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    <title>Israel's dream of ruling the region is over, its decline has begun | Mustafa Barghouti |UNAPOLOGETIC - YouTube</title>
    <dc:date>2026-06-28T00:32:44+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Now Netanyahu has failed. Iran was not broken. Arab countries now realise that relying on Israel is a death sentence."

In this episode of UNAPOLOGETIC, we sat down in studio with Mustafa Barghouti, Palestinian physician, leader of the Palestinian National Initiative and co-founder of the Palestinian Medical Relief Society. Barghouti argues that Israel's two strategic goals, imperial domination of the Middle East and normalisation with Arab states, have both collapsed, and that this marks the beginning of its decline.

Across the conversation he sets out the scale of the atrocity in Gaza, the slow strangulation of life in the West Bank, and the transformation of Israeli society towards what he describes as fascism. He explains why the regional war with Iran ended in strategic failure for Netanyahu, why Oslo and the 2005 Gaza disengagement were traps rather than concessions, and why he refuses to accept any framing that places oppressor and oppressed on equal footing.

Barghouti also turns to the question of survival and resistance, from the 90 midwives employed in the first weeks of the war to the clinics rebuilt multiple times under bombardment, and makes the case that Palestine has become the global measure of commitment to justice. Despite everything, he ends on a note of defiance and hope.

UNAPOLOGETIC is hosted by Ashfaaq Carim.

00:00 Intro highlights
01:37 Welcome to the show
03:09 Did you expect this enemy
04:55 Fascism inside Israeli society
06:05 What two years brought
08:30 The scale of atrocity
10:36 How Oslo deceived everyone
13:48 What you do not see
15:25 Strangling the West Bank
20:38 The two state hypocrisy
22:30 Did the Iran war backfire
24:01 Netanyahu's two imperial goals
27:17 Netanyahu has failed
28:47 Steadfastness as resistance
32:30 Sumud with resistance
33:54 The demographic battle
34:47 Why Palestinians must stay
37:12 Disarming Palestinian leadership
38:24 Authority without authority
42:18 The Beijing declaration
44:38 Do not blame victims
46:06 Shifting opinion in the West
48:45 Refusing the false equivalence debate
52:42 The 2005 Gaza disengagement trap
57:32 The miracle Israel cannot kill
1:03:03 Final thoughts
1:03:48 Palestine, the global justice issue"]]></description>
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    <title>In Loving Memory Of Om Malik, Friend, Writer, Venture Capitalist, And Ever The Believer - Hodinkee</title>
    <dc:date>2026-06-26T11:37:59+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/in-loving-memory-of-om-malik-friend-writer-venture-capitalist-and-ever-the-believer</link>
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    <title>DEBATE: Who is Responsible for &quot;Woke?&quot; (with Musa al-Gharbi) - YouTube</title>
    <dc:date>2026-06-26T05:13:05+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Author of We Were Never Woke: The Cultural Contradictions of a New Elite and professor in the School of Journalism at Stony Brook University, joins Bad Faith to discuss his historical review of the history of "wokeness," why it cyclically emerges and declines over the decades, and the dangers the "symbolic capitalism" class present to the pursuit of economic equality. Though there's much agreement on the pernicious effects of woke identity politics, we debate our different theories of who is responsible for "woke," and assess whether Tuesday's big DSA wins in New York herald the end of the establishment's superficial identity driven "woke" politics."]]></description>
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<item rdf:about="https://pxlnv.com/blog/metaverse-fever-dream/">
    <title>The Metaverse Fever Dream – Pixel Envy</title>
    <dc:date>2026-06-02T05:38:30+00:00</dc:date>
    <link>https://pxlnv.com/blog/metaverse-fever-dream/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://daringfireball.net/linked/2026/06/01/the-metaverse-fever-dream ]]]></description>
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<item rdf:about="https://www.publicbooks.org/fascisms-building-blocks-100-years-of-murdering-migrant-workers/">
    <title>Fascism’s Building Blocks: 100 Years of Murdering Migrant Workers - Public Books</title>
    <dc:date>2026-05-13T05:49:28+00:00</dc:date>
    <link>https://www.publicbooks.org/fascisms-building-blocks-100-years-of-murdering-migrant-workers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this series commissioned by A. Naomi Paik and Catherine S. Ramírez, contributors examine the laws and practices that paved the way for today’s emergent fascism."

[Series:
https://www.publicbooks.org/tag/the-border-is-the-crisis/ ]]]></description>
<dc:subject>anaomipaik catherineramírez 2026 history fascism iww hustinakerschacón us canada latinamerica asian europe generalstrikes labor work workers capitalism amitchellpalmer boi racism xenophobia kukluxklan organizing unions criminalization middleclass repression deportation immigration aedpa iirira antiterrorism 1996 1920s ice police policing borderpatrol dhs georgewbush islamophobia 2003 imprisonment punishment tracking surveillance 2005 2006 2012 2000 2007 republicans democrats violence minutemenproject raulfloresjr briseniaflores sensenbrenner-kingbill 2009 1970s operationwagontrain mayday donaldtrump immigrants proudboys farright rightwing vanguardamerica patriotfront identityevropa 2percenters charlottesville radicalization left politics racialprofiling constitution militarization minneaoplis 2025 losangeles trumpism maga resistance extremism nationalism whitenationalism whitesupremacy classstruggle</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:7657a5464470/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=c0wKS7flwzw">
    <title>'If you go to china you'll never see the world the same way again' | Martin Jacques | UNAPOLOGETIC - YouTube</title>
    <dc:date>2026-05-11T01:45:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=c0wKS7flwzw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""If you go to China, you'll never ever see the world in the same way again. Never."

In this episode of UNAPOLOGETIC, Martin Jacques, author of the million-copy bestseller When China Rules the World, makes the case that China has already eclipsed the United States as the world's leading power, and that the West still fundamentally doesn't understand why.

This episode explores China's identity as a civilisation-state, the century of humiliation, the Belt and Road Initiative, the Xinjiang question, the decline of American hegemony, Trump's failing strategy against China, and why Jacques believes the future global order will be built around China and the Global South.

UNAPOLOGETIC is hosted by Ashfaaq Carim.

Chapters:
0:00 Intro
2:13 China is already No. 1
4:27 Economic dominance, explained
7:36 China's soft power lag
12:22 How Martin found China
19:05 Love and East Asia
26:00 What the West misunderstands
28:31 Civilisation, not a nation
35:31 The century of humiliation
44:34 The economic miracle
47:08 China's leadership model
52:04 Human rights in China
57:22 Belt and Road, explained
1:10:39 Xinjiang and the Uyghurs
1:38:17 Trump and US decline
1:54:10 Taiwan's fate"]]></description>
<dc:subject>martinjacques ashfaaqcarim china history economics society asia softpower power manufacturing dominance international globalsouth culture humanrights xinjiang uyghurs donaldtrump us uk west taiwan governance government pandemic covid-19 coronavirus hongkong singapore modernity 21stcentury eastasia colonialism colonization imperialism westernization globalization 1990s 2000s 2010s 2020s ezravogel collectivism individualism confucius confucianism humiliation postcolonialism japan empire gdp guangdong malaysia borders civilization education nationstate civilizationstates states opiumwars culturalrevolution maotsetung maozedong ccp 1949 dengxiaoping industrialization 1972 richardnixon law legal politics lawyers engineering technology innovation science howwthingswork communism xijinping leadership 1978 ai artificialintelligence beltandroad beltandroadinitiative maga middlekingdom regimechange productivity tarde africa latinamerica infrastructure ports highways leverage rail railways hsr highspeedrail softimperial</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=tI0JYw0DcKQ">
    <title>What They Don't Tell You About Venezuela - YouTube</title>
    <dc:date>2026-05-08T03:32:32+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=tI0JYw0DcKQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Some blame socialism, others blame the United States. In this video we explore what actually happened in Venezuela.

Watch my conversation with Venezuelan journalist Simón Rodríguez Porras here: https://www.youtube.com/watch?v=ZSxMPb1g5p8

<blockquote>Simón Rodríguez Porras, político y periodista venezolano, miembro del Partido Socialismo y Libertad de Venezuela, traza una mirada crítica sobre el proceso de la revolución bolivariana.

Lee el trabajo de Simón en:
https://venezuelanvoices.org/ </blockquote>

Sources: https://docs.google.com/document/d/1P0jrlGRzxe13DGgK1ikkYVRrSVGcp9WxlS59WDuUblA/ "]]></description>
<dc:subject>biancagraulau 2026 venezuela history hugochávez chavismo nicolásmaduro simónrodríguezporras oil petroleum israel iraq georgewbush iraqwar oppression nationalization barackobama donaldtrump delcyrodríguez imperialism carlosandréspérez coups economics politics un benjaminnetanyahu zionism opec cuba antiimperialism anti-imperialism corruption maríacorinamachado juanguaidó government goverance sanctions vladimirputin russia iran china foreignpolicy rafaelcaldera health healthcare poverty inequality latinamerica imf pedrocarmona diosdadocabello class education 1973 1980s 1990s 1989 1998 1999 2002 2012 2013 2003 2011 1992 bolivarianrevolution repression socialism communism capitalism</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=StrpSp8anQM">
    <title>Vicky Osterweil on Disney, Intellectual Property and Storytelling - YouTube</title>
    <dc:date>2026-05-03T19:43:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=StrpSp8anQM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, we’re featuring a recent, live interview that I did at Firestorm books with Vicky Osterweil, anarchist writer and worker, author of In Defense of Looting and more recently The Extended Universe: How Disney Killed The Movies and Took Over the World (Haymarket, 2026). Vicky is a member of the Collective of Anarchist Writers (CAW), and you can also find her on Bluesky and what she's thinking about what she's watching at Letterboxd.

During the chat Vicky talks about intellectual property and how it overlaps between entertainment and other elements like technology and medicine, the shaping and limiting effects IP has on popular culture and imagination, the film industry and more."

[See also:

"In Defense of Looting with Vicky Osterweil" (2021)
https://www.youtube.com/watch?v=qWxjrTRDbio

"In Defense of Looting with Vicky Osterweil This week we are getting the chance to air a conversation that I had with writer, anarchist, and agitator Vicky Osterweil about her recently published book  In Defense of Looting, a Riotous History of Uncivil Action published  (Bold Type Press, August 2020). We get to talk about a lot of different topics in this interview, how the book emerged from a zine written in the middle of the Ferguson Uprising of the summer of 2014, its reception by the far right and by comrades, her process in deciding what to include in this book, the etymology of the word “loot” and ensuing implications thereof, why you should totally transition if that’s the right thing for you to do, and many more topics!"

and 

"The Interregnum: Roundtable with Vicky Osterweil" (2022)
https://www.youtube.com/watch?v=a3MRLe0Gcno

"This week we are pleased to present something a little bit new for TFS listeners. This is a kind of informal round table discussion that co host Scott and I had alongside Vicky Osterweil, who has been on the show before to speak on her book In Defense of Looting; A Riotous History of Uncivil Action. We all sat down to talk about a short and thought provoking article which was published in January of 2022 called “The Interregnum: The George Floyd Uprising, the coronavirus pandemic, and the emerging social revolution” which was published on the Haters Cafe and we will link to it in the show notes for anyone interested in reading it.

An interregnum is defined as being a period of discontinuity in a government, organization, or social order, and it typically points to time frames at which there isn’t a clear monarch or reigning body in a given place. This article points to the many ways the George Floyd uprising, the covid 19 pandemic, the rise of anti-work, and what the article calls the Great Refusal (a pivot from the ‘Great Resignation’ nomenclature of some mass media) have all created the conditions for a possible broadscale social revolution. Also stay tuned to the end of this episode where we chat briefly about what books we’re reading right now. We hope you enjoy this chat!

((note to listeners, I’m now using the name I use in real life for this radio project, which is Amar. It’s become more and more important to me to be as fully acknowledging of my culture and ethnicity as possible, and this is one way I’m choosing to do that))"]]]></description>
<dc:subject>vickyosterweil ip intellectualproperty culture film disney 2026 entertainment technology medicine popularculture imagination howwewrite writing howweread reading anarchism storytelling looting law legal policestate police policing filmmaking characters marvel monopolies music books covid-19 coronavirus pandemic vaccines pharmaceuticals consolidation markets capitalism innovation constitution us pirating literature copyright productivity creativity suppression francises nintendo matel videogames sequels hegemony ideology nuclearfamily individualism politics propaganda china homogenization finance financialization franchises merchandising ows occupywallstreet fandom freddiegray 2000s 2018 2012 thailand 2014 censorship hungergames guyfawkes resistance revolution davidgraeber stuarthall art artworld commodification gamegate starwars fans fanculture johnboyega daisyridley labor work workers power control socialfabric fanfiction communities community mutualaid 2020 philadelphia losangeles waltdisney mccarthyism son</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:5393b930b1ac/</dc:identifier>
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</item>
<item rdf:about="https://www.scientificamerican.com/article/how-wealth-reduces-compassion/">
    <title>How Wealth Reduces Compassion | Scientific American</title>
    <dc:date>2026-04-26T07:06:08+00:00</dc:date>
    <link>https://www.scientificamerican.com/article/how-wealth-reduces-compassion/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As riches grow, empathy for others seems to decline"]]></description>
<dc:subject>wealth compassion empathy class health money daisygrewall 2012 billionaires inequality</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f192dde74f23/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wealth"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:empathy"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.fifthestate.org/archive/387-summer-2012/corvid-college-public-fire/">
    <title>Corvid College: Public Fire - Issue 387 - Fifth Estate Magazine</title>
    <dc:date>2026-04-20T00:13:49+00:00</dc:date>
    <link>https://www.fifthestate.org/archive/387-summer-2012/corvid-college-public-fire/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>corvidcollege microcolleges bjorngay 2012</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5794570463fc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:corvidcollege"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.rolexmagazine.com/2012/09/the-history-of-california-dial.html">
    <title>Welcome to RolexMagazine.com: The Complete History Of the &quot;California Dial&quot;</title>
    <dc:date>2026-03-23T06:58:14+00:00</dc:date>
    <link>https://www.rolexmagazine.com/2012/09/the-history-of-california-dial.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This article will dispell two false myths regarding the so called "Califorinia Dial". The first myth suggested the California dial was used in a Panerai Prototype in 1936. This is comletely untrue, and you can learn why by visiting PaneraiMagazine.com.  

Rolex used to make watches with Art-Deco styled dials that were really distinct. These dials featured an upside down triangle for the 12 indices, and rectangular indices at 3, 6, and 9. The 1, 2, 10 & 11 markers used Roman numerals, and the 4, 5, 7, and 8 markers used Arabic numerals."

[previously noted here:
https://pinboard.in/u:robertogreco/b:b159c5d49ee2 ]]]></description>
<dc:subject>watches history watchmaking rolex panerai 2012 californiadial californiadials</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.jstor.org/stable/41413136?read-now=1&amp;seq=1">
    <title>La cédille qui ne finit pas: Robert Filliou, George Brecht, and Fluxus in Villefranche on JSTOR</title>
    <dc:date>2026-03-20T04:36:30+00:00</dc:date>
    <link>https://www.jstor.org/stable/41413136?read-now=1&amp;seq=1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Natilee Harren
Getty Research Journal, No. 4 (2012), pp. 127-143 (17 pages)
https://www.jstor.org/stable/41413136 "

"In the summer of 1965, George Brecht and Robert Filliou opened a shop at 12, rue de May in Villefranche-sur-Mer, a seaside village just east of Nice, France. The artists' shop, with its yellow awning and chalkboard sign in the window, in former times a candy store and television repair shop, was called La Cédille qui Sourit, or "The cedilla that smiles" (fig. 1). Imagined first as an English bookshop conceived "under the sign of humor," it was actually, as Filliou has recounted, "a sort ofworkshop and of shop, of nonshop would we say now, for we were never commercially registered, and the Cédille was always shut, opening only upon request of visitors to our homes."1 The artists, both associated with the international, neo-avant-garde Fluxus collective, called their shop a "Center of Permanent Creation," for they were continually producing research, letters, jokes, puzzles, games, recipes, poems, drawings, and events. Yet there were few unannounced visitors to the Cédille, or at least ones who were successful in visiting, since the shop did not have a telephone and Brecht and Filliou seemed not to spend much time there. The artists presided more often at one of the nearby cafés, devising more and more ofthe visual gags they called "One Minute Scenarios," "dis-inventing" objects, adding to their "Anthology of Misunderstandings,"or talking with Alfred the bricklayer, Antoine the fisherman, Fernand the plumber, or anyone else who happened to drop by.2

The Cédille carried materials from a variety of artists associated with Fluxus. On offer were books from Alison Knowles and Dick Higgins's Something Else Press as well as interactive multiples published by leading Fluxus organizer George Maciunas and by Daniel Spoerri's MAT Editions (which stood for Multiplication d'art transformable).3 None of Brecht and Filliou's own works initiated there seemed able to be finished, however; or, as we shall see, their material structure emphasized the possibility of endless reconfiguration. The Cédille's haphazard, almost anti-retail display made its wares indistinguishable from the surrounding works in progress, yet it was an appropriate set-up for the distribution of editions whose openness to alteration belonged to a nonconventional trajectory of artistic objecthood indebted to the readymades of Marcel Duchamp and the indeterminate compositions of John Cage. In this way, the Cédille was more akin to an artist's studio than a white cube gallery; itwas an expansion of the model of Fluxus's artworks-in-flux into an artist-run economy of production, distribution, and exchange.

In any case, the Cédille was a shop that kept no regular hours and had no tidy,
reliable stock of merchandise. Still, it subsisted until 1968: in March, Brecht and Filliou realized that they could not afford to pay rent on the space much longer, and by October they had defaulted on a contract that should have carried the project into 1974. And thus we must admit that the Cédille, if indeed it was meant to function as a store, failed as a commercial venture.4

Yet each ofthe ways in which Brecht and Filliou's project "failed" was deliberate. The Cédille playfully critiqued the expanded commodification and capitalization of art in the 1960s, which coincided with the economic boom ofthe immediate postwar decades. The demands of a growing collector base had instigated the invention and promotion by artists and galleries alike of multiples, a new art product that adopted forms and techniques of mass production and distribution. In the brief period from 1964 to 1967 in New York, multiples were promoted through exhibitions like The American Supermarket at Bianchini Gallery and newly founded ventures like Mass Art, Inc., and Marian Goodman's Multiples, Inc.5 Meanwhile, Brecht and Filliou, disillusioned by their experiences working with commercial galleries in New York and Paris, willfully abandoned the creative and economic centers of the art world for provincial Villefranche. There they continued to develop formats of a tenuous and transmutable materiality and object status, a strategy being advanced across the scene of Fluxus. Launched from a series of European concerts in 1962, Fluxus activity had become concentrated in New York around Maciunas but retained, in ideal if not in reality, shifting international outposts such as Brecht and Filliou's shop. The Cédille was thus not antipodal to Fluxus; rather, it advanced the Fluxus project in ways that exceeded Maciunas's initial conceptual and productive frameworks."

[via:
https://bradleyandroos.micro.blog/2026/03/19/have-been-doing-a-deep.html ]]]></description>
<dc:subject>fluxus georgebrecht robertfilliou 2012 art lcproject openstudioproject booksellers bookshops unproduct nonproduct workshops artmaking alisonknowles dickhuggins georgemaciunas 1965 danielspoerri</dc:subject>
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<item rdf:about="https://thebaffler.com/latest/stop-building-now-de-graaf">
    <title>Stop Building Now! | Reinier de Graaf</title>
    <dc:date>2026-03-17T16:32:08+00:00</dc:date>
    <link>https://thebaffler.com/latest/stop-building-now-de-graaf</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Rising home prices are not the result of scarcity"

...

"Back to the question posed at the beginning of this: Do we need new buildings? The assumption that building more homes automatically leads to more affordable homes is increasingly being proven false. Rising house prices are not the result of scarcity. In Western Europe, where the housing crisis is high on the political agenda, most countries have had stable populations and housing stocks for more than twenty years. In countries where the population has grown, the housing stock has grown proportionally, and in some cases even outstripped population growth. In the UK, the massive increase in housing costs has even coincided with a growth in the amount of surplus housing. The UK also belies the explanation that the rise in housing costs is the result of reduced social housing stock: despite the mass sell-off of council housing since the 1980s, the percentage of socially rented dwellings is still nearly double the EU average.

Rising house prices in the UK are not the result of under-supply, but of policies that have actively encouraged prices to rise. Until the 1980s, private rents in the UK had been capped and regulated by law. Thatcher’s government changed all that. To attract capital, the rental market was deregulated, causing rents to rise and boost property values as a whole. In 2023, the real estate sector accounted for more than 13 percent of the UK’s total gross value added, two-thirds of that coming from housing. Housing-based wealth is meanwhile central to the UK economy, described by some as the country’s closest thing to a national industry.

The trend has come to apply in most European countries. Real estate is the prime business of virtually every major city in Europe. In the race between value and price, the population is both the greatest beneficiary and the greatest victim. The rise in value of one property is annulled by an even sharper rise in price of the next. And that is for those lucky enough to own property. The “richer” the city, the smaller the living space those on a median income can afford, if they can afford to live there at all . . .

Building more homes in the hope of driving down prices is proving a logic in reverse. We are building more than ever, and yet more homes do not lead to more affordable homes. It is time to recognize that we face not a housing crisis but an affordability crisis. Mistaking one for the other consistently forces us into a vicious cycle: to tackle the crisis, we build new homes; these too prove unaffordable, leading us to build yet more in turn.

More than a means to provide shelter, construction serves as a lucrative means of investment. It would be naive to expect the private parties who make their money from building our homes to go against their own interests by reducing prices. But does the same need to apply to architects? Too often architecture serves as a fig leaf for financial returns. Don’t be fooled: speculative developers do not hire architects because they are so fond of their work, but because their involvement helps them secure the necessary approvals for large development quantums. Who could argue with culture?

No longer should architects allow their work to be abused in this way. Let’s refuse to play ball and see what happens; abstain from planning and designing new buildings until the conditions have fundamentally changed. There are plenty of alternatives. The days when projects started from a tabula rasa are long gone. Few proposed building sites have no existing buildings, or existing structures of some sort. We could start by opposing their demolition and spending our creative energies inventing new ways in which existing environments could have a second (third, fourth or fifth) lease of life. Let’s not waste our time on new buildings until we run out of existing ones. The present wave of construction has nothing to do with housing the masses. Stop building, and the dirty secret will expose itself."]]></description>
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<item rdf:about="https://www.chronicle.com/blogs/conversation/2012/08/19/the-long-slow-constant-mindful-writing-life/">
    <title>The Conversation: The Long, Slow, Constant, Mindful Writing Life</title>
    <dc:date>2026-03-10T20:55:06+00:00</dc:date>
    <link>https://www.chronicle.com/blogs/conversation/2012/08/19/the-long-slow-constant-mindful-writing-life/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[previously bookmarked here:
https://pinboard.in/u:robertogreco/b:9b0cb8133f95 ]

"A single article can transform a discipline—but only if we are willing to read it without market-based prejudices about who “matters” and why."

[archived:
https://archive.is/bvNNp ]

"When I tell people unfamiliar with academe that I am a professor, they usually respond, “So you must feel a lot of pressure, with the whole publish-or-perish thing?” Rather than explain that I am a full professor, with few carrots dangling before me and no sticks prodding me, I typically say, “It’s fine. I really enjoy writing.”

And I do. The pleasure I take in writing has been a great benefit to me professionally. (I once overheard a fellow academic mutter, “She must not sleep” regarding my penchant for writing.) However, I also am aware that the pressure of writing “early and often” has led me, at certain points, to take an instrumentalist approach to projects. At times I have given up the kind of measured cultivation of ideas I highly value, in exchange for the designation “productive.” I know I am not alone in this, and even now, with tenure, I still carry a nervous buzz about “getting things out.”

The frenetic pace of academic writing these days has costs. The adage “quality over quantity” has been cast aside. As a result, we devalue the person who might take many years to make her own contribution to a field, as compared with someone who churns out an argument a week. This devaluing is intellectually unhealthy.

Even if we recognize that universities function as marketplaces, vying for prized “producers,” we should eschew that model when it comes to evaluating our peers as thinkers. A single article has the potential to transform a discipline, to function as a watershed—but only if we are willing to read it without market-based prejudices about who “matters” and why.

Hortense Spillers’s 1987 article, “Mama’s Baby, Papa’s Maybe: An American Grammar Book,” has been foundational to two generations of thought in black feminist theory and African-American studies. All of her work is masterly, but had she written only that one piece, her scholarly impact would still have been immense. There are other writings like that, some yet to be discovered and many yet to be written. But we have to be intellectually present in order to receive them, no matter the author’s affiliations and dossier.

We must also be mindful of how we use market thinking to evaluate ourselves, and be wary of how it can corrupt our work. I am one of those people, for example, who had no inkling of what my dissertation was actually about (in the sense of what contribution it made) until a year after I earned my Ph.D.

Although I didn’t turn my dissertation into a book (but rather articles), I still toy with the idea, some 12 years later, in part, because I now understand how those ideas might make a meaningful contribution to Southern legal history and American literature. Had I spent years focused mainly on that project, getting it to where it needed to be, I would not have had the professional trajectory I have had. And if I had made it “the book,” according to the acceptable schedule of research universities, it would not have been the work it should or could one day be.

I saw the value in continuing to think about my dissertation, to allow it to grow, breathe, and develop, and to continue to learn as I worked on other projects (a choice that was both practical and rewarding). I’m not disappointed that my dissertation isn’t yet a book. In our fast-paced world, it’s important to take the long vision of an idea. What it is one wants to say, how one wants to say it: Sometimes figuring these things out takes time. We cannot consider an idea failed too soon. Some need time to age.

I try to communicate this to my graduate students. They are brilliant and eager, often dashing toward their ideas as though there were hot coals under their feet. This is good. What concerns me is when that rushing seems fueled less by passion than by anxiety. Of course they are anxious about jobs and careers. A realistic assessment of the marketplace is essential to building an academic career in the 21st century.

But we must teach our students to balance their career aspirations with a care and deliberateness about their intellectual development, and an understanding that the dissertation is only the first project, the beginning of a learning process will take longer, probably a lifetime. Being a scholar is a life practice of reading, thinking, and writing, which, ideally, will lead to one or some (or many) meaningful works. Scholarship is not the mechanical pursuit of written products.

One of my favorite cultural critics, Albert Murray, began publishing his writing at age 46. I imagine him during his 19-year career in the Air Force, mulling over the ideas that one day would dazzle me and many others. I imagine him practicing thought riffs and idea phrases so that when he decided to set words to the page, they sparkled with their elegant composition and elucidation. It strikes me as beside the point to call him a late bloomer. I’d rather call him a man who wrote on his own time—the right time. If we are open, we can see that possibility in us all."

[via:
https://buymeacoffee.com/ayjay/cosmos-jacobs ]]]></description>
<dc:subject>2012 imaniperry writing howwewrite mindfulness slow albertmurray</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:12cd10774b30/</dc:identifier>
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<item rdf:about="https://www.theverge.com/tech/885252/jeffrey-epstein-bitcoin-cryptocurrency-connections">
    <title>Jeffrey Epstein saw promise in Bitcoin — and its far-right supporters | The Verge</title>
    <dc:date>2026-03-10T05:43:37+00:00</dc:date>
    <link>https://www.theverge.com/tech/885252/jeffrey-epstein-bitcoin-cryptocurrency-connections</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Epstein may not have fully understood crypto, but he helped shape its culture anyway."

[See also:

"EPSTEIN’S FINGERPIRINTS on Crypto and the GOP!"
https://www.youtube.com/watch?v=sjhLySez3Jk

"Nearly every right-wing, authoritarian, or anti-democratic movement in tech, crypto, and politics can trace a line back to Jeffrey Epstein’s network. From influencing Peter Thiel to funding far-right youth movements, Epstein’s reach extended far beyond his crimes.

In this episode of The Left Hook, tech journalist and author David Morris joins the conversation to connect the dots between Epstein, crypto, AI, gaming, and the rise of modern right-wing culture. We explore how wealth, access, and secrecy allowed Epstein and his allies to build an ecosystem that continues to shape politics, technology, and power today.

Watch to understand the shocking legacy of Epstein’s influence—and how it still impacts global politics and tech."

https://thelefthook.substack.com/p/how-jeffrey-epstein-seeded-the-great ]]]></description>
<dc:subject>davidmorris jeffreyepstein bitcoin brockpierce 2025 crypto cryptocurrencies farright rightwing tether vladimirputin cyperpunk anarcholibertarianism libertarianism donaldtrump peterthiel alseckel larrysummers michaelegan bryansinger stevebannon michaelwolff stablecoins contorfitzgerald howardlutnick adamback austinhill blocksteam satoshinakamoto deregulation regulation moneylanudering hashcash joichiito vincenzoiozzo chainalysis mashabucher mashadrokova mariaprusakova mashaprusso worldcoin samaltman siliconvalley russia ghislainemaxwell mtgox brianarmstrong coinbase fredehrsam hackingteam spyware surveillance davidvincenzetti marinelepen wajahatali authoritarianism anonymity eugenics accelerationism tescreal technooptimism technosolutionism technoutopianism sambankman-fried financialization ponzischemes 2026 2017 2018 2011 2012 2013 2014 2015 2016 2019 mitmedialab medialab billackman nerioxman scientism mit harvard worldofwarcraft misogyny gamergate memecoins speculation mariadrokova mariyaprusakova mashaprusa</dc:subject>
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<item rdf:about="https://lifepod.transistor.fm/">
    <title>Lifepod</title>
    <dc:date>2026-02-28T00:55:36+00:00</dc:date>
    <link>https://lifepod.transistor.fm/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The podcast about taking care of ourselves in a world on fire, hosted by Adam Greenfield."

[Intro episode description:

"Host Adam Greenfield welcomes you to Lifepod with an overview of the show’s themes and central concerns, rooted in his book “Lifehouse: Taking Care of Ourselves in a World On Fire” (Verso, 2024). In this episode, we consider the Occupy Sandy mutual-aid effort in New York City in 2012, and what it might have to teach us about surviving our era of climate-system collapse with values of dignity, invitationality and justice intact."]]]></description>
<dc:subject>adamgreenfield via:javierarbona podcasts mutualiad climate climatechange dignity justice nyc 2012 occupysandy survival</dc:subject>
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<item rdf:about="https://liberatedtexts.com/reviews/chronicling-a-unifying-resistance-figure-ghassan-duarsimad-aql-the-legend-of-jihad-and-resistance/">
    <title>Chronicling a Unifying Figure of Resistance: Ghassan Du’ar’s Imad ‘Aql: The Legend of Jihad and Resistance — Liberated Texts</title>
    <dc:date>2026-02-27T23:38:40+00:00</dc:date>
    <link>https://liberatedtexts.com/reviews/chronicling-a-unifying-resistance-figure-ghassan-duarsimad-aql-the-legend-of-jihad-and-resistance/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>gassandu'ar al-qassambrigades gaza palestine resistance armedresistance 2026 mujammaharaket jihad hamas liberatedtexts 1994 1995 1997 2003 2004 2008 2012 2023 2018</dc:subject>
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<item rdf:about="https://www.davidzwirner.com/exhibitions/2026/raymond-saunders-notes-from-la">
    <title>Raymond Saunders: Notes from LA | Los Angeles | February 24—April 25, 2026 | David Zwirner</title>
    <dc:date>2026-02-26T06:14:43+00:00</dc:date>
    <link>https://www.davidzwirner.com/exhibitions/2026/raymond-saunders-notes-from-la</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["David Zwirner is pleased to present an exhibition of works by Raymond Saunders (1934–2025) at the gallery’s 616 N Western Avenue location in Los Angeles. Curated by Ebony L. Haynes, this is Saunders’s third solo exhibition with David Zwirner and will mark the first exhibition in Los Angeles devoted to the artist’s work in more than a decade."

...

"“California felt physical to me.... I prefer to be [there] really for just those reasons, that I like how it feels.”

—Raymond Saunders, interview with the San Francisco Museum of Modern Art, 1994"

...

"Celebrating Saunders’s time in California—the artist lived and worked in Oakland for most of his adult life—this exhibition features a selection of paintings and works on paper that embody many of the distinct material and conceptual concerns of the artist’s decades-long practice.

Saunders had close ties to the West Coast, where most of his studio years were spent, and he became well-known as an arts educator there. For Saunders, teaching and artmaking were equal pursuits, and each in turn informed the other, resulting in the frequently didactic, shorthand mode of expression that is a hallmark of his works."

...

"Saunders understood teaching to be, like making art, an ongoing process of learning, and embraced the classroom as a vital site for exchange—of knowledge, of experiences, of ways of seeing the world. He embodied a creative and holistic approach to education that was in part a response to his skepticism around traditional, didactic systems of training. Beginning with his early art training in Pittsburgh’s public schools, Saunders developed a nonhierarchical relationship to pedagogy that came to echo the expansive nature of his artmaking."

...

"“Sights and sounds pass by as one moves along a city street, encountering the world, making decisions, and changing one’s mind as one goes. Such is the beauty of Saunders’s paintings. They are about life and all of its battles and victories, dirtiness and splendor.”

—Connie H. Choi, associate curator, The Studio Museum in Harlem, in the exhibition catalogue for Now Dig This! Art and Black Los Angeles 1960–1980, Hammer Museum, University of California, Los Angeles, 2011–2012"

...

"Saunders’s assemblage-style paintings frequently begin with a monochromatic black ground elaborated with white chalk—both a pointed reversal of the traditional figure-ground relationship and a nod to his decades spent as a teacher—to which he would subsequently add a range of other markings, materials, and talismans.

Expressionistic swaths of paint, minimalist motifs, line drawings, and passages of vibrant color tangle with found objects, signs, and doors collected from his urban environment, creating unexpected visual rhymes and resonances that reward careful and sustained looking."

...

"“From an environment of the lost, the discarded, Saunders creates another wholly inscribed world of found things in which chalk and metal and paint and wallpaper and toys and insignia combine to destabilize and soothe us—then to change us altogether like a tropical medicine belt. Glorious.”

—Toni Morrison in her catalogue introduction for Raymond Saunders, Stephen Wirtz Gallery, San Francisco, California, 1993"

...

"Untitled (1996) is exemplary of Saunders’s late style, which is loosely characterized by the artist’s embrace of a more limited palette and the occasional employment of a white ground instead of his signature black. It Wasn't Easy Being a First Grader (1979/1984) incorporates motifs that speak to Saunders’s lifelong role as an educator."

...

"As seen here, he often included children’s drawings and children’s book illustrations as part of the collaged elements in his compositions. The title of the present work overtly references grade school and the growing pains of youth, with the inclusion of crayons, cursive handwriting, and number tables appearing as emblems of early education."

...

"“Residue is a potent, active force, Saunders’ work attests, whether in material form or the shifting shapes of memory. Personal recollections of painting the living room when he was seven skirt alongside images extracted from collective memory.... The dissonance here yields terrific visual energy. There’s not a moment of blandness or passivity.”

—Leah Ollman, “An All-Embracing View of Life Emerges in Saunders’ Works,” Los Angeles Times, 2001"

...

"As well as an artist and a teacher, Saunders was a committed correspondent. Along with his large-scale, assemblage-style paintings, Saunders also made works on paper and intimate collages whose mixed materials point to the artist’s practices of note-taking—an extension of his mark-making that encompassed scribbling notes to himself, giving notes to his students, receiving notes from colleagues and friends—and the related routine of collecting."

...

"“In these small works on paper the images of Saunders’ graphic vocabulary combine in a resourceful variety of exuberant statements.... All the painterly effects of spatial and atmospheric definition are possible within this limited medium, and it is in this that Saunders excels.”

—Suzanne Foley, curator of Raymond Saunders, San Francisco Museum of Modern Art, 1971"

...

"His collages—which, along with graphite and watercolor drawings, were the subject of his first major museum presentation in a solo exhibition at the San Francisco Museum of Modern Art in 1971—are intimately scaled, elegant, and restrained compositions defined by the fine and occasionally whimsical quality of Saunders’s line. The artist employs lyrical contours and cryptic gestural marks to depict abstracted figures, text-like inscriptions, and organic objects such as plants, flowers, or vegetables."

...

"“Saunders does not see himself following in the tradition of Pop Art, Assemblage, or other art forms which incorporate found objects. Rather, he uses real objects to provide compositional, textural, and spatial contrasts; their psychological and narrative significance is secondary to formal issues.”

—Joy Feinberg, curator of Raymond Saunders: Recent Work, University Art Museum, University of California, 1976"

...

"Saunders was an archivist who gathered and kept objects and mementos both personal and cultural, precious and abandoned, and these materials appear throughout his work. This throughline is underscored by an illustrative selection of archival materials from his Oakland studio, which are displayed in vitrines installed in the gallery space and further demonstrate the artist’s lifelong impulse to annotate, keep in touch, and accumulate."

...

"These materials include selections from Saunders’s extensive collection of postcards, photographs, and stamps, as well as ephemera from exhibitions, conferences, and classes, among other documents from the artist’s life, one that produced a rich archive both professional and personal."

...

"Saunders’s tall, towering paintings inhabit a physicality that suggests both presence and displacement—embodying an artist who worked across mediums, formats, and cities to produce an inimitable and ever-evolving oeuvre. At once deliberately constructed and improvisatory, didactic and deeply felt, Saunders’s richly built surfaces conjure the fullness of life and its complications, allowing for a vast and nuanced multiplicity of meanings."

...

"“Saunders’ confidence is not displayed in glib ways; it is a quality one perceives through his paintings and the discipline of his methods, his very work ethic. While he is reluctant to offer interpretations of his work, what he does say communicates an understanding of, and respect for, the creative process he experiences.”

—Philip Linhares, curator of Raymond Saunders: Recent Work, Oakland Museum, 1994"]]></description>
<dc:subject>art losangeles raymondsaunders philiplinhares 1994 assemblage artists joyfeinberg arteducation education collage suzannefoley 1971 1976 sfmoma leahollman 2001 teaching howweteach pedagogy 1993 1996 tonimorrison 2011 2012 conniechoi artmaking classroom oakland pittsburgh archiving</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howweteach"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pedagogy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1993"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conniechoi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classroom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:oakland"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pittsburgh"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:archiving"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://craigmod.com/onmargins/s02e04/">
    <title>W. David Marx — Blank Space: A Cultural History of the 21st Century — W. David Marx — On Margins — s02e04</title>
    <dc:date>2025-12-16T06:52:33+00:00</dc:date>
    <link>https://craigmod.com/onmargins/s02e04/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://craigmod.com/roden/109/ 
https://www.penguinrandomhouse.com/books/769187/blank-space-by-w-david-marx/ 

"Pop Culture Got Stale. Counterculture Went Right-Wing.
How the rise and fall of the nihilist hipster gave us the cruel reactionaries of today."
https://www.nytimes.com/2025/11/21/books/review/culture-right-wing-david-marx.html
https://archive.ph/idxdR

"Make Culture Weird Again
Even failures and half steps will be more interesting than the boring stuff."
https://www.theatlantic.com/culture/2025/11/blank-space-book-excerpt-culture/685037/
https://www.theatlantic.com/culture/2025/11/blank-space-book-excerpt-culture/685037/?gift=j9r7avb6p-KY8zdjhsiSZzZAypQ-DyUUwPxyZrMsWaI
https://archive.ph/KJmQM ]]]></description>
<dc:subject>wdavidmarx craigmod 2025 culture japan analog internet web online media film television tv music josephkony 2012 bootsriley davidsolomon jordanpeterson blankspace history publishing distribution tastemakers criticism critics editing djs gatekeeping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e84fa639c54f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
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<item rdf:about="https://www.youtube.com/watch?v=pRPduRHBhHI">
    <title>This is Why Cycling is Dangerous in America - YouTube</title>
    <dc:date>2025-11-10T02:18:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=pRPduRHBhHI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[On John Forrester:

Effective Cycling, John Forester, ISBN 978-0262516945
Bicycle Transportation, John Forester, ISBN 978-0262560795 ]

"Chapters

0:00 Intro
3:54 California tried to marginalise cycling
6:25 The birth of Vehicular Cycling
9:38 The MAMIL's Manifesto
20:15 Just ride like a car, bro!
28:05 Bicycle lanes are ... unsafe?
46:09 The second book is even worse?!
58:16 The actual problems with bike lanes
1:06:14 But what about the Netherlands?
1:13:30 Forester at Google
1:21:18 The Cult of the Vehicular Cyclist
1:26:16 Bicycles are not cars!?
1:31:29 Concluding thoughts"]]></description>
<dc:subject>johnforrester bikes biking us davis urban urbanism transit transportation 2025 notjustbikes netherlands ucla california urbanplanning cults cars roads streets 1970s ucdavis bicycleinfrastructure roadrage suvs 2012 paloalto google bicyclelanes bikelanes mamil</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a3d6b68e9bf8/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:biking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:us"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:transit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:transportation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2025"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:notjustbikes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:netherlands"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ucla"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bikelanes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mamil"/>
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</item>
<item rdf:about="https://www.dropsitenews.com/p/jeffrey-epstein-israel-surveillance-state-cote-d-ivoire-ehud-barak-leaked-emails">
    <title>Jeffrey Epstein Helped Israel Sell a Surveillance State to Côte d’Ivoire</title>
    <dc:date>2025-11-07T18:41:11+00:00</dc:date>
    <link>https://www.dropsitenews.com/p/jeffrey-epstein-israel-surveillance-state-cote-d-ivoire-ehud-barak-leaked-emails</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Leaked emails show the details behind talks between Cote d’Ivoire and Israel shepherded by Ehud Barak and Jeffrey Epstein"]]></description>
<dc:subject>jeffreyepstein ehudbarak coted'ivoire ivorycoast 2025 murtazahussain ryangrim israel surveillance surveillancestate 2014 2012 alassaneouttara bogasakogervais imf benjaminnetanyahu ninakeita jeanlucbrunel karinmodels hamedbakayoko</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:07d52466f38a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ehudbarak"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coted'ivoire"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ivorycoast"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2025"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:murtazahussain"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ryangrim"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:israel"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:surveillance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:surveillancestate"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2014"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alassaneouttara"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:imf"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:benjaminnetanyahu"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ninakeita"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jeanlucbrunel"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:karinmodels"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hamedbakayoko"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=ex9Ock20BTA">
    <title>From A Double Life Sentence to MAGA Influencer Fame - YouTube</title>
    <dc:date>2025-10-08T16:51:48+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ex9Ock20BTA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nearly a decade ago, Ross Ulbricht, the founder of the Silk Road dark web marketplace was sentenced to a double life sentence in prison. Now, he's out and has become a powerful influencer and political figure in the MAGA movement.

Ryan Mac at the New York Times has been covering Ulbricht for over a decade. He joined me to dive deep into Ulbrict's' past, how the Silk Road transformed the web, and how this crazy alliance between bitcoin billionaires, libertarians, and MAGA die-hards has skyrocketed Ulbricht to fame and set him up for a major role in politics."

[references this report:

"The Spectacular Comeback Tour of a Crypto Convict"
https://www.nytimes.com/2025/09/07/technology/ross-ulbricht-silk-road-comeback.html
https://archive.ph/YByXG

"Ross Ulbricht, who created the Silk Road dark web marketplace and was serving a life sentence for drug distribution, has embarked on a strange and unexpected comeback after President Trump pardoned him in January."]]]></description>
<dc:subject>ryanmac taylorlorenz rossulbricht maga donaldtrump libertarianism silkroad 2025 internet web online crypto cryptocurrencies drugs bitcoin politics pardons influence 2013 2012 2011 2016 2024 darkweb davidyaffe-bellany adrianchen andygreenberg chickschumer joebiden fbi corruption blackmarket lynulbricht</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:359071aab121/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ryanmac"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:taylorlorenz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rossulbricht"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maga"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:donaldtrump"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:libertarianism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:silkroad"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2025"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:crypto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cryptocurrencies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drugs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bitcoin"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pardons"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:influence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2013"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2024"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:darkweb"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidyaffe-bellany"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adrianchen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:andygreenberg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chickschumer"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joebiden"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fbi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:corruption"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blackmarket"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lynulbricht"/>
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</item>
<item rdf:about="https://www.nytimes.com/2012/02/21/arts/design/art-by-sargent-johnson-berkeleys-loss-is-museums-gain.html">
    <title>Art by Sargent Johnson, Berkeley’s Loss, Is Museum’s Gain - The New York Times</title>
    <dc:date>2025-10-06T21:47:06+00:00</dc:date>
    <link>https://www.nytimes.com/2012/02/21/arts/design/art-by-sargent-johnson-berkeleys-loss-is-museums-gain.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sargentjohnson art berkeley ucberkeley huntingtonlibrary 2012 wpa</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9d0ab72479cb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.newyorker.com/magazine/2025/10/06/tim-berners-lee-invented-the-world-wide-web-now-he-wants-to-save-it">
    <title>Tim Berners-Lee Invented the World Wide Web. Now He Wants to Save It | The New Yorker</title>
    <dc:date>2025-09-30T22:38:19+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2025/10/06/tim-berners-lee-invented-the-world-wide-web-now-he-wants-to-save-it</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 1989, Sir Tim revolutionized the online world. Today, in the era of misinformation, addictive algorithms, and extractive monopolies, he thinks he can do it again."

...

"In a forthcoming book, The Age of Extraction, Tim Wu, a Columbia law professor who coined the term “net neutrality,” identifies 2012 and 2013 as the years when “platform power” took hold. Since the nineties, it had been assumed that the web would democratize society, empowering bloggers to compete with media conglomerates, and small manufacturers to bypass big retailers. Some of that happened. But the web’s Davids had only traded one Goliath for another — corporate platforms that stood between them and their markets. As Wu writes, “Paeans to small-is-beautiful and the transformation of the human existence” soon gave way to “a strategy that extracted from dependent businesses and harvested the time and data of the masses.”"]]></description>
<dc:subject>timberners-lee internet web online algorithms extraction capitalism 1989 2025 julianlucas timwu platforms 2012 2013 society blogging media corporations corporatism enshittification small decentralization commercialization data provacy socialmedia</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7bb7563f7470/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:platforms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:corporations"/>
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<item rdf:about="https://www.youtube.com/watch?v=xycFY9Ad78A">
    <title>La Base 6x14 | Reconocimiento y &quot;solución de dos estados&quot;: realidad vs propaganda - YouTube</title>
    <dc:date>2025-09-24T04:33:56+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=xycFY9Ad78A</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En el programa de hoy, 23/9/2025, Pablo Iglesias, Laura Arroyo, Manu Levin y Lorenzo Tecleme analizan qué supone el reconocimiento del Estado Palestino por parte de algunos países occidentales y qué hay detrás de la llamada "solución de dos estados" que las potencias que sostienen a Israel intentan volver a poner en agenda. Con la participación del analista y activista Daniel Lobato."]]></description>
<dc:subject>palestine history 2025 pabloiglesias lauraarroyo lorenzotecleme daniellobato hamas palestinianauthority us osloaccords secondintifada perryanderson edwardsaid francescaalbanese westbank ramallah yasserarafat 1998 1994 plo israel apartheid suppression oppression twostatesolution un 1974 1988 2012 mahmoudabbas pedrosánchez occupuation repression settlercolonialism police policing surveillance borders walls bantustans soutafrica tyrrany corruption gaza eastjerusalem africannationalcongress anc fatah ngos extortion resistance spain españa italia italy chile colombia gabrielboric gustavopetro globalsouth zionism icc icj genocide ethniccleansing uk france portugal malta australia canada andorra monaco luxembourg eu germany 1947 1948 palestinemandate davidben-gurion nakba balfourdeclaration rightofreturn righttoreturn settlers canon manulevin ireland algeria colonialism colonization giorgiameloni wwii ww2 vietnam vietnamwar decolonization mallorca napoleon 1808 sovereignty antisemitism religion liberation comp</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=9pVbqwnmSuM">
    <title>Former UN Chief EXPOSES October 7 Myth - YouTube</title>
    <dc:date>2025-09-01T08:39:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=9pVbqwnmSuM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What REALLY Happened

Chris Gunness is the former chief spokesman of UNRWA and founder of the Myanmar Accountability Project"]]></description>
<dc:subject>chrisgunness 2025 palestine gaza israel genocide ethniccleansing occupation blockade hannibaldirective operationalaqsaflood piersmorgan joebiden media reporting journalism propaganda benjaminnetanyahu unrwa 1967 1948 2014 2005 2023 2024 iof idf starvation warcrimes un us uk humanity dehumanization socialmedia desensitization raphaellemkin dispossession 2007 resistance collectivepunishment hamas displacement mainstreammedia germany sanctions keirstarmer policy accountability justice 2008 2012 trauma bds humanrights selfdetermination self-determination</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:77afe60c3f36/</dc:identifier>
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<item rdf:about="https://academic.oup.com/manchester-scholarship-online/book/33240">
    <title>The Colonisation of Time: Ritual, Routine and Resistance in the British Empire | Manchester Scholarship Online | Oxford Academic</title>
    <dc:date>2025-08-25T05:38:38+00:00</dc:date>
    <link>https://academic.oup.com/manchester-scholarship-online/book/33240</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Colonisation of Time is a highly original and long overdue examination of the ways that western-European and specifically British concepts and rituals of time were imposed on other cultures as a fundamental component of colonisation during the nineteenth century. Based on a wealth of primary sources, it explores the intimate relationship between the colonisation of time and space in two British settler-colonies (Victoria, Australia and the Cape Colony, South Africa) and its instrumental role in the exportation of Christianity, capitalism, and modernity, thus adding new depth to our understanding of imperial power and of the ways in which it was exercised and limited. All those intrigued by the concept of time will find this book of interest, for it illustrates how western-European time’s rise to a position of global dominance—from the clock to the seven-day week—is one of the most pervasive, enduring and taken-for-granted legacies of colonisation in today’s world."]]></description>
<dc:subject>time colonialism colonization uk imperialism 2012 australia southafrica christianity capitalism modernity ritual culture domination empire history giordanonanni clocks timekeeping resistance</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=SYnFbDS5kes">
    <title>Overthinking the Greatest Watch IN THE WORLD - YouTube</title>
    <dc:date>2025-08-22T18:23:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=SYnFbDS5kes</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What can a $30 digital watch tell us about global systems, ideology, and the way we experience time?

In this video, we explore the Casio AE1200 World Timer — a surprisingly iconic piece of design, often nicknamed the “Casio Royale.” More than just a gadget, this watch reflects a specific vision of the world: modular, efficient, borderless. But beneath its utilitarian face lies a story about history, economics, and power.

We move through 1976, a turning point in political and cultural history, where foundations were laid for the world we live in today. From there, we dive into the rise of neoliberalism, the dominant ideology shaping economies, societies, and individuals from the late 20th century onward. And finally, we land in 2012, a symbolic year saturated with apocalyptic anxiety, digital saturation, and the breakdown of old narratives.

Timestamps:

00:00 – Intro
00:33 – Casio AE1200 World Timer
02:42 – 1976
04:40 – Neoliberalism
05:48 – 2012 and Casio Launch The AE1200"]]></description>
<dc:subject>doug'swatches casio watches 2025 1976 2012 ae1200 neoliberalism nostalgia 1970s egalitarianism hope stagflation economics accessibility democracy globalization</dc:subject>
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<item rdf:about="https://thefunambulist.net/editorials/philosophy-to-have-done-with-the-massacre-of-the-body-by-felix-guattari">
    <title># PHILOSOPHY /// To Have Done with the Massacre of the Body by Félix Guattari - THE FUNAMBULIST MAGAZINE</title>
    <dc:date>2025-07-20T06:36:53+00:00</dc:date>
    <link>https://thefunambulist.net/editorials/philosophy-to-have-done-with-the-massacre-of-the-body-by-felix-guattari</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Through it, Félix Guattari expresses a violent diatribe about capitalism’s mechanisms of capture of the body. The profound disorder – let’s recall that Guattari was a psychotherapist – felt within this system is produced by the dichotomy between the extremely subjective nature of desire and the narrow and oppressive characteristics of the norms issued from ideology (and religion) but also from the essence of a system which actively profits from a uniformization of desire. F.Guattari therefore argues for a resistance through what he calls micropolitics, a continuous ethical and creative production of desire at a small scale in an attempt for an immanent subversion within the system."]]></description>
<dc:subject>2012 félixguattari guattari body bodies sylvèrelotringer power profit productivity subjugation desire sexuality dictatorship patriarchy enslavement occupation institutions schools schooling sacrifice resignation aggression provocation blackmail masochism dehumanization oppression revolt subversion pleasure politics exploitation families noms personhood self liberation normality normalization tradition christianity imprisonment identity</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=2axcsXo4w84">
    <title>&quot;Las desterradas hijas de Eva&quot; Consuelo García del Cid - YouTube</title>
    <dc:date>2025-06-16T05:54:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=2axcsXo4w84</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Presentación del libro "Las desterradas hijas de Eva" de Consuelo García del Cid Guerra, libro de investigación sobre los maltratos,  las humillaciones, la violencia física y psiquíca sufridos por las jóvenes en los reformatorios, en las maternidades y en los preventorios infantiles durante la dictadura franquista y al comienzo de la transición.

Casa del Libro  Madrid   3-10-2012"

[See also:
https://es.wikipedia.org/wiki/Patronato_de_Protecci%C3%B3n_a_la_Mujer ]
]]></description>
<dc:subject>2012 consuelogarcíadelcid dictatorship spain españa catholicchurch patronatodeproteccióndelamujer franco consuelogarcíadelcidguerra reformatories</dc:subject>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/drdoom/">
    <title>Doctored Doom</title>
    <dc:date>2025-05-31T20:51:17+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/drdoom/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Back in 2012 ("the year of the MOOC"), when Sebastian Thrun told Wired that, in fifty years time there would only be ten universities left in the world and his startup Udacity had a chance to be one of them, I admit, I laughed. I laughed and laughed and laughed – mostly at the idea that Udacity would still be around in a decade let alone five. The startup, while never profitable or even, in the words of its own founder, any damn good, was hailed as a "tech unicorn" and valued at over a billion dollars... at least until it was acquired by Accenture last year for an undisclosed amount of money and folded into the latter's AI teaching platform. So I'm pretty confident in saying that no, in fifty years time, Udacity will not be around.

But the question of whether or not there'll be ten universities left in the world remains an open one, sadly, as the attacks on education have only grown in the past few years.

I gave a talk back in 2013, speculating what would have to happen to whittle down the number of institutions from the tens of thousands to just ten. We'd have to change college sports in the US, for starters. Ten universities couldn't sustain football bowl games or March Madness. Unlikely – then and now. To reduce higher education to just ten universities, we'd have to scrap taxpayer funding at the state and federal level. We'd have to undermine tenure and faculty control. We'd have to dismantle research institutions. We'd have to ditch graduate student training and funding. Everything would be privatized – research, "content creation" and "content delivery," and credentialing – shifted to for-profit companies, and re-oriented around compliance and job training. All of this, of course, has long been the dream; and, uh, all of this is well under way.

When the technology industry – its entrepreneurs and its investors – gleefully tout the coming end of the college as we know it, they are not so much predicting the future (they're really not that smart or insightful) as doing everything they can to bring that future about, believing that they can profit mightily from education's collapse. It's not that their technology is that powerful or amazing (it's really not that good); it's that these are the richest men running the richest companies the world have ever seen. Their shaping of the future reflects oligarchy, not an oracle.

The Trump Administration, along with Silicon Valley, are fully committed to the destruction of higher education – the destruction of specific institutions to be sure (Harvard and Columbia, most obviously), but to the entire university project. What we are witnessing is an attack on public institutions certainly, but also on the whole idea of education as a public good. It is, as Adam Serwer argues in The Atlantic, an attack on knowledge itself.

Artificial intelligence is absolutely key to this endeavor. (A reminder, once again, that AI was also an integral part of the push for MOOCs – a fantasy about teaching at scale that emerged, according to the mainstream press at least, from Stanford's AI Lab, from Sebastian Thrun and Peter Norvig, from Andrew Ng and Daphne Koller.)

Artificial intelligence is already embedded in the worst educational practices and has been for a while – the "cop shit" that schools have embraced to "discipline" professors and students (and that continues to do real and substantive harm). Artificial intelligence is already bound up in the promise of "unbundling," of push-button learning and push-button control, of indexing the world's information and making it useful generate ad revenue.

The more recent embrace of "generative" AI by faculty and staff and students (hashtag not all faculty and staff and students) should not come as a surprise. Higher education has been primed for this – the increasing cost of tuition; the inability to push back on the all-too-convenient story that a shitty labor market is the fault of schools (all while agreeing with the narrative that everyone needs a college degree); a culture that is both risk-averse and cutthroat – obsessed with hierarchy and ranking; a sales pitch to student-as-consumer rather than student-as-student; the refusal to move away from lecture-hall pedagogy; "publish or perish"; the spread of bullshit bureaucracy within the academy, much of which involves the data-fication of all aspects of student and faculty life; the swelling of the administrative ranks alongside the advance of austerity; a reliance on adjunct teaching labor and an utter lack of professional, let alone, political solidarity.

The notion that college campuses are overrun with "woke"? Hahahahaha. Certainly, the right wing is mad that the majority of college students are now women, that there are people of color and international students in, not to mention at the front of, the classroom. But conservatives are also clearly very very concerned about any critique of the status quo, not simply those from radical leftism and critical race theory; and they are doing everything they can to prevent people from learning about, even thinking about alternatives. This means seizing control of information institutions, of information infrastructure.

Artificial intelligence – not just generative AI but particularly generative AI – is one way to do this, and it functions quite neatly as a package of ideologies and practices that seeks to destroy education. I mean, I know that many folks think they can bend these technologies to "make easy" and "do good," but under our current political and economic conditions, that is dangerous, if not impossible. I am appalled – truly appalled – to read calls to "reconsider reading" because of AI; to outsource not just teaching but thinking to AI; to shrug off research and writing because of an imitation of inquiry that comes packaged with a friendly chat interface; to allocate care and service with AI; and, in the end, to mock those who question and refuse AI – to actively undermine others' choice and autonomy – just because the marketing copy insists "things are changing so fast" and someone's got the stats to "prove" it.

To be sure, educational systems are broken; they've never fulfilled for everyone (hell, for anywhere near the majority of people) the aspirational promises of "attainment." Or perhaps more accurately, even as college campuses have opened to more students, many schools have held on to the values and practices that exacerbate rather than ameliorate inequality, embodying class distinction rather than knowledge- or self-discovery. And so to address the challenges of AI and more broadly of authoritarianism, schools should not retreat into some mythical, elitist "tradition" – a return to oral examinations and blue books feels like an inadequate and unimaginative response to this crisis. (Not as fucked up as suggesting schools implement Sam Altman's new eyeball scanning technology to stop students from cheating. But still pretty fucked up.)

To retain any institutions of higher education in this onslaught from techno-authoritarianism requires – now and hereafter – we redesign them, reorient them towards human knowledge and human flourishing, away from compliance and cowardice. This means quite literally an investment in humans, not in technology infrastructure – particularly not infrastructure owned and controlled by powerful monopolies, hell-bent on profiteering and extraction, hell-bent on creating a world in which we're all drained of agency and autonomy and, above all, of the confidence in our own intelligence and capabilities. Building human capacity in schools requires supporting more teachers and researchers and librarians, not fewer – people whose understanding of information access, knowledge sharing, and knowledge development exists far, far beyond the systems sold to schools, systems that actually serve to circumscribe what we do and how we think; people who care about people, who care about knowledge as a collective good, who care about education as a core pillar of democracy, as practice of freedom not as a market, not as a credential.

You can't automate or "effective altruism" all that. You simply cannot.

<blockquote>Dave, my mind is going. I can feel it.</blockquote>

I want to write something about navigating the politics of book bans and cellphone bans. Me, I worry less that calls to take away kids' phones and social media access during the school day are "not supported by the science" and more that these initiatives are also efforts supported by some fairly conservative factions within education reform and are, at the end of the day, expressly aimed to curb students' access to information (particularly about LGBTQ topics). So, how does one make a progressive case for a classroom beyond the control of the tech industry and beyond the control of right-wing censors? More on that later..."]]></description>
<dc:subject>2025 audreywatters edtech ai artificialintelligence moocs sebastianthrun 2012 history udacity highered highereducation academia colleges universities education technology siliconvalley harvard columbia donaldtrump adamserwer knowledge peternorvig andrewng daphnekoller stanford politics policy solidarity pedagogy teaching howweteach learning howwlearn institutions infrastructure information destruction chat chatbots samaltman reading howweread monopolies intelligence effectivealtruism bookbans censorship lgbtq access rightwing farright tescreal nerdreich singularity singularitarianism extropianism rationalism cosmism longtermism transhumanism extroprianism capitalism fascism technofascism mooc</dc:subject>
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<item rdf:about="https://sf.curbed.com/2012/4/16/10379408/hidden-histories-university-mound-nursery">
    <title>Hidden Histories: University Mound Nursery - Curbed SF</title>
    <dc:date>2025-05-18T05:51:27+00:00</dc:date>
    <link>https://sf.curbed.com/2012/4/16/10379408/hidden-histories-university-mound-nursery</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week’s Hidden History comes from a reader tip:

We used to live in the Portola, and there's a place there that the locals call The Rose Factory. I think it's an old city or commercial greenhouse that seems abandoned, with roses and trees and all sorts of stuff growing wild in there. It's an entire city block, and there's a tall board fence around the north, west and south sides, or there was last time I was over there... greenhouse fronts on the east side. Got any info on what it was, and when, and what's going on there now?

[Historic photo of University Mound Nursery [Images of America: San Francisco's Portola, copyright 2007, Rayna Garibaldi and Arcadia Publishing]

Turns out the greenhouse in question was part of the University Mound Nursery, which has been owned by the Garibaldi family since the 1920s. During that time, the Portola district housed as many as 19 different family-owned nurseries, once tended by Jewish and Italian immigrants who settled in the Portola after the 1906 earthquake and grew most of the flowers in the city. Each nursery grew its own specialty flower, and the Garibaldis specialized in roses. By the 1950s, despite the fact that most of the surrounding blocks had been subdivided for houses, the University Mound Nursery buildings occupied the entire block bounded by Hamilton, Woolsey, Bowdoin, and Wayland Streets, along with multiple blocks growing fields of stock flowers.

Sanborn Insurance map showing residential development surrounding University Mound Nursery, 1953 [Photo: ProQuest Digital Sanborn Maps, 1867-1970]

The greenhouse buildings were whitewashed every year to protect the plants inside from sun damage, hence the remains of whitewashed wood frames. Today it is the last standing nursery from a group of about 19 in the Portola district. Even though the roses are no longer cultivated, they continue to grow throughout the buildings.

So what’s in store for the abandoned nursery buildings? Though the family holds the deed to the property, it has fallen into disuse and decay, and in the last decade, the Recreation and Parks Department has considered purchasing the lot. According to SF Streetsblog, the area covers a now-buried Yosemite Creek, and if the City were to purchase the nursery there’s a design to convert the land into a park featuring native plants and bioswale (along with some educational signage about the nursery and its history in the neighborhood)."]]></description>
<dc:subject>2012 sanfrancisco universitymound portola gardening gardens agriculture flowers universitymoundnursery farming urban greenhouses history sustainability</dc:subject>
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    <title>On the Golden Age of Blogging - varnelis.net</title>
    <dc:date>2025-05-04T19:46:35+00:00</dc:date>
    <link>https://varnelis.net/works_and_projects/on-the-golden-age-of-blogging/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2025 kazysvarnelis blogging blogs blogosphere writing howwewrite reading howweread architecture networkculture history 2000s 1990s 2010s scottalexander davewiner johnbarger justinhall internet web online computers computing davidlewis greigcrysler sciarc rss googlereader ericowenmoss robertsumrell centerforlanduseinterpretation detlefmertins drupal netowrkedpublics html hypertext aaronswartz jstor mit thingsmagazine archinect paulpetrunia javierarbona lebbeuswoods jeannouvel pritzkerprize stachitecure starchitects remkoolhaas adamgreenfield danhill cityofsound speedbird bryanfinoki johnhill mimizeiger geoffmanaugh alexandertrevi alexandralange enriqueramirez mollysteenson nicolaiouroussoff christopherhawthorne paulgoldberger bilbaoeffect frankgehry polyphony criticism markjarzombek archdaily dezeen media platforms socialmedia jo-annegreen harveymolotch networks josephgrima facebook twitter ebanwilliams blogger tumblr instagram discovery algorithms feeds architecturalcriticism ads advertising commercialization</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=8EoH2wHE-_I">
    <title>La Base Comanche 2x27 | ¿Qué planean los ultrarricos? - YouTube</title>
    <dc:date>2025-04-26T18:00:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8EoH2wHE-_I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hoy en La Base Comanche Laura Arroyo, Ignacio Reyes y Rober Saavedra  analizan la utopía de los ultrarricos que a través de distintos hechos dan muestras de su plan de salida ante el apocalipsis que ellos mismos están potenciando. ¿Qué une a Trump, Bezos, Musk y Katy Perry? Lo analizamos hoy con la participación de Lorenzo Tecleme (Diario Red) y Bruno Sgarzini (Periodista internacional)."]]></description>
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<item rdf:about="https://www.newyorker.com/magazine/2025/04/14/in-praise-of-floods-james-c-scott-book-review">
    <title>James C. Scott’s “In Praise of Floods,” Reviewed | The New Yorker</title>
    <dc:date>2025-04-20T22:00:23+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2025/04/14/in-praise-of-floods-james-c-scott-book-review</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["James C. Scott and the Art of Resistance
The late political scientist enjoined readers to look for opposition to authoritarian states not in revolutionary vanguards but in acts of quiet disobedience."

...

"“Seeing Like a State” was published in 1998, after the collapse of the Soviet Union and the decline of socialism, and after the United States had lost its taste for New Deal-style economic planning. Perhaps as a result, the book appeared more conservative than Scott meant it to be. The political scientist Francis Fukuyama gave it an approving notice in Foreign Affairs, and, a year after it was published, the head of the libertarian Cato Institute invited Scott to address its annual convention, much to his dismay. Many on the left concurred with their libertarian colleagues that Scott had made, however inadvertently, a pro-market case against state power. In a review, the liberal economist Brad DeLong noted the striking similarities in argument between Scott’s brief against planning and the libertarian Austrian economist Friedrich Hayek’s praise of the “spontaneous order” of market economies. Scott, unlike Hayek, was an avowed skeptic of free markets; in “Seeing Like a State,” he had argued, albeit briefly, that “market-driven standardization” was susceptible to many of the flaws of modern social engineering. But his critics on the left weren’t wrong to compare his arguments to Hayek’s: so intently and thoroughly did Scott make his case against the modern state that, once you’ve read “Seeing Like a State,” it’s difficult to imagine the virtue of any state action, even of the incremental and meliorist variety. After such knowledge, what forgiveness?

Years later, it’s possible to look at Scott’s book less as an isolated broadside against the state and more as a way of seeing, through extreme examples, the extent to which planning ignores local knowledge at its peril. Still, even in those instances, Scott offers equivocal lessons. When it comes to contemporary debates on how best to solve our nationwide housing crisis, for instance, he can be read as an ally to movements attempting to protect neighborhoods against large-scale development. He asks planners to “prefer wherever possible to take a small step, stand back, observe, and then plan the next small move.” He makes special pleas for “context and particularity.” At the same time, he asks to make room for “human inventiveness” and “surprises,” which might suggest removing constraints to development—for example, restrictive zoning—that stifle initiative and drive. If you need room to build, better for the state to get out of the way. Both stances are conceivable within the capacious framework of the book, and that is perhaps why radicals and conservatives alike have found support for their arguments in its pages.

“Seeing Like a State” offers an even more complex (or blurry) lens through which to view the climate crisis. Scott’s study of how states reordered the natural world to generate maximum revenue may help to explain our own landscapes of fracking pads and pipelines. But it’s difficult to extract from the book a coherent strategy to fight climate change. To avoid the worst of the devastation from rising global temperatures will undoubtedly require not just state action but multistate coöperation on an unprecedented scale. Governments may need to override city and country alike to produce solar arrays and wind farms, shut down coal- and gas-fired power plants, unearth minerals for large-scale battery storage, and retrofit millions of houses, offices, and schools with electric cooling and heating systems. With Scott in mind, it’s possible to hope that states engaged in this collective project will overcome the blindness of the past. Still, if they—and we—are to succeed, Scott’s advice that planners pause before making their “next small move” will likely be discarded.

It’s an irony of Scott’s career that, though he pleaded for respecting local knowledge, his own writing began to take on imperial proportions in the later decades of his life. The last major works that he published before his death, “The Art of Not Being Governed” and “Against the Grain,” both cover centuries of history, confidently summing up many shelves’ worth of research and surveying wide tracts of geography. Scott examines how ancient states formed around sedentary agricultural practices—growing rice in medieval Southeast Asia, and wheat in ancient Mesopotamia—not because such farming had any intrinsic or inevitable value but because it was an important step in creating a “legible” and “manageable” state. Outside the rice “padi-state” and “grain states,” in Scott’s view, intrepid rebels engaged in more mobile, nomadic forms of agriculture, trying to escape taxation and forced labor.

Scott saw each step in the civilizing process, from farming cereals to working on an assembly line, as a loss of complexity, a diminishing of the “great diversity of natural rhythms” to which our ancestors were attuned. “It is no exaggeration to say,” he writes, before arguably risking just such an exaggeration, “that hunting and foraging are, in terms of complexity, as different from cereal-grain farming as cereal-grain farming is, in turn, removed from repetitive work on a modern assembly line. Each step represents a substantial narrowing of focus and a simplification of tasks.” From this perspective, a civilization’s collapse, rather than something to be lamented, might be experienced, at least by those at the edge of a state, as “an emancipation.” Scott acknowledged that so-called dark ages offer “fewer important digs for archaeologists, fewer records and texts for historians, and fewer trinkets—large and small—to fill museum exhibits.” But he argued that “such ‘vacant’ periods represented a bolt for freedom by many state subjects and an improvement in human welfare.” Anarchic social orders erect no monuments, and leave no ruins to be bleached over the centuries in the desert sand. Instead they offer alternative visions of how society might have developed had states not formed, concentrating manpower and crops, homogenizing landscapes, and taming rivers.

Some critics have called Scott a romantic, in part for seeming to indulge the lawlessness of non-state peoples. In “Against the Grain” and “The Art of Not Being Governed,” there is an ineluctable charisma to the frontier nomads, with their state-repelling egalitarianism and their sense of freedom. “In Praise of Floods” extends the forms of resistance Scott celebrates to nonhuman subjects. Laboring to evoke the sheer variety of what gets lost when rivers are subjugated by humans, he devotes a questionable chapter to ventriloquizing the voices of riverine animals—mollusks, river dolphins, snow carp, Asian hairy-nosed otters—speaking out against human intervention. But his work, even at its most tendentious, speaks uncannily to our current political mood of gnawing anxiety, fleeting optimism, and partial resignation over the future of the human project. To read Scott is to feel the fatalistic sense that civilization may have been botched from the beginning. But it is also to be hopeful—that what seems to be a runaway ecological crisis and a global drift toward authoritarianism contains within it the potential for political transformation, if you look closely enough.

At Scott’s memorial service, last October, organizers handed out tote bags with the slogan “Become Ungovernable.” Disobedience was, in certain respects, the watchword of all his work. In “Two Cheers for Anarchism,” a short book published in 2012, he testifies, like a latter-day Henry David Thoreau, to insubordination as an animating principle of all social change. He describes the desertion of Confederate soldiers during the Civil War as potentially a key factor in the overthrow of slavery, and even lauds the Vietnam War-era practice of “fragging,” in which infantrymen supposedly used live grenades to eliminate their commanding officers. Authoritarianism, in Scott’s view, dies this way: not through “revolutionary vanguards or rioting mobs” but through “the silent, dogged resistance, withdrawal, and truculence of millions of ordinary people.” Just as “millions of anthozoan polyps create, willy-nilly, a coral reef,” he writes, “so do thousands upon thousands of acts of insubordination and evasion create an economic or political barrier reef of their own.” "]]></description>
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<item rdf:about="https://lithub.com/on-the-episode-that-changed-ira-glasss-this-american-life-forever">
    <title>On the Episode That Changed Ira Glass’s This American Life Forever ‹ Literary Hub</title>
    <dc:date>2025-04-12T22:06:29+00:00</dc:date>
    <link>https://lithub.com/on-the-episode-that-changed-ira-glasss-this-american-life-forever</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Or, On the Importance of Fact-Checking"]]></description>
<dc:subject>thisamericanlife factchecking 2025 steveoney iraglass 2019 journalism storytelling refugees emilygreen 2020 adamdavidson 2008 alexblumberg 2015 danephron itzakrabin nancyupdike robynsemien sarahkoenig brianreed process mikedaisey apple china labor factories manufacturing fabrication robschmitz foxconn iphones iphone davidcarr davidzurawik eugeniawilliamson aesthetics conventions sarahvowell mikebirbiglia davidsedaris scottcarrier 2012 2013</dc:subject>
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    <title>'Devil birds' moving in at Lake Merced</title>
    <dc:date>2025-04-12T16:38:25+00:00</dc:date>
    <link>https://www.sfgate.com/science/article/Devil-birds-moving-in-at-Lake-Merced-4065870.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A gang of cantankerous flying aliens known to some avian aficionados as "devil birds" have been spotted flitting around San Francisco's Lake Merced acting like they belong.

The crow-sized creatures, which ornithologists know as great-tailed grackles, are native to Latin America and the southern United States, but the aggressive birds have recently been moving west, gobbling up the eggs of other birds and threatening to make a nuisance of themselves.

As many as six males and two females have been seen at Lake Merced, the largest concentration of the species ever recorded in San Francisco, according to the experts.

"They are often vilified as devil birds," said David Cruz, a local photographer and founder of Natures Lantern, a local nature photo and video sharing site. "It is a unique bird that many San Francisco residents have yet to see."

The birds, known scientifically as Quiscalus mexicanus, have in recent decades expanded their range from Texas and parts south of there to Northern California, most likely because of human-caused changes in their habitat. The first sighting in California was along the Colorado River in 1964. The birds have since colonized much of urban Southern California and parts of the San Joaquin Valley.

Great-tailed grackles have been seen in the Bay Area before. A pair of them gained fame in 1986 when they dive-bombed workers attempting to cut down their nesting tree. The birds, affectionately named Jose and Rosalie, first showed up in the late 1970s, but could not establish a nest and eventually disappeared, said Joseph Morlan, an ornithology instructor at City College of San Francisco.

Many local birders are secretly hoping the latest gaggle of grackles will have better luck.

"It's a big deal in the sense that few other birds have spread in North America so aggressively," said Morlan, one of the foremost birders in California. He said only the Eurasian collared dove has spread across the country more rapidly.

Great-tailed grackles are lowland species, which favor lakes and marshes and like to nest over or near water. The males are black with a violet-blue iridescence and can grow 17 inches long. The females grow to about 13 inches and are mostly brown.

The gregarious birds are sometimes considered pests because they thrive around humans, raiding crops and poaching tidbits. The Aquatic Park duo lived on french fries offered by the owner of a local fast-food stand. To the dismay of those who live around them, the birds like to gather together before dawn and after sunset for little concerts, producing a sound that one ornithologist said was less melody than a cacophony of "otherworldly shrieks."

The color, smarts and brazen attitude of great-tailed grackles have led to many myths about their supernatural qualities, poisonous beaks and evil eyes. The real threat, however, is more to other birds than to people.

"They also (prey on) the nests of other birds and if nesting at Lake Merced in large numbers may have an impact on other marsh nesting species," said Morlan, the co-author of "Birds of San Francisco and the Bay Area" and "Birds of Northern California." "They are known to eat eggs and nestlings of other species and occasionally eggs of other individuals within the colony."

Morlan said there is little that can, or should, be done to stop the birds from establishing a resident colony in San Francisco.

"They are simply adapting to changes in the environment," he said. "Ultimately all life must adapt to these changes if they are to succeed. It's called natural selection. Changes in range and adapting to changes in environment like these are powerful examples of evolution in action."

-- To hear the song of the great-tailed grackle, go to https://xeno-canto.org/species/Quiscalus-mexicanus?&view=0&order=appearance ."]]></description>
<dc:subject>birds nature 2012 sanfrancisco lakemerced environment great-tailedgrackle wildlife</dc:subject>
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<item rdf:about="https://journals.openedition.org/polis/8432">
    <title>In defense of conviviality and the collective subject</title>
    <dc:date>2025-03-27T22:27:09+00:00</dc:date>
    <link>https://journals.openedition.org/polis/8432</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[PDF:
https://journals.openedition.org/polis/pdf/8432
https://www.scielo.cl/pdf/polis/v11n33/art04.pdf ]

"This essay takes up the question of a “new” social paradigm by first examining the recent emergence of the U.S. Occupied Movement (OM) as a provocative and inspiring moment of political re-composition, but one that also narrates a more complex unraveling of what W.E.B Du Bois called “democratic despotism.” The most recent political tensions and economic “crisis” of the global north point to the disruption of a white “middle class” hegemony alongside inspiring moments of reconstructed conviviality. I suggest that the tension within spaces of occupation and convergence are animated by conviviality that should be read “politically” by noting the emergence of tools in service of community regeneration. Towards that end, I introduce Universidad de la Tierra Califas, a local project somewhere in-between network and collective pedagogies that is also a project of strategic conviviality and a Zapatismo beyond Chiapas. I argue that UT Califas engages a collective subject as part of an epistemological struggle inspired by Indigenous autonomy currently underway throughout Latin America."

...

"En este ensayo se aborda la cuestión de un «nuevo» paradigma social, examinando en primer lugar la reciente aparición del estadounidense Movimiento Ocupado (OM) como un momento provocador e inspirador de recomposición política, pero que también narra un desenlace más complejo de lo que W.E.B. Du Bois llama «despotismo democrático». Las tensiones políticas más recientes y la «crisis» económica mundial del extremo norte señalan la interrupción de la hegemonía de la «clase media blanca” junto a momentos de inspiración de convivencia reconstruida. Se sugiere que la tensión dentro de los espacios de ocupación y convergencia, están animados por la convivencia que puede ser leída «políticamente» al apreciar la aparición de herramientas al servicio de la regeneración de la comunidad. Con ese fin, se presenta la Universidad de la Tierra Califas, un proyecto local en algún punto entre la red y las pedagogías colectivas, que también es un proyecto de convivencia estratégica y un zapatismo más allá de Chiapas. Se sostiene que UT Califas se acopla a un sujeto colectivo, como parte de una lucha epistemológica, inspirado por la autonomía indígena actualmente en curso en América Latina."]]></description>
<dc:subject>manolocallahan manuelcallahan 2012 conviviality latinamerica indigeneity indigenous ciapas zapatismo zapatistas webdubois democracy emilianozapata chiapas mexico autonomy anarchism ezln</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=8nRVtCXqtvA">
    <title>Late Fascist Aesthetics [Katie Ebner-Landy]: A Theory of the Online Forum - YouTube</title>
    <dc:date>2025-03-24T20:25:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8nRVtCXqtvA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When we think of “early fascist” aesthetics, we think of uniforms, visual symbols, and crowds. “Late fascist” aesthetics – though not without symbols and crowds – has another tool at its disposal: the online forum. Join us to examine the use of the online forum by the contemporary far right to move from fiction to reality in ways that other political aesthetics have long dreamed of."
]]></description>
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<item rdf:about="https://humancarbohydrate.substack.com/p/jordan-peterson-and-pieter-thiel">
    <title>Jordan Peterson and Peter Thiel walk into a bar - ARC Forum diary</title>
    <dc:date>2025-02-24T00:09:07+00:00</dc:date>
    <link>https://humancarbohydrate.substack.com/p/jordan-peterson-and-pieter-thiel</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Revolutions devour their own children and turn into their own opposites."

...

"So, where does that leave me, a pro-growth, small ‘c’ conservative, Bernie-would-have-won truther, lefty? Suppose I despair at the conservatives deserting their duty to conserve. Am I equally concerned about my vulnerability to vanity, naivety, fear of economic hardship and irrelevance, and compulsion to please? After all, I don’t attend these things to mock people. I am not even an imposter in Sovereign House; I am an active participant in its culture. I am one degree of separation from Pieter Thiel, in a sense, literally funded by him.

Throughout my political journey, I have embraced my internal contradictions and indulged people from the far left to the far right. By hanging around, I hoped two things would happen. First, my opinions would always be sense-checked by a broad coalition of friends and acquaintances. We abhor cancel culture now, but social shame serves its purpose in moderation. Only psychopaths are not concerned about what others think.

The second is that I genuinely believe the right will go through its season of authoritarian wokeness faster than we did and will release far more feral elements of our society (racists, fascists, religious zealots). By 2030, moderate conservatives will be crying out loud for a return to the days of being asked for their pronouns by blue-haired, trauma-informed baristas like Democrats eulogising John McCain’s civility post-2016.

Young Baldwin told me he used to be a socialist who went down the Red Scare route to Trumpism- before it was cool - and that facilitating a lot of socialising, no matter the politics of the attendees, helped their cause. His insinuation is that by me, a lefty, being around Trumpists, Trumpism is normalised, and I may eventually soften to it.

The opposite is also true. I want the fascist-curious youths I make eye contact with at smoking areas to feel a little bit embarrassed when they sail into dark waters with their shitposting. And I want them to know that I am so proud of them when they finally decide they’ve had enough when they realise LARPing nazism is beneath them, and that smirks and irony are poor substitutes for kindness, curiosity and tolerance. All humans want to be told they are fundamentally good. We all crave to transcend our human meat suits.

Democracy is not perfect, but it is the best we got. Human institutions and movements depend on compromise and are, by nature, infuriating. This is why I defend my party even when its actions test my loyalty like a US Marine waterboarded for the nuke codes. My small ‘c’ conservatism sentiments lead me to trust the wisdom of the collective, the general direction of a movement whose spirit transcends my own.

David Brooks, defending conservatism, said back in 2012, ‘The individual is foolish, but the species is wise.’ For me, the activist flails and flounders, but the broad church of social democracy carries us all.

So, we stick around to remind our social connections that fanning the flames of fascism is deplorable, but they are not irredeemable people. The centre must hold, come back to the fold."
]]></description>
<dc:subject>stellatsantekidou 2025 jordanpeterson peterthiel edmundburke christopherhitchens iainmcgilchrist dimessquare rightwing michaelgove arc darkeeb ethnonationalism jdvance china ericweinstein france us uk ai artificialintelligence libertarianism politics policy economics philosophy tylercowen rationalists effectivealtruism growth technooptimism accelerationism seasteading curtisyarvin automation anarchocapitalism davidbrooks conservatism left fascism society racism religion johnmccain 2016 redscare donaldtrump curiosity tolerance kindness nazis nazism 2012 trumpism maga mccarthyism rationalism menciusmoldbug neoreactionaries tescreal nerdreich singularity singularitarianism extropianism cosmism longtermism transhumanism extroprianism darkenlightenment capitalism technofascism</dc:subject>
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    <title>The 50-Year Farm Bill - The Atlantic</title>
    <dc:date>2025-01-27T00:51:17+00:00</dc:date>
    <link>https://www.theatlantic.com/national/archive/2012/11/the-50-year-farm-bill/265099/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["American agriculture's land "emergency," and how to solve it"

]]></description>
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    <title>Nature as an Ally: An Interview with Wendell Berry - Dissent Magazine</title>
    <dc:date>2025-01-27T00:46:07+00:00</dc:date>
    <link>https://www.dissentmagazine.org/article/nature-as-an-ally-an-interview-with-wendell-berry/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Each generational wave of environmental concern seems to lap at Wendell Berry’s doorstep. He gave up teaching and writing in New York in the sixties to return to Kentucky, establishing a small farm at Lanes Landing near Port Royal, and dedicating himself to writing about the roots of the life he leads there. Readers have sought his inspiration to overcome the incessant churning of environmental destruction and industrial food production. Berry embodies a certain sort of alternative. When I arrived at Lanes Landing, I knew that many seekers had come before me to put a face to the writing, and to see this life for themselves.

Berry is best known for his attention to place—an insistence on community and an intimate knowledge of home, from the soil to the weather patterns to the human history. I initially came to his work through the Southern Agrarians, a group of twelve Southerners who in 1930 published I’ll Take My Stand, a manifesto against Northern industrialism and the loss of a romanticized, rooted, agrarian life. Berry’s resistance to capitalist definitions of progress rhymes with a long intellectual tradition of skepticism of American urbanization, mechanization, and hypermobility. His 1973 “Manifesto: The Mad Farmer Liberation Front” begins with the image of the uprooted, commercially oriented modern:

Love the quick profit, the annual raise,
vacation with pay. Want more
of everything ready-made. Be afraid
to know your neighbors and to die.
And you will have a window in your head.
Not even your future will be a mystery
any more. Your mind will be punched in a card
and shut away in a little drawer.
When they want you to buy something
they will call you. When they want you
to die for profit they will let you know.

Even as he subjects market society to a scathing critique, he seeks out the tensions that remained deeply unresolved in the writings of the Agrarians: how people might become more free—free from patriarchy, racism, and so on—without becoming deracinated. In The Hidden Wound, Berry explored race through his experience growing up on a Kentucky farm, and in essays like “Feminism, the Body, and the Machine,” he set freedom in relation to the productive household economy; feminism for him, and male freedom too, is full and free employment within an independent household, minimally reliant on commodities.

Berry’s influences can be traced beyond the Agrarians to ecological and religious conceptions of nature. He asks how we can develop our understanding of our environment so that we can respect its limits as we arrange our human lives. He therefore opposes the national-parks model of conservation: purity on this side, despoliation on the other. “Agriculture using nature,” he has written, “…would approach the world in the manner of a conversationalist….On all farms, farmers would undertake to know responsibly where they are and to ‘consult the genius of the place.’”

All of this raises serious questions about a sort of agrarian epistemology. If we can’t count on technocratic solutions, how can we determine our limits? How do we consult the genius of place? Berry approaches this question through discussions of the farming life, but through religion and poetry as well. His most recent book, The Poetry of William Carlos Williams of Rutherford, is a tribute to the poet whose work explored Paterson, New Jersey, with all the sensitivity and accompanying understanding that Berry brings to poetic explorations of his own place.

Lest this all sound too abstract, the first thing Berry placed in my hands, after a glass of water, was the 50-Year Farm Bill, a long-term proposal largely devised by his friend Wes Jackson of the Land Institute “for gradual systemic change in agriculture.” The proposal focuses on redeveloping the natural biodiversity of land, and Berry has been to Washington to lobby on its behalf. Berry has been active as well in opposition to the coal industry in Kentucky, and recently withdrew his papers from the University of Kentucky after it accepted coal money to build a dormitory for the basketball team.

Berry, now seventy-seven, has received many accolades for his work. This year he was chosen to give the Jefferson Lecture in the Humanities, the federal government’s top honor in the humanities. The Michael Pollans of the world pay him tribute openly and often. But the state of ecological affairs in America and the world is now more dire than when he started writing.

Berry’s farmhouse sits on a steep hillside overlooking the Kentucky River and land about which he has long written, “a place I don’t remember not knowing.” It is heartening to see Berry honored and his works quoted, but Berry asks us to be concerned with the whole agricultural process, from the land to the workers, all the overlapping realms of economy discussed by the authors in this special section. This is not an easy thing to do in the face of impending environmental catastrophe, a situation that would seem to demand quick fixes. We began with Berry’s lamentation that food alone should so dominate public discussion.

-Sarah Leonard

Wendell Berry: The discussion about food doesn’t make any sense without discussion at the same time of land, land use, land policy, fertility maintenance, and farm infrastructure maintenance. How are you going to get the best farming and the best food from a landscape that has removed its fences, which means the animals have been removed from agriculture? Without animals, something essential is removed from the minds of the farmers. Corn and bean people, I’m afraid, have extremely specialized minds.

Sarah Leonard: Can you talk about how you think about your farm working?

WB: [The British agricultural scientist] Sir Albert Howard said that in her management of the native forest—and, [Land Institute founder] Wes Jackson would say, of the native prairie—nature never farms without livestock. And Howard’s understanding of nature’s “farming” in undisturbed ecosystems is the scientific bedrock of organic agriculture….The difference, then, between a large Midwest farm practicing a corn and soybean rotation on every tillable acre and a good small farm with an orderly diversity of plants and animals is one of structure, and this is a critical difference. There is no structural complexity at all in a corn and bean rotation. The connections between people and land are dangerously oversimplified and mainly technological.

SL: And more grotesquely in meat production.

WB: You’re talking about the industrial system that confines the animals closely in one place and grows their food in another place, usually distant. This breaks the fertility cycle and violates all the principles of nature on which sustainable agriculture and a dependable food supply depend. The proper role of animals in agriculture is to complete the ecological integrity of farms, and to produce food for humans from pastures—especially pastures on land that is mainly, or entirely, suitable only for grazing.

Do you know the phrase “mind-numbing work”? This is a cliché that for a long time has been used to denigrate farming. If your economic policies drive farmers off the land, you are pleased to have saved them from “mind-numbing work”—which is usually associated with smaller farms. But if you have several thousand acres of corn, and you’re getting up in the morning to spend all day long driving a cultivator, or a sprayer, or a combine through those identical rows, day after day. . . that’s dull. And it would dull your mind. But suppose you have, say a hundred or a hundred and fifty acres of rolling land, maybe twenty-five Jersey cows, a few hogs, a garden, flowers everywhere, cliff swallows nesting against the barn wall, and children playing and wandering about. That isn’t dull. That requires hard work, of course. But it also requires constant attention and intelligence; it gives a lot of pleasure, and you’ll probably find that it depends on love.

SL: Do you think that a large portion of the population would be happy doing this kind of work?

WB: Maybe not. . . .But, you’ve switched the conversation to the question of vocation. It would be wrong to assume that every person is called to be a farmer. To use the Amish example, the agrarian community needs mechanics, manufacturers (there are things they need that we don’t make), farriers, harness makers, horse breeders, carpenters, and so on. I have never, ever said that everybody ought to be a farmer. But I do say that everybody ought to work at something useful and necessary, and not destructive. Our substitution of “job” (any “job”) for vocation is disastrous.

SL: Why do you think urban agriculture has gotten so much attention?

WB: We have everything to gain from urban agriculture. But that’s not farming. Louisville, Kentucky, for example, is not going to feed itself from gardening alone. They need milk and meat—things that you can’t produce in the city. Every time someone in Louisville plants something to eat, we’re better off out here. Urban gardeners know something of the biology, the art, and the chanciness of growing food, which makes it possible for them to imagine the life and work of farming out in the countryside. From this and the interest in local food, you get an urban agrarianism that I think is simply indispensable.

SL: Why do you think the emphasis has been so heavy on urban agriculture, and not on things outside the city?

WB: Well, urban people have been permitted, by cheap fossil fuel and other subsidies, to think of themselves as somehow islanded. Independent. And you could contrast that with the ancient Greek idea of the city, which included both the built-up urban center and the tributary landscape. Ancient Greek cities and towns had granaries and stables. Harvested grain would be brought into the city, and the flocks and herds would be driven into the city at night for safety. That was an immediate contact between city and country, and we’ve lost that. Louisville lost the Bourbon Stockyards and much of the meatpacking industry that was there, and most Louisvillians seem to have counted that as progress. I tried to help an effort to relocate a stockyard in the Lexington, Kentucky, neighborhood but the people didn’t want it at all, anywhere. They wanted the meat, but not the live animals or the manure. That’s hard to deal with, also crazy. You’ve got to put your mind on the whole fundamental economic structure, from field and forest to city, so that you can have economic justice (some sense of parity along the line), and you don’t have any demeaning work. If you’ve got a large-scale meat-processing industry, for instance, where some poor soul has to knock cows in the head all day, that’s demeaning to everyone involved.

But any kind of drudgery is horrible. Drudgery is having too much repetitive work to do, for too long, with no choice but to do it, with no sense of vocation, and under the rule of a boss. When everybody here had a tobacco crop, an uninitiated person from some suburb or city who came to our work at harvest time would just be horrified. It was extraordinarily difficult work. Hot. Long days, virtually from dark to dark, and strenuous. But that didn’t last all year around. And we were doing it with our neighbors and for no pay. (The old rule was, nobody’s done until everybody’s done.) This was not drudgery.

SL: One of the trends among young people (maybe a bit of a revival?) is WWOOFing [Worldwide Opportunity on Organic Farms]—in which people travel and work on organic farms for a time. The farms are all listed in a book and online now. The young people can go and work on the farm. The time you stay can range wildly. It’s agriculture without place. People use it to travel…

WB: To really be effective, the apprenticeship probably needs to last a whole year—to get the annual cycle and see how the whole thing works.

SL: I think for people who want to go work on a farm, it seems like it would be fulfilling. It takes on a therapeutic ethos.

WB: You have to see the whole picture. Nobody comes to farm to dispose of dead livestock or to cope with a disease outbreak. Nobody comes to mend fences, although I happen to like mending fences myself. You have to have some sense of how each task is gathered into the larger pattern.

SL: A lot of people—not just supporters of agribusiness—wonder if there were a world of small farms, could we feed the world population as it exists now?

WB: No, it can’t be definitively answered. For one thing, we don’t know anything about the future. For another thing, the “small farm” can’t be defined once for every place. There are all kinds of critical questions requiring answers. Is there such a thing as a bad small farm? Are there good large farms? You have to study and evaluate a range of examples. If you have a lucrative grain market, and virtually every farmer is growing soybeans or corn on every acre that’ll hold up a tractor, and fertilizing it with chemical fertilizer, the inevitable runoff going into the local watershed and on into the Mississippi River and the Gulf of Mexico—that so-called dead zone in the Gulf—you can say that is wrong. There is nothing in that scheme that guarantees you a long-term food supply. You are destroying the land resource, the land communities, and the soil itself. The soil is part of the land community, which is where you have to start, and that’s where the 50-Year Farm Bill starts. It addresses not food production but the problems of agriculture as it now is: erosion, toxicity, and the destruction of the husbandry cultures in local communities. If you are feeding people by destroying the land, and the rural communities, and polluting the water systems—and if you consider that damage to be a sustainable cost—you’re crazy.

This turns us toward the need for a better general criticism than we have of the economy and the culture. One crucial thing to consider is what Wes Jackson calls the “eyes to acres” ratio. If you’re going to take care of the land well you need to have enough people caring for it and watching over it. In industrial agriculture, a few people “farm” a lot of land with big machines and a lot of chemicals—with the results I’ve just described. That’s the large-scale farming some people think will “feed the world,” the billions of people now mostly in cities. It’ll feed them for a short time. But we need to feed them for a long time. My side of the argument says it’s possible to have a more complex, long-term structure. It’s possible to have a farming culture in which everything helps everything else—following the example of nature. A good farmer I know used to say, “It’s good to have nature working for you. She works at a minimum wage.” Nature is a powerful ally, if you respect her and her ways.

If you work against her, as we are now doing, she’ll work against you. The penalties may be severe.

The agri-industrialists have what they think is a rhetorical question addressed to my side: “If you farm by your principles, who’s going to decide who’s going to starve?” We could put that question back to them: “Who’s going to decide who is going to starve when you get done polluting and eroding the arable land, and destroying all the world’s cultures of land husbandry?”

SL: The Southern Agrarians looked to religion to do what nature does—to be something all powerful and uncontrollable and mysterious.

WB: Nature has a very high place in poetic tradition. What I want to insist on about religion is not that it’s spiritual, but that it’s economic. The practice of religion is economic. And that’s more or less insisted upon in the Bible. Ellen Davis at Duke has written about that in her book Scripture, Culture, Agriculture.

SL: If, in America, we were to develop a system of farming that was not corporate, the scale of the change would be enormous, it would take politics.

WB: I’m committed to the 50-Year Farm Bill, which is directed at the U.S. Department of Agriculture. It’s one of my last causes. When they ask me to go to Washington and advocate for that bill, I will go.

SL: Is that, in fact, happening?

WB: Well, Fred Kirschenmann [of the Leopold Center for Sustainable Agriculture at Iowa State University] and Wes Jackson and I did carry that bill to Washington, and were kindly received by [Deputy Secretary of Agriculture] Kathleen Merrigan and her staff in the Department of Agriculture, also a few senators or their staff people. Since then, the bill seems to have gained more attention and maybe a little momentum. Maybe you could call it the beginning of a significant change.

So I’m hardly against politics. I’m committed also to the movement against mountaintop removal. That movement is certainly growing, and it is drawing more attention. But state government here is mostly owned by the coal industry. It’s hard to influence people who are corporate properties.

SL: Do you think of good farming, or farms that are on a proper scale, to be compatible with capitalism or with free markets?

WB: To have good farming or good land use of any kind, you have got to have limits. Capitalism doesn’t acknowledge limits. That is why we have supposedly limitless economic growth in a finite world. Good agriculture is formal. You can have limits without form, but you can’t have form without limits. If you look around the country and find small farmers who have prospered in hard times, you’ll probably find that they’ve prospered because they’ve accepted their limits. Among other things, they’ve increased production by complicating structure.

But good agriculture is a community enterprise, too. The Amish prosper and net a high percentage of gross, partly because they are good neighbors to one another. The great Amish asset is neighborliness. That’s a religious principle: Love thy neighbor as thyself. But it’s also an economic asset. If you’ve got a neighbor, you’ve got help, and this implies another limit. If you want to have neighbors, you can’t have a limitless growth economy. You have to prefer to have a neighbor rather than to own your neighbor’s farm. There’s a fundamental incompatibility between industrial capitalism and both the ecological and the social principles of good agriculture. The aim of industrialization has always been to replace people with machines or other technology, to make the cost of production as low as possible, to sell the product as high as possible, and to move the wealth into fewer and fewer hands. People talk about “job creation,” as if that had ever been the aim the industrial economy. The original Luddites were right. The aim was to replace people with machines.

SL: Are you a socialist?

WB: From what I’ve read and heard, socialism and communism have been just as committed to industrial principles as capitalism. My own inclination is not to start with a political idea or theory and think downward to the land and the people, but instead to start with the land and the people, the necessity for harmony between local ecosystems and local economies, and think upward to conserving policies such as those of the 50-Year Farm Bill.

SL: Are there political figures who you think have been good at this?

WB: No. No politicians are standing up for this. No politicians. And the prominent economists whose work you see in newspapers or magazines never mention the land or the land economies.

SL: Michael Pollan figures…talk about food and maybe less about farming. Do you think that the people who have taken up this burden are as concerned with the farming as you are?

WB: I don’t know—I don’t know how you’d measure somebody’s concern. I know that Michael Pollan, Eric Schlosser, and others know what is wrong with the industrial food production systems, and that includes farming. There are several good younger writers now writing about agriculture, and I’m more grateful for them than I can easily say.

It may be that a lot of the people most disposed to go back and farm are those with the least farm experience. Too many farm-raised young people want to work in industry or the professions to get away from the economic constraints their families have suffered. Their families are telling them “Get out of this,” and you can’t blame them. I was talking to a group of people in Central Kentucky about the importance of keeping the farm-raised kids in farming. Someone in the audience said, “By the time they get out of college they have so much debt they can’t afford to farm.” I said. “Then we’ve got to keep them out of college.”

SL: I want to get at this idea of looking for some intrinsic value in what’s around you, a persistent theme in your nonfiction and your poetry. I wonder if it could be described as … “wonder”?

WB: “Wonder” is a word that applies. To live and work attentively in a diverse landscape such as this one—made up of native woodlands, pastures, croplands, ponds, and streams—is to live from one revelation to another, things unexpected, always of interest, often wonderful. After a while, you understand that there can be no end to this. The place is essentially interesting, inexhaustibly beautiful and wonderful. To know this is a defense against the incessant salestalk that is always telling you that what you have is not good enough; your life is not good enough. There aren’t many right answers to that. One of them, one of the best, comes from living watchfully and carefully the life uniquely granted to you by your place: My life, thank you very much, is just fine.

SL: Andrew Nelson Lytle in I’ll Take My Stand writes something similar. I know you’ve written about the Twelve Southerners, too. I wonder if you ever think about region as useful to thinking about agriculture, whether it obscures the way people think about land and agriculture.

WB: I did talk about that in an essay on the Civil War. The South is a region, but mainly in the political sense. Geographically, ecologically, even historically, the South has many regions. Kentucky has many regions. But that won’t tell you how to farm. What we’re talking about is adapting the farming to the farm, and to the field. . . . John Todd wrote a sentence that has mattered immensely to Wes Jackson and me: “Elegant solutions will be predicated on the uniqueness of place.” One of the wonders of modern agriculture is that agricultural science—like all other science—is founded on evolutionary biology, which sees local adaptation as an absolute necessity for every species, but we have we managed to exempt the human species.

SL: Is there anything else you’d like to add?

WB: Here’s the tragedy of agriculture in our time. In the middle of the last century, Aldo Leopold was writing and publishing on the “land community” and ecological land husbandry. Sir Albert Howard and J. Russell Smith had written of natural principles as the necessary basis of agriculture. This was work that was scientifically reputable. At the end of the Second World War, ignoring that work, the politicians, the agricultural bureaucracies, the colleges of agriculture, and the agri-business corporations went all-out to industrialize agriculture and to get first the people and then the animals off the land and into the factories. This was a mistake, involving colossal offenses against both land and people. The costs have not been fully reckoned, let alone fully paid."]]></description>
<dc:subject>sarahleonard 2012 wendellberry society wesjackson land local kentucky michaelpollan food farms framing agriculture sustainability environment work biology art fossilfuels progress drudgery labor apprenticeships population small slow soil erosion pollution industrialization fredkirschenmann kathleenmerrigan landuse socialism communism ecosystems conservation ericschlosser wonder landscape andrewnelsonlytle south johntodd civilwar siralberthoward alberthoward jrussellsmith</dc:subject>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Acoustic ecologist Gordon Hempton collects sounds from around the world. He’s recorded inside Sitka spruce logs in the Pacific Northwest, thunder in the Kalahari Desert, and dawn breaking across six continents. An attentive listener, he says silence is an endangered species on the verge of extinction. He defines real quiet as presence — not an absence of sound but an absence of noise. We take in the world through his ears."]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Spoiler alert: criticism is a form of reading, one that is both implicitly and explicitly under attack by forces that seek to privilege a specific kind of reasoning – an algorithmic reasoning, best exemplified (arguably) by ChatGPT. Criticism is a political act; but then again, so is AI – far less a technology of knowing or thinking than an ideology of prediction and control.

But AI is a technology that CNN's Anderson Cooper pronounced on Sunday night "could one day change the way every student is taught." And that’s an assertion that might seem exciting and innovative if it weren't the same argument we've been hearing about various technologies, including AI, for almost one hundred years now."]]></description>
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]]></description>
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    <title>Nature as an Ally: An Interview with Wendell Berry - Our World</title>
    <dc:date>2024-10-18T06:01:09+00:00</dc:date>
    <link>https://ourworld.unu.edu/en/nature-as-an-ally-an-interview-with-wendell-berry</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2012 wendellberry sarahleonard nature foodsecurity agriculture ecosystems environment landmanagement farming food via:lukas</dc:subject>
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    <title>About our HTML5 Network SouthEast Clock</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["We recreated a classic Network SouthEast clock with JavaScript. Here's all about it. (January 2012)"]]></description>
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<item rdf:about="http://www.fvckthemedia.com/issue61/pirate-libraries">
    <title>PIRATE LIBRARIES and the fight for open information - The Media</title>
    <dc:date>2024-10-14T19:44:44+00:00</dc:date>
    <link>http://www.fvckthemedia.com/issue61/pirate-libraries</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In a digital era that destabilizes traditional notions of intellectual property, cultural producers must rethink information access.

Over the last several years, a number of pirate libraries have done just that. Collaboratively run digital libraries such as Aaaaaarg, Monoskop, Public Library, and UbuWeb have emerged, offering access to humanities texts and audiovisual resources that are technically ‘pirated’ and often hard to find elsewhere.

Though these sites differ somewhat in content, architecture, and ideological bent, all of them disavow intellectual copyright law to varying degrees, offering up pirated books and media with the aim of advancing information access.

“Information wants to be free,” has served as a catchphrase in recent internet activism, calling for information democracy, led by media, library and information advocates.

As online information access is increasingly embedded within the networks of capital, the digital text-sharing underground actualizes the Internet’s potential to build a true information commons.

With such projects, the archive becomes a record of collective power, not corporate or state power; the digital book becomes unlocked, linkable, and shareable.

Still, these sites comprise but a small subset of the networks of peer-to-peer file sharing. Many legal battles waged over the explosion of audiovisual file sharing through p2p services such as Napster, BitTorrent and MediaFire. At its peak, Napster boasted over 80 million users; the p2p music-sharing service was shut down after a high-profile lawsuit by the RIAA in 2001.

The US Department of Justice brought charges against open access activist Aaron Swartz in 2011 for his large-scale unauthorized downloading of files from the JStor Academic database. Swartz, who sadly committed suicide before his trial, was an organizer for Demand Progress, a campaign against the Stop Online Piracy Act, which was defeated in 2012. Swartz’s actions and the fight around SOPA represent a benchmark in the struggle for open-access and anti-copyright practices surrounding the digital book.

Aaaaaarg, Monoskop, UbuWeb and Public Library are representative cases of the pirate library because of their explicit engagement with archival form, their embrace of ideas of the digital commons within current left-leaning thought, and their like-minded focus on critical theory and the arts.

All of these projects lend themselves to be considered as libraries, retooled for open digital networks.

Aaaaaarg.org, started by Los Angeles based artist Sean Dockray, hosts full-text pdfs of over 50,000 books and articles. The library is connected to a an alternative education project called the Public School, which serves as a platform for self-organizing lectures, workshops and projects in cities across the globe. Aaaaaarg’s catalog is viewable by the public, but upload/download privileges are restricted through an invite system, thus circumventing copyright law.

The site is divided into a “Library,” in which users can search for texts by author; “Collections,” or user-generated grouping of texts designed for reading groups or research interests; and “Discussions,” a message board where participants can request texts and volunteer for working groups. Most recently, Aaaaaarg has introduced a “compiler” tool that allows readers to select excerpts from longer texts and assemble them into new PDFs, and a reading tool that allows readers to save reference points and insert comments into texts. Though the library is easily searchable, it doesn’t maintain high-quality metadata. Dockray and other organizers intend to preserve a certain subjective and informal quality, focusing more on discussion and collaboration than correct preservation and classification practice.

Aaaaaarg has been threatened with takedowns a few times, but has survived by creating mirrored sites and reconstituted itself by varying the number of A’s in the URL. Its shifts in location, organization, and capabilities reflect both the decentralized, ad-hoc nature of its maintenance and the organizers’ attempts to elude copyright regulations. Text-sharing sites such as Aaaaaarg have also been referred to as shadow libraries, reflecting their quasi-covert status and their efforts to evade shutdown.

Monoskop.org, a project founded by media artist Dušan Barok, is a wiki for collaborative studies of art, media and the humanities that was born in 2004 out of Barok’s study of media art and related cultural practices. Its significant holdings - about 3,000 full-length texts and many more excerpts, links and citations - include avant-garde and modernist magazines, writings on sound art, scanned illustrations, and media theory texts.

As a wiki, any user can edit any article or upload content, and see their changes reflected immediately. Monoskop is comprised of two sister sites: the Monoskop wiki and Monoskop Log, the accompanying text repository. Monoskop Log is structured as a Wordpress site with links hosted on third-party sites, much like the rare-music download blogs that became popular in the mid-2000s. Though this architecture is relatively unstable, links are fixed on-demand and site mirroring and redundancy balance out some of the instability.

Monoskop makes clear that it is offering content under the fair-use doctrine and that this content is for personal and scholarly use, not commercial use. Barok notes that though there have been a small number of takedowns, people generally appreciate unrestricted access to the types of materials in Monoskop log, whether they are authors or publishers.

Public Library, a somewhat newer pirate library founded by Croatian Internet activist and researcher Marcell Mars and his collaborators, currently offers a collection of about 6,300 texts. The project frames itself through a utopian philosophy of building a truly universal library, radically extending enlightenment-era conceptions of democracy. Through democratizing the tools of librarianship – book scanning, classification systems, cataloging, information – it promises a broader, de-institutionalized public library.

In Public Library: An Essay, Public Library’s organizers frame p2p libraries as “fragile knowledge infrastructures built and maintained by brave librarians practicing civil disobedience which the world of researchers in the humanities rely on.” This civil disobedience is a politically motivated refutation of intellectual property law and the orientation of information networks toward venture capital and advertising. While the pirate libraries fulfill this dissident function as a kind of experimental provocation, their content is audience-specific rather than universal.

UbuWeb, founded in 1996 by conceptual artist/ writer Kenneth Goldsmith, is the largest online archive of avant-garde art resources. Its holdings include sound, video and text-based works dating from the historical avant-garde era to today. While many of the sites in the “pirate library” continuum source their content through community-based or peer-to-peer models, UbuWeb focuses on making available out of print, obscure or difficult to access artistic media, stating that uploading such historical artifacts doesn’t detract from the physical value of the work; rather, it enhances it. The website’s philosophy blends the utopian ideals of avant-garde concrete poetry with the ideals of the digital gift economy, and it has specifically refused to accept corporate or foundation funding or adopt a more market-oriented business model.

Pirate Libraries vs. “The Sharing Economy”

In pirate libraries, information users become archive builders by uploading often-copyrighted content to shared networks.

Within the so-called “sharing economy,” users essentially lease e-book content from information corporations such as Amazon, which markets both the Kindle as platform. This centralization of intellectual property has dire impacts on the openness of the digital book as a collaborative knowledge-sharing device.

In contrast, the pirate library actualizes a gift economy based on qualitative and communal rather than monetized exchange. As Mackenzie Wark writes in A Hacker Manifesto (2004), “The gift is marginal, but nevertheless plays a vital role in cementing reciprocal and communal relations among people who otherwise can only confront each other as buyers and sellers of commodities.”

From theorizing new media art to building solidarity against repressive regimes, such communal information networks can crucially articulate shared bodies of political and aesthetic desire and meaning. According to author Matthew Stadler, literature is by nature communal. “Literature is not owned,” he writes. “It is, by definition, a space of mutually negotiated meanings that never closes or concludes, a space that thrives on — indeed requires — open access and sharing.”

In a roundtable discussion published in New Formations, Aaaaaarg founder Sean Dockray remarks that the site “actively explored and exploited the affordances of asynchronous, networked communication,” functioning upon the logic of the hack. Dockray continues: “But all of this is rather commonplace for what’s called ‘piracy,’ isn’t it?” Pirate librarianship can be thought of as a practice of civil disobedience within the stringent information environment of today.

These projects promise both the realization and destruction of the public library. They promote information democracy while calling the professional institution of the Library into question, allowing amateurs to upload, catalog, lend and maintain collections. In Public Library: An Essay, Public Library’s organizers write: “With the emergence of the internet… librarianship has been given an opportunity… to include thousands of amateur librarians who will, together with the experts, build a distributed peer-to-peer network to care for the catalog of available knowledge.”

Public Library frames amateur librarianship as a free, collaboratively maintained and democratic activity, drawing upon the language of the French Revolution and extending it for the 21st century. While these practices are democratic in form, they are not necessarily democratic in the populist sense; rather, they focus on bringing high theoretical discourses to people outside the academy. Accordingly, they attract a modest but engaged audience of critics, artists, designers, activists, and scholars.

The activities of Aaaaaarg and Public Library may fall closer to ‘peer preservation’ than ‘peer production,’ as the desires to share information widely and to preserve these collections against shutdown often come into conflict. In a recent piece for e-flux coauthored with Lawrence Liang, Dockray accordingly laments “the unfortunate fact that digital shadow libraries have to operate somewhat below the radar: it introduces a precariousness that doesn’t allow imagination to really expand, as it becomes stuck on techniques of evasion, distribution, and redundancy.”

UbuWeb and Monoskop, which digitize rare, out-of-print art texts and media rather than in-print titles, can be said to fulfill the aims of preservation and access. UbuWeb and Monoskop are openly used and discussed as classroom resources and in online arts journalism more frequently than the more aggressively anti-copyright sources; more on-the-record and mainstream visibility likely -- but doesn’t necessarily -- equate to wider usage.

From Alternative Space to Alternative Media

Aaaaaarg locates itself as a ‘scaffolding’ between institutions, a platform that unfolds between institutional gaps and fills them in, rather than directly opposing them. Over ten years after it was founded, it continues to provide a community for “niche” varieties of political critique.

Drawing upon different strains of ‘alternative networking,’ the digital text-sharing underground gives a voice to those quieted by the mechanisms of institutional archives, publishing, and galleries. On the one hand, pirate libraries extend the logic of alternative art spaces/artist-run spaces that challenge the “white cube” and the art market; instead, they showcase ways of making that are often ephemeral, performative, and anti-commercial.

Lawrence Liang refers to projects such as Aaaaaarg as “ludic libraries,” as they encourage a sense of intellectual play that deviates from well-established norms of utility, seriousness, purpose, and property.

Just as alternative, community-oriented art spaces promote “fringe” art forms, the pirate libraries build upon open digital architectures to promote “fringe” scholarship, art, technological and archival practices. Though the comparison between physical architecture and virtual architecture is a metaphor here, the impact upon creative communities runs parallel.

At the same time, the digital text-sharing underground builds upon Robert W. McChesney’s calls in Digital Disconnect for a democratic media system that promotes the expansion of public, student and community journalism. A truly heterogeneous media system, for McChesney, would promote a multiplicity of opinions, supplementing for-profit mass media with a substantial and varied portion of nonprofit and independent media.

In order to create a political system – and a media system – that reflects multiple interests, rather than the supposedly neutral status quo, we must support truly free, not-for-profit alternatives to corporate journalism and “clickbait” media designed to lure traffic for advertisers. We must support creative platforms that encourage blending high-academic language with pop-culture; quantitative analysis with art-making; appropriation with authenticity: the pirate libraries serve just these purposes.

Pirate libraries help bring about what Gary Hall calls the “unbound book” as text-form; as he writes, we can perceive such a digital book “as liquid and living, open to being continually updated and collaboratively written, edited, annotated, critiqued, updated, shared, supplemented, revised, re-ordered, reiterated and reimagined.” These projects allow us to re-imagine both archival practices and the digital book for social networks based on the gift.

Aaaaaarg, Monoksop, UbuWeb, and Public Library build a record of critical and artistic discourse that is held in common, user-responsive and networkable. Amateur librarians sustain these projects through technological ‘hacks’ that innovate upon present archival tools and push digital preservation practices forward.

Pirate libraries critique the ivory tower’s monopoly over the digital book. They posit a space where alternative communities can flourish.

Between the cracks of the new information capital, the digital text-sharing underground fosters the coming-into-being of another kind of information society, one in which the historical record is the democratically-shared basis for new forms of knowledge.

From this we should take away the understanding that piracy is normal and the public domain it builds is abundant. While these practices will continue just beneath the official surface of the information economy, it is high time for us to demand that our legal structures catch up."]]></description>
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    <title>William Kentridge Interview on 'The Refusal of Time' - YouTube</title>
    <dc:date>2024-10-10T18:17:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mX_Qe2HKuEA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How can we get a hold of time with our body and mind? This question is the crux of South African artist William Kentridge’s immersive installation ’The Refusal of Time.’ Join the artist for a detailed tour of his pulsing, breathtaking work.

‘The Refusal of Time,’ 2012, is an immersive installation and a meditation on time, space and the complex legacies of colonialism and industry. A multi layered work packed to the brim with references - to early cinematic history, and the science and philosophy of time and images - the work combines visually seductive imagery, sculptural objects, megaphones and sound. ”It’s not a scientific lesson in time,” explains the artist. “But it uses the metaphors scientists use when they’re doing their deepest thinking about time.” Therefore references to Einstein’s theory of relativity and figures like black holes - “a space in which everything disappears, a way of talking about death” - feature throughout the work.

Kentridge uses cinema as ”an artistic, mechanical and optical means of playing with time,” to show time materialized. Cinema can slow time down, replay it, hold it, run it backwards, and by employing these techniques of making time visible, the work shows time, and essentially the trudge of a human life, as “a series of predictable, unremarkable actions that continue until we are worn out.” But within that frame there are also refusals says Kentridge. “Those moments of coherence, of understanding and changing the world, which is the most we can hope for.”

Fragmented and futile in its story telling, ‘The Refusal of Time’ also references the painful histories of colonial wars and anti-colonial revolts in the context of time. In the colonial era the imposition of European time in the colonies was a means of control, Kentridge explains. “The resistance towards time became a metaphor for other kinds of resistance towards other forms of political control.” “In the end” – the artist says polemically – ”the project isn’t really about time. It’s much more about to what extent do we escape our fate? To what extent are we heading towards our fate whether we like it or not? Can we change the world on our way or is this all illusory?”

William Kentridge (b. 1955) is a South African filmmaker, draughtsman, and sculptor. He has produced both animation, set design and sculpture as directing operas at the Metropolitan Opera in New York, USA, and the Royal Opera House in London, UK. His work has been shown around the world, e.g. at dOKUMENTA 10, 11 and 13 Kassel, Germany, the 1999 Venice Biennial, Italy, the Metropolitan Museum and the Museum of Modern Art, New York, USA, the Louvre, Paris, France, and Louisiana Museum of Modern Art, Denmark. Kentridge’s work is held in numerous private collections worldwide and he is the recipient of many prestigious awards such as the 1999 Carnegie Medal, the 2010 Kyoto Prize and the 2013 Commandeur des Arts et des Lettres.

William Kentridge's installation 'The Refusal of Time' is a collaboration with composer Philip Miller, filmmaker Catherine Meyburgh & Peter Galison, professor of the history of science and of physics at Harvard University. The work is part of the exhibition ’Thick Time’, at the Louisiana Museum of Modern Art, 16 February – 18 June, 2017. William Kentridge’s installation is also part of the Louisiana Collection.

This video also features extracts from 'Making Time', 2011, a film about the making of 'The Refusal of Time', filmed and edited by Catherine Meyburgh.

William Kentridge was interviewed Christian Lund in the installation of ‘The Refusal of Time’, at the Louisiana Museum of Modern Art, in February 2017.

Camera: Jakob Solbakken
Edited by: Klaus Elmer
Produced by: Christian Lund
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2017

Supported by Nordea-fonden"

[See also:
https://louisiana.dk/en/exhibition/kentridge-the-refusal-of-time/

https://www.kentridge.studio/william-kentridge-projects/the-refusal-of-time/

https://www.sfmoma.org/exhibition/william-kentridge-refusal-time/
https://www.sfmoma.org/theme/on-william-kentridges-the-refusal-of-time/
https://www.sfmoma.org/watch/william-kentridge-refusal-time/

https://www.metmuseum.org/art/online-features/metcollects/the-refusal-of-time

https://www.youtube.com/watch?v=izc7yqJDlB4

https://www.theguardian.com/culture/australia-culture-blog/2014/feb/21/william-kentridge-the-refusal-of-time-interview ]]]></description>
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<item rdf:about="https://www.allenandunwin.com/browse/book/Bill-Gammage-Biggest-Estate-on-Earth-9781743311325">
    <title>The Biggest Estate on Earth: How Aborigines Made Australia (2012) - Bill Gammage -- Allen &amp; Unwin - 9781743311325 - Allen &amp; Unwin - Australia</title>
    <dc:date>2024-09-30T03:35:10+00:00</dc:date>
    <link>https://www.allenandunwin.com/browse/book/Bill-Gammage-Biggest-Estate-on-Earth-9781743311325</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Explodes the myth that pre-settlement Australia was an untamed wilderness revealing the complex, country-wide systems of land management used by Aboriginal people.

Winner of the Prize for Australian History in the Prime Minister's Literary Awards 2012; The History Book Award in the Queensland Literary Awards 2012; the Victorian Prize for Literature 2012; and the ACT Book of the Year 2012

Across Australia, early Europeans commented again and again that the land looked like a park. With extensive grassy patches and pathways, open woodlands and abundant wildlife, it evoked a country estate in England. Bill Gammage has discovered this was because Aboriginal people managed the land in a far more systematic and scientific fashion than we have ever realised.

For over a decade, Gammage has examined written and visual records of the Australian landscape. He has uncovered an extraordinarily complex system of land management using fire and the life cycles of native plants to ensure plentiful wildlife and plant foods throughout the year. We know Aboriginal people spent far less time and effort than Europeans in securing food and shelter, and now we know how they did it.

With details of land-management strategies from around Australia, The Biggest Estate on Earth rewrites the history of this continent, with huge implications for us today. Once Aboriginal people were no longer able to tend their country, it became overgrown and vulnerable to the hugely damaging bushfires we now experience. And what we think of as virgin bush in a national park is nothing of the kind."

[see also:
"Bill Gammage discusses 'The Biggest Estate on Earth'"
https://www.youtube.com/watch?v=Sko-YDIULKY

via:

"Our Food Is Killing Us. Regenerative Farming Fixes This. | Joel Salatin"
https://www.youtube.com/watch?v=2DyF4qTqDpY ]]]></description>
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<item rdf:about="https://dumit.net/how-i-read/">
    <title>How I Read – dumit</title>
    <dc:date>2024-09-30T02:08:53+00:00</dc:date>
    <link>https://dumit.net/how-i-read/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2012 howweread reading josephdumit joedumit teaching pedagogy</dc:subject>
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<item rdf:about="https://www.wired.com/2012/06/mr-electrico/">
    <title>Mr. Electrico | WIRED</title>
    <dc:date>2024-09-18T19:41:25+00:00</dc:date>
    <link>https://www.wired.com/2012/06/mr-electrico/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["http://www.theparisreview.org/interviews/6012/the-art-of-fiction-no-203-ray-bradbury

(...)

INTERVIEWER

That’s the character who makes a brief appearance in Something Wicked This Way Comes, right? And you’ve often spoken of a real-life Mr. Electrico, though no scholar has ever been able to confirm his existence. The story has taken on a kind of mythic stature—the director of the Center for Ray Bradbury Studies calls the search for Mr. Electrico the “Holy Grail” of Bradbury scholarship.

BRADBURY

Yes, but he was a real man. That was his real name. Circuses and carnivals were always passing through Illinois during my childhood and I was in love with their mystery. One autumn weekend in 1932, when I was twelve years old, the Dill Brothers Combined Shows came to town. One of the performers was Mr. Electrico. He sat in an electric chair. A stagehand pulled a switch and he was charged with fifty thousand volts of pure electricity. Lightning flashed in his eyes and his hair stood on end.

The next day, I had to go the funeral of one of my favorite uncles. Driving back from the graveyard with my family, I looked down the hill toward the shoreline of Lake Michigan and I saw the tents and the flags of the carnival and I said to my father, Stop the car. He said, What do you mean? And I said, I have to get out. My father was furious with me. He expected me to stay with the family to mourn, but I got out of the car anyway and I ran down the hill toward the carnival.

It didn’t occur to me at the time, but I was running away from death, wasn’t I? I was running toward life. And there was Mr. Electrico sitting on the platform out in front of the carnival and I didn’t know what to say. I was scared of making a fool of myself. I had a magic trick in my pocket, one of those little ball-and-vase tricks—a little container that had a ball in it that you make disappear and reappear—and I got that out and asked, Can you show me how to do this? It was the right thing to do. It made a contact. He knew he was talking to a young magician. He took it, showed me how to do it, gave it back to me, then he looked at my face and said, Would you like to meet those people in that tent over there? Those strange people? And I said, Yes sir, I would. So he led me over there and he hit the tent with his cane and said, Clean up your language! Clean up your language! He took me in, and the first person I met was the illustrated man. Isn’t that wonderful? The Illustrated Man! He called himself the tattooed man, but I changed his name later for my book. I also met the strong man, the fat lady, the trapeze people, the dwarf, and the skeleton. They all became characters.
Mr. Electrico was a beautiful man, see, because he knew that he had a little weird kid there who was twelve years old and wanted lots of things. We walked along the shore of Lake Michigan and he treated me like a grown-up. I talked my big philosophies and he talked his little ones. Then we went out and sat on the dunes near the lake and all of a sudden he leaned over and said, I’m glad you’re back in my life. I said, What do you mean? I don’t know you. He said, You were my best friend outside of Paris in 1918. You were wounded in the Ardennes and you died in my arms there. I’m glad you’re back in the world. You have a different face, a different name, but the soul shining out of your face is the same as my friend. Welcome back.

Now why did he say that? Explain that to me, why? Maybe he had a dead son, maybe he had no sons, maybe he was lonely, maybe he was an ironical jokester. Who knows? It could be that he saw the intensity with which I live. Every once in a while at a book signing I see young boys and girls who are so full of fire that it shines out of their face and you pay more attention to that. Maybe that’s what attracted him.

When I left the carnival that day I stood by the carousel and I watched the horses running around and around to the music of “Beautiful Ohio,” and I cried. Tears streamed down my cheeks. I knew something important had happened to me that day because of Mr. Electrico. I felt changed. He gave me importance, immortality, a mystical gift. My life was turned around completely. It makes me cold all over to think about it, but I went home and within days I started to write. I’ve never stopped.

Seventy-seven years ago, and I’ve remembered it perfectly. I went back and saw him that night. He sat in the chair with his sword, they pulled the switch, and his hair stood up. He reached out with his sword and touched everyone in the front row, boys and girls, men and women, with the electricity that sizzled from the sword. When he came to me, he touched me on the brow, and on the nose, and on the chin, and he said to me, in a whisper, “Live forever.” And I decided to."

[via:
https://www.robinsloan.com/newsletters/golden-door/

"If you haven’t ever read Ray Bradbury’s tale of Mr. Electrico, and his origin as a writer — maybe as a person — then go rectify the situation immediately. I don’t even want to quote anything; it’s all just a thrilling, iconic sequence of memory. Another golden door."]]]></description>
<dc:subject>raybradbury experience 2012 1932 circuses carnivals death funerals reincarnation importance listening engagement magic immortality interest attention 2010 memory robinsloan</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=cpt28mQQRIw">
    <title>Chris Hedges: The Cost of Resistance - YouTube</title>
    <dc:date>2024-09-18T02:54:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=cpt28mQQRIw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This video is a recording of a talk given by Chris Hedges at the Kairos Club London on September 11, 2024. Drawing on his intimate knowledge of resistance and repression, Hedges detailed the methods we need to adopt to defeat the powerful interests, including the fossil fuel industry and the animal agriculture industry, which have placed their profits above the protection of our species and all life on earth. 

Hedges’ talk is preceded by an audio intro from Roger Hallam. Hallam is part of the “Whole Truth Five,” who are five members of Just Stop Oil who were sentenced last month to the longest ever prison sentences for non-violent protest.

Following their conviction, the UN special rapporteur on environmental defenders, Michel Forst said “Today marks a dark day for peaceful environmental protest, the protection of environmental defenders and indeed anyone concerned with the exercise of their fundamental freedoms in the United Kingdom.”"

[transcript here:
https://chrishedges.substack.com/p/the-cost-of-resistance ]]]></description>
<dc:subject>chrishedges resistance revolution 2024 rogerhallam extinctionrebellion michelforst revolt history oligarchy socialtransformation repression fossilfuels climatechange globalwarming agriculture juststopoil petroleum bigoil environment firstintifada palestine israel tunisia rosaluxemburg abolitionists abolition abolitionism slavery change changemaking fanatics nietzsche lenin vladimirlenin isolation dissidents 1989 easterneurope communism ideology václavhavel protest protests clivehamilton slobodanmilosevic centralamerica algeria yemen sudan punjab media oppression power government iraq afghanistan wikileaks climatecrisis governance alexanderkerensky russia ussr sovietunion jabalia politics politicians law legal ericfoner abrahamlincoln julianassange lindalakhdhit imprisonment journalism sarahwilkinson richardbarnard richardmedhurst craigmurray uk us reform greece españa spain egypt bahrain syria libya turkey brasil brazil ukraine hongkong chile korea southkorea stateviolence nato zionism neoliberalism mil</dc:subject>
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<item rdf:about="https://aeon.co/essays/burnished-by-brokenness-leonard-cohens-spirituality">
    <title>Burnished by brokenness, Leonard Cohen’s spirituality | Aeon Essays</title>
    <dc:date>2024-09-11T01:02:39+00:00</dc:date>
    <link>https://aeon.co/essays/burnished-by-brokenness-leonard-cohens-spirituality</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A cracked voice, an empty bank account, a tour of duty. Who would have thought so much light could still get in?"

...

"Cohen’s religious background is one of contradiction and complexity. Born into a Jewish family in Montreal in 1934, his maternal grandfather was a rabbi, and the young Leonard enjoyed reading the Book of Isaiah with him. Unsurprisingly, Old Testament imagery crops up regularly in his poems and songs, adding to his reputation — only partly deserved — for austerity and solemnity. Yet Montreal was very much a Catholic city (Cohen even had an Irish nanny as a child), and his work is just as likely to refer to Jesus, Mary or Joan of Arc. Indeed, his first successful song, ‘Suzanne’, tells of ‘our lady of the harbour’, a statue that stands in the chapel of Nôtre Dame de Bon Secours, one of the city’s oldest churches.

But while the imagery might have appealed, Cohen never thought of converting to Catholicism. In his own idiosyncratic way, he maintained a loyalty to Judaism, despite his many indulgences in the archetypal rock and roll foibles of sex and drugs. It wasn’t until the age of 33, by which time he had begun to make his name as a poet and novelist and was recording his first album, that he became seriously interested in the doctrine and practice of another religion — Zen Buddhism.

Though he became closely associated with the teachings of the Rinzai monk Joshu Sasaki, known as Roshi, Cohen still identified himself as a Jew. What he craved in his association with Roshi was something he called ‘the voluptuousness of austerity’, a delectably contradictory concept that echoes both the koan (the paradoxical statements and questions that are central to Zen practice) and Cohen’s own attitude to the spiritual life: at various times committed, ambivalent or mocking, and sometimes all three at once. One of the things that attracted Cohen to Roshi’s teachings was the teacher’s ability to discuss the benefits of self-denial while knocking back cups of sake. The two of them also later bonded over a shared fondness for brandy. When Cohen became a resident at Roshi’s monastery on Mount Baldy in California, he would wake up half an hour before the 3am start demanded of residents, not for extra meditation time, but because he knew he’d need vast quantities of coffee and cigarettes to prepare himself for the drudgery of the prescribed rituals.

There is, understandably, a temptation to look for a doctrine or creed in Cohen’s writing that captures his spiritual outlook — nonetheless, it is a temptation that is not easily satisfied. The history of his best-known song, ‘Hallelujah’ (originally released on the Various Positions album in 1984), neatly encapsulates his spiritual eclecticism. Its lyrics draw on the story of David and Bathsheba in the second Book of Samuel, but Cohen so obsessively wrote and rewrote the piece over the years that the explicitly theological content (‘Maybe there’s a God above…’) came and went. What remains, above all, is a tribute to the power of religious music, of hymns and ritual itself, without specific acknowledgement of any particular religious truth underpinning it. There is something indefinably hymn-like about it — Guy Garvey of the band Elbow, who comes from a Catholic background, has described it as ‘a mantra’ — but ultimately it transcends any particular denominational categorisation, and has found favour with the devout and atheists alike, as well as most steps in between.

If anything, it’s a hymn to hymns, rather than to God (or gods). As such, it’s been recorded by the Algerian singer Khalida Azzouza and by the erstwhile Songs of Praise host Aled Jones, but it is also played every Saturday night on the radio station of the Israeli Defence Forces. (Cohen played some ad hoc concerts for Israeli soldiers during the Yom Kippur war in 1973.) Cohen tends to be evasive when asked to explain his work, but he suggests that the lyrics explain that ‘Many kinds of hallelujahs do exist, and all the perfect and broken hallelujahs have equal value.’ This notion of brokenness, an awareness of one’s own frailties and imperfections, crops up time and again in Cohen’s lyrics. In ‘Anthem’ (1992), the notion of the ‘perfect offering’ (the Biblically sanctioned sacrifice to God) is spurned in favour of the ‘crack in everything — that’s how the light gets in.’ Nothing good (or enlightening) is possible without flaws or fractures. In ‘Come Healing’, from his most recent album Old Ideas (2012), brokenness is specifically equated with the splinters of Christ’s cross. What is paramount is Cohen’s awareness of the grimness of existence, and for many years critics sarcastically dubbed him ‘Laughing Lenny’ for the apparently gloomy nature of his outlook. But, it is from such fractures and splinters that the ‘healing of the spirit’ comes. His recent temporal crisis might have, in a very literal sense, been about being broke but, in spiritual terms, Cohen has always been broken. Brokenness is not an end in itself, but an opportunity to allow something else to happen.

While Cohen has frequently dealt with religious themes in other songs, the more often he does it, the harder it is to pin down to any specific ideology. ‘Who By Fire’ (1974) is based on the structure of the Kaddish, the Jewish prayer for the dead; ‘The Smokey Life’ (1979) suggests the impermanence at the core of Buddhism; ‘Anthem’, with its bells and ‘holy dove’ hints at the Christian ritual and imagery that informed much of his early works. But Cohen’s theology, however he might define it, seems anything but easy-going. Old Ideas is riddled with intimations of mortality. As well as ‘Come Healing’, it includes a piece simply titled ‘Amen’ that sounds almost like a crib sheet for the King James Bible, with references to angels, ‘the blood of the lamb’, and the assertion that ‘vengeance belongs to the lord’.

Some fans might regard themselves more as disciples than mere enthusiasts. Yet, while Cohen might have admired the rigours of discipline — as a boy he’d seriously contemplated joining the Canadian army, and one of the attractions of his time in the Buddhist monastery was the quasi-military discipline it imposed — he was always wary of those who sought to administer it. He might have had a close and fond relationship with Roshi the Zen master, but he never saw him as a guru. As Cohen said in an interview on Mount Baldy: ‘I’ve always had a great suspicion of charismatic holy men… A lot of them are just head hunters.’ It was a resistance to being led that he’d expressed as far back as his first album, Songs of Leonard Cohen (1967). The lyrics of ‘Master Song’ from that album castigate the chancers and charlatans that he — in common with many of his contemporaries — had encountered in the quest for spiritual fulfilment. True to his Jewish upbringing, Judaism, Cohen lacks any particular evangelical urge or thirst for converts.

Cohen himself certainly isn’t claiming to be any kind of leader, spiritual or otherwise. The rabbinical line had stopped with his grandfather. And yet, many of those who have been to one of Cohen’s concerts report some kind of spiritual response, something beyond the purely earthbound sensation of going to a good gig. Perhaps the closest analogy is with the waiting worship of a traditional Quaker meeting, which operates without leadership or liturgy; in this analogy, Cohen himself is more of a ‘facilitator’, whose songs awaken something individual rather than collective. At a Cohen concert, it is possible to be in the company of tens of thousands of fellow fans, and yet still feel exquisitely alone. In that context, the sober grey suit and fedora he has adopted as his stage outfit make him look more like an undertaker than a priest.

If Cohen does have any particular spiritual message — and I rather suspect he’ll go to his grave denying such a thing — it is this call to the individual. Other rock performers — Dylan the Christian, Cat Stevens/Yusuf Islam the Muslim, George Harrison the devotee of Hare Krishna — have evangelised for their chosen faiths, but that’s too easy a liturgy for Laughing Lenny, who has never promoted Judaism or Zen or any other particular creed as a panacea. He has crafted his own method of coming to terms with the transcendent, but doesn’t offer it as an off-the-peg gift to the punters. If there is such a thing as Cohenism, it is simultaneously syncretic and idiosyncratic. It’s for Cohen alone: the fans have to find their own paths. ‘You don’t need to follow me,’ he seems to intone along with Monty Python’s Brian. ‘You don’t need to follow anybody.’ Each of us has to compose a personal amen, a high and lonesome — and defiantly imperfect — hallelujah."]]></description>
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<item rdf:about="https://freddiedeboer.substack.com/p/clinton-and-obama-gave-us-trump">
    <title>Clinton &amp; Obama Gave Us Trump - Freddie deBoer</title>
    <dc:date>2024-08-12T18:15:16+00:00</dc:date>
    <link>https://freddiedeboer.substack.com/p/clinton-and-obama-gave-us-trump</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["when the far-right party and the center-right party both move right, guess what direction the country goes in?"
]]></description>
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<item rdf:about="https://walkerart.org/magazine/keep-listening-vijay-iyer-at-the-walker-part-1/">
    <title>Keep Listening: Vijay Iyer at the Walker (Part 1)</title>
    <dc:date>2024-07-10T07:01:14+00:00</dc:date>
    <link>https://walkerart.org/magazine/keep-listening-vijay-iyer-at-the-walker-part-1/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Part 2:
https://walkerart.org/magazine/keep-reaching-vijay-iyer-at-the-walker-part-2/ ]]]></description>
<dc:subject>vijayiyer jazz music 2012</dc:subject>
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<item rdf:about="https://walkerart.org/magazine/vijay-iyer-activism-politics-das-racist-bjork-meredith-monk/">
    <title>Vijay Iyer's Venn Diagram: Community, Politics, and Activism</title>
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    <title>Djibril Diop Mambety: The Dreamer - YouTube</title>
    <dc:date>2024-07-01T19:53:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=VpgbKjNVTes</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Africa Is a Country and Tsogo Kupa present the second in a series of video essays about African film. This episode concentrates on the legacy of Senegalese director, Djibril Diop Mambety."
]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=u5IWS3hO_74">
    <title>Mads Gilbert Unapologetic - YouTube</title>
    <dc:date>2024-05-29T19:54:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=u5IWS3hO_74</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“There shall be no trace of Palestinian society, culture, history because they going to be wiped out… This is I think the plan for the Zionists.”

Mads Gilbert is a Norwegian anesthesiologist and emergency medicine specialist who has made frequent trips since 1982 to Palestinian refugee camps in Lebanon, the West Bank and Gaza to help deliver urgent medical care to Palestinian victims of Israeli atrocities.

On UNAPOLOGETIC he shares his experiences, and how by providing medical services he has come to understand both Israel and the Palestinian liberation struggle against occupation and colonisation. 

He is a firm advocate on the right for Palestinians to resist the occupation with arms within the confines of International law.

00:00 Intro
01:12 The medical situation in Gaza
04:57 First trip to Lebanon in 1982
07:28 Israel's brutality in 1982 Lebanon
10:22 Learning about the Palestinian story and Israeli colonialism
12:30 The epistimicide of the Palestinians
16:12 Did you think there would be justice after Bierut 1982
19:30 A brief history of Israeli impunity
23:00 International law is being torn up
25:12 Gaza's gas and continental shelf
27:33 Did you think this would go on for 7 months
30:41 Society let the holocaust happen and are doing the ame now
32:00 The importance of Palestinian resistance
35:40 Gaza health care workers killed and tortured
39:00 accuracy of health stats out of Gaza
42:00 Scale of the destruction
45:50 heroism of Palestinian healthcare workers
50:00 Impact of Israel's seige on health pre October 7th
52:40 800 people to 1 toielt in Gaza right now
55:10 history of false accuations against al shifa hospital
58:35 fake claims against UNRWA
01:01:00 ever heard of an Israeli hopsital or ambulance bombed
01:02:30 Right to resist with arms
01:04:22 Gaza 2008
01:07:37 Compassion fatigue
01:10:26 Our obligation is to rebuild Gaza
01:13:39 Protests need to translate into electoral losses
01:15:17 Not a difficult conflict a difficult occupation
01:17:00 What if the worst happens
01:20:30 The pier may be used for sinister reasons
01:23:00 We are all Gaza"]]></description>
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<item rdf:about="https://www.nytimes.com/2024/05/21/fashion/watches-ludovic-ballouard-switzerland.html">
    <title>The Watchmaker Ludovic Ballouard Believes in the Here and Now - The New York Times</title>
    <dc:date>2024-05-23T18:33:36+00:00</dc:date>
    <link>https://www.nytimes.com/2024/05/21/fashion/watches-ludovic-ballouard-switzerland.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ups and downs in the industry, coupled with a tragic loss, have taught Ludovic Ballouard that the most important time is now."

...

"Time may be divided into past, present and future, but for the independent Swiss watchmaker Ludovic Ballouard, the only time that counts is the present.

It’s a philosophy he developed the hard way, through personal suffering and loss. Watching his wife, Eveline, endure cancer for 10 years took a toll. “I realized you have to live in the moment,” he said. “Time is now.”

Mr. Ballouard’s work, known for being innovative yet iconoclastic, expresses his carpe-diem approach to life. On the rule-breaking Upside Down watch introduced in 2009, 11 of the hour markers are displayed upside down on the dial — the only one right-side up tells the current hour, the present.

As he sipped espresso in his atelier about six miles outside Geneva, he took one of his Upside Down watches out of its case and showed how it worked, turning the hands until the number of the current hour flipped up. Then he showed the clear, skeleton back, with the B01 movement he created, and pointed out that he had used 200-year-old techniques. “I got the idea when I was repairing old watches,” he said.

His other watch style, the Half Time with the B02 movement he created, came out in 2012 in homage to Eveline, who died in 2017. The watch, he said, expressed the “spirit of love as two pieces on the dial come together” to show the time. The hours on the dial are unreadable except for the current one. “The past is gone,” he said. “The future is unknown,” and only the present hour “clicks in place, so you focus on the present moment.”

His Upside Down and Half Time watches are “a very classic design, not show-offs, but classic with complications,” he said. He works in red gold and platinum and dials can be malachite, meteorite, aventurine, lapis lazuli, osmium or studded with diamonds, enameled or guillochéd by the noted horologist Brittany Nicole Cox, who “only works for me,” he said.

The numerals on the custom-made watches can be Roman, Arabic, Hebrew, Chinese or Thai. The buckles on the often-alligator straps form the letter B. Each watch is presented in a box made of oak from Brittany, France, where Mr. Ballouard grew up.

The waiting list for his watches is 18 months and that’s fine with him. “We want to remain small,” he said. The price of the standard Upside Down model with a platinum case is 87,000 Swiss francs, or about $76,000, excluding taxes, and the most expensive Upside Down with an osmium dial is 180,000 francs, excluding taxes.

The watches are made in his atelier in the village of Avusy in a 200-year-old building that once was a post office. His work room, while compact, is open, airy and modern, with one big square work table for him and two assistants. Last year they made 35 watches — 30 Upside Down, five Half Time.

Pride of place is given to an antique pendulum clock that had been in his family home in Brittany. As a child, “I always listened to its chimes,” he said.

Back then, his passion was airplanes and his hobby was building model planes from scratch. In 1989, he graduated from watchmaking school in Rennes, France, and worked in Dinard restoring the instruments and timepieces on airplane instrument panels.

“It was the best experience,” he said. “Many of the pieces were ancient,” and in repairing them he learned the many ways they had been constructed over the years.

Determined to pursue a career in watchmaking, he moved to Geneva in 1998. He got a job at the luxury watchmaker Franck Muller and stayed for three years.

Along the way, Mr. Ballouard met Eveline, who worked at Vacheron Constantin, and he then began freelancing for that brand before signing on with F.P. Journe for seven years.

The experience was tremendous, he said. “After four years I started making the Grand Sonnerie,” a complicated, prestigious type of watch. “The more the complications,” he said, “the more it pleases me.”

In 2009, after the financial crisis hit the industry, Mr. Ballouard said F.P. Journe downsized and he was out of a job. He had been thinking of starting his own brand, and Eveline encouraged him to do so.

“She told me to follow my heart,” he said, adding that because of the crisis, “suppliers had a lot of time. They needed customers. I could ask for anything, and I didn’t have to wait. I could get movements in two months instead of two years.”

Wasting no time, he started Montres Ludovic Ballouard — now called simply Ludovic Ballouard — and by the end of 2009 he had introduced the Upside Down.

One particularly prestigious assignment came from Harry Winston to create the Opus XVIII watch, and to do so in just 11 months. He hired staff to help, and the watch debuted at Baselworld in 2013.

But his wife “was getting more and more sick,” he said. “That’s when I realized the past is gone, the future is unknown. Only the present moment is real.”

So he set about creating a new present. Within months of her death, he moved from busy, bustling Geneva to Avusy, where he has a cottage near his atelier with his wife, Flavia, an Italian business executive, and their 5-year-old son, Gabriel.

Mr. Ballouard said he entertained clients and watch fans in Avusy. His specialty is raclette, which he serves in the field, with a view of grazing goats, using a tractor as a serving table.

One client who Mr. Ballouard said was a regular visitor is Edward Tonkin, a retired car dealer in Portland, Ore., who owns two Upside Downs and one Half Time, the first one Mr. Ballouard made.

“I fell in love with this amazing, unique, never-before-done-and-not-since-either timepiece, but not nearly as much as I fell in love with Ludo,” he wrote in an email.

“His creativity knows no bounds, and he is a most passionate curator of his craft,” Mr. Tonkin wrote. “ A true watchmaker in every sense of the word.”

Mr. Ballouard, however, insists that the creation he is proudest of is Gabriel. Together they have started what the watchmaker calls “a collaboration, Ludovic Ballouard et Fils.”

“Gabriel is such an artist, he made his own watch,” Flavia said. It’s called the Gaga Watch — Gabriel’s nickname — and features the child’s design of bright colors on the face of the Upside Down.

It’s the watch his father wears, every day, past, present and future."

[archived:
https://archive.ph/9n69r ]]]></description>
<dc:subject>ludovicballouard watches watchmaking 2024 creativity 2009 fpjourne dinard france brittany brittanynicolecox 2012 avusy 2013 baselworld harrywinston</dc:subject>
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<item rdf:about="https://thenewinquiry.com/border-control/">
    <title>Border Control – The New Inquiry</title>
    <dc:date>2024-04-07T21:59:14+00:00</dc:date>
    <link>https://thenewinquiry.com/border-control/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2012 film border borders sleepdealer alexriver filmmaking mexico california tijuana sandiego capitalism labor drones military</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:240834625356/</dc:identifier>
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<item rdf:about="https://www.publicbooks.org/the-anti-revolutionary-science/">
    <title>The Anti-Revolutionary Science - Public Books</title>
    <dc:date>2024-03-24T21:04:28+00:00</dc:date>
    <link>https://www.publicbooks.org/the-anti-revolutionary-science/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://twitter.com/calvinjburke/status/1771422151914225761
https://pinboard.in/u:robertogreco/b:66dc4010c465 ]

"This passage captures in miniature much of the intellectual character of Nasar’s book: her sense that the story of economics is primarily a story of “optimism” overcoming the fables of scarcity propounded by early economists like Thomas Malthus and David Ricardo; her admiration for Marshall’s turning to empirical observation rather than mere theory; her citation of the existence of statistics somewhere that confirm the correctness of that turn to the empirical; and her sense that the ability to point to “rising standards of living” is a refutation of the Marxist critique of political economy.

Nasar, like most economic thinkers, is haunted by Marx, and she very much wants to believe that ideas like Marshall’s will dispel his specter forever, because the data proved Marshall right. Again and again in Grand Pursuit, Nasar wags her finger at Marx—whom she believes wished suffering upon the working classes, so that they would spring despairing into revolutionary action—while pointing triumphantly to some moment in some place or other when the “standard of living” of the poor briefly rose. It’s the most repetitive gesture in the book.

But standards of living, even construed within the restricted terms of economics, can fall as easily as they rise: just this November, The New York Times reported that wages as a portion of American GDP (a key feature of how Nasar understands “standards of living”) were the lowest they’d been since 1929. So it’s hard to treat a temporary condition of the economy as a permanent achievement of the field that studies it. The numbers belie the story arc.

The problem for Nasar’s book is worse than the numbers not turning out in her favor, however; indeed, part of the problem is with numbers. Nasar takes on faith the virtue of empiricism while never asking how the figures she imagines being able to cite (she rarely cites them) are arrived at. As the economics writer Yves Smith pointed out after the crash of 2008:

<blockquote>Even when findings are empirical rather than theoretical, economists can give them more credence than they warrant. People tend to see figures as “hard” outputs: objective, reliable, repeatable, verifiable. But a good deal of economic data, such as unemployment, inflation, and GDP growth, are statistical approximations, rather than “hard” data points.2</blockquote>

Even if Nasar were able to acknowledge that “the facts” she prizes are actually more like statistical approximations, she would still be facing a deeper problem, which is that, in the period immediately after her story ends, economics goes down a rabbit hole in which statistics begin to be significant simply because they are statistics. This problem is characterized with typically merciless wit by the gadfly economist Deirdre McCloskey in her 2002 manifesto, The Secret Sins of Economics:

It is also completely obvious that a “statistically significant” result can be insignificant for any human purpose. When you are trying to explain the rise and fall of the stock market it may be that the fit (so-called: it means how closely the data line up) is very “tight” for some crazy variable, say skirt lengths (for a long while the correlation was actually quite good). But it doesn’t matter: the variable is obviously crazy. Who cares how closely it fits? For a long time in Britain the number of ham radio operator licenses granted annually was very highly correlated with the number of people certified insane.3

Even McCloskey, though, will not take the next step and acknowledge that it’s not only the more fanciful ideas in economics, but also the central ones, that face this problem. Take, for instance, the idea of “wealth,” which Nasar’s economists universally equate with the ability to purchase commodities, especially luxury goods. For support in making this reductive equation, Nasar approvingly cites the conservative economist Joseph Schumpeter, who wrote in his 1942 masterwork Capitalism, Socialism, and Democracy that “Queen Elizabeth owned silk stockings. The capitalist achievement does not typically consist in providing more silk stockings for queens but in bringing them within reach of factory girls.” It takes a more than a little habituation to “economic” thinking to realize that this statement conveys the essence of the profession’s idea of “wealth.”

But drawing stockings over the weary legs of a factory girl will no more make her “wealthy” than a thin scrim of romantic subplots and coming-of-age tropes will make the story of modern economics into a romance of the scientific intellect, and Nasar cannot see this. She is unable to acknowledge that economics, far from being an adventure in pure thought or a disinterested “science,” is in fact “scientific” only in the highly specific sense that it is the science of capitalism—or, more accurately, the science of defending capitalism. Through the back door, Nasar admits this thought into her story: the preface describes economics as the search for “a way to improve the lot of the poor without overturning existing society”; and in a description that applies to the vast majority of economists, she notes that Keynes “regarded instability, not inequality, as the great threat to capitalism.” Others are more direct about the managerial function of the field. Robert Heilbroner, whose 1953 book, The Worldly Philosophers, remains one of the most influential histories of economics ever published, wrote in 1995 that “[the] inextricable entanglement of economics with capitalism appears to be the best guarded secret of the profession. Indeed, one suspects that the secret is not even known to all economists.”4 He adds that “the very meaning of ‘economic’ would be unintelligible outside capitalism.”5

This entanglement is lost on Nasar, who writes as though it were economic ideas rather than capitalism transforming the world. Observers cannier than I have noticed this trouble with the book: in his review for The Wall Street Journal, James Grant writes that “economists no more set the world to producing and consuming than baseball statisticians hit home runs.”6 The real geniuses, he suggests, are successful capitalists.

And this is the crux of the problem with Grand Pursuit: the big idea lurking behind “economic genius” is the defense of capitalism, but, brought out in the open, the defense of capitalism tends to sounds heartless. Its sunny side lies in the Marshallian gospel of good times: as long as the wheels are spinning, we can all get wealthier, even if some of us get wealthier than others. Its dark side, which readers can depend on Schumpeter to provide, is that the bad times, when the poor suffer the most, are just the way of the world. Nasar quotes him with sympathy: “Like it or not, [Schumpeter] liked to say, ‘the pattern of boom and bust is the form economic development takes in the era of capitalism.’ ”

That’s an interesting phrase, “the era of capitalism”; it implies it might end. For Schumpeter, nervously gauging the possibility of a socialist East in the 1930s, this was a real concern. For us in 2012, it sounds disingenuous, as though capitalism were just something we’re all trying out while we weigh its pros and cons. But the window for such debates has long since closed, and even if it hadn’t, economics would not be the field to pursue the question of alternatives to capital. It cannot imagine society organized differently than today. No wonder it proved so difficult to write the history of the profession as a romance of the intellect: the paradise of economic theory is simply 2012 with more silk stockings.

In 2006, the economic journalist David Warsh published an enthusiastic history of the field called Knowledge and The Wealth of Nations in which he had the misfortune to focus his zeal precisely on the rise of the mathematics that would come to signify the profession’s complicity in the crash of 2008, a problem Nasar knew well to avoid. But the two books’ admiring portraits share a strong resemblance. For Warsh, until the 1980s and the beginning of the PC revolution, economics really had been the science of scarcity. But, in his story, the rise of the era of the personal computer made economists realize that the source of wealth isn’t stored up in our diminishing natural resources—but in our boundless creativity. In terms very much like the Marshallian ones on which Nasar depends, Warsh’s book tells the story of the rise of what economists have taught us to call “human capital”: the idea that the origin of value (which is seen to have an origin) lies not in material goods per se but in our capacity to recognize the infinite wealth-creating potential in technology. Warsh assigns a much later date to this discovery of abundance—it’s the PC, rather than the railroad or the automobile, that finally rescues us from scarcity—but the storyline is the same.

There is an illuminating difference between Warsh’s book and Nasar’s, though, and it lies in Warsh’s frank account of how the profession policed itself along the road to its math-driven adulthood. Throughout his book, he notes that the worst dismissal that a postwar economist’s work could suffer was that it was “literary.” He describes economists using the word as a cudgel with each other; he uses it himself. For Warsh and his protagonists, the problem with literariness lies in its un-mathematical, and therefore un-scientific nature. But since there is no shortage of commentary among recent economic writers who are willing to say in public that math does not a science make (see, for instance, sympathetic books by Robert Nelson and Jonathan Schlefer), one wonders whether the real force of the epithet is that “literary” work fails to acknowledge the hard truth behind the prosperity-messaging: the truth, à la Schumpeter, that capitalism is not an optional experiment in living, but a compulsory experience of turmoil.

 The word “literary” is particularly revealing in this context because, futile though her attempt may be to make a romantic narrative out of the history of economics, Nasar may have been on to something when she tried. She may have sensed, more thoughtfully than Warsh, that there’s something in economic anti-literariness, and in its pretensions to “science,” that calls out for remedy. But she misunderstands the problem, which is not that economics may once have had a literary soul. The problem is that there’s no resolving the conflict between capitalism and what I hope you won’t mind my calling poetry—if by “poetry” I may be permitted to mean the ability to imagine the world otherwise.

For Nasar, touchingly, economics is “scientific” not because it’s rigorous, but because it’s a product of the Enlightenment: she wants very badly to be able to tell the story of economic thinking as a tale of technical progress, in which economists drive poverty from the earth like medical scientists drove away polio. Certainly, liberal economists would like to think of their profession this way, as a prophecy of plenty; they have chafed at the epithet “the dismal science” since Thomas Carlyle first deployed it against the field’s pro-slavery arguments in 1849.

Carlyle’s coinage was, of course, a clever inversion of the idea of a “gay science”—first known to us in Provençal as gai saber, the art of writing poetry, and later, via Nietzsche, as the wisdom of a “science” that revels in not needing to defend itself by claiming to be one. But nobody who’s paying attention to economic theory could mistake it for a science. Unfortunately for economics, it isn’t poetry either. And as the art of apology for the world as it is, it never will be."]]></description>
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<item rdf:about="https://thepiratebook.net/">
    <title>The Pirate Book – The Pirate Book – A compilation of stories about sharing, distributing and experiencing cultural contents outside the boundaries of local economies, politics, or laws</title>
    <dc:date>2024-03-22T03:05:12+00:00</dc:date>
    <link>https://thepiratebook.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This work offers a broad view on media piracy as well as a variety of comparative perspectives on recent issues and historical facts regarding piracy. It contains a compilation of texts on grass­roots situations whose stories describe strategies developed to share, distribute and experience cultural content outside of the confines of local economies, politics or laws. These stories recount the experiences of individuals from India, Cuba, Brazil, Mexico, Mali and China. The book is structured in four parts and begins with a collection of stories on piracy dating back to the invention of the printing press and expanding to broader issues (historical and modern anti­piracy technologies, geographically­ specific issues, as well as the rules of the Warez scene, its charters, structure and visual culture…)."]]></description>
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<item rdf:about="https://culturestudypod.substack.com/p/the-bizarre-world-of-celebrity-philanthropy">
    <title>The Bizarre World of Celebrity Philanthropy</title>
    <dc:date>2024-02-06T17:44:56+00:00</dc:date>
    <link>https://culturestudypod.substack.com/p/the-bizarre-world-of-celebrity-philanthropy</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://annehelen.substack.com/p/the-problems-of-modern-philanthropy ]]]></description>
<dc:subject>philanthropy celebrity celebrities charity charitableindustrialcomplex philanthropicindustrialcomplex 2024 ashtonkucher amyschiller via:javierarbona charities annehelenpetersen reputationwashing indulgences bono red billgates consumerism consumption glamour neoliberalism politics signaling identity donors fundraising civics nobility ancientgreece justice socialjustice wealth wealthy taxes taxevasion sextrafficking fame authority invisiblechildren kony 2012 congress governance government perfectvictims praise attention praiseseeking victimhood heroism exploitation stature technology techbrain disruption saviorism absolution objectification conspicuousconsumption autism perfectvictimhood pity power sacrifice sentimentality neurodivergence children silentauctions thegildedage beneficence collectivism alexandragrant keanureeves transparency grantlove kony2012 disasterrelief redcross friction effectivealtruism algorithms criticalthinking productivity productivityculture petersinger local donorschoose libraries par</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:878f080516bf/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?app=desktop&amp;v=EFbdKdwqlZw">
    <title>Norm Finkelstein GOES OFF: Israel, Hillary, Human Shields &amp; Ben Shapiro - YouTube</title>
    <dc:date>2023-12-10T19:08:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?app=desktop&amp;v=EFbdKdwqlZw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Timestamps:
(00:00) Introduction, Norm’s Background
(09:54) Essential Facts on Israel/Palestine
(30:05) Norm Challenged on Hamas Atrocities
(39:00) Do Geneva Conventions Apply to Palestinians
(42:28) Norm Debunks Hillary Clinton
(56:39) Were Palestinians Failed By Their Leadership?                                                                                                  
(1:04:50) Can you “steelman” Israel’s view of the conflict?
(1:16:00) Is focusing on Israel “antisemitic”?
(1:19:45) What was the real reason Israel stormed Al-Shifa Hospital?
(1:31:31) Norm Debunks Claims of Hamas and Human Shields
(1:42:00) What Comes After a Ceasefire?
(1:45:45) Norm Goes off on Ben Shapiro, Jordan Peterson"]]></description>
<dc:subject>2023 normfinkelstein normanfinkelstein palestine gaza israel benshapiro hillaryclinton jimmycarter georgewbush 2016 hamas history jordanpeterson zionism antisemitism blockade economics elections democracy davidcameron gioraeiland 2004 openairprisons concentrationcamps 2008 2009 2012 2014 petermaurer operationalaqsaflood natturner uprising slaveuprisings morality morals integrity warcrimes crimesagainsthumamity collectivepunishment billclinton barackobama plo yasserarafat 1967 westbank 1948 righttoreturn rightofreturn firstintifada jeffreygoldberg torture egypt erasure displacement holocaust occupation settlements settlercolonialism atrocities humanshields uprisings yasirarafat</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=4UA5COsmo-U">
    <title>Israel Isn’t “Evacuating” Palestinians – It's Displacing Them - YouTube</title>
    <dc:date>2023-12-06T22:55:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=4UA5COsmo-U</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Since the start of the Israeli bombardment of Gaza on October 7, we’ve seen a scramble for what kind of terminology can and should be used to describe the realities on the ground, especially as they’re being experienced by Palestinians. Is it a war? Is it a conflict? Are they evacuations? What about the term prisoner versus detainee? In this new series, Backspace’s Sana Saeed looks at the words we use – and don’t use – when it comes to AJ+’s coverage of the Israeli occupation and why these choices are made. "]]></description>
<dc:subject>sanasaeed 2023 palestine israel nakba diaplacement dispossession occupation settlercolonialism colonialism colonization language naksa 1948 1967 ethniccleansing evacuation righttoreturn refugees forceddisplacement history 2008 2012 2014 2021 zionism erasure euphemisms rightofreturn</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:40154e6d1da4/</dc:identifier>
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