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  </channel><item rdf:about="http://www.openhumanitiespress.org/books/titles/gathering-ecologies/">
    <title>Open Humanities Press– Gathering Ecologies</title>
    <dc:date>2021-09-03T13:32:01+00:00</dc:date>
    <link>http://www.openhumanitiespress.org/books/titles/gathering-ecologies/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[What might an interactive artwork look like that enabled greater expressive potential for all of the components of the event? How can we radically shift our idea of interactivity towards an ecological conception of the term, emphasising the generation of complex relation over the stability of objects and subjects? Gathering Ecologies explores this ethical and political shift in thinking, examining the creative potential of differential relations through key concepts from the philosophies of A.N. Whitehead, Gilbert Simondon and Michel Serres. Utilising detailed examinations of work by artists such as Lygia Clark, Rafael Lozano-Hemmer, Nathaniel Stern and Joyce Hinterding, the book discusses the creative potential of movement, perception and sensation, interfacing, sound and generative algorithmic design to tune an event towards the conditions of its own ecological emergence.

]]></description>
<dc:subject>interactivity philosophy criticism rather-interesting the-mangle-in-practice define-your-terms generative-art</dc:subject>
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<item rdf:about="https://crookedtimber.org/2020/07/24/in-praise-of-negativity/">
    <title>In praise of negativity — Crooked Timber</title>
    <dc:date>2021-02-13T14:05:29+00:00</dc:date>
    <link>https://crookedtimber.org/2020/07/24/in-praise-of-negativity/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[This superficially looks to resemble the ‘overcoming bias’/’not wrong’ approaches to self-improvement that are popular on the Internet. But it ends up going in a very different direction: collective processes of improvement rather than individual efforts to remedy the irremediable. The ideal of the individual seeking to eliminate all sources of bias so that he (it is, usually, a he) can calmly consider everything from a neutral and dispassionate perspective is replaced by a Humean recognition that reason cannot readily be separated from the desires of the reasoner. We need negative criticisms from others, since they lead us to understand weaknesses in our arguments that we are incapable of coming at ourselves, without them being pointed out to us.

]]></description>
<dc:subject>social-psychology argumentation rather-interesting criticism wisdom-of-crowds critique-of-bro-reason</dc:subject>
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    <title>180 DEGREE LINE - Paul McEwan - YouTube</title>
    <dc:date>2020-09-18T15:37:42+00:00</dc:date>
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    <dc:creator>Vaguery</dc:creator><dc:subject>cinema criticism glossary rather-interesting collection</dc:subject>
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    <title>Useless Machines: On Alexander Calder, Jed Perl, and Standing Apart - 3:AM Magazine</title>
    <dc:date>2020-05-05T22:43:22+00:00</dc:date>
    <link>http://www.3ammagazine.com/3am/useless-machines-on-alexander-calder-jed-perl-and-standing-apart/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[How could an artist like Wolfe have possibly understood Alexander Calder, who wasn’t a tormented personality and who was by nature skeptical of the prophetic voice? What Wolfe missed completely in Calder was his gift for speaking to the world even as he stood somewhat apart from it. Calder was creating a parallel universe with its own laws and logic, but one that enlarged the possibilities of the world he was living in. Wolfe’s response to the catastrophic turn from the 1920s to the 1930s was an art of unabashed engagement and rhetorical hyperbole—raging against the rich, against capitalism, against injustice. Calder’s response to those same events was an art of cool, idealistic possibility—an art of movements and suspended movements, of circulating points, lines, planes, and spheres.

]]></description>
<dc:subject>criticism art-criticism essay history to-read to-write-about consider:science-criticism</dc:subject>
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<item rdf:about="http://laudatortemporisacti.blogspot.com/2018/12/the-higher-naivete.html">
    <title>Laudator Temporis Acti: The Higher Naiveté</title>
    <dc:date>2018-12-26T11:42:27+00:00</dc:date>
    <link>http://laudatortemporisacti.blogspot.com/2018/12/the-higher-naivete.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[And so there is this critical school that says, "I won't believe anything unless it is proven to me." At the other extreme, there's me, the most gullible historian imaginable. My principle is this. I believe anything written in ancient Latin or Greek unless I can't. Now, things that prevent me from believing what I read are that they are internally contradictory, or what they say is impossible, or different ones contradict each other and they can't both be right. So, in those cases I abandon the ancient evidence. Otherwise, you've got to convince me that they’re not true. 
]]></description>
<dc:subject>scholarship criticism open-mindedness history history-is-a-feature-not-a-bug nicely-put</dc:subject>
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<item rdf:about="https://www.artnome.com/news/2018/8/8/why-love-generative-art">
    <title>Why Love Generative Art? — Artnome</title>
    <dc:date>2018-10-04T10:47:01+00:00</dc:date>
    <link>https://www.artnome.com/news/2018/8/8/why-love-generative-art</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Over the last 50 years, our world has turned digital at breakneck speed. No art form has captured this transitional time period - our time period - better than generative art. Generative art takes full advantage of everything that computing has to offer, producing elegant and compelling artworks that extend the same principles and goals artists have pursued from the inception of modern art.

]]></description>
<dc:subject>generative-art criticism have-read to-write-about aesthetics philosophy-of-art posthumanism-and-responsibility</dc:subject>
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<item rdf:about="https://www.nytimes.com/2017/04/06/opinion/why-authoritarians-attack-the-arts.html">
    <title>Why Authoritarians Attack the Arts - The New York Times</title>
    <dc:date>2018-01-29T13:46:53+00:00</dc:date>
    <link>https://www.nytimes.com/2017/04/06/opinion/why-authoritarians-attack-the-arts.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[In 1937, ascending leaders of the Third Reich hosted two art exhibitions in Munich. One, the “Great German Art Exhibition,” featured art Adolf Hitler deemed acceptable and reflective of an ideal Aryan society: representational, featuring blond people in heroic poses and pastoral landscapes of the German countryside. The other featured what Hitler and his followers referred to as “degenerate art”: work that was modern or abstract, and art produced by people disavowed by Nazis — Jewish people, Communists, or those suspected of being one or the other. The “degenerate art” was presented in chaos and disarray, accompanied by derogatory labels, graffiti and catalog entries describing “the sick brains of those who wielded the brush or pencil.” Hitler and those close to him strictly controlled how artists lived and worked in Nazi Germany, because they understood that art could play a key role in the rise or fall of their dictatorship and the realization of their vision for Germany’s future.

Photo

“Degenerate Art,” a Nazi-curated exhibition, at the Haus der Kunst in Berlin, February 1938. Credit Reuters
Last month, the Trump administration proposed a national budget that includes the elimination of the National Endowment for the Arts. The NEA operates with a budget of about $150 million a year. As critics have observed, this amount is about 0.004 percent of the federal budget, making the move a fairly inefficient approach to trimming government spending. Many Americans have been protesting the cuts by pointing out the many ways that art enriches our lives — as they should. The arts bring us joy and entertainment; they can offer a reprieve from the trials of life or a way to understand them.

But as Hitler understood, artists play a distinctive role in challenging authoritarianism. Art creates pathways for subversion, for political understanding and solidarity among coalition builders. Art teaches us that lives other than our own have value. Like the proverbial court jester who can openly mock the king in his own court, artists who occupy marginalized social positions can use their art to challenge structures of power in ways that would otherwise be dangerous or impossible.

]]></description>
<dc:subject>art cultural-norms criticism fascism to-write-about</dc:subject>
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<item rdf:about="https://www.zacbertschy.com/blog/2017/12/29/my-hero-luke-skywalker">
    <title>My Hero, Luke Skywalker — Zac Bertschy</title>
    <dc:date>2018-01-02T00:36:34+00:00</dc:date>
    <link>https://www.zacbertschy.com/blog/2017/12/29/my-hero-luke-skywalker</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[I can’t believe they did this. Here’s what happens to Luke Skywalker, Mr. Hero’s Journey, the self-insert for every spoiled child of the late 70s and 80s: it turns out he was traumatized by what happened in the original trilogy, which everyone should just nod along with because of course he was. He finds out Space Hitler is his dad, then fights him to the death minutes before their personal reckoning changes political history for the entire galaxy. Everyone’s convinced he’s the real thing, Jedi Master Luke Skywalker, but he’s damaged goods. All that emotional violence ripped his brain apart. Can’t say shit about it though – people are counting on him.

So he fails. His anxiety explodes, dragging him into the pit. What’s worse, his anxiety drags someone else in, someone who relied on him. The failure crushes what’s left of him and then Luke Skywalker surrenders to depression and fucks off forever, just like you or I would.

Just like you or I might have, after an enormous personal failure.

]]></description>
<dc:subject>go-see-a-star-war depression criticism very-insightful cinema</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:1ca3567f5d8b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:go-see-a-star-war"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:depression"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:very-insightful"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cinema"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://arxiv.org/abs/1711.00867">
    <title>[1711.00867] The (Un)reliability of saliency methods</title>
    <dc:date>2017-11-11T15:17:46+00:00</dc:date>
    <link>https://arxiv.org/abs/1711.00867</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Saliency methods aim to explain the predictions of deep neural networks. These methods lack reliability when the explanation is sensitive to factors that do not contribute to the model prediction. We use a simple and common pre-processing step ---adding a constant shift to the input data--- to show that a transformation with no effect on the model can cause numerous methods to incorrectly attribute. In order to guarantee reliability, we posit that methods should fulfill input invariance, the requirement that a saliency method mirror the sensitivity of the model with respect to transformations of the input. We show, through several examples, that saliency methods that do not satisfy input invariance result in misleading attribution.
]]></description>
<dc:subject>via:? machine-learning looking-to-see saliency define-your-terms algorithms criticism to-write-about</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:e9f29cae5bc9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:?"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:machine-learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:looking-to-see"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:saliency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:define-your-terms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://tedunderwood.com/2017/07/13/were-probably-due-for-another-discussion-of-stanley-fish/">
    <title>We’re probably due for another discussion of Stanley Fish | The Stone and the Shell</title>
    <dc:date>2017-10-08T01:49:25+00:00</dc:date>
    <link>https://tedunderwood.com/2017/07/13/were-probably-due-for-another-discussion-of-stanley-fish/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Of course, if you pursue that approach systematically enough, it will lead you away from topic modeling toward methods that rely more explicitly on human judgment. I have been leaning on supervised algorithms a lot lately—not because they’re easier to test or more reliable than unsupervised ones—but because they explicitly acknowledge that interpretation has to be anchored in human history.

At a first glance, this may seem to make progress impossible. “All we can ever discover is which books resemble these other books selected by a particular group of readers. The algorithm can only reproduce a category someone else already defined!” And yes, supervised modeling is circular. But this is a circularity shared by all interpretation of history, and it never merely reproduces its starting point. You can discover that books resemble each other to different degrees. You can discover that models defined by the responses of one interpretive community do or don’t align with models of another. And often you can, carefully, provisionally, draw explanatory inferences from the model itself, assisted perhaps by a bit of close reading.

]]></description>
<dc:subject>digital-humanities machine-learning reasonableness it's-more-complicated-than-you-think modeling philosophy criticism to-write-about</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:df931316753a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:digital-humanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:machine-learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:reasonableness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:it's-more-complicated-than-you-think"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:modeling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://incisive.nu/2017/writing-well-about-terrible-people/">
    <title>Writing Well about Terrible People | Incisive.nu</title>
    <dc:date>2017-09-25T12:23:42+00:00</dc:date>
    <link>http://incisive.nu/2017/writing-well-about-terrible-people/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Informing the reader means finding ways to tie even short articles to the seething complexity—and even scientific facts—that underlie necessarily simplified and abbreviated quotations and paraphrases. Eschewing context means the reader must assemble it for herself or risk assuming that the various views presented in a neutrally framed article are roughly equal in reason and virtue. Offering too much context, even in a neutral framing, can make an article feel dry. Many journalists appear to fear the latter a bit more than the former, which results in conventions of coverage that drain important topics of their real weight and life.

This balancing act is an enormous challenge, and I’m grateful that my daily work doesn’t involve wrestling with it. But this article, and so many like it, fail to accomplish a centrally important aspect of making sense of the world, and I think that matters.]]></description>
<dc:subject>politics journalism writing criticism ethics representation worklife</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:5510481e7897/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:journalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:ethics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:representation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:worklife"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://unrealnature.wordpress.com/2017/08/11/there-is-nothing-sane-about-the-worship-of-beauty/">
    <title>There Is Nothing Sane About the Worship of Beauty | Unreal Nature</title>
    <dc:date>2017-09-24T12:46:43+00:00</dc:date>
    <link>https://unrealnature.wordpress.com/2017/08/11/there-is-nothing-sane-about-the-worship-of-beauty/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Ernest: The true critic will be rational, at any rate, will he not?

Gilbert: Rational? There are two ways of disliking Art, Ernest. One is to dislike it. The other, to like it rationally. For Art, as Plato saw, and not without regret, creates in listener and spectator a form of divine madness. It does not spring from inspiration, but it makes others inspired. Reason is not the faculty to which it appeals. If one loves Art at all, one must love it beyond all other things in the world, and against such love, the reason, if one listened to it, would cry out. There is nothing sane about the worship of beauty. It is too splendid to be sane. Those of whose lives it forms the dominant note will always seem to the world to be pure visionaries.

]]></description>
<dc:subject>criticism quotes to-write-about engineering-criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:3fb56ac66456/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:quotes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:engineering-criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://machinemachine.net/portfolio/kipple-and-things/">
    <title>Kipple and Things: How to Hoard and Why Not To Mean</title>
    <dc:date>2017-09-23T12:28:01+00:00</dc:date>
    <link>https://machinemachine.net/portfolio/kipple-and-things/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[In the collection, function is replaced by exemplification. The limits of the collection dictate a paradigm of finality; of perfection. Each object – whether wrist-watch or butterfly – exists to define new orders. Once the blue butterfly is added to the collection it stands, alone, as an example of the class of blue butterflies to which the collection dictates it belongs. Placed alongside the yellow and green butterflies, the blue butterfly exists to constitute all three as a series. The entire series itself then becomes the example of all butterflies. A complete collection: a perfect catalogue. Perhaps, like Borges’ Library of Babel, or Plato’s ideal realm of forms, there exists a room somewhere with a catalogue of everything. An ocean of examples. Cosmic disorder re-constituted and classified as a finite catalogue, arranged for the grand cosmic collector’s singular pleasure.

]]></description>
<dc:subject>collection philosophy rather-interesting via:? to-write-about criticism collecting archives value economics consider:individuation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:f355e64b2c39/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:collection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:?"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:collecting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:value"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:economics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:individuation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theguardian.com/artanddesign/2017/jan/01/art-to-inspire-ali-smith-alain-de-botton-and-others-on-the-works-they-love">
    <title>Art to inspire: Ali Smith, Alain de Botton and others on the works they love | Art and design | The Guardian</title>
    <dc:date>2017-08-31T11:42:21+00:00</dc:date>
    <link>https://www.theguardian.com/artanddesign/2017/jan/01/art-to-inspire-ali-smith-alain-de-botton-and-others-on-the-works-they-love</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Yet I find art’s more extreme images of belief and hope not so much inspiring as terrifying. Gilles moves me precisely because he is not a zealot, nor a warrior on horseback, nor a martyr dying in agony, nor any of the other images of murder and suicide that have been offered as “inspirations” by artists in the service of state or church. He is just a person trying to be himself, whoever that is, and his delicate mixture of placidity and soulfulness, confusion and calm, is an image of how to be human in the actual world we inhabit with all its mystery, play-acting and comedy.

]]></description>
<dc:subject>art criticism essay to-write-about</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:d46f9f61a461/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:essay"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://laudatortemporisacti.blogspot.com/2017/07/criticism.html">
    <title>Laudator Temporis Acti: Criticism</title>
    <dc:date>2017-07-26T13:56:08+00:00</dc:date>
    <link>http://laudatortemporisacti.blogspot.com/2017/07/criticism.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[The civilized mind is naturally critical: bred by the interaction of various studies, criticism is the peculiar mark of high civilization. But criticism is itself a composite thing: restlessness of intellect is a part of it, but so is a wariness against delusion: curiosity and suspicion are both necessary elements.
]]></description>
<dc:subject>criticism history quotes to-read</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:63cd0b5c0f14/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:quotes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-read"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://hudsonreview.com/2017/05/humboldts-new-world-landscape/#.WW7x_NUrLrc">
    <title>Humboldt’s New World Landscape | The Hudson Review</title>
    <dc:date>2017-07-23T11:57:45+00:00</dc:date>
    <link>http://hudsonreview.com/2017/05/humboldts-new-world-landscape/#.WW7x_NUrLrc</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Church must have felt, in reading these lines, as if Humboldt were addressing him directly. In fact, as my italics attempt to suggest, he was sketching what would become Church’s quintessential subject and theme: the torrid zones of the Amazon and Orinoco, the snowcapped volcanoes of the Andes, and all those gigantic panoramas of inexhaustible fecundity and diversity that were to Humboldt at the very center of the Creation. He went on, even more explicitly, “Are we not justified in hoping that land­scape painting will flourish with a new and hitherto unknown brilliancy when artists of merit shall . . . [venture], far in the interior of continents, in the humid mountain valleys of the tropical world, to seize, with the genuine freshness of a pure and youthful spirit, on the true image of the varied forms of nature?”

]]></description>
<dc:subject>aesthetics social-networks history criticism art influence-and-the-anxiety-thereof</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:9784b281267d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-networks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:influence-and-the-anxiety-thereof"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.triplec.at/index.php/tripleC/article/view/870/1031">
    <title>‘Predatory’ Open Access Journals as Parody: Exposing the Limitations of ‘Legitimate’ Academic Publishing | Bell | tripleC: Communication, Capitalism &amp; Critique. Open Access Journal for a Global Sustainable Information Society</title>
    <dc:date>2017-07-21T12:57:31+00:00</dc:date>
    <link>http://www.triplec.at/index.php/tripleC/article/view/870/1031</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Abstract: The concept of the 'predatory' publisher has today become a standard way of characterising a new breed of open access journals that seem to be more concerned with making a profit than disseminating academic knowledge. This essay presents an alternative view of such publishers, arguing that if we treat them as parody instead of predator, a far more nuanced reading emerges. Viewed in this light, such journals destabilise the prevailing discourse on what constitutes a 'legitimate' journal, and, indeed, the nature of scholarly knowledge production itself. Instead of condemning them outright, their growth should therefore encourage us to ask difficult but necessary questions about the commercial context of knowledge production, prevailing conceptions of quality and value, and the ways in which they privilege scholarship from the 'centre' and exclude that from the 'periphery'.

]]></description>
<dc:subject>academic-culture criticism rather-interesting publishing predatory-journals amusing to-write-about</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:980607a59582/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:academic-culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:predatory-journals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:amusing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.glitchet.com/issues/">
    <title>Glitchet: All Issues</title>
    <dc:date>2017-07-21T12:32:32+00:00</dc:date>
    <link>http://www.glitchet.com/issues/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[PAST ISSUES
Review any issues you missed, or just see what sort of stuff we send out.]]></description>
<dc:subject>art digital-art criticism to-subscribe rather-interesting essays</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:02dd0c1f837d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:digital-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-subscribe"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:essays"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.insidehighered.com/blogs/just-visiting/pitfalls-objectivity">
    <title>The Pitfalls of &quot;Objectivity&quot; | Just Visiting</title>
    <dc:date>2017-06-17T12:51:49+00:00</dc:date>
    <link>https://www.insidehighered.com/blogs/just-visiting/pitfalls-objectivity</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[In this context, “objectivity” is not a value, but a pose, and one that’s usually sussed out by students as phony. They easily recognize it as a confidence game because it’s a game they’d previously been trying to practice, and during that practice they knew it was a pose.
When we encounter claims of “objectivity,” I think of one of two things; either the person claiming objectivity is kidding themselves, or they’re trying to put one over on me.
If we want students well-armed for the world, they need not objectivity, but a "critical sensibility" that has been tested and remains adaptable to new situations and demands. Students shouldn't feel like they have to have all the answers. Rather, they should have the skills, knowledge, and experiences that allows them to tackle new and different questions.
]]></description>
<dc:subject>humanities objectivity academic-culture pedagogy to-write-about criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:b5b9df846fd1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:humanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:objectivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:academic-culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:pedagogy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.chronicle.com/article/The-New-Intellectuals/238354?key=dCUViR9a-EOigReN8KYScIihtePPbbZQqhqYiy7iOHA8Hz3LH5C1xjtKFu4h1LrMN2N2N1hfZm85akpmempEb0VHcHVIeVNBT3ZPbEtrMkRJSTY2RzhMVW9iMA">
    <title>The New Intellectuals - The Chronicle of Higher Education</title>
    <dc:date>2016-12-08T13:04:39+00:00</dc:date>
    <link>http://www.chronicle.com/article/The-New-Intellectuals/238354?key=dCUViR9a-EOigReN8KYScIihtePPbbZQqhqYiy7iOHA8Hz3LH5C1xjtKFu4h1LrMN2N2N1hfZm85akpmempEb0VHcHVIeVNBT3ZPbEtrMkRJSTY2RzhMVW9iMA</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Like their early-20th-century predecessors, today’s new public intellectuals are almost uniformly on the left. They mostly came of age in the ’80s and ’90s, a period marked by the post-Cold War triumph of capitalism and a sense that the big questions had been settled. To the extent that they share a political agenda, it is to challenge neoliberalism. When the economy nearly collapsed, in 2008, they embraced Marxist and structuralist critiques. In 2011 they rushed to the banner of Occupy Wall Street. The two months that the Occupy encampment stood in New York’s financial district represented one of the most hopeful and significant experiences of their lifetimes — the first time that things seemed up for grabs politically and intellectually.

Many of the new intellectuals are, or were until recently, graduate students. They arrived on campus long after their professors and professors’ professors had retreated from the public sphere, estranging the academic left from the political left. Campus politics had supplanted larger politics. Bruce Robbins, a professor of English at Columbia University and a prominent combatant in the PC skirmishes of the ’80s and ’90s, looks back on that era with regret. "I sometimes feel like I threw away 10 years of my life fighting the culture wars," he says. The new intellectuals, he adds, have ushered in a more substantive conversation. Samuel Moyn, who was a graduate student in the ’90s and is now a professor of law and history at Harvard University, describes his generation as quiescent. "There was never a thought that we could or should reach a broader public," he says, noting that graduate students today make no such assumption. "This is a generation that refuses the vocation of mere scholar."

]]></description>
<dc:subject>literary-criticism humanities academic-culture criticism via:?</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:ef3e72234f62/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:literary-criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:humanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:academic-culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:?"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.thedailybeast.com/articles/2015/07/12/strunk-and-white-s-macho-grammar-club0.html">
    <title>Strunk and White’s Macho Grammar Club - The Daily Beast</title>
    <dc:date>2016-12-08T13:01:50+00:00</dc:date>
    <link>http://www.thedailybeast.com/articles/2015/07/12/strunk-and-white-s-macho-grammar-club0.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[White’s equation is at least as old as the Austrian architect Adolf Loos’s 1908 essay “Ornament and Crime.” Crossing social Darwinism with Modernism, Loos argued that “the evolution of culture is synonymous with the elimination of ornament from useful objects.” Unrestrained by the rationalist superego of the Machine Age, the primitive impulses expressed in the urge to ornament drag us down the evolutionary ladder, warned Loos, back to the level of the Papuan who eats his enemies and “tattoos his skin, his boat, his paddles, in short everything he can lay hands on”—a theme White takes up a half-century later, cautioning “young writers” mesmerized by “the beat of new vocabularies, the exciting rhythms” of subcultural slang to beware “the spell of these unsettling drums.”
]]></description>
<dc:subject>social-norms cultural-dynamics prescriptivism 20C criticism rather-interesting Adios-Strunk-And-White</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:3477c87f45b2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-dynamics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:prescriptivism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:20C"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:Adios-Strunk-And-White"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://newrepublic.com/article/94947/harold-bloom-the-anatomy-of-influence">
    <title>The Shaman | New Republic</title>
    <dc:date>2016-11-29T14:03:21+00:00</dc:date>
    <link>https://newrepublic.com/article/94947/harold-bloom-the-anatomy-of-influence</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Which is not to say he wasn’t sometimes on my mind. At a certain point during my sojourn at the institution, I started to develop the Heart of Darkness theory of the Yale English department. Conrad’s novel is about colonialism and racism and the shadowed reaches of the human heart, but it is also a dissection of bureaucracy. My first clue came when I realized that my chairman was a perfect double for the manager of the Central Station, that creepy functionary who has “no genius for organizing, for initiative, or for order even,” who “could keep the routine going—that’s all.” But what clinched it was the recognition of the role that Bloom played in the paradigm. Bloom was Mr. Kurtz. (Marlow, broken by his African ordeal, was any number of my senior colleagues, their souls crushed by the tenure process. The “pilgrims”—that pack of hopeful fools who set off into the jungle in pursuit of a chimerical fortune—were the graduate students.)

]]></description>
<dc:subject>salient-unto-the-day Harold-Bloom criticism meta-criticism rather-interesting counterpoint to-write-about</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:d813ef281bd4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:salient-unto-the-day"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:Harold-Bloom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:meta-criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:counterpoint"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-write-about"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://indalogenesis.com/2016/05/07/angel-clarence/">
    <title>Angel Clarence | IndaloGenesis</title>
    <dc:date>2016-05-11T12:43:37+00:00</dc:date>
    <link>https://indalogenesis.com/2016/05/07/angel-clarence/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[It took a war on a grand scale to shake humanity temporarily out of the economic funk, mass amnesia and ideological brainwashing of the 1930s. As is often the case, we have looped back to what went before. Back to the future; the same but different. Small dark clouds on the horizon rapidly transform into overhead thunderstorms.

]]></description>
<dc:subject>cultural-norms cultural-dynamics film criticism rather-good</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:7191aef645a6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-dynamics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-good"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://hackeducation.com/2016/05/07/identity-power-algorithms">
    <title>Identity, Power, and Education's Algorithms</title>
    <dc:date>2016-05-11T12:04:18+00:00</dc:date>
    <link>http://hackeducation.com/2016/05/07/identity-power-algorithms</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[As I’ve argued previously, some ed-tech companies contend (in response to privacy concerns, to be clear) that their learning algorithms work without knowing who students are. Knewton’s CEO, for example, has said that “We can help students understand their learning history without knowing their identity.” But what does it mean to do so? What does it mean when ed-tech companies talk about an “identity-less-ness” learning? What does it mean to build “learning sciences” and “learning technologies” on top of this sort of epistemology? What does “personalization” possibly mean if there’s no “personally identifiable information” involved? What happens to bodies and identities – particularly bodies and identities of marginalized people – when they’re submitted to a new algorithmic regime that claims to be identity-less, that privileges identity-less-ness? And of course, what are the ideologies underneath these purportedly identity-less algorithms? (We might be able to answer that question, if partially, even when the algorithms are black-boxed.) These are some of the most important questions we must ask about identity, power, and education technologies.
]]></description>
<dc:subject>education public-policy algorithms docile-bodies philosophy corporatism rather-interesting criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:2aab3c4d6406/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:public-policy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:docile-bodies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:corporatism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.theawl.com/2015/06/the-new-york-times-and-criticism">
    <title>Alessandra Stanley and the Diminishment of Criticism - The Awl</title>
    <dc:date>2015-06-24T22:00:03+00:00</dc:date>
    <link>http://www.theawl.com/2015/06/the-new-york-times-and-criticism</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[And it’s terrific to breathe a bit of air into the department of critics. Critics are long-serving, and they are uniform as hell. Other departments are also getting a slow and deliberate shake-up. It’s needed. But nothing will meet with as much celebration as the departure of Stanley. Except… who will we kick around now? Oh don’t be silly, we’ll find someone!

]]></description>
<dc:subject>criticism object-lessons worklife Coscience</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:0be518f90af0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:object-lessons"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:worklife"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:Coscience"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.uvm.edu/~pdodds/fama/2015/06/04/the-narrative-hierarchystories-and-storytelling-on-all-scales/">
    <title>The Narrative Hierarchy—Stories and storytelling on all Scales | Peter Sheridan Dodds's Blog of Intermittent Nature</title>
    <dc:date>2015-06-07T11:55:33+00:00</dc:date>
    <link>http://www.uvm.edu/~pdodds/fama/2015/06/04/the-narrative-hierarchystories-and-storytelling-on-all-scales/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[And F for finally: On the truthful side of stories, the Narrative Hierarchy is about communicating knowledge clearly and accurately. Does a truth scale?

]]></description>
<dc:subject>via:himself narrative social-norms criticism philosophy-of-science to-promote</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:273fabb3ee18/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:himself"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:narrative"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy-of-science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-promote"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://unrealnature.wordpress.com/2015/05/25/primal-nerve/">
    <title>Primal Nerve | Unreal Nature</title>
    <dc:date>2015-05-26T10:53:47+00:00</dc:date>
    <link>https://unrealnature.wordpress.com/2015/05/25/primal-nerve/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[… abstract art absorbs projection and generates meaning ahead of naming, establishing the form of things unknown, sui generis, in their peculiar complexities. This is one of abstraction’s singular qualities, the form of enrichment and alteration of experience denied to the fixed mimesis of known things. It reminds me of the joke about the person who invented the cure for which there was no known disease.

]]></description>
<dc:subject>art criticism abstraction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:3ad44a7ea370/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:abstraction"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.aesthetics-online.org/articles/index.php?articles_id=65">
    <title>Art’s Abject Other or the “New Cool”? Should Philosophy Rethink the Art/Craft Dichotomy?</title>
    <dc:date>2014-11-16T23:09:15+00:00</dc:date>
    <link>http://www.aesthetics-online.org/articles/index.php?articles_id=65</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Few philosophers of art today concern themselves much with craft. For some it may be because “craft” is associated with amateurism and craft fairs. Others may believe that Collingwood put craft in its place long ago as a narrow means-end process. Of course, many art critics, theorists, and historians also continue to view craft as art’s lowly other. And even some craft institutions have come to treat studio craft as “the art form that dare not say its name,” e.g., the American Craft Museum dropping “craft” from its name in 2002 to become a Museum of Arts and Design.[1]
]]></description>
<dc:subject>art craft false-dichotomies philosophy aesthetics criticism the-mangle-in-practice materiality emergence posthumanism-I-guess?</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:45e06bb564e1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:craft"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:false-dichotomies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-mangle-in-practice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:materiality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:emergence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:posthumanism-I-guess?"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2014/11/11/energy/">
    <title>Energy | Unreal Nature</title>
    <dc:date>2014-11-14T11:32:03+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2014/11/11/energy/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[… André Masson has been an ambitious painter from the beginning, one who accepts and tries to solve the most difficult problems proposed by art in this age. Very little he has done is without interest; yet little so far seems capable of lasting. There is some lack in Masson of touch or “feel” — a lack dangerous to an artist who relies, or professes to rely, so much on automatism or pure spontaneity. A line either too Spencerian or too splintery weakens his drawings; an insistence upon multiplying and complicating planes, while combining two such color gamuts as violet-blue-green-yellow and brown-mauve-red-orange, renders his painting turgid, overheated, and discordant. Energy is dissipated in all directions.

]]></description>
<dc:subject>criticism project-management painting Clement-Greenberg the-audience-and-the-critic it's-a-fair-cop-but-Modernism-is-to-blame</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:9bab3d1053d7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:project-management"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:Clement-Greenberg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-audience-and-the-critic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:it's-a-fair-cop-but-Modernism-is-to-blame"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://indalogenesis.com/2014/11/03/hopscotch/">
    <title>Hopscotch | IndaloGenesis</title>
    <dc:date>2014-11-09T12:16:14+00:00</dc:date>
    <link>http://indalogenesis.com/2014/11/03/hopscotch/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[In his 2012 series for Channel 4, In the Best Possible Taste, Perry explores class, taste and tribes. He is fascinated by what it means to both belong to and to escape from a tribe. His own autobiography blends with the narratives of his subjects. What emerges in his work and his commentary about it is a sense of tolerance. For someone with a Humanities background, there can be no right answer just multiple possibilities. In his book, Playing to the Gallery, and the Reith Lectures from which it is derived, he argues that we may be entering the age of pluralism. Extrapolating what he has learned from artistic exploration, he challenges: ‘Wouldn’t it be wonderful to believe that the pluralistic art world of the historical present was a harbinger for a political thing to come?’

]]></description>
<dc:subject>criticism mashup recombination open-culture to-watch</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:faf9be80f863/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:mashup"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:recombination"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:open-culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-watch"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://arxiv.org/abs/1408.2874">
    <title>[1408.2874] Urban DNA for cities evolutions. Cities as physical expression of dynamic equilibriums between competitive and cooperative forces</title>
    <dc:date>2014-11-08T13:08:55+00:00</dc:date>
    <link>http://arxiv.org/abs/1408.2874</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Cities are physical manifestations of our competitive and cooperative behaviours. The tension between these two forces generates dynamic equilibriums whose material expressions are cities and their evolutions. In a Darwinian cooperative view, as Darwinism does not involve only competition, the public benefit obtained by cooperation, return in terms of private benefit too. An urban genetic code is proposed, according to which cities emerge connecting nature and urbanity, and as sum of multiuse, independent micro-areas, each one with its centrality, job locations, parks and daily shops-services and amenities. This mechanism, called Isobenefit Urbanism, is not static and pre-designed, but allows infinitely dynamic changes and expansions. Rather than describing The ideal city, which doesn't exist outside our own minds, Isobenefit Urbanism describes what a city should avoid to be in order to not become an unideal city. Its six principles are the urban DNA which does not give predetermined forms but indications to follow according to contexts and times.
]]></description>
<dc:subject>urban-planning architecture deep-reading rather-interesting rather-odd criticism public-policy feature-extraction men-on-horses-pass-this-place-recently</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:83ef56818580/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:urban-planning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:deep-reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-interesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rather-odd"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:public-policy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:feature-extraction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:men-on-horses-pass-this-place-recently"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2014/09/12/the-slipping-away/">
    <title>The Slipping Away | Unreal Nature</title>
    <dc:date>2014-09-15T21:02:20+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2014/09/12/the-slipping-away/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[…when a work is let out by the artist and said to be complete, the intention loosens. Then it’s subject to all kinds of use and misuse and pun. Occasionally someone will see the work in a way that even changes its significance for the person who made it; the work is no longer “intention,” but the thing being seen and someone responding to it. They will see it in a way that makes you think that is a possible way of seeing it. Then you, the artist, can enjoy it — that’s possible — or you can lament it. If you like, you can try to express the intention more clearly in another work. But what is interesting is anyone having the experience he has.

]]></description>
<dc:subject>philosophy art criticism creativity relevance-in-action</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:06fac6158831/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:creativity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:relevance-in-action"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://itself.wordpress.com/2014/08/13/why-a-star-trek-film-would-never-work/">
    <title>Why a Star Trek film would never work | An und für sich</title>
    <dc:date>2014-08-22T12:44:05+00:00</dc:date>
    <link>http://itself.wordpress.com/2014/08/13/why-a-star-trek-film-would-never-work/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Supposedly the third film will be in outer space — but I’ll believe it when I see it. In fact, I would bet any amount of money that it reprises the earth-based time-travel plot of The Voyage Home. You can’t go where no one has gone before when — just like all the many comic book “reboots” we’ve witnessed in recent years — your entire enterprise depends on forcing the raw materials of an entertainment franchise into the repetitive and self-referential formula of a “white messiah” Hollywood blockbuster plot.

]]></description>
<dc:subject>film criticism a-fair-cop but-society's-to-blame Star-Trek science-fiction narrative</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:8b3904569256/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:a-fair-cop"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:but-society's-to-blame"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:Star-Trek"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:science-fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:narrative"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2014/08/16/and-so-doth-he/">
    <title>And So Doth He | Unreal Nature</title>
    <dc:date>2014-08-17T14:07:00+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2014/08/16/and-so-doth-he/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[If we are secure in our own feelings we will accept our own meanings as ours, and if we have any respect for the great we will penetrate and embrace Shakespeare’s meaning as his. For our purpose in the study of literature, and particularly in the historical interpretation of texts, is not in the ordinary sense to further the understanding of ourselves. It is rather to enable us to see how we could think and feel otherwise than as we do. It is to erect a larger context of experience within which we may define and understand our own by attending to the disparity between it and the experience of others.

In fact, the problem that is here raised with respect to literature is really the problem of any human relationship: Shall we understand another on his terms or on ours? It is the problem of affection and truth, of appreciation and scholarship. Shakespeare has always been an object of affection and an object of study. Now, it is common experience that affection begins in misunderstanding. We see our own meanings in what we love and we misconstrue for our own purposes. But life will not leave us there, and not only because of external pressures. What concerns us is naturally an object of study. We sit across the room and trace the lineaments of experience on the face of concern, and we find it is not what we thought it was. We come to see that what Shakespeare is saying is not what we thought he was saying, and we come finally to appreciate it for what it is. Where before we had constructed the fact from our feeling, we now construct our feeling from the fact. The end of affection and concern is accuracy and truth, with an alteration but no diminution of feeling.

]]></description>
<dc:subject>criticism literary-criticism narrative engineering-criticism science-criticism to-do</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:ce22b0551720/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:literary-criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:narrative"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:engineering-criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:science-criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:to-do"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.joaap.org/issue9/notanalternative.htm">
    <title>Issue 9 - Counter Power As Common Power</title>
    <dc:date>2014-05-29T20:45:07+00:00</dc:date>
    <link>http://www.joaap.org/issue9/notanalternative.htm</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[This need to organize actions in secret clusters runs counter to the logic of the open platform. In Occupy, however, this contradiction was never seriously addressed. As a result, throughout the duration of the movement, accusations have been fired at groups for organizing actions in the name of Occupy that were not agreed to by the General Assembly. In a sense, a mindset was operative in the movement that simultaneously encouraged people to act autonomously and condemned them when they succeeded for not having secured approval in advance.

]]></description>
<dc:subject>collaboration OWS social-norms social-dynamics social-engineering criticism interesting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:2d3bc1bc77e9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:collaboration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:OWS"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-dynamics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-engineering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:interesting"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2014/05/12/when-a-man-ploughs-his-field-at-the-right-time/">
    <title>When a Man Ploughs His Field at the Right Time | Unreal Nature</title>
    <dc:date>2014-05-13T11:37:35+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2014/05/12/when-a-man-ploughs-his-field-at-the-right-time/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Still, this is not to describe the situation very subtly. To leave out consideration of what is being put into the painting, I mean. One might truthfully say that abstract art is stripped bare of other things in order to intensify it, its rhythms, spatial intervals, and color structure. Abstraction is a process of emphasis, and emphasis vivifies life, as A.N. Whitehead said.

Nothing as drastic an innovation as abstract art could have come into existence, save as the consequence of a most profound, relentless, unquenchable need.

The need is for felt experience — intense, immediate, direct, subtle, unified, warm, vivid, rhythmic.

Everything that might dilute the experience is stripped away. The origin of abstraction in art is that of any mode of thought. Abstract art is a true mysticism — I dislike the word — or rather as series of mysticisms that grew up in the historical circumstance that all msyticisms do, from a primary sense of gulf, an abyss, a void between one’s lonely self and the world. Abstract art is an effort to close the void that modern men feel. Its abstraction is its emphasis.

]]></description>
<dc:subject>so-mote-it-also-be-in-science art philosophy-of-art criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:8c3f6b91e083/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:so-mote-it-also-be-in-science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy-of-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://well-formed-data.net/archives/1027/worlds-not-stories">
    <title>Well-formed data » Worlds, not stories</title>
    <dc:date>2014-03-04T12:49:26+00:00</dc:date>
    <link>http://well-formed-data.net/archives/1027/worlds-not-stories</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Well, in short, I want to turn my audience from mere consumers, who just passively listen to all the exiting stories I can tell them to fellow travellers, who learn to enjoy data exploration the way I do. I want them to use the visualizations I provide as starting points for their own explorations.

Why? Well, as I tried to sketch above, data does not always equal truth. I want everybody to become a critical consumer of information.

]]></description>
<dc:subject>visualization data-analysis criticism engineering-philosophy engineering-criticism the-analyst-as-strong-poet via:chl</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:90b03b152274/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:data-analysis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:engineering-philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:engineering-criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-analyst-as-strong-poet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:chl"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://text-patterns.thenewatlantis.com/2014/01/relevance-and-ignorance.html">
    <title>relevance and ignorance - Text Patterns - The New Atlantis</title>
    <dc:date>2014-01-24T12:37:03+00:00</dc:date>
    <link>http://text-patterns.thenewatlantis.com/2014/01/relevance-and-ignorance.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[This is all phrased light-heartedly, but I wonder if that tone isn’t at least a little misleading: Thurber really does seem afraid of getting left behind. And he’s not the only one: it’s pretty clear that in writing The Circle Dave Eggers was so eager to make a Socially Relevant Intervention about tech companies that he didn’t bother to learn how they actually work. So what we have hear is an urgency to be heard coupled with a need to be relevant. The result: social commentary made by people who have nothing but vague, uninformed speculations to guide their writing. This is how whole books become indistinguishable from the average blog comment.
]]></description>
<dc:subject>criticism cultural-norms diversity worklife mindfulness ignorance stereotypes</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:c5f8a61b9464/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:diversity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:worklife"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:mindfulness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:ignorance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:stereotypes"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.nakedcapitalism.com/2014/01/philip-pilkington-behavioral-economics-victorian-moralising.html">
    <title>Philip Pilkington: Behavioral Economics as Victorian Moralizing | naked capitalism</title>
    <dc:date>2014-01-24T12:20:51+00:00</dc:date>
    <link>http://www.nakedcapitalism.com/2014/01/philip-pilkington-behavioral-economics-victorian-moralising.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[You see, while behavioural economics has done the profession an enormous service in pointing out the obvious — i.e. that perfectly optimised utility functions are rubbish — it has nevertheless sought to maintain intact the utility calculus framework, albeit in a more experimental guise. Thus behavioural economics continues to chase the ends of rainbows for pots of gold of various kinds.

]]></description>
<dc:subject>economics criticism behavioral-economics models-and-modes</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:e4f144ad794c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:economics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:behavioral-economics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:models-and-modes"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2013/12/26/the-voice-in-question/">
    <title>The Voice In Question | Unreal Nature</title>
    <dc:date>2014-01-01T12:50:15+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2013/12/26/the-voice-in-question/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[In direct contrast to this, the words delivered by a documentary voice-over are, traditionally, public or collective utterances, and, to return to Cavalcanti’s distinction between the ‘rationality’ of sound and voice as opposed to the ‘emotional stimulus’ provided by images, the words introduce, interpret or explain images that might otherwise, in a multitude of ways, remain incoherent. The ostensible purpose of the ‘voice of God’ model is to absent personality and any notion of the internal monologue, to generalize, to offer an omniscient and detached judgment, to guide the spectator through events whilst remaining aloof from them. As Mary Ann Doan elaborates, ‘it is precisely because the voice [in a documentary] is not localizable, because it cannot be yoked to a body, that it is capable of interpreting the image, producing the truth.’ What consequently occurs when a documentary narration falters, stops or acknowledges its inadequacy, as occurs in both Nuit et brouillard and The Battle of San Pietro, is that the personal, subjective potential of that voice-over is unexpectedly permitted to surface, a rupturing of convention that forces a reassessment of the text/narration relationship and how that relationship impinges on the effect a film has on the spectator.

]]></description>
<dc:subject>film criticism aesthetics consider:scientific-publication world's-foremost-unreliable-narrator</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:4db84bb60e09/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:scientific-publication"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:world's-foremost-unreliable-narrator"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2013/12/31/without-nouns-and-transitive-verbs/">
    <title>Without Nouns and Transitive Verbs | Unreal Nature</title>
    <dc:date>2014-01-01T12:31:54+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2013/12/31/without-nouns-and-transitive-verbs/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[That those who condemn abstract art generally do so in advance of experience is shown by the completeness with which they condemn. To hold that one kind of art is invariably superior or inferior to another kind is to judge before experiencing. The whole history of art is there to demonstrate the futility of rules of preference laid down beforehand — the impossibility of anticipating the outcome of aesthetic experience. The critic doubting whether abstract art could ever transcend decoration — as Daniel Kahnweiler does — is on ground as unsure as the Hellenistic connoisseur would have been who doubted whether the mosaic medium could ever be capable of more than merely decorative derivations of encaustic panel painting. Or as Joshua Reynolds was in rejecting the likelihood of the pure landscape’s ever occasioning works as noble as those of Raphael. As long as art, and the judging of it, have not been reduced to a science anything and everything remain possible in it.

It has never been more essential than today to keep in mind the precariousness of all assumptions about what art can and cannot do. If the practice of ambitious painting and sculpture continues in our time it is by flouting almost every inherited notion of what is and is not art. If certain works by Picasso as well as Mondrian are worthy of being considered pictures, and certain works by Brancusi and Gonzalez as well as Pevsner, sculpture, then it is despite all preconceptions and assumptions, and only because actual experience has told us so. And I don’t think we have more reason to doubt, by and large, what it tells us than what it told his contemporaries about Titian.

]]></description>
<dc:subject>criticism meaning-in-art cultural-norms consider:meaning-in-science aesthetics philosophy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:f1a393a42184/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:meaning-in-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consider:meaning-in-science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unrealnature.wordpress.com/2013/11/26/being-disconcerted/">
    <title>Being Disconcerted | Unreal Nature</title>
    <dc:date>2013-11-28T12:43:40+00:00</dc:date>
    <link>http://unrealnature.wordpress.com/2013/11/26/being-disconcerted/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[To impute a position or line to a critic is to want, in effect, to limit  his freedom. For a precious freedom lies in the very involuntariness of aesthetic judging: the freedom to be surprised, taken aback, have your expectations confounded, the freedom to be inconsistent and to like anything in art as long as it is good — the freedom, in short, to let art stay open. Part of the excitement of art, for those who attend to art regularly, consists, or should, in this openness, in this inability to foresee reactions. You don’t expect to like the busyness of Hindu sculpture, but on closer acquaintance become enthralled by it (to the point even of preferring it to the earlier Buddhist carving). You don’t, in 1950, anticipate anything generically new in geometrical-looking abstract painting, but then see Barnett Newman’s first show. You think you know the limits of 19th-century academic art, but then come across Stobbaerts in Belgium, Etty and Dyce in England, Hayez in Italy, Waldmueller in Austria, and still others. The very best art of this time continues to be abstract but the evidence compels you to recognize that below this uppermost level success is achieved still, by a far higher proportion of figurative than of abstract painting. When jurying you find yourself having to throw out high-powered looking abstract pictures and keeping in trite-looking landscapes and flower pieces. Despite certain qualms, you relish your helplessness in the matter, you relish the fact that in art things happen of their own accord and not yours, that you have to like things you don’t want to like, and dislike things you do want to like. You acquire an appetite not just for the disconcerting but the state of being disconcerted.

]]></description>
<dc:subject>this-is-true-for-science-as-well criticism aesthetics philosophies-of-practice the-mangle-in-practice</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:ecdfdfe05109/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:this-is-true-for-science-as-well"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophies-of-practice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-mangle-in-practice"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://crookedtimber.org/2013/02/11/the-political-consequences-of-learning/">
    <title>The Political Consequences of Learning — Crooked Timber</title>
    <dc:date>2013-02-17T14:23:03+00:00</dc:date>
    <link>http://crookedtimber.org/2013/02/11/the-political-consequences-of-learning/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Knight and Johnson defend democracy as the most desirable mode of governing society against other possible claimants to that role–markets, courts, and bureaucracies. Yet the book is hardly a paean to democracy, lauding the wisdom of the common man or woman. Instead, they present a “realist” perspective on the value of democracy, defending it as the best way of managing political conflict. This is not a new argument, but the interest of the book is in how Knight and Johnson defend democracy. They argue that democracy is not necessarily superior to markets, courts, or bureaucracies as a “first-order” mechanism for achieving social coordination or making authoritative decisions. But democracy is uniquely suited to enabling society to select and experiment with a very wide range of different institutional forms that might be used to govern society. In Knight and Johnson’s language, the priority of democracy arises from its ability to translate the diversity of societal preferences, via voting and political argumentation, into the choice of effective institutions. ...]]></description>
<dc:subject>public-policy government philosophy democracy pragmatism criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:049ac5676f2c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:public-policy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:government"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:democracy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:pragmatism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://crookedtimber.org/2013/02/11/27491/">
    <title>Seminar on The Priority of Democracy — Crooked Timber</title>
    <dc:date>2013-02-17T13:42:07+00:00</dc:date>
    <link>http://crookedtimber.org/2013/02/11/27491/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[Over the next several days, we’ll be running a seminar on Jack Knight and Jim Johnson’s recent book, The Priority of Democracy. The participants:

]]></description>
<dc:subject>pragmatism politics public-policy cultural-dynamics conversation criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:7aab7e084ef3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:pragmatism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:public-policy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-dynamics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:conversation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.thedailybeast.com/articles/2012/09/05/letter-to-a-young-critic-william-giraldi-defends-true-criticism.html">
    <title>Letter to a Young Critic: William Giraldi Defends True Criticism - The Daily Beast</title>
    <dc:date>2012-09-05T19:49:57+00:00</dc:date>
    <link>http://www.thedailybeast.com/articles/2012/09/05/letter-to-a-young-critic-william-giraldi-defends-true-criticism.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["Eliot and the New Critics ruled the critical scene for so long and with so heavy a hammer that they turned a perfectly sensible way of reading into a loathsome pedagogy. The shift away from that intense focus on language happened not only in the academy but also in Manhattan offices, when the publicity machine aimed the floodlight away from the book and onto its author. The whole world of criticism and reviewing has been debased because the critic now is pressured to perform as part publicist. Don’t allow yourself to get entangled in that marketing apparatus. The New Critics’ focus on language, on “close reading,” is how every literary assessment should begin. Forgive me if I state the resoundingly obvious but you might be surprised to know how many among us eschew the resoundingly obvious: the writer’s race, religion, gender, or politics have nothing at all to do with your judgment of how his or her words are working on the page."]]></description>
<dc:subject>literature criticism advice</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:f9ff6b1066d3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:literature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:advice"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.paulshepheard.com/words/211/dont-hold-your-breath">
    <title>Don't Hold Your Breath | Paul Shepheard | Architect and writer | Words</title>
    <dc:date>2012-04-03T10:17:02+00:00</dc:date>
    <link>http://www.paulshepheard.com/words/211/dont-hold-your-breath</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["…Narratives are better than thumps, is the message; and in the field of human relations this might well be so, but here's the rub. Nature's not a person. Nature's not a mother. We are not fighting it but living it. The industrial landscapes pursued with such terrific thoroughness, the agricultural deserts as well as the suburbs, the minefields as well as the wind farms, the cities themselves, are the outcomes not of rage but of stories, narratives in the dream of the human domination of the world. That's why I hug the boy's head. It's good that he sees himself as a particle of nature, a being rather than a human being, and his life as fundamentally consumptive. He knows if he holds his breath he will die. He knows he must live in the present. So now I must try and teach him this: the bolt-ons and band-aids of the sustainability movement that try to manage our fear of the future are but another chapter in that book of domination. It will not, in the face of the red giant, ultimately sustain. And nature as we know it now, in this snapshot of human time, will not stay as it is, however we try to preserve it."]]></description>
<dc:subject>paul-shepheard sustainability criticism how-to-rite-gud</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:a33b5603edbb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:paul-shepheard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:sustainability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:how-to-rite-gud"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.paulshepheard.com/words/209/grounds-for-dispersal">
    <title>Grounds For Dispersal | Paul Shepheard | Architect and writer | Words</title>
    <dc:date>2012-04-03T10:12:28+00:00</dc:date>
    <link>http://www.paulshepheard.com/words/209/grounds-for-dispersal</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["Anonymity does not mean without deep contact, it means that the contact has no preempting ceremony. Collaboration, likewise, is the proof of itself. It exists neither before or after the moment it takes place, except in how it inflects your character. Inclusiveness and partiality are symbiotic, too. If partial is a move taken to outflank hegemony, the inclusive works to recombine differences. The paradoxes implicit in such terms are part of what makes them interesting. I'm trying to elucidate a thinking that is not dialectic, no longer dependent on oppositions, not looking for the right way. As one of the directors of Themepark, a London based fashion-architecture-photography-landscape combine said to me: "we are interested in showing content in its pure form." At first I thought it was a joke, more of that London-Thing irony, but then I thought, what else is the material world but content in its pure form? Today's photographers, who mistrust the Magnum generation's point-and-shoot realities, who set up every shot elaborately, who treat landscape, portrait, action and spectacle as the same thing, are not being minimalist. They are positing the velocity of the image."]]></description>
<dc:subject>paul-shepheard criticism style how-to-rite-gud</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:2a51e617e316/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:paul-shepheard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:style"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:how-to-rite-gud"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.thevalve.org/go/valve/article/weve_got_the_time_to_rationalize_the_text/">
    <title>The Valve - A Literary Organ | We’ve Got the Time (to Rationalize the Text)</title>
    <dc:date>2011-08-03T14:30:37+00:00</dc:date>
    <link>http://www.thevalve.org/go/valve/article/weve_got_the_time_to_rationalize_the_text/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["It takes, say, thousands of person hours spread over a handful of scholars to create and ‘debug’ a single conceptual trope. When that’s done the trope can show up in casebooks and undergraduate texts. And from there, it goes into the knowledge-hungry minds of our students. And when one of them writes reviews for The New York Times, BINGO! a conceptual trope enters the self-styled paper of record. And, from there, the world."

"That’s how culture works."

]]></description>
<dc:subject>criticism literary-criticism skills learning-by-doing critical-engineer</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:Vaguery/b:1770a94833fc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:literary-criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:skills"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:learning-by-doing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:critical-engineer"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.overcomingbias.com/2010/06/be-self-styled.html">
    <title>Overcoming Bias : Be Self-Styled</title>
    <dc:date>2010-06-05T19:52:57+00:00</dc:date>
    <link>http://www.overcomingbias.com/2010/06/be-self-styled.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA['While “self-styled” seems mostly a put-down, it is a notably weak one. The user of this phrase notes that someone claims something, but lacks an official credential, or strong consensus, supporting this claim. But we the reader can also note that this speaker offers no stronger criticism, and is not willing to directly contradict the offending claim. After all, instead of calling someone a “self-styled visionary,” you might say “he calls himself a visionary, but he’s not; he hasn’t has a vision in years.”'
]]></description>
<dc:subject>self-definition generalism social-norms criticism personal-brand innovation dilettantism call-me-a-self-styled-stylist</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:1466b1583e4c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:self-definition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:generalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:personal-brand"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:innovation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:dilettantism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:call-me-a-self-styled-stylist"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://infocult.typepad.com/infocult/2010/02/vampires-and-zombies-transnational-transformations.html">
    <title>Infocult: Information, Culture, Policy, Education: Vampires and Zombies: Transnational Transformations</title>
    <dc:date>2010-02-24T19:05:10+00:00</dc:date>
    <link>http://infocult.typepad.com/infocult/2010/02/vampires-and-zombies-transnational-transformations.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["Contributors are invited to submit papers on aspects of zombies and vampires as they relate to texts and media across cultural boundaries."
]]></description>
<dc:subject>conferences academia horror criticism sociology media-studies popular-culture</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:9baf306a1b5a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:conferences"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:academia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:horror"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:sociology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:media-studies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:popular-culture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.esquire.com/print-this/roger-ebert-0310">
    <title>Print Roger Ebert: The Essential Man</title>
    <dc:date>2010-02-19T19:49:17+00:00</dc:date>
    <link>http://www.esquire.com/print-this/roger-ebert-0310</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["I believe that if, at the end of it all, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this, and am happy I lived long enough to find it out."
]]></description>
<dc:subject>interview biography Roger-Ebert inspiration death adversity criticism</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:9dc6de13bbfa/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:interview"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:biography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:Roger-Ebert"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:inspiration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:death"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:adversity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://journalism.nyu.edu/pubzone/weblogs/pressthink/2009/01/12/atomization.html">
    <title>PressThink: Audience Atomization Overcome: Why the Internet Weakens the Authority of the Press</title>
    <dc:date>2010-01-21T14:06:00+00:00</dc:date>
    <link>http://journalism.nyu.edu/pubzone/weblogs/pressthink/2009/01/12/atomization.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["In the age of mass media, the press was able to define the sphere of legitimate debate with relative ease because the people on the receiving end were atomized-- connected "up" to Big Media but not across to each other. And now that authority is eroding. I will try to explain why.
It’s easily the most useful diagram I’ve found for understanding the practice of journalism in the United States, and the hidden politics of that practice. You can draw it by hand right now. Take a sheet of paper and make a big circle in the middle. In the center of that circle draw a smaller one to create a doughnut shape. Label the doughnut hole “sphere of consensus.” Call the middle region “sphere of legitimate debate,” and the outer region “sphere of deviance.”"
]]></description>
<dc:subject>journalism media social-norms social-dynamics discourse politics communication criticism authority newspapers analysis consensus disintermediation-targets</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:c1eb7ca143e2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:journalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-dynamics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:discourse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:communication"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:authority"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:newspapers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:analysis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:consensus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:disintermediation-targets"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://swampland.blogs.time.com/2009/12/20/rich-poor/#more-19697">
    <title>Rich Poor - Swampland - TIME.com</title>
    <dc:date>2009-12-25T22:20:23+00:00</dc:date>
    <link>http://swampland.blogs.time.com/2009/12/20/rich-poor/#more-19697</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["Rich is right that Americans have grown cynical. But the extremists of right and left have exploited that cynicism, have raised big money by distorting the truth, have denigrated the slow, tortuous compromise that is at the heart of progress in any real democracy. Obama's is the least cynical of the seven presidencies I've covered. It is a presidency that took effective action to prevent a depression, that has refused to engage in arrogant jingoism in its dealing with the rest of the world and--most important--spent its political capital on the most important piece of social legislation, health care reform, of the past 45 years."
]]></description>
<dc:subject>politics criticism presidency media polarization</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:295ff36ae03a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:presidency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:polarization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://factoryjoe.com/blog/2009/11/07/open-source-design-and-the-openofficemouse/">
    <title>Open source design and the OpenOfficeMouse | FactoryCity</title>
    <dc:date>2009-11-09T00:03:05+00:00</dc:date>
    <link>http://factoryjoe.com/blog/2009/11/07/open-source-design-and-the-openofficemouse/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["What I worry about, however, is that pockets of the open source community continue to largely be defined and driven by complexity, exclusivity, technocracy, and machismo. While I do support independence and freedom of choice in technology — and therefore open source — I prefer to do so inclusively, with an understanding that there are many more people who are not yet well served by technology because appropriate technology has not been made more usable for them. The beautiful, usable technology in the marketplace need not be the exclusive domain of the proprietary — but so far I’ve see little indication that open source developers take seriously the need for simpler, easier, and more intuitive future-forward interfaces. Perhaps I’m wrong or just uninformed, but so long as products like the OpenOfficeMouse continue to characterize the norm in open source design, I’m not likely going to be able to soon recommend open source solutions to anyone but the most advanced and privileged users.
]]></description>
<dc:subject>open-source design-autism industrial-design design-by-committee contingent usability criticism community geek-cultural-assumptions</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:54f53a548158/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:open-source"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:design-autism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:industrial-design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:design-by-committee"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:contingent"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:usability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:geek-cultural-assumptions"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://futurismic.com/2009/11/06/the-anonymous-hunters-corporate-critics-and-whistleblowers-beware/">
    <title>The Anonymous Hunters: corporate critics and whistleblowers beware | Blog | Futurismic</title>
    <dc:date>2009-11-06T19:47:09+00:00</dc:date>
    <link>http://futurismic.com/2009/11/06/the-anonymous-hunters-corporate-critics-and-whistleblowers-beware/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["That said, the internet is pretty vast, and some of its denizens are smarter than others… and I suspect Wragge and Co’s fees for hunting down anonymous commenters will reflect those realities. It also remains to be seen how much they can achieve when working on sites hosted in countries where the jurisdiction isn’t so clear-cut, or sites like Wikileaks which are geared toward protecting their sources. What we can be sure of is that when lawyers can see a paycheck, there’s dirty laundry waiting to be washed… and we can expect the corporate (and political) world to wise up to the web pretty fast now that the full extent of its power is becoming apparent."
]]></description>
<dc:subject>transparency corporatism law anonymity protected-speech criticism lawsuits</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:6e7f64c2ee1c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:transparency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:corporatism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:law"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:anonymity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:protected-speech"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:lawsuits"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://blip.tv/file/2250992">
    <title>Christopher R. Weingarten (@1000TimesYes) - Music Writer, RollingStone.com and Village Voice at The</title>
    <dc:date>2009-06-22T11:16:58+00:00</dc:date>
    <link>http://blip.tv/file/2250992</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA[via Valdis Krebs
]]></description>
<dc:subject>crowdsoucing assortative-culture cultural-norms reviewers criticism diversity the-impoetic lowest-common-denominators-don't-lead-to-greatness</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:f4ddfef6cda4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:crowdsoucing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:assortative-culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:reviewers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:diversity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:the-impoetic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:lowest-common-denominators-don't-lead-to-greatness"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.blographia-literaria.com/2009/05/diligent-indolence.html">
    <title>Blographia Literaria: Diligent Indolence</title>
    <dc:date>2009-05-25T11:02:50+00:00</dc:date>
    <link>http://www.blographia-literaria.com/2009/05/diligent-indolence.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["The fires of the amateur’s enthusiasm are worth stoking; and the heat that they give is not false. Yet they also ought to be more than flashes, and they must absolutely be more than the inverse reflections of the newspaper’s dying embers."
]]></description>
<dc:subject>diligence amateurism criticism blogging worklife</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:7d0059a9d51f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:diligence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:amateurism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:blogging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:worklife"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.thevalve.org/go/valve/article/darwinolatry_and_literary_criticism/">
    <title>The Valve - A Literary Organ | Darwinolatry and Literary Criticism</title>
    <dc:date>2009-02-17T14:27:40+00:00</dc:date>
    <link>http://www.thevalve.org/go/valve/article/darwinolatry_and_literary_criticism/</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["In fact, their dismissal of history is a direct consequence of their version of Darwinism, which is focused on demonstrating how the actions of literary characters provide illustrative examples of human biological nature. While they give no end of homage to the idea that actual human behavior is subject to environmental influence – as far as I can tell, no one seriously doubts this – they seem to have no interest in investigating how behaviors and environments amplify into history. Literary Darwinism is paradoxically static, the examination of flies caught in amber, and Darwin himself has become a Platonic fetish to ward off the evils of change, of history."
]]></description>
<dc:subject>Darwinism criticism theory humanities cultural-norms fads-and-fallacies</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:e0184ba6e59e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:Darwinism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:humanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:fads-and-fallacies"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.huffingtonpost.com/john-mayer/why-every-snarky-blogger_b_150088.html">
    <title>John Mayer: Why Every Snarky Blogger Should Thank Don Rickles (and What They Still Have to Learn from Him)</title>
    <dc:date>2008-12-12T13:14:45+00:00</dc:date>
    <link>http://www.huffingtonpost.com/john-mayer/why-every-snarky-blogger_b_150088.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["Wouldn't it be nice, every once in a while, to read some sort of evidence of heart? An occasional 'We kid, the guy's okay??' Unless you really don't, in which case you won't be sorry when that bear shoots me with a rocket launcher. Mark my words: the gossip-monger whose style closest resembles that of Don Rickles' mastery of tension and release will stay successful the longest. Because the salient rules of entertainment will always apply. And Don Rickles should know, because he helped write them."
]]></description>
<dc:subject>humor courtesy social-obligation activism self-assessment self-image criticism</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:b9019e0f1dd3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:humor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:courtesy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-obligation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:activism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:self-assessment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:self-image"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.alternet.org/story/111376/the_best_and_the_brightest_have_led_america_off_a_cliff/?page=entire">
    <title>The Best and the Brightest Have Led America Off a Cliff | | AlterNet</title>
    <dc:date>2008-12-12T12:28:36+00:00</dc:date>
    <link>http://www.alternet.org/story/111376/the_best_and_the_brightest_have_led_america_off_a_cliff/?page=entire</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["These universities, because of their incessant reliance on standardized tests and the demand for perfect grades, fill their classrooms with large numbers of drones. I have taught gifted and engaged students who used these institutions to expand the life of the mind, who asked the big questions and who cherished what these schools had to offer. But they were always a marginalized and dispirited minority. The bulk of their classmates, most of whom headed off to Wall Street or corporate firms when they graduated, starting at $120,000 a year, did prodigious amounts of work and faithfully regurgitated information. They received perfect grades in both tedious, boring classes and stimulating ones, not that they could tell the difference. ..."
]]></description>
<dc:subject>education academia academic-culture criticism essay social-norms cultural-norms economic-crisis via:tsuomela via:vielmetti</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:128b3fd643ad/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:academia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:academic-culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:essay"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:economic-crisis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:tsuomela"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:vielmetti"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://rhizome.org/editorial/2149">
    <title>Rhizome</title>
    <dc:date>2008-12-04T15:09:35+00:00</dc:date>
    <link>http://rhizome.org/editorial/2149</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["Citing Walker Evans, Robert Frank, and Lee Friedlander as an example, "art photography" was a practice valuing the artist's command over the medium, whereas for "conceptual photography" (e.g. Richard Prince, Cindy Sherman, Laurie Simmons...) the emphasis was not on one's mastery over the tool, but rather the tool as a means to express an idea. In applying this contrast to artists working with computers today, Moody astutely observes a similar ethos between conceptual photography and "artist's with computers." In my opinion, one weakness to the post is Moody's stark polarization between his constructed categories, stating, "New media suggests a respect for hardware & software and belief in their newness, something artists with computers don't care about. New media involves a finicky devotion to programming and process, whereas artists with computers are bulls in the Apple Shop.""
]]></description>
<dc:subject>art philosophy makers generative-art criticism meta-criticism</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:4c10ac166e1f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:makers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:generative-art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:meta-criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.hyperorg.com/blogger/2008/11/30/philosophical-problems-with-folksonomies/">
    <title>Joho the Blog » Philosophical problems with folksonomies</title>
    <dc:date>2008-12-01T22:30:21+00:00</dc:date>
    <link>http://www.hyperorg.com/blogger/2008/11/30/philosophical-problems-with-folksonomies/</link>
    <dc:creator>Vaguery</dc:creator><dc:subject>taxonomy folksonomy librarians cultural-norms classification myths tagging philosophy library metadata theory criticism</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:aaccc60b04bc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:taxonomy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:folksonomy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:librarians"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:myths"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:tagging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:library"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:metadata"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.greenchameleon.com/gc/blog_detail/snake_oil/">
    <title>Green Chameleon &quot; Snake Oil</title>
    <dc:date>2008-04-06T12:35:56+00:00</dc:date>
    <link>http://www.greenchameleon.com/gc/blog_detail/snake_oil/</link>
    <dc:creator>Vaguery</dc:creator><dc:subject>via:tsuomela KM knowledge-management authority self-definition criticism terminology</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:8f93ba55150f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:tsuomela"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:KM"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:knowledge-management"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:authority"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:self-definition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:terminology"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.idlewords.com/2005/04/dabblers_and_blowhards.htm">
    <title>[Best not over-generalize]</title>
    <dc:date>2008-03-22T17:33:21+00:00</dc:date>
    <link>http://www.idlewords.com/2005/04/dabblers_and_blowhards.htm</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["But you, sir, are no painter. And while you hack away at your terminal, or ride your homemade Segway, we painters and musicians are going to be right over here with all the wine, hash, and hot chicks."
]]></description>
<dc:subject>analogies commentary criticism philosophy books hacking programming art</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:ee76321a8528/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:analogies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:commentary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:hacking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:programming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.uic.edu/htbin/cgiwrap/bin/ojs/index.php/fm/article/view/2138/1945">
    <title>Scholz</title>
    <dc:date>2008-03-17T13:00:09+00:00</dc:date>
    <link>http://www.uic.edu/htbin/cgiwrap/bin/ojs/index.php/fm/article/view/2138/1945</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["If Web 2.0 is the answer then we are clearly asking the wrong question."
]]></description>
<dc:subject>via:vielmetti analysis collaboration economics community criticism crowdsourcing cultural-norms commons myths web2.0 publishing corporations social-engineering sociology</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:6d3fd35cf608/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:via:vielmetti"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:analysis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:collaboration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:economics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:crowdsourcing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:cultural-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:commons"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:myths"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:web2.0"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:corporations"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-engineering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:sociology"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.costik.com/weblog/2008/02/cross-posted-from-play-this-thing.html">
    <title>Games * Design * Art * Culture</title>
    <dc:date>2008-02-26T11:27:29+00:00</dc:date>
    <link>http://www.costik.com/weblog/2008/02/cross-posted-from-play-this-thing.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["Criticism understands that "good" and "bad" are just the surface. What's more important is why, and how, and to what end."
]]></description>
<dc:subject>criticism games creativity collaboration social-norms writing not-reviewing</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:d586d8896b8f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:creativity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:collaboration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:social-norms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:not-reviewing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.languagehat.com/archives/003018.php">
    <title>languagehat.com: BENJAMIN ON STORYTELLING.</title>
    <dc:date>2008-02-04T12:09:39+00:00</dc:date>
    <link>http://www.languagehat.com/archives/003018.php</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["SHOW, DON'T TELL"
]]></description>
<dc:subject>fiction writing language methodologies examples memory proverbs criticism</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:4a3b48831a5f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:language"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:methodologies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:examples"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:memory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:proverbs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://scalzi.com/whatever/?p=300">
    <title>Things One Should Not Forget</title>
    <dc:date>2008-01-15T18:38:58+00:00</dc:date>
    <link>http://scalzi.com/whatever/?p=300</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["Original sources are jazzy and fun, and everybody should read them!"
]]></description>
<dc:subject>fascism history politics criticism madness-of-crowds ignorance rhetoric antebellum</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:c797ac96372f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:fascism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:madness-of-crowds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:ignorance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:rhetoric"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:antebellum"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://chronicle.com/free/v54/i18/18b00501.htm">
    <title>Big Brains, Small Impact - ChronicleReview.com</title>
    <dc:date>2008-01-11T18:55:23+00:00</dc:date>
    <link>http://chronicle.com/free/v54/i18/18b00501.htm</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["The decline of public intellectuals correlates with the rise of Richard Posner."
]]></description>
<dc:subject>blogging academia criticism philosophy politics propaganda writing personal-brand publishing</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:cf0da884f2a6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:blogging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:academia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:propaganda"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:personal-brand"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:publishing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://blog.pmarca.com/2008/01/yum-patton-oswa.html">
    <title>blog.pmarca.com: Yum! Patton Oswalt on the KFC Famous Bowl</title>
    <dc:date>2008-01-11T11:46:24+00:00</dc:date>
    <link>http://blog.pmarca.com/2008/01/yum-patton-oswa.html</link>
    <dc:creator>Vaguery</dc:creator><description><![CDATA["The end is near. I hear a noise at the door, as of some immense slippery, living mound lumbering against it."
]]></description>
<dc:subject>food criticism Patton-Oswalt amusing review KFC</dc:subject>
<dc:identifier>https://pinboard.in/u:Vaguery/b:6b1f83e5c49f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:food"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:Patton-Oswalt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:amusing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:review"/>
	<rdf:li rdf:resource="https://pinboard.in/u:Vaguery/t:KFC"/>
</rdf:Bag></taxo:topics>
</item>
</rdf:RDF>