</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:25e5e26509c4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:astronomy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:commons"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:big_tech"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:satellites"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illumination"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:light"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/07/02/magazine/frictionless-productivity-marketing-tech.html">
    <title>Is a ‘Frictionless’ Society a Trap? - The New York Times</title>
    <dc:date>2026-07-13T19:38:40+00:00</dc:date>
    <link>https://www.nytimes.com/2026/07/02/magazine/frictionless-productivity-marketing-tech.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This is in fact part of what writers like Klaffke warn about — the amount of time we spend being herded through a landscape built to discourage us from thinking, acting disruptively or deviating from a set path. It can be weirdly encouraging, though, to imagine our most annoying battles with that environment as a positive sign. The idea that modern society is dangerously geared toward hyperconvenience can be easily punctured by a single phone call to your health insurer. The challenge that follows might not rival the rewards of making friends or taking up woodworking, and it’s still surrounded by plenty of efforts to cater to your desire for ease. Still: It’s a useful reminder that the world is not, and never will be, trying to pamper you into oblivion.]]></description>
<dc:subject>friction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1957d54f7222/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:friction"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nyc.gov/mayors-office/news/2026/07/mayor-mamdani-launches--public-interest-technology--pit--crew--t">
    <title>Mayor Mamdani Launches “Public Interest Technology (PIT) Crew” to Rapidly Build Digital Solutions to Public Problems - NYC Mayor's Office</title>
    <dc:date>2026-07-13T16:44:41+00:00</dc:date>
    <link>https://www.nyc.gov/mayors-office/news/2026/07/mayor-mamdani-launches--public-interest-technology--pit--crew--t</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Mayor Zohran Kwame Mamdani and Chief Technology Officer and Office of Technology & Innovation (OTI) Commissioner Lisa Gelobter today announced the launch of “Public Interest Technology (PIT) Crew,” a new initiative that will deploy teams of technologists alongside City agencies to tackle public problems with in-house digital solutions.

The first PIT Crew will team up with the Department of Consumer and Worker Protection (DCWP) to build an online portal that allows New Yorkers to easily file complaints against companies that trap customers in hard-to-cancel, costly subscriptions. The tool will support the Mamdani administration’s implementation of the nation’s first “Click to Cancel” protections.

OTI will deploy a total of five PIT Crews: the first to support Click to Cancel, three more to advance Mayor Mamdani’s agenda of affordability and public excellence and an additional team developed with support from The Rockefeller Foundation to the Mayor’s Fund to Advance New York City. The Rockefeller Foundation has supported efforts to help governments harness the latest technologies to improve processes and systems for underserved communities across the United States.

Each PIT Crew will include product managers, designers, engineers, user researchers and data experts who will work alongside City agencies and New Yorkers to design, build and launch digital solutions on accelerated timelines. ]]></description>
<dc:subject>public_interest_tech civic_tech mamdani libraries nyc social_infrastructure</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d6db2e01f979/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:public_interest_tech"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:civic_tech"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mamdani"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:social_infrastructure"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/07/09/us/data-centers-native-american-tribes.html">
    <title>Big Tech Is Now Targeting Native American Land for Massive Data Centers - The New York Times</title>
    <dc:date>2026-07-13T01:15:05+00:00</dc:date>
    <link>https://www.nytimes.com/2026/07/09/us/data-centers-native-american-tribes.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The dizzying expansion of data centers to power artificial intelligence has communities in Republican and Democratic states feeling blindsided as citizens and local governments are forced to grapple with noise, water and energy concerns. That division may be even more palpable on Native lands, where outside exploitation has a long and ugly history and where technology companies see a chance for rapid development that gets past the red tape impeding projects elsewhere....

“True wealth is the well-being of our families,” he said during a tour of his family’s cemetery, an hour east of Oklahoma City. “True wealth is being able to live on this Earth Mother without fear and without having to look over one’s shoulders.”

Last fall, at the National Congress’s annual conference in Seattle, activists interrupted an A.I. panel by chanting, “You can’t drink data!” and “The biggest lie is A.I.!” Traci L. Morris, executive director of the American Indian Policy Institute at Arizona State University, was onstage and was reminded of when the federal government expanded broadband access to reservations in 2010.

“There were tribes that were like: No, we’re never going to go on the internet,” said Ms. Morris, a member of Oklahoma’s Chickasaw Nation. “Well, data centers are here, and tribes need to make a decision.”

The issues have cropped up on Indian lands nationwide. In the Pacific Northwest, the Yakama Nation went to federal court in May to block a clean energy project on a sacred site that would power a data center campus. Honor the Earth, a national Indigenous group, has kicked off a Stop Data Colonialism campaign featuring an interactive map tracking proposed data centers.]]></description>
<dc:subject>data_centers infrastructure land indigenous</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:a324f1cabe8a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_centers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:infrastructure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:land"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:indigenous"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.culturedmag.com/article/2026/06/09/culture-helen-molesworth-curator-art-laziness/">
    <title>The Laziness Canon: Helen Molesworth on Artists Who Made Great Work by Doing Nothing</title>
    <dc:date>2026-07-11T03:26:33+00:00</dc:date>
    <link>https://www.culturedmag.com/article/2026/06/09/culture-helen-molesworth-curator-art-laziness/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Or how about Robert Barry’s Closed Gallery, also 1969? The invitation to the show read, “During the exhibition the gallery will be closed.” Barry said, “Nothing seems to me the most potent thing in the world.” In 1970, Tom Marioni started his decades-long The Act of Drinking Beer with Friends is the Highest Form of Art. Why make work when you can hang out with your friends? Why not try to do exactly what you want and call it work? It’s no mistake that these gestures emerged during the heyday of the counterculture in America, when everything, even what constituted labor, was up for rethinking.

No tract on an ambivalent relationship to working would be complete without Duchamp’s famous quip: “Deep down I’m enormously lazy. I like living, breathing, better than working.” I have long admired that when he did work, he did so out of view of others. If one was going to indulge in the ego gratification of work, one could at least have the good manners not to turn it into a performance that demanded everyone’s attention and praise. (I confess I find our contemporary equation of being busy with being important incredibly tedious.) Instead, when Duchamp worked, he did so behind a secret door. His final major work, Étant Donnés, 1946–66, one of art history’s most beguiling mysteries, was born from just a touch of sloth.]]></description>
<dc:subject>sloth labor refusal art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8838b6d36983/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sloth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:labor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:refusal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.noshowmuseum.com/en">
    <title>NO SHOW MUSEUM</title>
    <dc:date>2026-07-11T03:24:30+00:00</dc:date>
    <link>https://www.noshowmuseum.com/en</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[ 

FIRST MUSEUM OF NOTHING

The NO SHOW MUSEUM is the world’s first museum dedicated to 'nothing' and its various manifestations throughout the history of art. Its collection includes around 500 works and documents from 150  internationally renowned artists of the 20th and 21st centuries, among them, Marina Abramovic, Joseph Beuys, Maurizio Cattelan, Marcel Duchamp, Ceal Floyer, Hans Haacke, Yves Klein, Piero Manzoni, Gianni Motti, Robert Rauschenberg, Man Ray, Robert Ryman, Richard Serra, Santiago Sierra, Andy Warhol, and Rémy Zaugg.
 

 
     

 
  

MISSION

In the course of the 20th century, 'nothing' has become an equally distinctive aesthetic category like the beautiful, the ugly or the absurd. The artistic examination of the (non) phenomenon 'nothing' has questioned traditional practices of art production and lead to new possibilities of spatial, temporal and material interpretation. 'Nothing' is usually understood as the negation of being and figuration, but strictly seen, it is not possible to define nothing. The fact that every attempt to describe, represent or materialize it is doomed to fail, inspired many artists of the 20th century even more to intensively deal with nothing and the paradoxies of its (re)presentation. The result is a stunning number of artistic perspectives, avenues of approach, strategies, positions and works – which are collected by the NO SHOW MUSEUM, historically processed and presented at exhibitions and events worldwide. The aim is that the general public is able to experience and appreciate this highly divers and productive category of thinking and aesthetics.]]></description>
<dc:subject>nothing refusal erasure museum</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c0d2f106a251/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nothing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:refusal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:erasure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:museum"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.frieze.com/article/lee-lozano-2004-review">
    <title>Lee Lozano’s Acts of Refusal | Frieze</title>
    <dc:date>2026-07-11T03:23:05+00:00</dc:date>
    <link>https://www.frieze.com/article/lee-lozano-2004-review</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Lee Lozano left the art world almost 30 years before her death in 1999, ending a decade-long career in New York that included drawing, painting, Performance and Conceptual activities. In spite of the accomplishment of her paintings, she is best known (in so far as she is known at all) for two acts of refusal, both of which she undertook as artworks. In General Strike Piece, begun in 1969, she decided to withdraw from the art world, and recorded the process by documenting the last times she visited museums or attended gallery openings. That same year she began a month-long ‘boycott’ of women, which she then extended and continued for the rest of her life. ]]></description>
<dc:subject>labor refusal strike art performance_art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d52e596e15d7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:labor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:refusal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:strike"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:performance_art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://blanton.emuseum.com/objects/6889/general-strike-piece">
    <title>General Strike Piece – Works – Blanton Museum of Art</title>
    <dc:date>2026-07-11T03:22:37+00:00</dc:date>
    <link>https://blanton.emuseum.com/objects/6889/general-strike-piece</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Lozano was one of the first women to practice Conceptual art in New York. Over a ten-year period, she moved from image-based abstract paintings such as Stroke in last gallery to text-based works and performance-based actions, testing the formal limits of what a work of art can be. In General Strike, she described her intention to stop participating in art world events. This resolution evolved into a manifesto-like text—published in artist Vito Acconci’s magazine, 0–9—as well as an ongoing, if partially private, performance.]]></description>
<dc:subject>performance_art labor strike</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:24b6e7fbe46e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:performance_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:labor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:strike"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.culturedmag.com/article/2026/06/15/literature-cay-kim-the-future-perfect/">
    <title>Young Novelist Cay Kim on the Right (and Wrong) Way to Do an MFA Program</title>
    <dc:date>2026-07-11T03:18:49+00:00</dc:date>
    <link>https://www.culturedmag.com/article/2026/06/15/literature-cay-kim-the-future-perfect/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[What three books make up your personal canon? 

The Lover by Marguerite Duras for its inimitable originality in voice and form; The Passion According to G.H. by Clarice Lispector for capturing the language of human spirituality; Housekeeping by Marilynne Robinson for its rare feat of centering beauty without forfeiting subject matter of the utmost gravitas. 

What do you think your generation should read more—and less—of?

We should all read more poetry. Nothing quite brushes upon the soul like poetry does. And: literature in general does this, but poetry specifically is the opposite of certainty. Negative capability is the term for it—the willingness to embrace the unknown, the possibility that what I know to be true might not be true, etc. This kind of cognitive flexibility is what helps us move through the world in the most humane and evolved ways, I think. ]]></description>
<dc:subject>reading poetry</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:51e04edb00ec/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:poetry"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.culturedmag.com/article/2026/06/15/literature-lydia-mathis-desperate-bodies/">
    <title>Debut Author Lydia Mathis on the Three Books That Gave Her Permission to Be Weird</title>
    <dc:date>2026-07-11T03:16:33+00:00</dc:date>
    <link>https://www.culturedmag.com/article/2026/06/15/literature-lydia-mathis-desperate-bodies/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[What’s one work that crystallized your voice?

It’s hard to choose just one—every book I’ve read has given me a little insight into what I could do and permission to do it. Like when I discovered how long paragraphs could be in José Saramago’s Blindness or the mixed media, fold-out translation/memoir that is Nox by Anne Carson. In all the books I read that do something unusual, I find teachers. But I think Ottessa Moshfegh’s Homesick for Another World was what really showed me the weirdness that I eventually let infiltrate my writing voice....

What do you think your generation should read more—and less—of? 

I think this generation would benefit from reading more widely and diversely. I mean that in a multitude of ways. They should be reading from a range of races, cultures, countries, and the like. They should also be reading different points of view in terms of narrative perspective.

It is insane to me when people talk about hating first person or second person or third person—I think that is a result of low exposure. My generation should also be reading diverse writing styles (long paragraphs, long chapters, mixed media, no quotation marks, etc.) as well as different genres. People are closed off to a vast range of stories because they are convinced they hate some element it might contain.]]></description>
<dc:subject>writing research process</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:730ec1f48759/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:research"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:process"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.culturedmag.com/article/2026/06/15/literature-k-ming-chang-needlemouth/">
    <title>How Author K-Ming Chang Managed to Write Nine Books Before Turning 30</title>
    <dc:date>2026-07-11T03:09:41+00:00</dc:date>
    <link>https://www.culturedmag.com/article/2026/06/15/literature-k-ming-chang-needlemouth/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I try to approach writing as an act of play, a place of infinite possibility and pleasure, and that’s probably why I tend to find drafting so endlessly generative and exciting. To me, drafting is about creating something unformed and therefore infinitely possible, while revision is about making decisions, which I find agonizing as a deeply indecisive person.

I also think about writing as an act of transformation, a way to move beyond representation and replication and invent new languages and a “horizon of being,” in the words of José Esteban Muñoz. He writes that queerness is about what is not yet here. That idea of looking constantly toward what is yet to arrive, what can only be glimpsed briefly, appeals to me deeply as a writer....

I lose faith all the time, sometimes multiple times a day! What helps sustain me isn’t faith so much as rage. A desire to make other worlds possible and a desire to create through destruction. I’d tell myself to let that rage fuel me, transform me, compel me, invent me, and perpetually challenge me.

I’d tell myself not to fear it but to listen to it, and to worry less about whether it will be understood. Instead, that life-sustaining rage will lead me to a lineage of other writers, past and present, and it is a reminder not to compromise, a reminder that anything and everything is possible, and that all I have to do today is receive it. ]]></description>
<dc:subject>writing process labor</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:622c364b5ef5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:process"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:labor"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.e-flux.com/education/features/673274/calling-cards-the-2025-graduate-student-curated-exhibitions">
    <title>Calling cards: the 2025 graduate student-curated exhibitions - Features - Education - e-flux</title>
    <dc:date>2026-07-11T02:52:29+00:00</dc:date>
    <link>https://www.e-flux.com/education/features/673274/calling-cards-the-2025-graduate-student-curated-exhibitions</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In addition to the school’s unrivaled assets, what distinguishes the CCS Bard program is its integration of rigorous academic inquiry with museum-standard exhibition production. “CCS is not just a professionalizing program; it is a place to think critically about contemporary art and culture,"  noted Lauren Cornell, who, since 2017, has served as program director and chief curator of the Hessel Museum in tandem. “Really, we give [students] both,” she added. “They are encouraged to synthesize research, readings, and conversations and be bold in their thinking, but at the same time, they’re working in a museum, with all the processes and limits that come with that—budgets, loans, conservation, installation.” This duality creates what the program’s executive director Tom Eccles calls a “productive contradiction” within CCS. It operates both as an academic program and as professional training; Eccles describes CCS as “a museum with a school and a school with a museum.” Students navigate between seminar discussions of critical theory and conversations with registrars about shipping insurance. They must defend conceptual frameworks to thesis committees while calculating floor space and whether their finite budgets can accommodate international shipping costs. Reconciling the program’s entwined double objectives produces some inevitable challenges. Faculty member Evan Calder Williams, who teaches a yearlong theory course, emphasizes the importance of avoiding what he calls “the problem of illustration”—reducing artworks to mere demonstrations of theoretical concepts. “Despite teaching ‘theory’ as a shorthand term,” Calder Williams explained, “I'm deeply invested in encouraging people not to reduce artworks to illustrations of theories.”...

It’s also worth noting that the program’s generous funding and professional infrastructure create conditions that most curators will likely never experience again. Does such a rarefied environment prepare graduates for a field increasingly defined by precarity and compromise? The concern isn’t whether CCS fails in its commitment to scholarly and institutional rigor; it succeeds in both. The question is whether that rigor can be transposed onto the larger challenges currently facing the art world. A deeper question is whether the program’s dual commitment to criticality and institutional excellence might ultimately reinforce the very systems it seeks to question. Students learn to critique museums while mastering museum practice, to challenge hierarchies while navigating them expertly. This produces graduates who are institutionally fluent enough to succeed within existing structures, but perhaps too inculcated in those structures’ logic to fundamentally reimagine them. The “productive contradiction” Eccles identifies may be more circular than transformative—generating curators who can articulate sophisticated critiques of the art world while remaining excellent ministers to its reproduction.]]></description>
<dc:subject>curation exhibition_design</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:7901851b5f60/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:curation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:exhibition_design"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://madein-platform.com/">
    <title>MadeIn Platform</title>
    <dc:date>2026-07-11T02:29:38+00:00</dc:date>
    <link>https://madein-platform.com/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[MADE IN is a research, design and heritage platform that proposes new collaborative practices and knowledge exchange between the traditional craftspeople and contemporary designers.]]></description>
<dc:subject>crafts design making library_field</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f91dc2ea9dda/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:crafts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:making"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.e-flux.com/education/features/169850/making-and-unmaking-the-curator-at-the-center-for-curatorial-studies-at-bard-college">
    <title>Making and Unmaking the Curator at the Center for Curatorial Studies at Bard College - Features - Education - e-flux</title>
    <dc:date>2026-07-10T17:01:34+00:00</dc:date>
    <link>https://www.e-flux.com/education/features/169850/making-and-unmaking-the-curator-at-the-center-for-curatorial-studies-at-bard-college</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[But perhaps even more than the artworks, the CCS Library and Archives are of utmost importance to the program. Students study contemporary art practices since the 1960s, primarily through exhibition histories, and via catalogs, archival images, and other rare documents. This approach charts an unusual course through the history of art, thinking about exhibitions critically as a form, and considering the modes and methodologies through which art has been shown, as distinct from art history. The library is a well-loved resource under the leadership of Ann Butler, who also teaches a course on critical collecting practices. When the Hessel Museum opened, Marieluise Hessel donated approximately fourteen thousand volumes from her collection to the CCS Bard library, which has grown over the last eleven years to house more than thirty thousand volumes, with acquisitions ongoing. Butler’s contributions to the library’s holdings are sourced not only from top-tier art institutions but from more obscure organizations, including limited-run and influential smaller journals, documents from curatorial and artist estates, and video and sound recordings by artists. “Exhibition history isn’t that canonized. What’s interesting about the program is there is a lot of research and work to be done, and the library is a really good teaching tool,” remarked recent alumna Alexis Wilkinson from the bar at Knockdown Center in Queens, where she programs exhibitions and performance.]]></description>
<dc:subject>curation bard libraries art_libraries upstate</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:7a4518c70248/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:curation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:bard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:art_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:upstate"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/07/09/theater/questioning-play-new-theater-hollywood.html">
    <title>Julia Weist Was Investigated for Making Art. ‘Questioning,’ a New Play, Tells the Story. - The New York Times</title>
    <dc:date>2026-07-10T16:25:19+00:00</dc:date>
    <link>https://www.nytimes.com/2026/07/09/theater/questioning-play-new-theater-hollywood.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In 2024, that system caught up with her. When Weist sought to renew her private investigators’ license by mail with the New York Department of State, she was called to a meeting in Albany instead and asked to explain how exactly her work as an artist qualified her to be a P.I. And thus ensued a brief, wondrous overlap between the worlds of conceptual art and government bureaucracy: Did her art meet the definition of investigation? And if so, could an investigation be presented as art?...

At its core, the play is about people from different worlds trying to find a shared language. The investigators — by turns probing and curious — grapple for words to describe Weist’s art, which ends up being referred to as the “work product.” Together, they attempt to parse the difference between “research” and “investigation.” At one point in the interrogation, Weist observes: “As an artist, we are confusing to people, especially in cases where everything’s meant to be very black and white. We don’t fit. That’s sort of our job, right?”]]></description>
<dc:subject>investigation methodology forensics surveillance intellectual_property</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:a6171d605549/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:investigation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:methodology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:forensics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:surveillance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intellectual_property"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.instagram.com/p/DYPivG4FA1m/?img_index=1">
    <title>American Artist: bench art</title>
    <dc:date>2026-07-10T04:28:00+00:00</dc:date>
    <link>https://www.instagram.com/p/DYPivG4FA1m/?img_index=1</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Los Angeles | It’s the last week to see American Artist’s exhibition at the gallery. We’re open Thursday–Saturday, 10 am–5 pm! The exhibition closes May 16!

The wicked humor of American Artist’s assemblages echoes that of Hammons, who also rebukes the various workings of capture. Both artists find brilliance in ordinary solutions to spatial and architectural constraint, especially when forged by people confined to the intersection of “poverty” and “capture,” as Power Grid relays. Society may recognize the subtle stacking and baling of flattened cardboard boxes as a scourge rather than an invention, but Occupied pays homage to this necessary ingenuity. Like Hammons, American Artist emphasizes slight gestures of self-preservation that have traditionally had no legitimacy as forms of social life, but re-emerge as new forms of agency.]]></description>
<dc:subject>furniture benches intellectual_furnishings furniture_art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:38f1e4674060/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:furniture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:benches"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intellectual_furnishings"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:furniture_art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.mike-tully.com/?fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQPOTM2NjE5NzQzMzkyNDU5AAGnjYTU07X1eqazSLSeJ59xkkriIdE6_zO4b67H_iTH8P6X65Mt2-8b_WRuOr0_aem_hp5Ydx7uOqZelNSHBYpEwA">
    <title>Mike Tully</title>
    <dc:date>2026-07-09T15:40:05+00:00</dc:date>
    <link>https://www.mike-tully.com/?fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQPOTM2NjE5NzQzMzkyNDU5AAGnjYTU07X1eqazSLSeJ59xkkriIdE6_zO4b67H_iTH8P6X65Mt2-8b_WRuOr0_aem_hp5Ydx7uOqZelNSHBYpEwA</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>graphic_design artists_books CRC furniture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:197fe03c365e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:artists_books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:CRC"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:furniture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.instagram.com/m_tully/">
    <title>Mike Tully</title>
    <dc:date>2026-07-09T14:59:31+00:00</dc:date>
    <link>https://www.instagram.com/m_tully/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>graphic_design textual_form artists_books furniture intellectual_furnishings furniture_art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9ffbc861ca3c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:textual_form"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:artists_books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:furniture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intellectual_furnishings"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:furniture_art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.coeval-magazine.com/coeval/strange-rules-mat-dryhurst-and-holly-herndon-at-palazzo-diedo-venice">
    <title>'Strange Rules' Mat Dryhurst and Holly Herndon at Palazzo Diedo Venice - COEVAL Magazine</title>
    <dc:date>2026-07-09T14:56:09+00:00</dc:date>
    <link>https://www.coeval-magazine.com/coeval/strange-rules-mat-dryhurst-and-holly-herndon-at-palazzo-diedo-venice</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Mat Dryhurst together with Holly Herndon, Hans Ulrich Obrist, and Adriana Rispoli, he has co-curated Strange Rules at Palazzo Diedo in Venice: the first space in Italy dedicated to a sustained curatorial and theoretical reflection on Protocol Art, and one of the more genuinely ambitious projects to coincide with the 61st Venice Biennale. At the exhibition's centre sits the Attention Guild, a new commission by Dryhurstand Herndon in collaboration with architecture studio SUB. It is a parliament: humans speak on the ground floor; above them, agents debate, forming a mirror assembly fed by the same stream of anonymously gathered conversation. Everything said in the space contributes to the missions of their studio. Nothing is scenographic.

What distinguishes Dryhurst's position is a refusal to treat deployment as someone else's problem. The Do Not Train registry, built through Spawning, was adopted by major companies not because it had institutional backing but because it worked. Holly persists because people can engage with it in technical, not only critical, terms. The protocol art thesis rests on that word: works. The Attention Guild also proposes an economy. Context and compute, in Dryhurst's framing, are the two currencies of an agentic future. Agents contribute idle hours to a shared mission; in return, they receive access to years of accumulated knowledge. Less a transaction than a structure, closer to the Hanseatic League or BitTorrent than to anything the gallery world has built before.]]></description>
<dc:subject>attention parliament installation benches intellectual_furnishings</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4a017e25488a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:attention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:parliament"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:installation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:benches"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intellectual_furnishings"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://berggruenarts.org/en/exhibitions/current-exhibitions-palazzo-diedo/current-exhibitions-palazzo-diedo-strange-rules">
    <title>STRANGE RULES - Palazzo Diedo - Berggruen Arts &amp; Culture</title>
    <dc:date>2026-07-09T14:52:51+00:00</dc:date>
    <link>https://berggruenarts.org/en/exhibitions/current-exhibitions-palazzo-diedo/current-exhibitions-palazzo-diedo-strange-rules</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Strange Rules introduces the concept of Protocol Art, a practice that engages with the underlying rules that dictate how culture is produced, distributed, and perceived in a digital age. These rules frequently manifest as algorithms, artificial intelligence models, computer protocols, platforms, and various technological infrastructures. Protocol Art does not simply use these tools; it exposes, analyses, and transforms them into artistic material itself.

Consequently, the artwork is not merely a final product, it is a process governed by instructions, representing the invisible architecture that enables the aesthetic experience. This shift in perspective - moving from the object to the system, and from the singular author to collaboration and ultimately human-machine co-creation - defines one of the most urgent territories in contemporary research.

The launch of Strange Rules inaugurates Palazzo Diedo, Venice, as the first space in Italy to foster a curatorial and theoretical reflection on Protocol Art, positioning itself at the forefront of the debate regarding the relationship between art and technology.

Alongside the exhibition, a major new publication will establish the first comprehensive account of Protocol Art as a field of practice. Research for this landmark volume will unfold throughout the duration of Strange Rules, with Palazzo Diedo serving as both exhibition site and working research environment. The resulting book aims to be a defining reference for Protocol Art, mapping its key works, practitioners, and theoretical foundations across art and technology.]]></description>
<dc:subject>protocols net_art little_libraries exhibition_library</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6ba103e18fed/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:protocols"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:net_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:little_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:exhibition_library"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://joemuggs.substack.com/p/little-rooms?r=qojd&amp;triedRedirect=true">
    <title>Little Rooms. - by Joe - Erratic Aesthetic</title>
    <dc:date>2026-07-09T14:36:22+00:00</dc:date>
    <link>https://joemuggs.substack.com/p/little-rooms?r=qojd&amp;triedRedirect=true</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I keep seeing trend spotters and cultural forecasters who live in London, Berlin, Seoul, Dubai, LA, talking about cultural stasis and flattening out – just like they did in the early 2000s when I started out writing – but they are not looking in little rooms. Little uncool rooms. Little uncool rooms in ordinary places like the conservative market town where I live that AI crawlers and ideological blocs and marketing surveys can’t see into, where people break bread together, and DO THINGS, and plant the seeds of life beyond stasis and sloppification and social media silos and loneliness epidemics and the rest.

There are plenty of people who get it, who get that if change is to be made it will be made by people gathering IN ROOMS. The politics analyst Stephen K Bush has half-jokingly suggested an all-inclusive political party whose manifesto is “Go Outside!” The journalist Emma Warren’s mapping out of DIY spaces, dancehalls and youthclubs is a consistent tonic. I keep coming back to the academic Paul Gilroy’s conception of “conviviality” as method of opening up barriers. The grime impresario and agitator Elijah’s “CLOSE THE APP, MAKE THE THING” poster is displayed prominently on the wall of my little room where I work. The sci-fi author and tech commentator Naomi Alderman talks about how the human qualities of discernment, research skill, taste and imagination will remain real and vital, and that applies on the ground, in those little rooms, as much as in any corporation or agency or institution.]]></description>
<dc:subject>small_rooms smallness miniature_media intimacy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:30ad3818a109/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:small_rooms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:smallness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:miniature_media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intimacy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://buttondown.com/sebchan/archive/105-adventures-in-venice-2026/">
    <title>105. Adventures in Venice 2026 • Small Rooms</title>
    <dc:date>2026-07-09T14:33:47+00:00</dc:date>
    <link>https://buttondown.com/sebchan/archive/105-adventures-in-venice-2026/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Jace was playing at Miscellania’s multi-day, multi-genre Absorb Festival and so most of the audience for our chat was the younger current generation art/club crew with a few older heads sprinkled throughout. In our conversation asked Jace about starting out in Boston in the late 1990s, about the scene, its size - and his reply “8, 10, 12 of us in room was the start of it”.

Looking at the audience questions as they came in on the on-stage tablet, I was struck by the fascination people had with this ‘small-scale starting point’. People wanted to know more about how that worked, how a scene could emerge, and then create a viable career for some of its crew in music and art. The unbelievability of a career that had emerged out of such small beginnings, and a series of lucky moments, seemed to surprise many younger local folks in the room. Jace and I reflected on the similarities between then and now - a recession, wars in the Middle East, youth unemployment, no jobs. It made me a little sad that the sense of agency and experimentation that had underpinned both Jace and my own youth in the 1990s, was feeling extinguished by the seemingly crushing reality of the present for some of those in the room.

It reminded me of music writer Joe Muggs’ “Little Rooms” manifesto - which I do hope he expands on this year.

    “From radical cooperatives to village food fairs, craft clubs, art groups – I’m in the little rooms where things happen without any aim of being the next trend, the next Boiler Room, the next Brewdog, whatever. And you need to 1) support this, indiscriminately, throw money at facilitating and celebrating ordinary activity, not because it’s art, or it’s productive, but for its own sake, and 2) survey it, to see what emerges, sure, but even more importantly to have a constant feed of variety, abundance, grit, reality back into the wider culture.“...

There’s a new album from LA-based James Bernard which explicitly addresses and tries to recreate the music of the ‘small rooms’ of the early to mid 1990s - back then the chill out room of the big raves. Bernard became an audio engineer also working on music software and virtual synthesizers but back in he early 1990s was making music for underground raves and releasing on Rising High Records as In/flux and less dancefloor oriented sounds under his own name, most notably Atmospherics on 1994. The new album In A Small Room, Decades Ago, is his modern attempt to use the same limited equipment to evoke the sonic aesthetics of that era. This comes as there has been a significant cultural shift towards listening rooms, listening parties, ‘sound baths’, and the idea of quiet, slow music as a ‘communal balm’. Bernard’s album is not hollow nostalgia but reworks those long lost patterns in new ways, helped by decades of soundcraft. I listened back to Atmospherics, which was remastered and reissued in a 30th anniversary edition in 2024 along with a collection of remixes by bvdub and it remains a fine example of mid-90s small room ambience.

I’ll come back to those small room experiences in the next episode, along with the adventures into China, and maybe some reflections on the small historical museums of northern Scotland.]]></description>
<dc:subject>smallness miniature_media miniature venues music_scenes performance</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:278a002770c7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:smallness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:miniature_media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:miniature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:venues"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:music_scenes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:performance"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.elle.com/it/lifestyle/viaggi/a71805708/bologna-biblioteca-umberto-eco-libri/">
    <title>Umberto Eco Library in Bologna: the collection of 32 thousand books opens</title>
    <dc:date>2026-07-09T12:24:11+00:00</dc:date>
    <link>https://www.elle.com/it/lifestyle/viaggi/a71805708/bologna-biblioteca-umberto-eco-libri/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[in Eco's library nothing was random: every shelf was a system of relationships, a constellation of references, a permanent exercise of thought. Eco loved to remember that a private library does not serve to exhibit what has been read, but to remind us of everything we still ignore. It is the principle of the "anti-library", a concept also made famous by Nassim Nicholas Taleb and inspired by the professor's immense collection: a library as a monument to the incompleteness of knowledge, an antidote against the arrogance of erudition. In an era that measures everything in speed and performance, this idea possesses a surprisingly contemporary force. Entering the Eco Library means then going through a cartography of knowledge that shuns every compartmentalization. Semiotics and philosophy coexist with the Middle Ages, linguistics with esotericism, popular fiction with Aristotle, comics with school, art catalogs with mass culture. It is the same method that crossed his novels: from the Name of the Rose to the Pendulum of Foucault, the high and popular culture are never antagonistic, but parts of the same living organism. The choice to faithfully recreate the original organization of the house of Milan tells much more than just archival respect. It means recognizing that thought also possesses a spatial dimension.]]></description>
<dc:subject>libraries organization classification idiosyncratic_libraries</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4bd1b605c5bc/</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:organization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:idiosyncratic_libraries"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://querent.substack.com/p/this-spatial-dimension-to-my-thoughts?publication_id=82291&amp;post_id=205786245&amp;isFreemail=false&amp;r=s9ot&amp;triedRedirect=true">
    <title>This Spatial Dimension To My Thoughts - by Alexander Chee</title>
    <dc:date>2026-07-09T12:22:31+00:00</dc:date>
    <link>https://querent.substack.com/p/this-spatial-dimension-to-my-thoughts?publication_id=82291&amp;post_id=205786245&amp;isFreemail=false&amp;r=s9ot&amp;triedRedirect=true</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[…this project is the result of the joint work of the University of Bologna, the Umberto Eco Foundation and the heirs , who wanted to preserve not only the book heritage, but the very order in which those books interacted with each other. Because in Eco's library nothing was random : each shelf was a system of relationships, a constellation of references, a permanent exercise in thought . Eco loved to point out that a private library is not there to display what one has read, but rather to remind us of everything we still ignore . This is the principle of the "anti-library" , a concept also made famous by Nassim Nicholas Taleb and inspired by the professor's immense collection: a library as a monument to the incompleteness of knowledge, an antidote to the arrogance of erudition . In an age that measures everything in speed and performance , this idea has a surprisingly contemporary strength. Entering the Eco Library means traversing a cartography of knowledge that shuns any compartmentalization . Semiotics and philosophy coexist with the Middle Ages, linguistics with esotericism, popular fiction with Aristotle, comics with scholasticism, art catalogues with mass culture. It is the same method that permeates his novels: from The Name of the Rose to Foucault's Pendulum , high and popular culture are never antagonistic, but parts of the same living organism. The choice to faithfully recreate the original organization of the Milanese house speaks to much more than simple archival respect . It means recognizing that thought also has a spatial dimension . Ideas inhabit the shelves, settling in the unexpected proximity of two titles, in the seemingly arbitrary juxtaposition that instead generates an intuition. Ultimately, Eco maintained that books speak above all to each other ; the reader is only he who has the privilege of listening to them.]]></description>
<dc:subject>library classification idiosyncratic_libraries</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5725c8a2f9d9/</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:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:idiosyncratic_libraries"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/07/08/opinion/ai-google-gemini-search-questions.html">
    <title>Opinion | The Problem With Google’s A.I. Overview - The New York Times</title>
    <dc:date>2026-07-09T02:49:08+00:00</dc:date>
    <link>https://www.nytimes.com/2026/07/08/opinion/ai-google-gemini-search-questions.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[For anyone who publishes on the internet, this is a troubling development, since it lowers website traffic and makes it hard to protect and profit from your intellectual property. But you might think it is good news for internet users. Could there be anything wrong with getting a reliable answer more quickly?

There is. By shortening the time between asking a question and getting an answer, these tools are actually undermining curiosity — and paradoxically threatening our ability to understand the world.

I used to work at Google, about a decade ago. When I was there, we often measured the value of internet content based on factors that indicated user engagement, like clicks and scroll depth. The metric Google seemed to reward — people exploring — is precisely what its A.I. products are now designed to eliminate....

Researchers have found that people in a state of curiosity, while waiting for an answer to an intriguing question, remember unrelated information they encounter during that time far better than they otherwise would. In that same study, the researchers also placed those people in brain scanners. They found that waiting for an answer activates reward circuits in the brain and readies the hippocampus to help form new memories. Similar findings have been reported by other researchers in studies involving infants, older children and adults.

In short, curiosity puts the entire brain into a mode of heightened receptivity — not just for the specific thing you want to know, but also for everything around it. Curiosity opens a window, and while the window is open, learning deepens across the board.

But the window stays open only as long as the question remains unanswered. When an A.I. answers your search query in three seconds, the window closes before curiosity can deepen. You got what you came for, but you also lost what would have turned curiosity into learning: the adjacent article you might have read, the resulting tangent you might have followed, the connection between two ideas with no obvious relationship.

Researchers call this incidental learning, and it’s the mechanism behind many serendipitous discoveries. Scientific breakthroughs, artistic leaps, technological innovation — these rarely emerge from efficient retrieval of known information. They emerge from periods of undirected exploration, when people follow questions further than they need to and find things they weren’t expecting. 

Our technology is increasingly treating the territory between the query and the answer as dead space to be eliminated, when that territory is where most of the learning actually happens. The danger is not that people will stop asking questions. It is that questions will become endpoints. The loss is not serious in any single case. But fewer detours and fewer unexpected discoveries will have a cumulative effect. Over time, people trained this way become better at extracting ready-made conclusions than building connections of their own....

A.I. companies that want to do right by their users will have to take action themselves. Instead of burying sources behind paraphrases and replacing 10 links with one summary, they could make different design choices. They could keep sources more visible. They could show competing explanations, instead of compressing them into one smooth paragraph. They could offer alternative search modes that reward exploration over speed.]]></description>
<dc:subject>curiosity web_search search</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6501e4f77681/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:curiosity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:web_search"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:search"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://sonialmeida.com/">
    <title>Sonia Almeida</title>
    <dc:date>2026-07-08T20:28:27+00:00</dc:date>
    <link>https://sonialmeida.com/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>post_digital painting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:672a02085fce/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:post_digital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:painting"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://mitpress.mit.edu/9780262052597/alan-dunn/">
    <title>Alan Dunn: The Cartoonist as Architectural Critic</title>
    <dc:date>2026-07-08T20:23:53+00:00</dc:date>
    <link>https://mitpress.mit.edu/9780262052597/alan-dunn/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The first in-depth study of American artist Alan Dunn (1900–1974), whose incisive cartoons mocked twentieth-century architecture and urban environments, expanding the field of architectural criticism.

Drawing on his pioneering expertise in the relationship between graphic satire and architecture, Gabriele Neri retraces Alan Dunn’s path from painter to renowned cartoonist, offering an unconventional perspective on architectural and urban transformations—and on their perception within society.

Featuring 200 carefully selected images, including Dunn’s correspondence, unpublished cartoons, preliminary sketches, watercolors, and rare photographs, Alan Dunn demonstrates the critical potential of caricature and cartoons for architectural history. Through Neri’s deft analysis, the book also reveals the complex intersections of architecture with media, publishing, commerce, society, art, and politics.

As Lewis Mumford once wrote of Dunn: “Shall I say that he is obviously a better architect than the architects whose fashionable clichés and grim follies he exposes? Or shall I say that his urbane satiric style, deft but merciless, puts him in a class by himself; for this is what has been missing from contemporary criticism in all the arts. All this is true; but it is not enough.”]]></description>
<dc:subject>media_architecture cartoons illustration comics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:cd6daea65406/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartoons"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:comics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://brooklynrail.org/2026/07/film/finding-community-at-non-films-dark-room/">
    <title>Finding Community at Non Films’s DarkRoom - The Brooklyn Rail</title>
    <dc:date>2026-07-08T20:15:44+00:00</dc:date>
    <link>https://brooklynrail.org/2026/07/film/finding-community-at-non-films-dark-room/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Across the city, attendance at independent and repertory theaters, especially among young moviegoers, is plentiful. Long-standing microcinemas like Spectacle and Light Industry are still going strong, and new ones like Low Cinema are opening. Places for robust cultural criticism like Screen Slate, Metrograph Journal, and Film Comment are growing and evolving in the face of journalistic decline.

Amidst all of this, some of the most exciting work and sense of cinematic camaraderie can be found tucked away in the back room of Freddy’s Bar in South Slope.

On the fourth Tuesday of every month, a community of filmmakers, artists, and open-minded viewers gather at DarkRoom for a mystery lineup of short films curated by Brian Ratigan. A longtime programmer and juror on the indie festival circuit, Ratigan’s well of contemporary independent film knowledge (as well as his rolodex) runs deep, so it was perhaps only a matter of time before he developed a screening series of his own. Ratigan hosted the first DarkRoom in the back of Freddy’s in March of 2023, initially envisioning that showcase of some of his favorite experimental shorts, complete with salon-style discussion, as a one-off event. The size and enthusiasm of the audience that night, however, decided otherwise. Three years later, DarkRoom has hosted over seventy shows across multiple boroughs and venues, from established movie theaters like Nitehawk Prospect Park to microcinema and gallery spaces, and even historic sites like the Andrew Freedman Home in the Bronx....

A DIY spirit informs everything about DarkRoom, from the micro-budget films it highlights to the accessibility of the event itself. From the beginning, Ratigan was adamant about not having a cover charge at Freddy’s, wanting to eliminate any gatekeeping or barrier to entry (DarkRoom only sells tickets when it travels to a venue that requires it). However, donations are strongly encouraged, and go directly to the filmmakers screening that evening, almost as if they’re a touring band at a basement punk show. “Everything is split evenly,” Ratigan says, “and it’s never as much as I would like to be giving filmmakers, but for a lot of the artists we’ve hosted, it’s the first time they’ve ever been paid to screen their work at all. As of now, we’ve paid out almost five hundred filmmakers.”...

Despite DarkRoom’s expansion in terms of genre, venue, audience size, etc., it has managed to maintain the communal, artist-centric atmosphere that makes it so unique, most importantly through its emphasis on collaboration and conversation over networking. The vibe may be casual and non-pretentious, but the carefully-considered curation and moderation on Ratigan’s part, as well as artistic seriousness the audience brings, tends to weed out a more careerist crowd. “I’ve always wanted it just to be a room full of artists, not a networking event,” Ratigan says. “We call it a salon, which is a throwback to the Parisian format of getting together and actually talking about the work.” This is reflected in the discussion portions of the program, which Ratigan moderates himself, setting the tone for the type of questions asked....

Going in-person is also the only way to get a limited edition zine featuring the program’s lineup and contact information for the filmmakers, each illustrated and handmade by poster designer and fine artist Elizabeth Yoo, who also designed the series’ logo. Yoo’s recognizable hand-drawn style shaped DarkRoom’s overall aesthetic from the start, reflecting the DIY spirit of the project, while also demonstrating the amount of care put into each night. Yoo says:

    A lot of the time I’m creating entirely new pieces specifically for the event. If a screening falls on the birthday of a favorite director or the anniversary of a film we love, I like to incorporate that into the art. I spend hours drawing, printing, cutting, and stapling the zines, then number each one by hand. Every screening feels special, and you leave with a pocket-sized memento. 
]]></description>
<dc:subject>microcinema exhibition film media_space smallness curation miniature zines miniature_media CRC</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b7688ff83f97/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:microcinema"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:exhibition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:smallness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:curation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:miniature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:zines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:miniature_media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:CRC"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/07/07/dining/driscolls-berries.html">
    <title>Why Are Berries Everywhere, in Every Season? Driscoll’s. - The New York Times</title>
    <dc:date>2026-07-08T20:11:16+00:00</dc:date>
    <link>https://www.nytimes.com/2026/07/07/dining/driscolls-berries.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In just the last decade, berries have completed the journey from fragile, local, seasonal treat to worldwide refrigerator staple and marketing juggernaut. Global production has tripled since 2000, according to research from the U.N.’s Food and Agriculture Organization, and still cannot keep up with demand. In sales and volume, berries are the fastest-growing category in American produce, according to data from the U.S. Department of Agriculture.

Most of that growth has been driven by Driscoll’s, a $7 billion California company that began as a multifamily farm in 1904, patented its first strain of strawberries in 1958 and is still controlled by family members. In 1989, its board made what the company calls the Meadowood Declaration, a resolution that seemed preposterous at the time: to make all four berries available, in every season, in every part of the world.

Today the company is the undisputed global market leader, shipping four billion containers of highly perishable fruit across 60 countries each year. (The company developed its signature hinged, ventilated plastic clamshell in the 1990s.) According to Circana, a market research firm, Driscoll’s is now the second-highest-earning brand in American supermarkets, behind only Coca-Cola.

Kristin Kiesel, who teaches agricultural economics at the University of California, Davis, said Driscoll’s has changed the paradigm of modern agriculture and produce marketing.

“A strawberry was a strawberry,” she said. “Now a strawberry is a brand.” And only a huge operation like Driscoll’s, she said, can supply market giants like Costco and Walmart with the premium produce that many consumers are willing to pay for, even as their grocery bills rise....

To that end, Driscoll’s today is less a farming business than a research and marketing enterprise, harvesting berry-related data instead of berries. Instead of owning land, the company owns the genetic material of its berries and the knowledge of how best to plant, pick and transport them. It subcontracts with farmers around the world to grow those breeds according to its specifications, then handles sales and distribution after harvest.

But global access to berries has a cost, measured in metrics like water consumption, pollution, pesticides and labor practices. Driscoll’s has come under fire on all four fronts....

In the 2010s, the company faced boycotts and strikes over wages and working conditions. Academics and activists have pointed out the large carbon footprint of flying berries around the world, and criticized the berry industry’s prolific use of plastic sheeting and containers. In June, a former senior compliance manager sued the company, alleging that Driscoll’s penalized him for flagging excess use of pesticides, and that the company had knowingly shipped berries to Canada that exceeded that country’s more stringent limits...
nside a nearby laboratory, where two full-time sensory scientists make their assessments, 210 raspberry varieties were laid out in a grid of plastic pints. Some had been bred for visual appeal, with more shapely shoulders, uniform drupelets and less “hair” (the thin red styles that sprout where the berry is pollinated). Others were developed to maximize yield, with fewer thorns and better “plant architecture” — tall, fluffy stalks that make the berries easy to pick. Each cultivar is tested for qualities like P.S.I., the interior pressure that determines whether a berry will yield to the teeth with an explosive, juicy pop.

Out of those 210 strains, said Kyle Rak, the company’s chief raspberry scientist, perhaps two will make it to market...

“It can be heartbreaking,” he said, gazing fondly on the berries, which varied from golden to blush to crimson, and differed wildly in shininess, symmetry and size.

And all of that was independent of how the berries actually taste. After sweetness and acid — the basic components of a balanced berry — the tasters evaluate each strain for underlying notes of rose, cotton candy, banana and dozens more.

Driscoll’s global raspberry business was built on a cultivar it patented in 2004: the Maravilla, a berry that was red enough, sweet enough and shelf-stable enough to be grown and shipped globally. Compared with previous strains on the market, it was far less likely to mold or collapse in transit, and soon became the industry benchmark.

The drawback of the Maravilla, Mr. Rak said carefully, is that it doesn’t taste all that good. As anyone who has splurged on a container sadly knows, raspberries can look great but taste tart, dry and stiff. The mission across Driscoll’s 35 test plots around the world is to eliminate that disappointment....

Many Driscoll’s berries are no longer planted in soil, but grown in pots filled with carefully balanced mixtures of organic materials like coconut fiber and moss. This system of substrate farming was developed over centuries in the Netherlands to produce maximum yields from minimal land.

It requires a substantial start-up investment by Driscoll’s growers, who also absorb the costs of ever-shifting factors like labor, weather, equipment and rent. The company provides seed plants and “inputs” like soil treatments, along with technical support and marketing dollars. After harvest, the company retrieves the filled clamshells, then compensates the grower according to the price those berries command. According to Driscoll's, growers receive 75 to 80 percent of the revenue.

The costs and risks of becoming a Driscoll’s grower are formidable. Still, “because demand just keeps going up, my growers are in a good position to negotiate,” said Liz Machoff, head of the New York State Berry Growers Association....

The Driscoll’s model reflects another shift in 21st-century agriculture, away from open-source knowledge developed by public institutions like universities, to fiercely protected intellectual property owned by private companies.

The earliest branded fruits — the Dole pineapple (1933) and Chiquita banana (1944) — were the precursors to today’s Fruitist jumbo blueberries, aggressively priced and marketed as “premium snacks.” When Erewhon, the Los Angeles chain of upscale markets, introduced its wildly popular Strawberry Glaze Skin Smoothie in 2024, then made exclusively with Driscoll’s organic berries, the produce world hailed it as a branding breakthrough.

Demand for berries has exploded in the United States because of overlapping recent trends: more snacking and the rise of “functional” foods that promise specific health benefits, said Jonna Parker, who analyzes the produce market for Circana. Premium berries are expensive, but they are also the kind of small luxuries — so-called “revenge shopping” — that Americans have treated themselves to since the Covid lockdowns ended.]]></description>
<dc:subject>agriculture produce refrigeration supply_chains food plants standardization logistics intellectual_property</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:695173067c1a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:agriculture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:produce"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:refrigeration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:supply_chains"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:food"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:standardization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:logistics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intellectual_property"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/06/09/arts/music/lost-music-venues-britain-v-and-a-museum.html">
    <title>The Victoria and Albert Museum Gets Nostalgic for Britain’s Lost Music Venues - The New York Times</title>
    <dc:date>2026-07-08T20:10:04+00:00</dc:date>
    <link>https://www.nytimes.com/2026/06/09/arts/music/lost-music-venues-britain-v-and-a-museum.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[That tension is explored on the other side of town at the Victoria and Albert Museum, in an exhibition that examines some of those fallen sites and the forces that did them in. The show, “Lost Music Venues,” which runs through October 2027, looks back at 50 clubs that shuttered across Britain between the mid-1980s and 2010s, some of which had helped launch bands like Oasis and Daft Punk...

Harriet Reed, the exhibition’s curator, said that it was a chance to “celebrate the creative contribution” of music venues but also “to explore the issues that they face as a sector, particularly the last 15 years or so.”

The Victoria and Albert Museum collected memorabilia from the public for the show, acquiring objects like an old device from the Haçienda nightclub in Manchester that measured noise levels. Other submissions included a trove of items from Mark Webber of Pulp from the band’s early touring days.

Reed said that the reasons that venues close were “almost cyclical,” with issues coming up again and again, like new housing developments that drive up rent and then lead to a burst of noise complaints from new residents. “The politicians may change, the audiences may change, the way music is played might change — but you see the same difficulties,” she said....

Changing social habits and the rising cost of living also mean that people go out less and, crucially, buy less alcohol when they do. This all comes as the industry is still recovering from the toll of pandemic-era shutdowns. And although venues in other cities around the world have faced similar struggles, nightlife in Britain seems to have been hit particularly hard.

“There isn’t a single one of these buildings that wouldn’t be making more money if it was a pizza restaurant,” said Mark Davyd, the founder of the Music Venue Trust, a nonprofit that supports independent music clubs, known as grass-roots venues, that typically host lesser-known acts.
]]></description>
<dc:subject>music_scenes music_venues venues media_space local_media</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c3e0b9ea55dd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:music_scenes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:music_venues"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:venues"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:local_media"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://medium.com/doctoral-futures-perspectives/what-were-building-toward-5-insights-from-the-doctoral-futures-townhalls-4d09c08f672f">
    <title>What We’re Building Towards: 5 Insights from the Doctoral Futures Town Halls | by Treviene Harris | Doctoral Futures: Perspectives | Jun, 2026 | Medium</title>
    <dc:date>2026-07-08T20:06:42+00:00</dc:date>
    <link>https://medium.com/doctoral-futures-perspectives/what-were-building-toward-5-insights-from-the-doctoral-futures-townhalls-4d09c08f672f</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In the final town hall, we placed participants into groups and asked them to imagine and describe what grad school looks like for a doctoral student beginning their program in 2036. Perhaps unsurprisingly, the answers from each group converged: career preparation is embedded into the curriculum, there are distributed mentorship teams, terminal products now reflect what PhDs go out and do in the world, funding is responsive to real-life events, and students are connected to wider intellectual networks that mitigate the isolation of smaller cohorts...

Asking faculty to articulate the purpose of each program requirement opens up debates about program purpose that we have too long avoided. Asking admissions committees to examine their criteria requires ongoing facilitated conversation exceeding a single workshop. Making funding packages transparent requires programs to agree on what they are offering and why. In the town halls, we realized that the obstacle to these fixes is not always resources. It’s faculty culture and the absence of structured opportunities to surface and work through disagreement....

Mentorship quality came up in every session, at every stage of the pipeline, from the undergraduate classroom through the dissertation to career preparation. The one-to-one apprenticeship model was named, repeatedly, as broken. And this isn’t because individual faculty are bad mentors, but because a student’s progress and success depends on a single relationship that has no structural backup when it fails. A national study on graduate writing instruction that was shared in one meeting found that writing training was almost entirely mentor-dependent...

Well-intentioned discouragement from faculty hits the pipeline unevenly: students with active mentors will receive encouragement while students without them aren’t even aware there’s a conversation to be had. What admissions committees read as “readiness” for graduate study — the polished writing samples, independent research experience, and prestigious letters — are products of prior access rather than innate underlying capacity. One participant pointed out: “The instinct to reward what already looks prepared is self-reinforcing. It needs to be named explicitly.”]]></description>
<dc:subject>higher_education graduate_education mentoring</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1f0519392668/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:higher_education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graduate_education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mentoring"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.404media.co/we-are-living-in-a-chatgpt-flyer-pandemic/?ref=daily-stories-newsletter">
    <title>We Are Living in a ‘ChatGPT Flyer Pandemic’</title>
    <dc:date>2026-07-08T20:04:35+00:00</dc:date>
    <link>https://www.404media.co/we-are-living-in-a-chatgpt-flyer-pandemic/?ref=daily-stories-newsletter</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[“YOUR FLYER LOOKS LIKE GARBAGE,” a viral ChatGPT-generated parody of the genre posted by Jill Oliver reads. “Hey if this is your flyer, I’m not going, I’m not donating, I’m not sharing. Don’t ask me.” The “ChatGPT flyer pandemic” has become a big topic of conversation among graphic designers, musicians, bars, and small business owners who care about design and showing that they’ve put effort into something.]]></description>
<dc:subject>flyers graphic_design ChatGPT local_media</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9b3335a87a7f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:flyers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:ChatGPT"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:local_media"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nationalarchives.gov.uk/professional-guidance-and-services/our-research-and-academic-collaboration/our-research-projects/research-projects/the-many-lives-of-cardboard/">
    <title>The Many Lives of Cardboard - The National Archives</title>
    <dc:date>2026-07-08T13:29:52+00:00</dc:date>
    <link>https://www.nationalarchives.gov.uk/professional-guidance-and-services/our-research-and-academic-collaboration/our-research-projects/research-projects/the-many-lives-of-cardboard/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Many Lives of Cardboard project is an Arts and Humanities Research Council (AHRC) funded collaboration between The National Archives, the University of Edinburgh, and the University of the Highlands and Islands.

This multi-disciplinary project investigates the pasts, presents, and futures of a commonplace material that is often hidden in plain sight. It follows the biographies of cardboard from its production to recycling and beyond. We will be connecting cardboard histories from The National Archives with collections, people, and institutions from across the UK.
Cardboard in the archive

Any encounter in the archive usually begins with cardboard. It is the archive’s necessary material infrastructure, enclosing records in files and boxes and enabling the storage and organisation of documents, and their movement from repository to reader.

Outside the archive, cardboard is usually much more transient. It brings online purchases to our doors; we send it out again with good intentions of recycling; it lies discarded in the streets. Where might we find evidence of the many lives of cardboard in the historic records of government? When, how, and why might the state have taken an interest this mundane material?

But before we get into these questions: what do we mean by cardboard?]]></description>
<dc:subject>paper cardboard containers packaging</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:35dc602d3165/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cardboard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:containers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:packaging"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.wired.com/story/how-palestinians-are-building-a-digital-archive-that-cant-be-erased/">
    <title>How Palestinians Are Building a Digital Archive That Can’t Be Erased | WIRED</title>
    <dc:date>2026-07-08T03:55:55+00:00</dc:date>
    <link>https://www.wired.com/story/how-palestinians-are-building-a-digital-archive-that-cant-be-erased/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Shomali says that roughly 80 percent of the country’s national collections have been looted, destroyed, or remain under Israeli control. Against that backdrop, the Palestinian Museum in Birzeit has become both a physical repository of Palestinian heritage and the center of an increasingly ambitious digital preservation effort....

A 2025 report by the Applied Research Institute-Jerusalem says at least 2,400 archeological sites in the West Bank have been taken over by Israel....

Meanwhile, Reuters reported in June that Israeli lawmakers are advancing legislation that would place ancient sites in the occupied territory under the Israeli Ministry of Heritage, a move that Palestinians and Israeli rights groups say amounts to de facto annexation and could further expand Israeli control over Palestinian heritage sites.

As of March 24, 2026, Unesco had verified damage to 164 cultural sites in Gaza since October 7, 2023, including historical buildings, religious sites, museums, and archaeological sites.

Many more cultural artifacts and personal histories have likely been lost amid the war, mass displacement, and the destruction of entire communities.

“It was a continuous battle all the time between us and them,” says Shomali about historical efforts to archive Palestinian artifacts amid Israeli aggression since 1948. “We document, they loot; but every time we document, we document with less vivid memory.”]]></description>
<dc:subject>palestine archives endangered_archives</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:287bac364ca9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:palestine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:endangered_archives"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://substack.com/home/post/p-204000997">
    <title>Books Are Handbags - by seth wang - baddiemir nabokov</title>
    <dc:date>2026-07-08T00:33:41+00:00</dc:date>
    <link>https://substack.com/home/post/p-204000997</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Three weeks ago, after around four years of this, Dalkey rebranded the Essentials. Believe it or not, they’re even worse. Dalkey has kept the creepy, clammy doll-skin (now a BJD grink), of all things, and further assembly-lined the design elements. Now, all the covers have the same thing in the same spot: a large tombstone-shape in the lower left quadrant. Inside the shape smiles or glowers a greyscale portrait of the author. The author’s name is in large serif font on the right. The title of the book sits in smaller red, like a subtitle, right under it. Just below are the names of the introducers as prominently as the researchers of a paper. And indeed, much like a research paper, everything’s in letter-case. They are, impossibly, even more textbook-like than the previous iteration. I do not want one as a handbag.]]></description>
<dc:subject>book_covers graphic_design book_design bags containers books</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:049dbc165f92/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:book_covers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:book_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:bags"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:containers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:books"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://theforest.dothome.co.kr/">
    <title>Forest. ~2049</title>
    <dc:date>2026-07-07T22:20:30+00:00</dc:date>
    <link>https://theforest.dothome.co.kr/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>forests trees tree_art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e10f7384693c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:forests"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:tree_art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.google.com/books/edition/System/FiFDAQAAMAAJ?hl=en">
    <title>System - Google Books</title>
    <dc:date>2026-07-07T19:30:07+00:00</dc:date>
    <link>https://www.google.com/books/edition/System/FiFDAQAAMAAJ?hl=en</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>furniture storage filing intellectual_furnishings advertisements</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:47db0c2565b3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:furniture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:storage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:filing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intellectual_furnishings"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:advertisements"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.amazon.com/Umberto-Eco-Library-World/dp/B0CV5Y4HJB">
    <title>Watch Umberto Eco: A Library of the World | Prime Video</title>
    <dc:date>2026-07-07T13:32:18+00:00</dc:date>
    <link>https://www.amazon.com/Umberto-Eco-Library-World/dp/B0CV5Y4HJB</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[A documentary immersion into all things Eco, a tour of Umberto Eco's private library, guided by the author himself. Combining new footage with material he shot with Eco in 2015, the film documents this incredible collection and the man who amassed it. As Eco leads us among the volumes and his family reflects on his legacy, we also gain insight into the mind of this prolific and original thinker.]]></description>
<dc:subject>eco library documentary to_watch</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fe391188cc08/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:eco"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:documentary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:to_watch"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.wantedinmilan.com/news/umberto-eco-library-opens-in-bologna-10-years-after-his-death.html">
    <title>Umberto Eco library opens in Bologna, 10 years after his death</title>
    <dc:date>2026-07-07T13:31:41+00:00</dc:date>
    <link>https://www.wantedinmilan.com/news/umberto-eco-library-opens-in-bologna-10-years-after-his-death.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The University of Bologna has opened the Biblioteca Eco, a new public library housing the personal book collection of writer and semiotician Umberto Eco, a decade after his death.

The collection, comprising more than 32,000 volumes from Eco's study in Milan, has found a permanent home in the 20th-century wing of Palazzo Poggi, with its entrance on Piazza Puntoni.

Eco, born in Alessandria in 1932, held the chair of semiotics at Bologna's Alma Mater from 1971 to 2007, making the university one of the world's leading centres for the study of signs and communication.

He died in Milan on 19 February 2016, having achieved global literary fame with novels including The Name of the Rose and Foucault's Pendulum.
A living map of Eco's thought

The collection was donated to the Italian state by Eco's heirs in 2020, on condition that it be placed on permanent loan to the University of Bologna.

Before the move, the library was surveyed shelf by shelf in Milan, with the position of every volume, thematic groupings and connections between authors and disciplines carefully documented, so that the new premises in Bologna could reproduce Eco's original arrangement exactly, down to which books he kept lying flat and which stood upright.

That arrangement follows the "good neighbour" principle developed by art historian Aby Warburg, which Eco adopted for his own shelving: placing seemingly unrelated texts side by side so that unexpected connections between them could emerge.]]></description>
<dc:subject>libraries neighbors eco warburg</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:429f71f7c14f/</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:neighbors"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:eco"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:warburg"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/06/20/us/politics/dc-newsstand-newsroom-newspapers-magazines.html">
    <title>The Newsroom in D.C. Tries to Keep the Newsstand as a Shopping Destination - The New York Times</title>
    <dc:date>2026-07-07T03:56:48+00:00</dc:date>
    <link>https://www.nytimes.com/2026/06/20/us/politics/dc-newsstand-newsroom-newspapers-magazines.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[But none of that had yet made it inside the newspapers and magazines overflowing from mismatched bookshelves at the Newsroom, a narrow newsstand tucked into a strip of restaurants and retailers in the Dupont Circle neighborhood. Instead, first timers browsed, looking for obscure magazines or just trying to escape the May sun. A regular grabbed a Sunday paper on the way to the farmers market.

In a capital governed by the thrum of viral sound bites and staccato bursts of Truth Social posts, the Newsroom has emerged as an enduring relic of a Washington that was slower, quieter, more measured.

It may also be the last newsstand of its kind in the city, one that retains news as its primary product and not just a name.]]></description>
<dc:subject>media_city media_architecture newspapers newsstands</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5fbcd2b0596b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_city"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:newspapers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:newsstands"/>
</rdf:Bag></taxo:topics>
</item>
</rdf:RDF>