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    <title>The A.I.-Design Aesthetic That’s Taking Over the Internet | The New Yorker</title>
    <dc:date>2026-07-09T06:09:55+00:00</dc:date>
    <link>https://www.newyorker.com/culture/infinite-scroll/the-ai-design-aesthetic-thats-taking-over-the-internet</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How Anthropic’s new tool, Claude Design, is creating overnight web-design clichés."]]></description>
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<item rdf:about="https://dohadebates.com/arts-media/contemporary-art-progressive-or-pointless/">
    <title>Contemporary art: Progressive or pointless? - Doha Debates</title>
    <dc:date>2026-07-07T15:50:04+00:00</dc:date>
    <link>https://dohadebates.com/arts-media/contemporary-art-progressive-or-pointless/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do we define great art in the 21st century?

Some critics argue that contemporary art has lost touch with the universal principles and artistic traditions that define its greatness. Others see its break with tradition as liberating, a move toward more inclusion, experimentation and personal and political expression.

This conversation is an exploration of what makes great art, particularly in this century. Is it defined by adherence to tradition, or disruption and reinvention? Is artistic beauty understood across time and culture, or does each generation need to redefine it? And with the AI era upon us, what even constitutes art in the first place?"

[direct link to video on YouTube:

"Doha Debates: Is it time to reconsider contemporary art?"
https://www.youtube.com/watch?v=352DIUX4QMk

"Is contemporary art relevant today?

In this episode of @DohaDebates podcast, host Nadir Nahdi is joined by Wafaa Bilal, Samar Younes, Fen de Villiers and Molly Crabapple to discuss whether contemporary art remains relevant in today’s world, as well as the role of artists in addressing social issues. 

The views expressed in this episode are the guests’ own and do not necessarily reflect Al Jazeera’s editorial stance. Visit the @DohaDebates YouTube channel for the extended version."

on Apple Podcasts:

https://podcasts.apple.com/lu/podcast/is-contemporary-art-relevant-today/id1867847336?i=1000767406512

also here:
https://omny.fm/shows/doha-debates/is-contemporary-art-relevant-today

mentioned (but not linked) here:
https://www.frontporchrepublic.com/2026/07/consuming-swatch-or-valuing-craftsmanship/ ]]]></description>
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    <title>Everyone is anorexic and enslaving a surrogate - YouTube</title>
    <dc:date>2026-06-28T02:30:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6uZIM40Oj8M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’m fairly certain we’ve all noticed the celebrity anorexia trend becoming blatantly apparent in the last year or so. But, another trend occurring concurrently in Hollywood is the form of modern slavery known as surrogacy. It’s glaring and flagrant how many obviously skinny famous women are hiring women of the Third World to birth babies for them. Yet, while celebrities are becoming skinnier, the general population is going further and further in the opposite direction. Women  cannot strive for this unreachable standard, so often become discouraged from fitness and its culture in general. A synchronicity of anorexia and obesity emerges with a negative correlation linked to class. All the while, less privileged women are being forced to sell a life-threatening bodily function to people those who feel “the right” to have children. The body itself is always a battleground for women and girls.

Links ~ ⁠linktr.ee/intoodeepod⁠
Resources ~ ⁠https://leaflet.pub/8864a0ba-6025-4edd-98c3-ce33914ea2c1

Chapters ~
00:00 Intro
10:07 The eating disorder as a patriarchal weapon
23:19 Feminised fitness
38:30 Surrogacy as slavery
53:55 Reinterpreting surrogacy
59:55 Conclusion: the body"]]></description>
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<item rdf:about="https://www.nplusonemag.com/online-only/online-only/the-same-stream-twice/">
    <title>The Same Stream Twice | Online Only | n+1 | Rob Arcand</title>
    <dc:date>2026-06-12T01:48:51+00:00</dc:date>
    <link>https://www.nplusonemag.com/online-only/online-only/the-same-stream-twice/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cultural products are more than ever a class of financialized assets, whose owners are even further removed from artmaking"

...

"It can be difficult to see what purpose cultural criticism serves in a moment of such rapid change for the culture industries. If “derivative media” is the reigning spirit of our times, saturated with shoddy reboots and padded with robotic background music, is there still any reason to engage with these works as critics? We might follow the example of Horkheimer and Adorno, who simply rejected Hollywood, Tin Pan Alley, jazz, and other mass cultural products as mere instruments of capitalist domination; yet their mandarin Marxism feels retrograde in a time when the boundaries of high and low taste are far less sharply drawn. In their own ways, Pelly and deWaard both suggest paths forward for criticism, drawn from their engagements with political economy.

In Pelly’s account, streaming as a medium is inseparable from the economic forces that have made it ubiquitous in everyday life, and to be an effective critic today requires close engagement with these economic factors. A kind of vernacular historical materialism underlies her premise that the musical styles of Billie Eilish or Post Malone emanate from the financialized, algorithmically conditioned environment of streaming itself, as well as deWaard’s ruthlessly symptomatic readings of 30 Rock and Space Jam. From there, both turn to critique the funding structures and production process that form the connective tissue between these economic and aesthetic categories. The critic of derivative media must be no less fluent in the language of boardrooms and earnings calls than that of sitcom dialogue or rap lyrics.

The spirit of Fredric Jameson looms over such work. Knowingly or not, both Pelly and deWaard engage questions that the late Marxist critic put forward decades ago. In The Political Unconscious (1981), Jameson suggests that Marxist literary criticism needs modes of interpretation that are able to mediate between the formal features of artistic works and the economic conditions of their production, without reducing them to simplistic economic narratives or descriptions of aesthetic inspiration uncoupled from material conditions. This “allegorical” approach to critique propelled much of his subsequent work, including his 1991 masterpiece Postmodernism, or, the Cultural Logic of Late Capitalism, with its famous readings of the Westin Bonaventure Hotel, Andy Warhol’s pop paintings, and nostalgia films like American Graffiti.

The irony of aesthetic life under capitalism, as Jameson also reminded us, has always been that even the most debased cultural products contain, albeit in ideologically distorted forms, the promise of a way of life liberated from the instrumentalizing, commodifying drives of capital. If the cultural logic of finance capital—with its degraded platforms, securitized song catalogs, and “derivative media”—is the terrain that the critic must inhabit, then it represents a shared site of struggle with workers from across the music, film, and television industries. It is in this contested landscape where the future of the culture industries will be decided."]]></description>
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<item rdf:about="https://www.theatlantic.com/magazine/archive/2023/07/generative-ai-human-culture-philosophy/674165/">
    <title>A Defense of Humanity in the Age of AI - The Atlantic</title>
    <dc:date>2026-06-06T10:57:50+00:00</dc:date>
    <link>https://www.theatlantic.com/magazine/archive/2023/07/generative-ai-human-culture-philosophy/674165/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Coming Humanist Renaissance

We need a cultural and philosophical movement to meet the rise of artificial superintelligence."

[archived:
https://archive.is/Ql35H ]

"Writers of fiction—Fyodor Dostoyevsky, Rod Serling, José Saramago—have for generations warned of doppelgängers that might sap our humanity by stealing a person’s likeness. Our new world is a wormhole to that uncanny valley.

Whereas the first algorithmic revolution involved using people’s personal data to reorder the world for them, the next will involve our personal data being used not just to splinter our shared sense of reality, but to invent synthetic replicas. The profit-minded music-studio exec will thrill to the notion of an AI-generated voice with AI-generated songs, not attached to a human with intellectual-property rights. Artists, writers, and musicians should anticipate widespread impostor efforts and fight against them. So should all of us. One computer scientist recently told me she’s planning to create a secret code word that only she and her elderly parents know, so that if they ever hear her voice on the other end of the phone pleading for help or money, they’ll know whether it’s been generated by an AI trained on her publicly available lectures to sound exactly like her and scam them.

Today’s elementary-school children are already learning not to trust that anything they see or hear through a screen is real. But they deserve a modern technological and informational environment built on Enlightenment values: reason, human autonomy, and the respectful exchange of ideas. Not everything should be recorded or shared; there is individual freedom in embracing ephemerality. More human interactions should take place only between the people involved; privacy is key to preserving our humanity.

Finally, a more existential consideration requires our attention, and that is the degree to which the pursuit of knowledge orients us inward or outward. The artificial intelligence of the near future will supercharge our empirical abilities, but it may also dampen our curiosity. We are at risk of becoming so enamored of the synthetic worlds that we create—all data sets, duplicates, and feedback loops—that we cease to peer into the unknown with any degree of true wonder or originality.

We should trust human ingenuity and creative intuition, and resist overreliance on tools that dull the wisdom of our own aesthetics and intellect. Emerson once wrote that Isaac Newton “used the same wit to weigh the moon that he used to buckle his shoes.” Newton, I’ll point out, also used that wit to invent a reflecting telescope, the beginnings of a powerful technology that has allowed humankind to squint at the origins of the universe. But the spirit of Emerson’s idea remains crucial: Observing the world, taking it in using our senses, is an essential exercise on the path to knowledge. We can and should layer on technological tools that will aid us in this endeavor, but never at the expense of seeing, feeling, and ultimately knowing for ourselves.

A future in which overconfident machines seem to hold the answers to all of life’s cosmic questions is not only dangerously misguided, but takes away that which makes us human. In an age of anger, and snap reactions, and seemingly all-knowing AI, we should put more emphasis on contemplation as a way of being. We should embrace an unfinished state of thinking, the constant work of challenging our preconceived notions, seeking out those with whom we disagree, and sometimes still not knowing. We are mortal beings, driven to know more than we ever will or ever can.

The passage of time has the capacity to erase human knowledge: Whole languages disappear; explorers lose their feel for crossing the oceans by gazing at the stars. Technology continually reshapes our intellectual capacities. What remains is the fact that we are on this planet to seek knowledge, truth, and beauty—and that we only get so much time to do it.

As a small child in Concord, Massachusetts, I could see Emerson’s home from my bedroom window. Recently, I went back for a visit. Emerson’s house has always captured my imagination. He lived there for 47 years until his death, in 1882. Today, it is maintained by his descendants and a small staff dedicated to his legacy. The house is some 200 years old, and shows its age in creaks and stains. But it also possesses a quality that is extraordinarily rare for a structure of such historic importance: 141 years after his death, Emerson’s house still feels like his. His books are on the shelves. One of his hats hangs on a hook by the door. The original William Morris wallpaper is bright green in the carriage entryway. A rendering of Francesco Salviati’s The Three Fates, holding the thread of destiny, stands watch over the mantel in his study. This is the room in which Emerson wrote Nature. The table where he sat to write it is still there, next to the fireplace.

Standing in Emerson’s study, I thought about how no technology is as good as going to the place, whatever the destination. No book, no photograph, no television broadcast, no tweet, no meme, no augmented reality, no hologram, no AI-generated blueprint or fever dream can replace what we as humans experience. This is why you make the trip, you cross the ocean, you watch the sunset, you hear the crickets, you notice the phase of the moon. It is why you touch the arm of the person beside you as you laugh. And it is why you stand in awe at the Jardin des Plantes, floored by the universe as it reveals its hidden code to you."]]></description>
<dc:subject>adriennelafrance 2026 humanism humanity 1833 ralphwaldoemerson philosophy naturalhistory industrialrevolution industrialization google tiktok facebook instagram ai artificialintelligence microsoft meta openweb web online internet self-actualization gena generativeai siliconvalley truth nature individualism technology human humans transparency relationships friendship dostoyevsky rodserling josésaramago intellect aesthetics tools enlightenment values privacy resistance isaacnewton knowledge art beauty uncannyvalley genai</dc:subject>
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<item rdf:about="https://dougald.substack.com/p/making-special-making-scarce">
    <title>Making Special ≠ Making Scarce - by Dougald Hine</title>
    <dc:date>2026-06-06T05:00:25+00:00</dc:date>
    <link>https://dougald.substack.com/p/making-special-making-scarce</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Thinking with Ellen Dissanayake about art and being human"

...

"Ten days ago, I sent off the manuscript of the new book to my publisher. As the season of writing and revising came to an end, Anna and I moved into hosting our first online series in over a year. Over five weeks, we have 180 participants from multiple continents, the youngest in their teens and the oldest in their nineties, gathering in larger and smaller groups around the theme of “practice”. In their company I get to chew some more on questions I’ve been writing about.

One thread that links the book and the series is Ellen Dissanayake’s work on art as behaviour. Dissanayake has dedicated a lifetime to studying the arts through an evolutionary lens as a distinctive behaviour of the human animal. It’s one of those cases where someone makes no attempt to build an academic career, but simply follows a hunch over decades, creating a body of work that runs at a strange angle to any established discipline. And although I’m not generally drawn to evolutionary explanations of human behaviour, there’s something about her work that I find compelling in multiple ways.

First, the sheer volume of material she draws together should demolish the persistent idea of art as a crowning achievement of human civilisation, a sophisticated layer of activity at the top of a Maslovian pyramid, a luxury to which we dedicate ourselves once the more fundamental layers of human needs have been taken care of. Rather, the activities we recognise as art are ubiquitous, woven into every example we have of humans being human together.

From the Darwinian perspective with which Dissanayake is working, the distinctive and seemingly universal character of this behaviour suggests that it is an evolutionary adaptation: a behaviour which has made a difference to the chances of creatures like us staying alive, reaching adulthood and having children who also live to adulthood.1 Again, this offers a counter to the idea of the arts as a luxury: if Dissanayake is on the right track, then the behaviour of art literally makes a life and death difference to creatures of our kind.

So what is the essence of this behaviour? After considering various ways of describing it, Dissanayake landed on the expression “making special”. The thing that marks out humans is that we “intentionally shape, embellish, and otherwise fashion aspects of [our] world to make these more than ordinary”. We take a colour, a pattern, a sound, a gesture, a word and lift it out of its everyday context, the setting in which we find or come up with it, and use it in other ways.

Here, I can’t help going beyond what Dissanayake says, because I’m tempted to say that we make worlds together through this behaviour, layered worlds that are woven with meaning. And, further, that the adaptiveness of this (in evolutionary terms) is suggestive of truth: this layered, patterned, meaning-riddled way of inhabiting the world and making it habitable is a better fit for the reality in which we find ourselves than if we attempt to inhabit it as flat and meaningless. And I take it as the mark of modernity that, in contrast to just about every other way of being human together we know about, there has been an attempt to inhabit the reality in which we find ourselves as though it were flat and meaningless.

But that opens a sizeable can of worms, some of which go wriggling through the pages of the book I’ve just written, and others I’m saving for the next book.

For today, I wanted to share a couple of notes on this matter of “making special”. Because the conversations Anna and I are having with participants have brought into view a couple of misleading ideas about “specialness” that haunt the ways of being human that have been taken for granted around here lately.

One version of this is “making special” as “making perfect”. Anna speaks about the debilitating effect of the pressure to make things “Instagram-perfect” – and the quietly radical practice of inviting people into a messy house! If we’re stuck with an idea that for things to be special, or simply good enough, we have to make our lives and our homes look like a photo shoot, then our ability to be human together grinds to a halt. The specialness worth having isn’t captured through a camera lens, it arises out of shared experience – but much of the aesthetics of advertising that developed through the twentieth century was an attempt to evoke this sense of specialness visually, on the page or the screen, until these synthetic substitutes colonised our imagination, leaving us neurotic about our messy human reality.

The other version I’ve been thinking about is “making special” as “making scarce”. Again and again, from different angles, I find myself returning to the production of scarcity as the paradoxical tendency of modern industrial societies. There’s more on this, too, in the new book – but for now, I want to point towards the opposite possibility: that we have the conditions for an abundance of “specialness”, precisely because of the thing Dissanayake is getting at when she identifies “making special” as the distinctive behaviour of the human animal.

In the past two days, I’ve heard participants talk about their experiences telling stories to classes of young children, singing to the dying, learning to care for patients in general practice and working with mothers around the birth of their children. In each case, there was a clear sense of showing up in a way that recognises and contributes to the specialness of what is taking place, here and now, in a given situation, and also a recognition that many of these situations are more or less universal. Another participant spoke about a culture of traditional music in Scotland and the creation of higher-education courses training technically brilliant musicians, but where the professionalisation of an artistic practice detaches it from the embedded, relational field that is the source of what matters most in this culture. This latter example gives a glimpse of how scarcity is produced and how attention is drawn away from the everyday specialness – the extraordinary ordinary, as my old friend Anthony McCann would say – and into a coupling of specialness with exceptional, scarce gifts.

These are themes that have been on my mind a lot and I’ll look forward to exploring further in public conversations, down the line, but I wanted to share these notes in the meanwhile. If we’ve lost the knack of “making special”, or lost confidence in this as a capacity that all of us have, then there are reasons for that, historical patterns that make sense of how we ended up here. But to the extent that Dissanayake is right to locate this capacity on an evolutionary level, that suggests that it is still there, still part of the kinds of creatures we are, and the seeming scarcity is artificially produced.

To be continued…"]]></description>
<dc:subject>dougaldhine 2026 scarcity ellendissanayake art arts behavior human humans adaptation making makingspecial ordinary everyday humanism meaning meaningmaking perfect craft luxury perfection ads advertising aesthetics specialness misoc anthonymccann exceptionalism artificialscarcity manufacturedscarcity gifts</dc:subject>
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<item rdf:about="https://placesjournal.org/article/modernist-schools-for-disabled-children-new-deal-era/">
    <title>Disabling Modernism</title>
    <dc:date>2026-05-30T22:54:41+00:00</dc:date>
    <link>https://placesjournal.org/article/modernist-schools-for-disabled-children-new-deal-era/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["During the first decade of the New Deal, modernist architects designed schools for disabled children that proposed radical visions of civic care."]]></description>
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<item rdf:about="https://www.esquire.com/style/a71276009/what-has-happened-to-taste/">
    <title>What Has Happened to Taste?</title>
    <dc:date>2026-05-27T07:57:56+00:00</dc:date>
    <link>https://www.esquire.com/style/a71276009/what-has-happened-to-taste/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Technology has made it easier than ever to broadcast the things we like. Do any of us actually know anymore why we like them?"

...

"The ease and omnipresence of these technologiescan feel insurmountable. Who could bring themselves to get off Spotify? But they aren’t only swallowing us. Especially in the age of AI, when creation is just as cheap as curation, technology is killing the entire online experience. The Dead Internet Theory supposes that AI slop has taken over all previously genuine human activity on the Internet. Discussion forums have been flooded with bot accounts, all photos and videos are generated by AI, etc. It’s the natural and metaphorical end state for the version of taste we have now: literal robots endlessly aping things that already exist with minute variations. But we’re not there yet, and in fact, if the dead parts of the Internet are our flattened, gerrymandered style subcultures, perhaps that’s good.

As much as we’re told that the Web has become this poisonous, self-referential cesspool, such that finding inspiration offline is the new gold standard—or at least that’s what the consensus is here in Brooklyn—I think that’s too easy. For all the harm technology has done to our ability to develop taste, it’s still true that the Internet has given us unparalleled access to just about anything. We can now sift through the entire discographies of obscure international bands, watch independent short films, and read archived magazines whenever we want. I believe it still holds promise.

Here is what we must get rid of: Having taste today is synonymous with having “good taste.” That is what we mean when we say that someone “has taste”; we mean that they have good taste. That is a lie.

There was a time when taste was cultivated through trial and error. We used to have to take risks and suffer through its repercussions. By basking in the discomfort of ill-fitting silhouettes and excessive layering, we learned what worked best for us. We weren’t constantly trying to define and communicate what our tastes were because there wasn’t a “right” answer to what makes good taste. We got to good taste, such as it was, through a series of horrendous choices that exhibited bad taste.

The evil of the Dead Internet Theory, if it is right, is that it leaves us nowhere to turn for inspiration. But it supposes that the Algorithm is all that there is. There are broad swaths of the Internet that haven’t been colonized; the Algorithm is only the neatly paved brick road on the Internet’s uneven, treacherous terrain. It has its limits. No one’s stopping you from venturing off the beaten path to destinations that aren’t optimized for visibility: personal websites, anonymous bulletin boards, resource libraries.

“Internet walks”—the act of aimlessly surfing through online rabbit holes, not unlike how we experienced Wikipedia when it was new and wondrous, clicking from page to page until you wound up with knowledge you never would have suspected even existed—exposes us to the less legible textures of the Web. There are tools designed to facilitate this. The platform Are.na is like a nonalgorithmic Pinterest board where you can follow different people and traverse the parts of the Internet they bookmark. “The goal is not self-improvement,” says a note at the bottom of its home page. “The goal is engaging more deeply with the World.” It is precisely through navigating the vast, digital ridges that we’re forced to consider what resonated and why. That provokes introspection, through which the walls that once gerrymandered our tastes slowly crumble.

This notion, of course, is older than the Internet. In 1958, Guy Debord—a contemporary of Sontag, the author of The Society of Spectacle, and a member of the French postwar avant-garde group Situationist International—introduced the concept of the dérive. Defined as an unstructured, improvised wandering through an urban landscape, dérive pushes participants to let go of the relationships they have with their social environment. Pick a color and follow it; close your eyes and identify the loudest persistent sound you’re hearing, then walk to go find it; at every intersection, roll the dice to see which way to turn. In other words, walk for walking’s sake. A predecessor of Baudrillard, Debord saw the practice as the antidote to society’s “decline of being into having, and having into merely appearing.”

Debord’s position operated in direct opposition to a culture of being “intentional.” Today’s algorithmic culture is the epitome of intentional. Nothing is an accident. Terms like curated and mindful are sprinkled across everything. What those terms obscure is a lack of introspection. Debord believed that by refamiliarizing ourselves with the things of the world rather than the relationships we have to them, we could find new, deeper meaning and come to know ourselves better. Perhaps by refamiliarizing ourselves with the physical (wearing a shirt) rather than the intellectual (what the shirt says about you), we can find a way out of what we would today call the Algorithm. Objects of trends, when considered in isolation, are simply things. They stop representing our membership in an algorithmic faction or signaling social status. They become free to mean anything for anyone.

The risk is that you will occasionally step on thorns. You will have moments of bad taste. But taste is by definition subjective, so unpopular tastes should exist, too. Where there is preference for Rick Owens, there’s also demand for Allbirds and skinny jeans. Our fixation on embodying the consensus of whatever algorithmic faction we fall under has asphyxiated every ounce of whimsy. Aren’t occasional poor choices worth the trade-off?

I now occasionally start my mornings with an aimless walk around the neighborhood, fueled partially by a desire to happen upon some caffeine. I no longer judge shops by their Japandi aesthetic, and I’ve stopped using Google Maps to read reviews or navigate to nearby joints. I’ve gotten the sense that much of the most highly acclaimed spots, while perfectly Instagrammable, make horrible coffee. But that’s by my own definition of what makes coffee good, and my opinion is that the best cup of coffee is just something that’s piping hot and costs less than three dollars. I recognize that that’s out of step in Brooklyn, but who’s a better judge of what I like best than me? I think it’s fair to say that I’ve tried enough happenstance coffee at this point to have an actual opinion. Cheap, hot coffee is what I like, and I’m not ashamed to say it. I earned it.

The same goes with taste. Forget the expensive coffee. Ignore the barber’s perfectly curated Instagram. Give the wrong bands a chance. Watch Kurosawa, sure, but not because another famous director, QT or otherwise, said anything—watch Kurosawa because Rashomon will terrify you. I could say more, but I’ll stop there because I’m getting away from my point. The point of this essay is don’t take my word for it."]]></description>
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    <dc:date>2026-05-26T23:06:26+00:00</dc:date>
    <link>https://dirt.fyi/article/2026/05/panic-at-the-post-reality</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Katherine Williams on the books telling us what “we must” do about aesthetics and democracy."]]></description>
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    <title>The Right-Wing Nonprofit Serving A.I. Slop for America’s Birthday | The New Yorker</title>
    <dc:date>2026-05-26T23:02:07+00:00</dc:date>
    <link>https://www.newyorker.com/news/the-lede/the-right-wing-nonprofit-serving-ai-slop-for-americas-birthday</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["PragerU, a fount of Judeo-Christian edutainment, is now a key partner in the Trump Administration’s “civic education” campaign."]]></description>
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    <title>Agit-Slop​: The White House’s Numbing Aesthetic - The Drift</title>
    <dc:date>2026-05-26T22:57:26+00:00</dc:date>
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[archived:
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["When Burning Man aesthetics meets Silicon Valley ambition in San Francisco’s Big Art Loop, the metrics of value are called into question"]]></description>
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    <title>Being in the World (full, award winning, Heidegger/Hubert Dreyfus documentary) - YouTube</title>
    <dc:date>2026-03-26T03:11:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fcCRmf_tHW8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A celebration of human beings and our ability, through the mastery of physical, intellectual and creative skills, to find meaning in the world around us.

a film by Tao Ruspoli

Inspired by the work of Hubert Dreyfus & his reading of Martin Heidegger.
With Hubert Dreyfus, Ryan Cross, Sean D Kelly, Austin Peralta, Mark Wrathall, Iain Thomson, Leah Chase, Manuel Molina,Tony Austin, John Haugeland, Taylor Carman, HIroshi Sakaguchi, Jumane Smith.

""Being in the World" is a film that educates one through both the senses and the intellect and, by its end, it provides a powerful but gentle reminder that we, the individuals, must take back our rightful place at the center of philosophy and we do so everyday simply by being in the world. Instead of a narrative or a series of long lectures, we are taken on a ride to visit various practitioners of the arts— primarily musicians—who simply "do" their art. These vignettes are juxtaposed with a series of philosophers, most of whom seem connected in terms of their ideas and interpretations of the German philosopher Martin Heidegger, who talk about the idea of "being in the world." I found this back-and-forth composition created a certain fluidity thanks to the way the information delivered both tickled my senses and intellect in equal measure. By the end, the aforementioned message slowly sank in and that is what created what is now a genuine appreciation for having viewed the film because I look at my life experience differently.

First of all, this work does not require any special education or training to be understood and enjoyed, although I don't think many would argue that the subject matter alone would unfortunately dissuade many simply because that is the nature of society but the fact that the average citizen is not interested in philosophy, or course, is no fault of the film. Ironically, the very message that one doesn't need to be steeped in philosophy to undertake and enjoy a life rife with meaning is one of the primary themes of the film. This theme might be summed up by stating that by simply "being in the world," we surpass all of the formalized activities associated with what engaging in "philosophy" has come to mean in the modern western world.

Although we're never hit over the head with it, it is the German philosopher Martin Heidegger who stands firmly at the center of the film as it is his iconoclastic work which inspires the ideas that undergird the messages of the various speakers. The fact that Heidegger's work is infamous for being difficult to approach even for the initiated student of philosophy is what makes this film such a gem; the more I think about the film the wider I grin because I can see more clearly how what I initially mistook for an aesthetically pleasing ride with a dose of didacticism ended up being a "reeducation" regarding how important simply "being in the world" and performing our "art" (which I take to mean profession, hobbies, etc.) is in terms of understanding where philosophy has taken us collectively.

"Being in the World" is a small film. Although the film is beautifully composed and we move around the globe, it is obvious that this was accomplished with a comparatively small budget and for me this only adds to the sense of intimacy and trust the work exudes; this is a labor of love, an authentic work of art, and it was created in order to share a message far removed from the commercial world.

It was the feeling with which I was left, however, that sets this movie apart from other, similar films. Walking away from this I felt encouraged and valued by the filmmaker and the "players." Rather than some stale exposition or preachy sermon about why I should change my mind about my life based on some epistemological tendency, I was reminded that my being in the world is what constitutes my life's meaning.""

[Three excerpts on Aeon:

First excerpt is here:

"I am, therefore I think – how Heidegger radically reframed being"
https://aeon.co/videos/i-am-therefore-i-think-how-heidegger-radically-reframed-being
https://www.youtube.com/watch?v=v727rFg9aKk

Second excerpt is here:

"True mastery demands going beyond the rules to learn for yourself"
"Embrace risk - Heidegger’s philosophy of everyday life | Being in the World"
https://aeon.co/videos/true-mastery-demands-going-beyond-the-rules-to-learn-for-yourself
https://www.youtube.com/watch?v=82_JqODbSjo

Third excerpt is here:

"As technologies mine our attention, we must look to artists"
"Technology flattens our humanity. Artists deepen it. | Being in the World"
https://aeon.co/videos/as-technologies-mine-our-attention-we-must-look-to-artists
https://www.youtube.com/watch?v=Js0URaCKvvE ]]]></description>
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    <title>How Lansana Keita reinvigorated African philosophy | Aeon Essays</title>
    <dc:date>2026-03-24T07:10:23+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Most video essays on Wong Kar-wai focus on the director, but overlook the cinematographer who shaped the visual language of his most iconic films. Christopher Doyle was not just behind the camera on Days of Being Wild, Chungking Express, Fallen Angels, and In the Mood for Love; he helped define the emotional and spatial identity that audiences associate with Wong Kar-wai’s work. This video breaks down how Doyle’s unconventional life, improvisational filmmaking process, and instinct-driven approach to cinematography shaped some of the most visually distinct films ever made. It also explores his photography and collage work, revealing how his ideas about perception, movement, and collaboration extend beyond cinema. From Hong Kong’s interiors and fragmented spaces to the role of color, intuition, and experimentation, this is a deep dive into the artist who transformed how these films look and feel, and why his absence changes them entirely."]]></description>
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    <title>We Found The REAL Reason Gen Z Wants To Be Tradwives - YouTube</title>
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    <title>Why Movies Just Don't Feel &quot;Real&quot; Anymore - YouTube</title>
    <dc:date>2026-03-13T22:49:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=tvwPKBXEOKE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why don't movies feel "real" anymore? A deep dive into the first principles of movie immersion: on perceptual realism, indexicality, haptic visuality, and cinematic qualia.

0:00 Movies don't feel "real" anymore
1:40 Perceptual Realism
8:40 The "Cinematic Look"
12:50 Indexicality 
15:50 Haptic Visuality
23:00 Cinematic Qualia
26:29 Contextual Intentionality 

Watch this video ad-free on Nebula: https://nebula.tv/videos/lsoo-why-movies-just-dont-feel-real-anymore

Watch Patrick Tomasso's video "Why don't movies look like movies anymore?": https://www.youtube.com/watch?v=EwTUM9cFeSo "]]></description>
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    <title>Albert Murray: The Omni-Americans - by Vinnie Sperrazza</title>
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    <link>https://vinniesperrazza.substack.com/p/albert-murray-the-omni-americans</link>
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<item rdf:about="https://www.middleeastmonitor.com/20250909-hollow-tokens-of-conscience-the-hypocrisy-of-the-voice-of-hind-rajab/">
    <title>Hollow tokens of conscience: The hypocrisy of ‘The Voice of Hind Rajab’ – Middle East Monitor</title>
    <dc:date>2026-03-08T21:42:15+00:00</dc:date>
    <link>https://www.middleeastmonitor.com/20250909-hollow-tokens-of-conscience-the-hypocrisy-of-the-voice-of-hind-rajab/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Recently, a film about Hind Rajab, the young Palestinian girl mercilessly slaughtered by the Israeli army, premiered at the Venice Film Festival and received a long standing ovation. The image of her story being dramatized for international audiences was celebrated as a moment of “awareness.” Yet one must ask: what is there to raise awareness about at this point? Every single human who is connected to media knows what is happening in Gaza. The plight of Palestinians is not hidden. It is being broadcasted every day in real time, live-streamed from the rubble of bombed homes, the ruins of hospitals and the tents of displaced families. Everyone knows, and yet nothing changes.

That is why The Voice of Hind Rajab feels less like solidarity and more like a hollow token helping with capitalistic gains. It is, in truth, a fetishization of violence in the name of raising awareness. Hind’s story is not history. It is not a distant atrocity frozen in time, requiring cinematic treatment so that audiences may be educated. It is the story of today, of now, of this very moment. Children like her are still being martyred and families like her own are being wiped out entirely. Millions are still starving and Gaza is undergoing a man-made famine as food and medicine are deliberately withheld. To transform this into a festival spectacle, applauded by audiences who will then return to wine, yachts, and industry dinners, is grotesque.

This pattern of Western hypocrisy is not new. During the Rwandan genocide, the West and the United Nations stood by and did nothing as bodies piled up in the thousands each day. The international community had the tools to intervene but lacked the political will. Later, when the blood had dried, the very same powers that looked away suddenly found in Rwanda a subject of fascination. They wrote books, made cinema, produced research, and commodified the tragedy for global consumption. The genocide became an object of study, a source of cultural capital and a way for them to display their moral commitments. What was absent was accountability. What was absent was action when it mattered.

This film risks repeating that same hollow tokenism. The long cinematic standing ovation did not help the Palestinians in any way. It did not break the blockade, feed starving children, and or could stop the bombs. It did, however, generate applause in Venice and perhaps profit in the global film market. Brad Pitt’s production company, Plan B, which financed the film, is majority-owned by Mediawan, a billion-dollar French private equity company with ties to Zionist shareholders. In other words, any profit that the film makes will flow back into the very networks of capital that support Israel’s ongoing crimes. This is not solidarity—it is tokenism wrapped in self-righteous aesthetics. In that sense, the whole initiative functions not as resistance but as self-righteous consumerism. It allows the Hollywood big-shots and their audiences to look woke, to feel like they are part of the solution, all while the problem continues unabated. In other words, the very capital extracted from Hind Rajab’s story will enrich structures connected to the same networks that enable Israel’s apartheid regime. This is not solidarity—it is complicity. It is tokenism wrapped in enabling aesthetics.

Turkish-American commentator Hasan Piker captured the absurdity with a sharp analogy on his X handle. He said watching this film now feels like “socialist German filmmakers making a movie about Auschwitz while the gas chambers are still running.” The comparison may be uncomfortable, but it is precisely the discomfort that reveals the hypocrisy. Art has its place in documenting history, but when the atrocity is ongoing, when the gas chambers are still running, such gestures do not liberate—they anesthetize. They soothe the conscience of those who watch, giving them a way to feel morally engaged without ever having to risk or demand anything.

The applause at Venice was not for Hind Rajab. It was for the comfort of those who could consume her story in a neat two-hour package. It was for the illusion that watching, clapping, and crying are equivalent to doing something. It was for the performance of care without consequence but Palestinians do not need hollow tokens of conscience. They do not need applause in air-conditioned theaters while they sleep hungry in tents. They do not need cinematic spectacles that fetishize their deaths while leaving their lives untouched. What they need is material solidarity—food, medicine, aid, boycotts, sanctions, political pressure, and a mobilization of international will that does not just acknowledge their suffering but actively works to end it.

Art has always had a dual role. It can expose, challenge, and inspire action. But it can also distract, commodify, and pacify. In the case of the Hind Rajab film, the balance leans heavily toward the latter. This is not to say that Palestinian stories should not be told. They must be. But they must be told by Palestinians, in ways that serve their struggle, not by Western production companies with Zionist shareholders who turn grief into profit. They must be told with the urgency of liberation, not the detachment of festival applause.

The problem is not that the world is unaware. The problem is that the world is unwilling. And films like this allow that unwillingness to continue, cloaked in the language of awareness and progress. The applause at Venice changes nothing on the ground in Gaza. Hind Rajab is still gone, and along with her, several other children every single day. The famine still grows. The bombs still fall.

Rather than representing solidarity, such cinematic gestures function as symbolic performances that pacify global audiences while leaving the structures of violence intact. They operate less as interventions and more as rituals of conscience, designed to produce moral gratification for spectators rather than material relief for victims. What emerges is not awareness—since awareness already saturates the global media sphere—but a carefully curated spectacle of suffering, translated into cultural capital. The very applause that follows becomes a marker of moral self-assurance, enabling viewers to affirm their humanity while the conditions of inhumanity remain unchanged."

[See also:
https://www.studio-technique.com/blog/2026/2/4/politics-in-academy-and-film 

via:

"Propaganda, Politics, Academy Awards & Film" (Samantha Youssef)
https://www.youtube.com/watch?v=Xnj_5dCduwo ]]]></description>
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<item rdf:about="https://rosselliotbarkan.com/p/why-fiction">
    <title>Why Fiction? - Political Currents by Ross Barkan</title>
    <dc:date>2026-03-01T22:39:54+00:00</dc:date>
    <link>https://rosselliotbarkan.com/p/why-fiction</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the age we’ve entered—this machine age, AI age, whatever it might be—the purpose of fiction is no less essential than it was a century ago. In fact, in these post-analog times, it might be what is required most. Not for a moral purpose—not to be a way to make “better” or more “empathetic” people—but for the need to reclaim, fully, personhood. The coming struggle might not be left vs. right or some other searing binary but human vs. anti-human. The anti-humanists are, for now, ascendant. They are interested, theoretically, in human augmentation, a cybernetic transcendence, but the greater purpose seems to be human replacement, with only a select few—a certain billionaire elect—presiding over the mass of machines. “It also takes a lot of energy to train a human,” Sam Altman, the OpenAI founder, said recently. “It takes, like, 20 years of life and all of the food you eat during that time before you get smart. And not only that, it took, like, the very widespread evolution of the hundred billion people that have ever lived and learned not to get eaten by predators and learned how to, like, figure out science and whatever to produce you, and then you took whatever, you know, you took.”

“The fair comparison,” he continued, is “if you ask ChatGPT a question, how much energy does it take once its model is trained to answer that question, versus a human? And probably, AI has already caught up on an energy-efficiency basis, measured that way.” 

Capitalism will always prize efficiency; efficiency, in isolation, is far from evil. Neither is technology—we do not want to live bereft of electricity, penicillin, or even the computer. Digital entertainments have their purpose, too. What makes this decade different is the desire of this new billionaire class to deny human beings their intellectual and creative essence. It might not happen, but that is the dream. That is what they are yearning towards. Some are more earnest about it than others, or more honest. And the production of novels—the act itself of writing fiction—is alien to these pursuits. What separates a human being from a machine? Consciousness. And what is consciousness? What has the human being been able to do for thousands of years that other animals, largely, cannot? Imagine. The imagination is the greatest gift we have—what’s forged the cathedrals and pyramids, the paintings and poetry, and, yes, even the machines. The automobile and airplane were works of imagination. The novel, in particular, is an imagination art. It flummoxes the Roy Lees of the world, this new rising class, because it is both fundamentally human and asks so much of a human, a reader. The writer of fiction and the reader of fiction are entered, together, into a relationship of the imagination. This relationship can, quite literally, transcend space and time. The writer, long dead, can still commune with the reader through their words, and readers themselves can span the centuries. Both the printed page and the internet can offer their own forms of immortality.

The novel still comes without instructions. As a reader, you might be offered descriptions, but it’s up to you to interpret them—to properly world-build. Your Yoknapatawpha County appears differently in your mind than my Yoknapatawpha County. Cinema can impose far more on the audience. All visual media does this. All of it, to varying degrees, is more passive than fiction, which asks for the fully-fired imagination and the suspension of belief. Journalism is vital for a democracy but most of it is not art—not even close. New Journalism can reach those heights, if there is an inherent danger to that approach because journalism, at its core, demands facts, and facts can run into conflict with art. A fact does not have an aesthetic. The superior aesthetic might be, in fact, untrue. Journalism can be stenography or it can be more interpretive, analytic, and investigative. Still, in those formulations, it does not attempt the higher planes of fiction. Much of nonfiction doesn’t. Literature has the spark of the divine because it is so inherently unexplainable. One can read scores of writing on how to craft a novel or properly consume literature, but there are lacunae inherent to all these explanations; there is a mysticism to the art of fiction that can’t be explicated, what Martin Amis had called the “white magic.” The communing of mind, body, and currents, the flow of image to fingertips, the dream of these creatures in your skull becoming transmuted into a language, maybe English, maybe another, and then this language is the mechanism that produces fresh images for the reader, fresh dreams. And the language, of course, is an aesthetic. Language is never merely utilitarian; language is art, language paints and is the painting. All of it is a miracle.

Fiction, the great imagination art, cannot be defeated as long as humanity exists. Both literally, in the furtherance of modern civilization, and in the current long war against the anti-humanists. The anti-humanists, themselves, have imaginations—AI is its own dream, derived in part from science fiction—but they are repelled by both the indulgences of fiction and its relative unruliness, its inability to offer quantifiable dividends. Why dwell within an author’s world? Why dream if you aren’t making money? Why must a writer dedicate so many hours to a craft that may not be popular or remunerative? The literary novelist, like the ancient monk, toils alone—even in groups, in scenes, the act of writing is solitary—and the only promised reward is the fueling of a spirit, the feeling that, on the level of blood, an important task was performed. As a writer, I, of course, conceive of the reader—anticipate the reader, hope for the reader’s approval—and chase worldly rewards, whatever they may be, but that simply isn’t enough, especially now. You have to want to perform the imagination art. You have to believe in it. You have to love it, or at least like it enough. Even those who suffer through writing do it because of that belief. It must matter. The writer who allows AI to perform the writing for him has lost that belief. He is an apostate. He is claiming religion while having none at all. He is a liar, a liar of the mind and the soul.

The anti-humanists insist AI is conscious. It is conscious now or will be soon. This is like offering a child a toy dog and telling him, repeatedly, the dog is real. Doesn’t it look like a dog? Can’t it bark if you press the button? The simulacra, for the anti-humanists, is always enough because they have experienced a form of spirit-death. Or they are unconsciously hoping, in time, to arrive there, to that stage. It takes a special kind of human—an unusual segment of the species—to long for the obsolescence of their own, to be so against their own. To resent, fully, flesh and blood and brain matter, the stunning complexities of human consciousness and all, in the past millennia, that has been achieved. To make art, humans have never required more than the basics of the machine world: a paintbrush, a chisel, a word-processor. The hierarchy has always been well understood. The machine is the tool of the human being to enhance the experience of being human. Tools are subordinate. Now, AI asks the human to be subordinate to the machine. Or, more accurately, AI asks nothing because it cannot “ask” anything. It is not alive. The anti-humanists make the ask. They’ve grown rich this way, and they’re rotted from within, like Dorian Gray. Except, unlike Dorian, they aren’t even very beautiful on the outside. They cannot entrance or seduce. They are, as a class, froggish and malformed, their mannerisms glitchy. They can’t willingly march us anywhere. They’ll have to do it by force.

I don’t write fiction as an act of rebellion. I do it because I love it and it gives my life meaning, and I believe, through my novels, I can make art and achieve beauty. I can exist in my highest form, as a worshipper might when in prayer. But it is fine, too, to conceive of fiction as rebellion. The more surreal, or hyperreal, our world becomes, the more fiction will need to be the ballast. The more we will need to duck away from the slopstreams, the smartphones, the machines that, like soma pumped into our bloodstreams, steal our agency away. Can it be done? On this score, I tend towards optimism. It is not optimism grounded in the actions the anti-humanists might take. I do not believe in Sam Altman, Roy Lee, or anyone else like them. Their intentions are to make money, unthinkable amounts of it, and they have no second or third order concerns. Rather, my hope resides with everyone else. The human beings who have still, in this decade, not forfeited themselves, not offloaded the act of imagination. Not long ago, there was an AI-generated video of a battle between Tom Cruise and Brad Pitt that looked realistic enough and drove a few commentators to declare that moviemaking as we knew it was over. What more could there be, now that perfect images of celebrities could be created almost instantly, with passable audio? What was left for the human being? It was an infantile conception of art, mistaking, again, the simulacra for the greater purpose, why we strive to paint or sing or write or direct films in the first place. We do not care about a film because a computer has created a representation of Tom Cruise in front of us. We care about Joel in Risky Business, Maverick in Top Gun, and Ethan Hunt in the Mission Impossible series. Brad Pitt is not AI IP; he’s Tyler Durden, Aldo Raine, and Cliff Booth. Both men look like they look, but that’s beside the point. AI enthusiasts wouldn’t understand this—not really—because they don’t grasp the vitality of the human narrative. An actor tells a story on a screen. A machine can write a story and a machine can generate actors in the same way a machine can play chess. A chess fan isn’t less appreciative of Magnus Carlsen because a machine can perform his role. Chess retains its human dimension. Art will, too.

Humans are a story-telling species. Animals have consciousness, animals can feel pain, and the smart animals can communicate in the proximate way people can, but animals do not tell stories. Animal do not conceive art. It is art, and the quest for narrative, that separates the human from all else; for many thousands of years, this was a cause for celebration. Now the anti-humanists hope to stamp it out—slowly, then quickly. The machine will draw, the machine will act, the machine will write. The machine will perform an imitation of imagination, a weak echo, and its creators will hope the human audience will not care either way. That is the darkest outcome: not a world where, Matrix-like, artificial intelligence rises up, enslaves us, and saps our bioenergy to power their own dystopia. The actual outcome, if Altman and his ilk have their way, will be far more banal. Instead of cyborgs, we will have slopborgs, diminished, slothful human beings who have offered themselves up to AI so completely they let machines think and dream for them. Their critical and cultural sensibilities wither away. There is no audience, anymore, for any sort of art. Instead of the Matrix pods, humans will merely stay home, rotting in the digital abyss.

We aren’t there yet. People still do read, make music, watch films, and visit art museums. There is a culture, high and middle and low, even if it’s under attack. There’s an awareness, too, of the cultural and spiritual sickness of anti-humans. The AI revolution is not very popular. None of its progenitors are celebrated in a way Steve Jobs might have been, when Americans still had great faith in their tech innovators. Writers endure and readers endure. Print book sales are not in decline. Neither is live music. The imagination has an audience and a market. The question will be whether, in the next half century, it can keep both. We have to believe it will. That belief will come with friction; the stakes will grow ever higher. Much is on the line for the AI oligarchs. If enough of us do not take to their creations and make them economically viable, they will be out many billions, maybe begging for federal bailouts. They’ll battle to avoid that outcome as much as they possibly can. This next decade will be pivotal, for both the anti-humanists asserting their market position and the humanists trying to lay claim to what is sacred—and what has driven the progress of human civilization for thousands of years. We will have to preserve our right to imagine."

[via:
https://social.ayjay.org/2026/03/01/ross-barkan-people-still-do.html ]]]></description>
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    <title>FLORIDA - YouTube</title>
    <dc:date>2026-03-01T07:19:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=-hlkzIaF0nU</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>florida 2026 michaelsorensen horsesonyt us history harrietbeecherstowe tourism nature behavior society policy resorts climate climatechange realestate growth beaches condominiums aesthetics wildlife ecosystems everglades greed speculation government governance water development orlando disney disneyworld crime hurricanes housing migration environment activism richardnixon algore billclinton ronaldreagan jebbush animals multispecies lawenforcement police policing paradox paradise boomandbust grift lies scams taxation grifters business miami finance moneylaundering whitecollarcrime drugs inequality incomeinequality poverty smuggling</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=IEq8dlnLP8o">
    <title>Ring Is Just Getting Started - YouTube</title>
    <dc:date>2026-02-26T04:40:01+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=IEq8dlnLP8o</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week we start with Jason’s follow up to Ring launching its ‘Search Party’ feature. It turns out, according to a leaked email he got, the feature is only starting with finding lost dogs. After the break, Emanuel explains why we’ve learned nothing about amplification when it comes to the recent looksmaxxing trend. In the subscribers-only section, Sam explains how Grok produced the real name of a sex worker who performs pseudonymously.

0:00 - Intro
1:11 - Leaked Email Suggests Ring Plans to Expand ‘Search Party’ Surveillance Beyond Dogs: https://www.404media.co/leaked-email-suggests-ring-plans-to-expand-search-party-surveillance-beyond-dogs/
30:26 - We Have Learned Nothing About Amplifying Morons: https://www.404media.co/we-have-learned-nothing-about-amplifying-morons/

Subscriber's Story: Grok Exposed a Porn Performer’s Legal Name and Birthdate—Without Even Being Asked: https://www.404media.co/grok-doxing-real-names-birthdates-siri-dahl/ "]]></description>
<dc:subject>ring surveillance police policing grok xai looksmaxxing cameras amazon sneako andrewtate clavicular nickfuentes manosphere socialmedia misogyny internet online web farright altright aesthetics fascistaesthetics extremism latefascistaesthetics media bradenpeters incels pickupartists nihilism whitneyphillips attention 4chan trolling</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:64e97a04b464/</dc:identifier>
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<item rdf:about="https://newmediahomework.substack.com/p/a-media-literacy-guide-to-looksmaxxing">
    <title>A Media Literacy Guide to &quot;Looksmaxxing&quot; - by Jamie Cohen</title>
    <dc:date>2026-02-23T22:51:43+00:00</dc:date>
    <link>https://newmediahomework.substack.com/p/a-media-literacy-guide-to-looksmaxxing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When mainstream media uplift dangerous internet ephemera, we deserve more context. Here is a guide."]]></description>
<dc:subject>jamiecohen looksmaxxing 2026 media clavicular bradenpeters josephbernstein contentmaxxing miloyainnopolous emanuelmaiberg kierenpress-reynolds stephanierosenbloom hasanpiker streaming socialmedia online web internet attention joerogan incels adameleksic fascism fascistaesthetics latefascistaesthetics aesthetics aidanwalker sarahlaurent surveillance authoritarianism altright stevebannon</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f8e6f601bec3/</dc:identifier>
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</item>
<item rdf:about="https://newmediahomework.substack.com/p/welcome-to-the-era-of-cringe-fascism">
    <title>Welcome to the era of cringe fascism - by Jamie Cohen</title>
    <dc:date>2026-02-23T21:45:05+00:00</dc:date>
    <link>https://newmediahomework.substack.com/p/welcome-to-the-era-of-cringe-fascism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How Italy's media fascism differs from the fascism being ushered in by the broligarchy in the US. Also, some tips on how you can push back against the onslaught of bullshit"]]></description>
<dc:subject>2025 jamiecohen latefascistaesthetics us italy italia fascistaesthetics aesthetics broligarchy neilpostman trumpism donaldtrump maga erikgandini media silvioberlusconi benitomussolino mussolini lelemora fabriziocorona rickymartin jesseeisenberg markzuckerberg davidfincher stephanierosenbloom franchescaramsey issarae josswhedon mrbeast elonmusk ryanbroderick cringe mararooney ericalbright</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:db063f850a18/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elonmusk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ryanbroderick"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cringe"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mararooney"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ericalbright"/>
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</item>
<item rdf:about="https://newmediahomework.substack.com/p/permission-for-cruelty-posted-by">
    <title>Permission for Cruelty Broadcast From the Top</title>
    <dc:date>2026-02-23T07:27:19+00:00</dc:date>
    <link>https://newmediahomework.substack.com/p/permission-for-cruelty-posted-by</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The official instagram account of the administration is promoting viral violence"]]></description>
<dc:subject>jamiecohen 2026 politicalviolence violence politics donaldtrump trumpism maga socialmedia instagram meta facebook fascism taylorrlorenz farright rightwing aesthetics latefascistaesthetics fascistaesthetics messaging truthsocial ai aislop artificialintelligence stephenmiller groypers markzuckerberg</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3f45dc1062ca/</dc:identifier>
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</item>
<item rdf:about="https://samkriss.substack.com/p/the-century-of-the-maxxer">
    <title>The century of the maxxer - Numb at the Lodge</title>
    <dc:date>2026-02-23T06:38:17+00:00</dc:date>
    <link>https://samkriss.substack.com/p/the-century-of-the-maxxer</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Incredible things are happening in America]]></description>
<dc:subject>samkriss looksmaxxing aesthetics latefascistaesthetics fascistaesthetics us clavicular andrewtate tristantate nickfuentes validation performance bodies chriswickham taylorism 2026 bradenpeters</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7b13ff077f26/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=2jtBSC-ZgCI">
    <title>The Ideology of Contentmaxxing - YouTube</title>
    <dc:date>2026-02-23T04:54:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=2jtBSC-ZgCI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The algorithm does to a discussion what Clavicular does to his face — a series of micro-fractures, delivered repeatedly and with precision, in the hopes that it will match a target number that nobody actually wants, but which the machine is thirsty for us to find."

[See also:

"Clavicular and contentmaxxing
the next step after groyperfication" (Aidan Walker)
https://howtodothingswithmemes.substack.com/p/clavicular-and-contentmaxxing

"Clavicular and Fuentes
elder zoomers vs. the young ones" (Aidan Walker)
https://howtodothingswithmemes.substack.com/p/clavicular-and-fuentes

(referenced within) "We are entering the era of Show more
The endless agony of thinking doing being content" (Jamie Cohen)
https://newmediahomework.substack.com/p/we-are-entering-the-era-of-show-more ]]]></description>
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<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=R9fpm-lorIU">
    <title>Hyperreal Fascism | Plastic Pills - YouTube</title>
    <dc:date>2026-02-19T20:51:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R9fpm-lorIU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["check https://www.patreon.com/plasticpills or join the channel for my other theory/philosophy content, including an explanation of the "semiotic square".

See the ProPublica story:
https://www.propublica.org/article/kristi-noem-dhs-ad-campaign-strategy-group

Other refs:
Walter Benjamin "The Work of Art in the Age of Mechanical Reproduction" https://amzn.to/4s5svwR
Algirdas Julien Greimas "Semiotics and Language" https://amzn.to/4tRF3cT
Jean Baudrillard "Simulacra and Simulation" https://amzn.to/4rWMzkC
Wilhelm Reich "The Mass Psychology of Fascism" https://amzn.to/4tAS3mS

00:00 - Fascism's New Face
11:03 - what's Hyperreal
18:35 - what's Fascism
32:01 - Kristi Noem ICE Barbie
38:52 - The Psychosexual Semiotics of Fascism"]]></description>
<dc:subject>fascism latefascistaesthetics fascistaesthetics 2026 plasticpills aesthetics walterbenjamin jeanbaudrillard wilhelmreich algirdasjuliengreimas semiotics trumpism donaldtrump us media socialmedia hyperrealism power threat violence kristinoem guns dhs ice police policing militarism baudrillard reality stephenmiller jdvance meaning messaging policy dickcheney tv television performance transparency theater pallywood marketing corruption canon carlschmitt advertising propaganda italy nazis nazigermany germany italia mussolini benitomussoilini luxurybrands hugboss politics rolex capitalism fendi chanel bimbocore louisvuitton christiandior balenciaga emergency strategygroup fascists aesthetization flags symbolism symbols ivylee hyperreality dior hypernormalization ussr conspiracy conspiracies publicreleations inequality elites fashion democracy ford ibm truenation purification rebirth nationalism scapegoating business 1920s 2020s standardoil profits profit corporations corporatism immigration elonmusk peterthiel ser</dc:subject>
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    <title>Time Reconsidered: Why the Universal Genève Ferrovie dello Stato Is The Railroad Watch To Rule Them All</title>
    <dc:date>2026-02-10T07:04:39+00:00</dc:date>
    <link>https://www.the1916company.com/blog/time-reconsidered-why-the-universal-geneve-ferrovie-dello-stato-is-the-railroad-watch-to-rule-them-all.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The story of the Universal Genève FS—and why the most meaningful watches are the ones that carry history, not status."

...

"I don’t believe in grail watches. I believe in lists. My list is a future collection, a mental inventory of watches I admire, covet, obsess over, and, in many cases, will probably never own. Every now and then, something on that list stops me cold.

That happened again recently, when a watch I first added sometime around 2015 resurfaced and demanded attention: the Universal Genève Ferrovie dello Stato, better known simply as the UG FS.

[image: "Mark 2 Dial. Image: Fratello Watches."]

I’ve added this watch to more eBay and Chrono24 carts than I care to admit. I’ve talked myself into it, out of it, and back into it again. And yet, despite all of that familiarity, I realized I’d never really reconsidered it. That makes it the perfect watch to kick off this year’s Time Reconsidered series.

I’ve never hidden my affection for Universal Genève. Like many collectors, I’m eagerly awaiting the brand’s long-anticipated revival under the guidance of Breitling and Georges Kern. But the FS isn’t the Universal Genève most people picture first. It isn’t a Nina Rindt. It isn’t a Tri-Compax. It certainly isn’t a Polerouter. Those watches deserve every ounce of praise they get.

The watch is generally still attainable, with most models just shy of the $1K price tag. In a vintage UG landscape where quality pieces have become increasingly untouchable, the FS stands out not as a consolation prize, but as a reminder of what watch collecting is supposed to be about.

History, Railways, Time, And A New Italy

[image: "In the early 1930s, Bologna San Ruffillo emerged as one of the more modern stops along the newly inaugurated Direttissima line between Bologna and Florence. Unlike many small stations of the era, it was built with raised, fully paved platforms, sheltered canopies, and a dedicated pedestrian underpass—amenities that signaled a quiet leap forward in everyday railway infrastructure. Image: Wikipedia Commons."]

To understand the FS, you have to start with railroads. And to understand railroads, you have to understand time.

The story of modern timekeeping cannot be told without trains. Railroads didn’t just shrink distance; they forced the world to agree on what “now” actually meant. Time zones exist because trains needed them. Schedules demanded synchronization. Local noon stopped being practical the moment steel tracks connected cities moving at unprecedented speed.

Universal Genève was far from alone in producing watches for railroad service. In the United States, brands like Hamilton and the Ball Watch Company were the true standard-bearers, supplying timepieces that met strict railroad certification requirements. These watches were engineered for demanding conditions, with features such as magnetic protection, improved shock resistance, and highly legible dials designed to be read at a glance, even in poor light. It wouldn’t be until later that Omega entered the conversation, applying the same functional principles to the Railmaster as rail-adjacent needs evolved beyond the American system.

Long before Universal Genève existed as a brand, its roots were already intertwined with Italy — and with the language of railways. Trademark records show that in October 1893, a rail-themed mark featuring a wagon and the word Ferrovia was registered in Le Locle by P. Baillod-Houriet. That same mark was formally transferred in 1894 to Descombes & Perret, the firm that would soon operate under the “Universal Watch” name, and again in 1897 to Perret & Berthoud.

[image]

By 1901, the lineage had evolved further, with Perret & Berthoud registering Cronometro per Ferrovie for watches and watch components. These early trademarks do not point to an official supply contract with the Italian State Railways, but they do reveal something more subtle and just as important: from its very beginnings, Universal’s predecessor firms were deliberately positioning themselves within the Italian market using railway imagery and nomenclature, aligning precision timekeeping with the symbolism and prestige of rail transport decades before the famous FS wristwatches would appear.

[image]

During the Fascist era, the Italian watchmaker Perseo held exclusive rights to supply watches to Ferrovie dello Stato employees. That changed in the postwar period. By the 1950s, as Italy rebuilt itself, the railway began offering workers a choice: pocket watch or wristwatch, multiple suppliers, personal preference within a professional framework.

This is when Universal Genève entered the picture. Already respected for its chronographs and complicated watches, UG became one of the approved suppliers for Ferrovie dello Stato employees. What emerged was not a marketing exercise, but a true employee watch — issued for work, built for purpose, and worn daily.

In that sense, the FS is something like the grandfather of the watches collectors love to talk about today: Pan Am–signed GMTs, Domino’s Rolexes, corporate-issued Omegas. Before any of that became romanticized, the FS existed quietly on the wrists of working Italians, keeping trains on time and on track.

In Italy, railroads carried even greater symbolic weight. They represented unity, progress, and national identity — sometimes exploited, sometimes earned. Under Fascism, the rail system became a tool of propaganda. By the end of World War II, it was also in ruins.

What followed was one of the most important transformations in Italy’s modern history. The Ferrovie dello Stato was rebuilt almost from scratch. New lines were laid. Electrification expanded. The groundwork for high-speed rail was established. What had once been a symbol of authoritarian spectacle was reimagined as something else entirely: a marker of renewal, mobility, and possibility.

Railway workers became part of that story. They weren’t just employees — they were stewards of movement, stability, and modern life. In many ways, they came to represent freedom and prosperity in motion. And the watches they wore mattered.

The Universal Genève FS

[image: "The cleanest Mark 1 dial you will ever see. Image: MarktheTime."

The Universal Genève Ferrovie dello Stato was produced across three distinct series between the mid-1960s and the mid-1970s, a relatively short window that nevertheless captures a period of rapid aesthetic and industrial change. While the cases, dials, and proportions evolved, the core brief from the Italian State Railway remained remarkably consistent: a highly legible wristwatch, modestly sized by modern standards, with a clean white dial, Arabic numerals, and a subsidiary seconds display at six o’clock.

Across all three iterations, the FS was powered by Universal Genève’s manually wound caliber 64 (which is eerily similar to the Omega 30T2RG). It’s a no-nonsense movement, which is the nicest way to describe a mechanical movement that is non-hacking, non-chronometer rated, but reliable, slim, and generally easy to service.

Every example was engraved on the caseback with “FS” along with a unique serial number. Unlike many military or employee-issued watches where production figures are speculative at best, the sequential numbering here allows for educated estimates. In total, roughly 82,000 Universal Genève FS wristwatches appear to have been produced between 1964 and 1975, with the vast majority belonging to the second series.
First Series (circa 1964–1966)

The earliest FS, and still the one I find myself chasing most often, is the First Series. These watches feature a 34mm case with white enamel dial, that gets, dare I say it, creamy with age. When scouring online for these, pay special attention to the enamel dials as many are in poor condition.

The Arabic numerals are stamped from the reverse of the dial, creating raised forms that are then filled in dark paint, offering excellent contrast and depth. The small seconds register at six o’clock has radially printed numerals, which just looks really good. Look closely and you’ll spot another tell: the “6” in 60 is wide open, a small detail that has become a shorthand for identifying early examples.

Many collectors, myself included, seek out the Mark I for its faceted case, slightly smaller size, and radial subdial layout. Produced only for a brief period, the First Series is significantly rarer than what followed, and finding one in strong, original condition has become increasingly difficult.

Second Series (circa 1969–1974)

[image: "Mark 2 Dial. Image: Fratello Watches."]

The Second Series marks the most substantial visual shift in the FS lineage, and also accounts for nearly 70 percent of total production. Here, Universal Genève moved to a larger 36mm cushion-shaped case with broader proportions and 19mm lug spacing, aligning more closely with late-1960s design trends.

Despite the new case, much of the dial DNA remains intact. The white enamel dial returns, as do the stamped Arabic numerals. On the sub-seconds register, the numerals are now printed straight rather than radially, the “6” in 60 is tightened up, and no longer fully open, though not entirely closed either.

Third Series (circa 1974–1975)

The Third Series represents the final chapter of the FS story — and the most visually distinct. The cushion case remains, but the dial takes a sharp turn. Gone is the enamel; in its place is a silver dial with a more modern, utilitarian feel.

The typography shifts as well. The sub-seconds register features smaller, straighter printing with concentric circles, and the Arabic numerals appear to be applied rather than stamped. Below six o’clock, the dial now reads simply “Swiss,” replacing the earlier “Swiss Made.” It’s a quieter, more restrained execution.

Production numbers for the Third Series are exceedingly small. Based on known serial ranges, as few as 1,500 examples may have been made, all toward the very end of Universal Genève’s involvement with the FS program.

A Note for Anyone Looking: Correct crowns across all series remain a point of debate, but evidence suggests that a signed Universal Genève crown bearing a capital “U” is appropriate. As with much vintage collecting, originality here is part documentation, part informed consensus.

Why This One Matters to Me

When I look at the watches on my list, the ones I want and the ones I admire, it is hard not to notice how disconnected many of them really are. Some are aspirational in the most obvious way. We see Steve McQueen, James Dean, James Bond. We see our boss’s gold watch and imagine what it might say about us if it were on our wrist instead. None of that is wrong. We all use objects, watches included, to project identity, to borrow a little meaning, a little confidence, a little cool.

[image: "Two Mark 2 dials. Image: Omega Forums"]

The Universal Genève FS is undeniably cool, but not in a way that tries to impress. It is not going to upend horological history, and it does not pretend to be some revelatory act of design. What it does instead is something far rarer. It connects.

Universal Genève was one of the first vintage brands I encountered in the earliest, most formative years of my collecting. Long before I understood movements or production numbers, I wanted a UG. That desire never faded, only my ability to act on it did. The FS, in many ways, feels like the most honest expression of that early fascination.

And while it was not made in Italy, its roots are inseparable from it. This watch represents a moment of rebuilding, of forward motion, of life after authoritarianism. It was worn by railway workers, people like those in my own family, who quite literally kept the country moving. There is something quietly powerful about wearing a watch that stands in opposition to the regime my grandparents fled, transformed instead into a symbol of work, dignity, and progress.

Italy will always have a place in my heart. Not just because of heritage, but because of memory. A babymoon spent driving through the Dolomites and hiking along impossibly blue alpine lakes. A best friend’s wedding on the Grand Canal in Venice. Family trips to Florence. Moments measured not just in minutes, but in motion, always on trains, always between places, always headed somewhere new.

To wear a Universal Genève FS is to carry all of that on my wrist. A piece of personal history intertwined with a broader one. A watch tied to the railroads that reshaped how we organize, understand, and experience time itself.

And that, to me, is what watch collecting is really about. It’s not about trophies or speculation, but stories that move with you and matter because they are yours."]]></description>
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    <title>Suno, AI Music, and the Bad Future - YouTube</title>
    <dc:date>2026-02-09T16:51:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=U8dcFhF0Dlk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sources:
https://docs.google.com/document/d/1my3jJ96cyKmHubZu5mTLgp3wzEWtXKJkqfP0kKcF6kE/edit?tab=t.0

0:00 Intro
4:06 Challenge accepted
6:55 Three Questions
24:14 Why no influences? (deskilling/narcissism)
35:50 Profiles of the Future
47:54 Good uses of Suno
59:05 Futurism/Techno-Optimism
1:16:22 New Virtues
1:22:03 Final Predictions"

[via:
https://blog.ayjay.org/faster/

"Near the beginning of this long, fascinating, and deeply depressing video [https://www.youtube.com/watch?v=U8dcFhF0Dlk ] Adam Neely says that he doesn’t think Mikey Shulman, the CEO and prime hypeman of Suno, is evil. I dunno, I think he might be evil. A person who makes and advocates for anything this destructive will likely be one of the following:

• Evil — happy to do any amount of damage to humanity as long as he gets rich;
• Sociopathic — unable to consider the consequences of his actions for others;
• Self-deceived — skilled at internally avoiding obvious questions about the validity of what he’s doing.

So being evil is not the only option here, but it’s definitely one of three.

There are so many bizarre things about this dude, but I was taken by one small thing: around the 8:40 mark of the video he says, “I know one person who is a songwriter who had a lull in creativity, and after finding Suno went from maybe making 50 songs a year to making 500 songs a year.” Now this is a ridiculous thing to say — but in an interesting way. Shulman knows so little about musical composition that he thinks that a person in a creative “lull” writes a mere fifty songs a year.

Let’s think about that. Consider Bob Dylan, whom some people think of as a prolific sngwriter. In his 65-year career he has composed roughly 700 songs. Pathetic! Even if he had experienced a lifelong “lull in creativity,” he’d have, by Shulman’s metrics, produced 3250 songs — and if he’d used Suno, why, he’d have knocked out 32,500 songs by now, with a few thousand more probably remaining to be processed by the Suno Song Extruder™.

As absurd sales pitches go, Shulman’s is solid gold.

Anyway, you should watch Adam’s human-made non-extruded video. It raises many important issues and makes many important points, especially about the relative value of patience and impatience. Shulman loves impatience, because impatient people are his primary marks. “Faster is obviously better,” he says, a comment he doesn’t seem to think applies only to music composition. Maybe he has the same view about eating, talking with friends, and sex. Faster! And then what? [https://blog.ayjay.org/and-then/ ]

But the most vital claim Adam makes, I think, is this: the arrival of AI slop machines like Suno will dramatically accelerate something that’s already well underway, the widening chasm between live music and recorded music. When musicians recorded live in studio, the gap between that and live performance was very small; now it’s vast and getting vaster. And as Adam says, people will always want to experience live music — and perhaps will value it all the more because of the contrast to an increasingly slop-dominated world of recordings. (Especially in human-scale venues where lip-syncing and pitch-correction are impossible.)

I happened to come across Adam’s video yesterday just after watching Julian Lage and his bandmates perform “Something More” [https://youtu.be/AECKSq8r2OM?si=WCJ4gW-viCdlYjAX ] — what a beautiful song, and look at that, it’s just four people in a room making that beauty happen. I only wish they were coming my way sometime soon."]]]></description>
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    <title>Soft Eugenics in the Age of Self-Improvement: On Looksmaxxing and the Fear of Being Human</title>
    <dc:date>2026-01-21T20:51:35+00:00</dc:date>
    <link>https://deerisnice.substack.com/p/soft-eugenics-in-the-age-of-self</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve been thinking about looksmaxxing for a while now—not just as a trend, but as a symptom. A language that tries to sound rational, scientific, optimized, when really it’s built on fear, isolation, and a deep misunderstanding of what being human actually is.

What looksmaxxing is—and where it comes from?

Looksmaxxing is the belief that physical appearance is the primary—or even sole—determinant of success, love, social value, and happiness. The idea is that beauty can be optimized like a system: jaw angles, facial symmetry, body fat percentage, height, skin texture, hair density. Everything measured, ranked, compared. It borrows selectively from evolutionary psychology, statistics, and aesthetics, flattening complex human attraction into numbers and hierarchies.

The term didn’t come from nowhere. It emerged from the same online ecosystems as the manosphere: incel forums, red pill communities, and algorithm-driven spaces where frustration mutates into ideology. These spaces often frame the world as brutally deterministic—if you’re not born into the “top tier” of male attractiveness, you are doomed to exclusion.

In these communities, you’ll often hear:

Red pill: the belief that society lies to men about love and gender dynamics, and that harsh “truths” must be accepted—usually that women are shallow, hypergamous, and only value the top 20% of men.

Black pill: a more fatalistic extension—your genetics define your destiny, self-improvement is mostly useless, and the system is rigged beyond repair.

Looksmaxxing: the proposed solution. If the world is shallow, then become what the world rewards. If love is a market, optimize your product.

What’s striking to me is not just how extreme this sounds, but how quickly it’s going mainstream. I mentioned looksmaxxing to a friend who barely lives online. Within a day or two, she started getting ads for an app that scans your face and shows you your “ideal” version—then tells you what procedures, habits, or products you need to get there. That didn’t feel fringe. That felt like the future quietly arriving.

Why this is hard for me to take lightly—as a woman?

As women, scrutiny doesn’t arrive later in life. It greets you at birth.

I grew up on pro-ana Tumblr, where extreme thinness was the goal and self-destruction was aestheticized. Later, I entered the modeling world, where my body was never neutral—it was constantly evaluated. Too fat. Skin not perfect. Nose too big. Not feminine enough. At the time, I wasn’t strong enough to fully brush it off. I internalized it. Eating disorders. Depression. Shame.

When I left modeling, I entered the dating world carrying those scars. I assumed—because experience had trained me to—that my body and face were fundamentally wrong. That I wasn’t worth a man’s time. Ironically, I was then told I was *too* skinny. I didn’t feel woman enough. Somewhere along the way, I built a caricature of womanhood in my head—an impossible ideal born from fear—and punished myself for not matching it.

What saved me wasn’t becoming prettier. It was learning to live in my body without hatred. I was lucky. My father guided me toward health—not aesthetics. Strength. Routine. Mental stability. I stopped chasing an image and focused on feeling well. I’m naturally skinny. I’m never going to have a huge ass. And I’m fine with that. Because I don’t need to mold myself into something unreal to deserve peace.

That’s why when I look at looksmaxxing culture, I don’t just see arrogance or entitlement. I see something familiar. I see the same insecure mental state—just arriving later, and expressing itself differently.

Male loneliness, isolation, and the online vacuum

What feels new isn’t insecurity—it’s isolation.

Post-pandemic, younger people socialize less in real life. Third places disappeared. Living costs turned “hanging out” into a luxury. Staying home, gaming, scrolling, chatting online is cheaper, safer, more comfortable. For teenagers born around 2010, there was never a before. Their entire social development has been mediated by screens.

We already learned—back in the early 2010s—what constant exposure to curated images does to the psyche. Photoshop. Filters. Magazines erasing armpits. I grew up hating my armpits in photos. We *know* images lie, yet younger generations don’t have enough offline contrast to fully internalize that knowledge.

Research consistently links heavy social media use to increased body dissatisfaction, anxiety, and depressive symptoms—especially in adolescents. Add to that the fact that boys and men are statistically less likely to have emotionally intimate friendships, less likely to talk about insecurity, and less likely to seek help, and you get a perfect storm.

Women tend to process pain internally—we blame ourselves first. Men, on average, are socialized to externalize emotions. They expel anger instead of metabolizing it. When there’s no emotional outlet, no language for vulnerability, frustration has to go somewhere. Online ideology gives it a target.

Why men think women only want the “top 20%” ?

One of the core beliefs in looksmaxxing and incel spaces is that women are only attracted to the top 20% of men—usually defined almost exclusively by looks.

But this idea collapses under scrutiny.

Historically and statistically, women tend to be more flexible in what they find attractive and more likely to prioritize traits like emotional safety, reliability, humor, intelligence, and shared values. Men, on average, place greater emphasis on physical appearance when selecting partners—and then project that priority onto women.

When men assume that *men’s* standards reflect *women’s* desires, misunderstanding becomes inevitable. Isolation follows. Resentment grows.

Humans are complex, but we are also animals. Evolutionary psychology does show sex-based differences in mate preferences—but internet discourse turns probabilities into absolutes. Tendencies become laws. Context disappears.

Contradictory male ideals and unprocessed whiplash

Male beauty standards have shifted just as violently as female ones.

From hypermasculinity (Arnold Schwarzenegger) to androgyny (David Bowie), from the rockstar era to metrosexuality (David Beckham), what was considered “gay” one decade became aspirational the next. The difference is that women were forced to internalize this instability early—and eventually many of us reached a breaking point. Self-hatred turned inward until it collapsed, and some of us rebuilt.

Men, instead, are externalizing the same contradiction.

Rather than questioning the system, they optimize themselves within it. Botox becomes “masculine enhancement.” Makeup becomes “skin optimization.” The language changes, but the pressure doesn’t.

The irony is brutal: men are now holding themselves to the same impossible standards they once imposed on women—without asking women what they actually value.

Capitalism, insecurity, and soft eugenics

Insecurity is an infinite money generator.

Capitalism thrives on fragmentation. Individuals consume more than units—partners, families, communities. Loneliness is profitable. So is self-loathing. So is the promise that you can fix existential discomfort with products, procedures, or optimization plans.

Looksmaxxing reframes beauty as science. Ratios. Metrics. “Objective” attractiveness. But beauty has no stable standard—only shifting social agreements shaped by power, media, and economics.

What terrifies me is how close this edges toward soft eugenics. Not enforced by the state, but encouraged by markets. The “best” human becomes the most optimized, the least human. No aging. No mess. No vulnerability.

We already reward youth obsessively. We already treat bodies as disposable. Now we’re teaching young people that being human—sweating, aging, having hair, acne, softness—is a failure state.

The fear of being human

Sex is messy. Bodies are imperfect. Intimacy requires vulnerability. You cannot outsource that to an app.

When young men are raised on avatars, AI companions, pornified perfection, and algorithmic desirability, real human bodies feel threatening. Real women feel unpredictable. Real intimacy feels unsafe—because it requires liking yourself first.

Yes, appearance matters. Of course it does. Looking good can boost confidence, and confidence opens doors. But when looks become the foundation of self-worth, there’s an expiration date attached. Youth fades. Bodies change.

What remains then?

We are living in an era where facts become opinions and opinions become facts. There is always content that will agree with you. Always an article. Always a forum. Extremes outperform moderation. Rage travels faster than nuance.

Sometimes the solutions feel obvious: empathy, real-world connection, emotional literacy, health over perfection. But fixing this would require rethinking too many systems at once. And systems built on extraction don’t heal quietly—they collapse.

Maybe I don’t see the appeal of the race because I’m privileged. Because I have support. Because I was forced to confront this early. Or maybe I’m just too neurodivergent to believe that optimization equals meaning.

But I keep asking myself the same question:

When did being human stop being enough?"]]></description>
<dc:subject>eugenics looksmaxxing aesthetics 2026 self-improvement human dehumanization humans humanity deerisnice isolation insecurity loneliness beauty capitalism softeugenics humanism</dc:subject>
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<item rdf:about="https://ibraaz.org/ibraaz-publishing/read/consensus-aesthetics-the-political-economy-of-agreement-in-contemporary-art">
    <title>Consensus Aesthetics: The Political Economy of Agreement in Contemporary Art | Ibraaz</title>
    <dc:date>2026-01-21T07:36:58+00:00</dc:date>
    <link>https://ibraaz.org/ibraaz-publishing/read/consensus-aesthetics-the-political-economy-of-agreement-in-contemporary-art</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cem A. diagnoses the current institutional climate of soft moral alignment, where art gestures toward politics without the difficulty of being political, and proposes strategic empathy as a potential path out."]]></description>
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<item rdf:about="https://mbird.com/religion/church/do-buildings-reflect-spiritual-change/">
    <title>Do Buildings Reflect Spiritual Change? - Mockingbird</title>
    <dc:date>2026-01-16T08:24:37+00:00</dc:date>
    <link>https://mbird.com/religion/church/do-buildings-reflect-spiritual-change/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Beauty (and God, for that matter) is something we stumble into."

...

"Living life in the analog world has meant experiencing much of life through cultural lenses: magazines, newspapers, broadcast television — none of these are surviving a direct-demand response via technology to our desires, wherever we are. The same is true of our buildings — movie theaters, museums, churches, shopping malls, town halls, even classrooms are now losing their social necessity.

Churchill was actually wrong when he said “We shape our buildings; thereafter they shape us” at a speech on October 28, 1943, arguing for the traditional rebuilding of the House of Commons after it was destroyed by bombing during World War II. The culture of Britain had shaped the building, and the radical cultural revisions Britain experienced after World War II — including firing Churchill — were not shaped by the fully traditional rebuild of the House of Commons.

Aesthetics in buildings changed after World War II, and modern architecture became the default style of most of our public places. Cultural changes created those changes — designers simply responded to them.

In the midst of the greatest cultural upheaval since the Industrial Revolution — the Internet Explosion — our culture is radically changing as it did then. Part of that are the convulsive changes organized religion is facing — because the humans are changing, what we create changes. The last decade has seen this change in a brutal social dynamic that is causing record levels of human isolation, addiction, and suicide; and in northeast America, new lows in participation in organized religion and in the use of the buildings of organized religion.

I design sacred spaces. And I am a human who goes to church every week. At one of those weekly gatherings, Rector Luk de Volder had to voice what is both obvious and hard to fathom:

    One of the things our culture has lost, it certainly seems a distant memory, is the gift of forgiveness or mercy. Our digital lives don’t know mercy. Anything you search, post, or watch online is forever carved in the memory of the web. God may wash away our sins, but online, nothing will be wiped out. No forgiveness, no mercy. The internet remembers forever and brings back memories, even the ones you hoped to forget.

Those words cut to the devotion to the beauty we feel in our sacred spaces — the places we make that nurture the places we do not. Hearing the presence of God in our day-to-day is harder in traditional spaces amid the disheartening diminishing mercy in our day-to-day lives.

And our buildings reflect that humanity. The overwhelming majority of us knows that there is something far, far, more important than our day-to-day. Organized religion is the assembly of rituals and icons to reflect and elicit that human reality. But our analog organizations are often not so much the extension of us now as they are of the lives we once had — the lives now fully upended by the technological revolution of our culture.

How do designers respond? Well, education is at the forefront of addressing change in our lives: All our human reactions are analyzed, organized, and projected in how we educate ourselves. I teach architectural design at the University of Hartford. As a designer of sacred space, I received two unsolicited cries out in the wilderness from two remote schools of architecture about how design reflects changing perceptions. Both are grappling with the changes in our culture that are affecting how design reflects the perception of the sacred.

Aurora Thompson, a senior at the Interior Architecture and Design program at Western Michigan University, wrote to me. “I am studying generational divides within worship environments and exploring how to design spaces that foster connection, inclusivity, and spiritual growth across all generations.”

Cormac Fitzgerald, a thesis student in architecture at SUNY Alfred is trying to define the “use of multiculturalist practices to enhance interreligious facilities … in response to the abundance of immigration to the US and the influx of new, unfamiliar traditions, with the goal of contributing towards an accepting and holistic society.”

All good. But to me there is more. The “more” is actually the fundamental reality of God that defies all understanding but is as real as “generational divides” and “multiculturalist practices” — places we can try and maybe succeed at understanding our focused impacts. Beauty (and God for that matter) is something we stumble into. It is not something we create, for we have already been created by it. Our lives are, in fact, steeped in beauty beyond our understanding. Hearing what beckons us beyond ourselves — despite ourselves — is given to us by the God who “gives all things their beauty: that he restores fair form to what has lost its shape, that he makes the beautiful more beautiful, and what is more beautiful he makes most beautiful” (Bonaventure Hex. I, 34).

I have come to realize the futility of trying to justify beauty and instead listen to the truth revealed in all of us in the things I help create. Late in life, for the first time, that truth was voiced by a great thought leader in architecture who has now passed. He was a designer too — not specifically of sacred space but in direct connection to the sacred in each of us. Not the intellectually convenient rationalizing of spirituality in a psychiatric syndrome but as a direct connection to God.

He was the author of A Pattern Language — Christopher Alexander, the creator of a program called Building Beauty where I also teach. His widow shared with me the article “Making the Garden” published by First Things in February 2016. At the time, it was a revelation to the world — a voice in a secular, rational, atheist world of academics.

Unlike almost all other publishing architects, Alexander clearly understood the state of decline in the relevance of religion:

<blockquote>There can be little doubt that the idea of God, as brought forth from the nineteenth and twentieth centuries, has slowly become tired … to such an extent that it has difficulty fitting into everyday twenty-first-century discourse. As it stands, it is almost embarrassing to many people, in many walks of life.</blockquote>

His early training revealed that “in an epoch when God was not acknowledged, it became virtually impossible for people to build the kinds of buildings where God appears.” He saw a different way: “I did maintain an inner knowing that the best way to produce good architecture must somehow be linked to God — indeed, that valuable architecture was always about God.”

Alexander justified this conclusion by stating that “there are two approaches to the reality of God. One is faith; the other is reason. Faith works easily when it is present, but it is luck, or one’s early history in family life, or a blinding insight of some kind, that determines whether one has faith. Reason is much harder. One cannot easily approach the reality of God by means of reason. Yet in twentieth- and twenty-first-century discourse, reason is almost the only way we have of explaining a difficult thing so that another can participate.”

Like myself, Alexander concluded, “I could no longer really avoid the topic of God.”

But more than broad oaths of devotion and insight, Alexander offers an insight that is both rare and a more radical basis for architecture than any of his other well-known aesthetic insights. For him, his theories and practices add up to one point:

<blockquote>The tangible substance of architecture, the fact that in good architecture, every tiny piece is (by definition) suffused with God, either more or less, gives the concept of God a meaning essentially translated from the beauty of what may be seen in such a place, and so allows it to disclose God with unique clarity … If we pay attention to the beauty of those places that are suffused with God in each part, then we can conceive of God in a down-to-earth way … the path of architecture thus leads inexorably towards a renewed understanding of God.</blockquote>

And mercy — in grace."]]></description>
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<item rdf:about="https://walkingtheworld.substack.com/p/us-is-better-than-europe">
    <title>US is better than Europe! - Chris Arnade Walks the World</title>
    <dc:date>2026-01-10T20:43:08+00:00</dc:date>
    <link>https://walkingtheworld.substack.com/p/us-is-better-than-europe</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Or so say some people, at least by their actions"

...

"(Warning: The headline is engagement bait. Read below for a more nuanced discussion. Well, hopefully it is more nuanced.)

Every few weeks Twitter gets caught up in a fight when someone proclaims that Europe is better than the US, or vice-versa1. I usually stay away from these dust ups because it’s an ignorant debate. The question is badly defined, subjective, and impossible to answer, so the fights devolve into two groups talking past each other, until someone eventually drags out a picture of Breezewood [https://walkingtheworld.substack.com/p/walking-america-part-5-breezewood ], and then for all effective purposes it’s over2.

To the pro-Europe side, Europe is a cornucopia of crime-free, gothic-cathedral-having cities with great public transportation, quaint row homes, and sensible policies on guns, health care, and child care. America, in contrast, is a dystopian landscape of depressing suburbs with oversized cars, soul-sucking strip malls, and people shooting up drugs and each other.

To the pro-US side America is a land of hard-working, money-making, independent-minded people who hate being told what to do, especially by mid-wit bureaucrats with zero appreciation that human flourishing requires true and almost absolute freedom. Europe, by contrast, is an impoverished, crowded, backward, continent determined to stay impoverished, crowded, and backward because of a stubborn and stupid commitment to high taxes, high regulation, and low entrepreneurialism.

The inconvenient reality (for each camp) is that both are large diverse places with a lot of different groups living in very different ways, and so it’s close to impossible to compare, except in strokes so broad it ends up being useless.

The latest of these tweets, which against my better judgement I engaged with, isn’t that bad, because I think it gets the broad strokes correct. Which is, in the US most of your income is yours to decide what to do with, whereas in Europe a majority of it, or close to it, is funneled to a central authority that’s dedicated (in theory) to the public good.

[screenshots:

<blockquote>[Marko Jukic, @mmjukic]Europeans aren't poor. They are illiquid. Much of Europe's wealth is stored in safe streets, nice parks, public transit, "free" healthcare, etc. which, it turns out, are too socially expensive for Americans to maintain. Americans take the money instead. The rest is only natural.

<blockquote>[Flo Crivello, @Altimor] Americans severely underestimate how dirt poor most Europeans are.

They go spend their American wages there and are amazed at the "quality of life," not realizing that they're taking the equivalent of a trip to Disneyland, and everyone around them is the staff.

<blockquote>[Scott Lincicome @scottlincicome] Median size of a dwelling in every US state vs the same thing in Europe. [presumably a map or chart]</blockquote></blockquote>

[Marko Jukic, @mmjukic]The EU has triple the population density of the United States and doesn't believe in "suburbs," just "cities." Given how much more space there is in America, it's surprising that the numbers are so close, if anything. [maps]</blockquote>

Or, as I’ve written before [https://walkingtheworld.substack.com/p/why-the-us-cant-have-nice-things-a6d ], it’s about a communitarian versus individualistic lifestyle, with the US having chosen a policy path emphasizing self-sufficiency and convenience, and Europe being more focused on the communal good and restraint.

The tweet also highlights the two most striking, easy-to-measure differences between the US and Europe — the US is wealthier, at least in material terms, and has a lot more space, and so US homes end up being large enough that Europeans get either jealous, or see them as wasteful — You mean, you don’t live with your parents and grandparents in a fourth floor walk-up? You mean you have separate rooms to cook in, eat in, and even store your junk in? Wow.

There are so many other easy-to-measure differences between the US and Europe, like life-span, crime, pollution, car ownership, and so on, that makes it close to impossible to adjudicate which is better on data alone, even if you wanted to go that way.

Then there are all the hard to measure very subjective differences, like aesthetics, food, nature, and so on, that highlights that it’s a very personal decision.

Or, asking which is better is a deeply silly and flawed question, since it’s asking someone if they prefer the culture they grew up in, or a different one, and with a few notable exceptions3 the majority of people will vote for their own culture because it’s core to their identity. Humans are cultural animals, groomed from birth by the society they grew up in, to value the society they grew up in.

I’ve alluded to this cultural essential-ism before, in my essay on Thick Travel [https://walkingtheworld.substack.com/p/thick-travel ],

We humans are cultural animals, imbued at birth with “the natural equipment to live a thousand kinds of life” but who generally end up “in having lived only one.”

That one life we end up living is largely determined by what culture, and place in it, we are born into.

As Geertz writes,

<blockquote>“As culture shaped us as a single species so too it shapes us as separate individuals. This … is what we have in common.

Oddly enough, many of our subjects seem to realize this more clearly than we anthropologists ourselves. In Java, for example, the people quite flatly say, “To be human is to be Javanese.”</blockquote>

To be human is to be American, or Danish, or Japanese, so it’s not surprising the majority of people are more comfortable in the culture they’re born into4.

So, why am I writing this essay, and why did I title it the way I did, other than as click-bait, especially given how often I write about what the rest of the world does better than the US, like the whole being happy thing. [https://walkingtheworld.substack.com/p/walking-the-world-hanoi-part-1 ]

Because while the majority of the world does like where they live (again, with the big caveat of destitute places), a minority does indeed reject the culture they’re born into, and choose to move, and an even larger minority dream of moving, and almost all of those who do, imagine themselves in the US.

As I tweeted in response to the above tweet, again somewhat provocatively,

[screenshot:

<blockquote>Don't necessarily disagree with this framing (would say it differently), but I believe a large percentage of Europeans would swap their tiny apartment three miles from downtown Brussels, or Marseille, their tiny car, for a ranch house in Jacksonville beach with three cars & a yard for the kids to play in.

Not sure many Americans would take up the opposite offer, other than grad students wanting a quaint experience

Maybe I'm wrong, but that's my sense.</blockquote>]

Now there are things I would change with that tweet, which was attempting to compare the modal (or most common) European experience to the modal US experience. For instance, I would switch Jacksonville Beach to Jacksonville, or Houston, and Marseille to Bucharest or some other Eastern European city.

Yet, I stand by the intended larger point, culled from years of talking to people all over the world, which is, what the US is selling (space, freedom, meritocracy), has a lot of buyers across the globe, including in Europe. Or to put it another way, the rest of the world (other than academics) really really love the US. Or, at least they love the idea of the US.

Why do I feel the need to point this out? Because I don’t think it’s well understood on twitter, and certainly not in the “smart” discourse.

The reason it’s not well understood is because the people who find the US brand the most appealing are not people you hear from a lot, because they don’t have lots of money, or lots of education.

There is a big educational divide in how the world views the US, and it’s lifestyle, with the less educated being largely positive towards it, while the highly educated generally favor a more European lifestyle (walkable urban environments with smart regulation), including those in the US, who cluster in the most European parts of the US5.

That’s partly why I went to Phoenix, which in many ways represents the pinnacle of what the educated hate most about the US — its sprawl, its dependency on cars, its disregard for the natural elements, its ugly wastefulness, its shortsightedness that places immediate convenience above a focus on the longer term and greater good.

Now, I also famously hated Phoenix, loathed it so much that I’m still getting yelled at on Reddit, but Phoenix is growing rapidly, which shows that while I don’t like it, and you might not like it, a lot of people really do like it. Or at least what it represents to them.

As I wrote then,

<blockquote>Phoenix is a large grid, of mile-long four-lane sides, with shopping plazas at the corners, and an inside of twisting single-lane roads and simple ranch homes on half-acre plots. Those residential insides are the nice parts, and showing that they’re nice is partly why I’d come to Phoenix: to highlight a version of the American Dream, which, while I might not love and isn’t necessarily “walkable,” is still very appealing to lots of people. It’s what I wrote about last week, when I cautioned that walkability doesn’t necessarily translate into livibility. [https://walkingtheworld.substack.com/p/so-what-makes-a-city-more-walkable ]</blockquote>

This weekend I made a personal trip to Miami, where I did a ten-mile walk through the least fancy parts6. When I mentioned this on Twitter, I got a now very familiar push-back telling me all that’s wrong with Florida: That it’s going to be underwater soon. It’s hot. It doesn’t have any culture. Basically, it’s an unlivable gross shit-hole with a wrong approach to everything, including politics.

Yet, people are moving to Florida. In droves. And they’ve been moving there in droves for the last fifty years.

I grew up in central Florida, not the fancy part, and back in the 70s our school system was so overwhelmed with an influx of new residents from Michigan, New York, Ohio, and the rest of the north, that they shifted to an absurd system called 45-15. Each student was assigned one of four tracks (mine was B) that went to school year round, but alternating between nine week stints, followed by three week breaks, so that at any time only three quarters of the students were attending.7

Since college I’ve been moving further and further north, and at each stop people keep telling me I’m going in the wrong direction. Just this morning, at my local upstate NY McDonald’s, the old man table, when they found out I was originally from Florida, did the usual, “So, why in the hell did you leave?” thing.

All of this is a very long way of saying, people’s actions reveal a lot, and one of the things they’ve revealed to me over the last four years of travel is that while I might be very critical of the US, especially places like Phoenix, I’m beginning to understand that I’m in the minority. Which is helpful to remember.

The American lifestyle I’m so critical of, the lack of public transport, the selfish lifestyle, the gross materialism, the shortsightedness, the paper thin intellectually vapid bling, is very appealing to a large percentage of the world, and that should matter. How large a percentage? I’m not sure, but while it may not be a majority, it’s not far from it.

The smart push-back against this, which is something I’ve written a little bit about before, is that ok, people think they like the US, think they want to move to Phoenix or Florida, but that’s them responding to an image being sold. It isn’t reality.

Or, the people who tell me, over beers in Hanoi or Ulaanbaatar, or coffees in Belgium or Bucharest, that they want to move to the US don’t really know what they’re getting themselves into, deluded by glossy images from TV. Or it’s the grass is always greener effect.

There is certainly a lot of that going on, but the more time I spend walking the world, the more time I spend talking to people, I think the deeper answer is that the image the US projects and represents to a lot of the world, and in many ways provides its residents relative to other places — opportunity, material wealth, safety, independence, space, convenience, and lots of immediate pleasure — is a lot more appealing than what I’ve believed before, or want to believe. So appealing it breaks across cultural boundaries and life-long preferences.

That is, maybe most people really do want an American style transcendent-free lifestyle, especially if it comes with the conveniences of a huge dyer, powerful AC, two large cars, and a ranch house on a plot of land that couldn’t ever hold a heard of animals larger than rats.

The US has a lot of problems, but people not wanting to move here, isn’t one of them, and that shouldn’t be forgotten.

[footnotes]

1 - There is a whole meme dedicated to this, called “The American mind cannot comprehend this.” Google it.

2 - There is something called Godwin's law, which states, “As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches one.”

I would like Arnade’s law to be, “As an online discussion over Europe versus US grows longer, the probability of someone posting that picture of Breezewood approaches one.”

3 - Very destitute places are a clear exception. Like Senegal.

Also, as I address further down in the essay, highly educated people (like myself) are less products of their culture. One of the attributes of modern education is an emphasis on valuing new experiences, and different cultures.

4 - Or to put it another way, our cultural provides us our utility function and that is what we use when we decide what array of variables is most important.

5 - Upscale neighborhoods in big cities, and any neighborhoods around elite colleges.

6 - For Miami knowers, I walked up 441, from downtown to Opa-Locka

[map]

7 - They both couldn’t, and didn’t want to out of cheapness, build new schools fast enough to deal with the demand. "]]></description>
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<item rdf:about="https://walkingtheworld.substack.com/p/why-are-americans-unhappy">
    <title>Why are Americans Unhappy? - Chris Arnade Walks the World</title>
    <dc:date>2026-01-10T20:10:29+00:00</dc:date>
    <link>https://walkingtheworld.substack.com/p/why-are-americans-unhappy</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A broken cultural archetype"

...

"The US is the most successful country in human history, as measured by the current in vogue metric of excellence, which is how much stuff (food, housing, cars, toys, etc) everyone has.

This wealth isn’t confined to only the top percent, today’s middle class and working class live lives that past nobility would be astounded by. To quote myself, when a Greyhound bus dropped me in the rather modest town of Michigan City Indiana,

<blockquote>It is easy to forget how astonishing modern life is … at the earthly level. A three-thousand-square-foot home, with central heat and AC, a two-car garage, and a two-acre estate complete with a swimming pool, with weekly festivals, is the life of a past baron or lord, now available, in some form, to most Americans.

While Franklin Street in Michigan City is far less idyllic than Westchester suburbia, it would also be a magical place to anybody from the nineteenth century, from baron to lord to servant. It is a safe, well maintained place of immense wealth, convenience, opportunity, excitement, with endless diversions. Everyone can now “keep a carriage,” a past symbol of gentility, which drives them from one market to the next, from one fair to the next, including the twelve-floor casino at the end of the street, and access to all sorts of wines, liquors, and ales, from all over the globe. No matter where you live, there are endless diversions you can reach in a few hours by car, accessible to almost every American, that would make Vauxhall Gardens look humdrum by comparison. Such magnificence!</blockquote>

Even the destitute, who I spend the majority of my time in the US with, are satiated enough that anyone who works with the homeless knows the primary issue is rarely a lack of food, or clothes, and it is far more common to meet the stubbornly picky rather than hungry. The man living in a tent, who will turn down a free sandwich, because “I prefer toasted sesame rolls”, or the couple living on the streets, who when I was taking them to get McDonald’s, pointed out, “There’s a nice sushi place we really like down the street, what about that?” or the constant vanity with appearance, “I only wear Jordans, you got any of them?”

Beggars can be choosers, and they are in the US, and while I have few problems with that, because vanity and dignity don’t die with destitution, it is another indication of just how wealthy we are.

Whether our historical wealth has translated into historic happiness, fulfillment, and contentment, is a far less settled question, and one which has launched a thousand think-pieces, books, hot takes, and political fights. The various factions in this debate, some genuine, most opportunistic, are roughly aligned into the following camps:

1. People are wealthy and happy, and any suggestion to the contrary is because you are looking in the wrong place, at the wrong things: (Insert their favorite statistic, anecdote, or quote.)

2. People are indeed unhappy, but that’s not because of economic anxiety; rather they’re deluded by X (insert some political figure, or institution the speaker does not like) into bad vibes, or because they are Y (insert some atavistic failing, like ignorant, racist, etc etc etc.), or both.

3. We might be historically wealthy, but all the wealth is being hoarded by X (corporations, billionaires, Jews, or the trifecta of corporations run by Jewish billionaires), and so the majority of Americans are indeed suffering from economic deprivation, because of bad actors.

4. We are not wealthy, and all the statistics saying that we are, are simply high class lies.

5. And then there are the single issue guys/gals, who jump into this debate, like they do every debate, with the “Everything, including voter anger, can be solved if we fix X”, where X is nuclear power, global warming, YIMBY zoning, the Jones Act, fluoride in water, prison reform, seed oils, high-speed rail, gut health, raw milk, kitten rescue, bicycle lanes, daylight saving time, kittens in bike lanes during daylight savings time, etc etc etc.

My own contribution to this has been to say that yes there is genuine and widespread despair in the US1, but the primary reason isn’t economic2, rather it is because human fulfillment requires more than material wealth, which in our quest for more stuff, we have forgotten. People need physical communities, and while the US excels at material wealth, it’s achieved it, especially in the last forty years, at the expense of the aesthetic, communal, stable, and personal, and so the bad vibes are justified.

While I still believe that, it is oversimplified, because exactly how we structure our economy does matter, as a recent viral Substack post highlighted. That piece, My Life Is a Lie, largely fell into camp three (we are poor and unhappy), and made the audacious claim that $140,000 is the new poverty line and so the anger of any family making less than that was understandable, and economic.

Much of that post, to be blunt, is bullshit, certainly the intentionally provocative claim that any family making less than $140,000 is suffering from economic deprivation. Yet the piece went viral, because the core of its argument is correct — the less troll-ish claim that because of the ad-hoc nature of our government policies, a lot of Americans, especially those who make up what I would call the “aspirational bottom” are being squeezed. They are doing too well to qualify for assistance, but not well enough to be fully self sufficient, at least as we understand that.

To be geeky for a second, in particular there’s a region (20 to 50K or so) where a family is treading water because their take-home pay almost flat-lines, just as they reach what should be escape velocity from the social safety net, on their way to reaching the American Dream. (The graph is from a different paper: Work Disincentives)

[graph] "

This is an important point because the dominant cultural archetype in the US is the self-made entrepreneur — someone who, through hard work, smarts, and dedication, can build that suburban lord’s life, complete with children who will do better than they did. This is the American Dream, and if there is a single idea unifying our country it is this.

Again, to reference myself, while I do believe in individual agency, I also believe societies come with strong forces that shape expectations and even shape people’s understanding of a ‘good life.’ That is, society provides citizens playbooks that they are urged to follow which are supposed to end in happily ever after, and ours is that you can become a millionaire on your own terms as long as you hustle hustle hustle — and when that doesn’t happen, it’s very lonely and humiliating, because we as a culture have put all our eggs in that one particular basket. At the expense of community, friendships, and even family.

So if you’re working your ass off and yet you keep doing about the same as the family down the street who doesn’t seem to be giving their all, then what the F, man. If we’re going to be the meritocracy we claim to be, you simply can’t do this to those near the bottom pursuing the American dream, who not surprisingly, will justly feel they’ve been sold out, deceived, and/or they themselves have failed, none of which leads to happiness.

This is an important point because the dominant cultural archetype in the US is the self-made entrepreneur — someone who, through hard work, smarts, and dedication, can build that suburban lord’s life, complete with children who will do better than they did. This is the American Dream, and if there is a single idea unifying our country it is this.

Again, to reference myself, while I do believe in individual agency, I also believe societies come with strong forces that shape expectations and even shape people’s understanding of a ‘good life.’ That is, society provides citizens playbooks that they are urged to follow which are supposed to end in happily ever after, and ours is that you can become a millionaire on your own terms as long as you hustle hustle hustle — and when that doesn’t happen, it’s very lonely and humiliating, because we as a culture have put all our eggs in that one particular basket. At the expense of community, friendships, and even family.

So if you’re working your ass off and yet you keep doing about the same as the family down the street who doesn’t seem to be giving their all, then what the F, man. If we’re going to be the meritocracy we claim to be, you simply can’t do this to those near the bottom pursuing the American dream, who not surprisingly, will justly feel they’ve been sold out, deceived, and/or they themselves have failed, none of which leads to happiness.

So yes, Americans are materially wealthy and unfulfilled, and the primary problem is cultural—we’ve sacrificed community and meaning to emphasize an archetype built on acquiring as much stuff as possible, but then we have made that unnecessarily hard to do. When you give your citizens a cultural script, built on the material, that promises hard work will lead to success, and then your policy design ensures it doesn’t, people will end up both economically frustrated, as well as spiritually empty, sitting in their living room streaming the latest movie wondering what exactly is the point of life. Or, they will feel they have failed at the material, while also having little else to give them meaning.

The dismissive response by pundits to a good economy with frustrated citizens is to say, “the vibes are off”, but the vibes really really matter! Bad vibes are the people saying, I’m playing the game I’m supposed to play, yet it’s not rewarding in the way I’ve been told it would be.

So the solution isn’t more stuff, it’s policies that don’t actively punish the people trying to live out the primary cultural script we’ve given them, or we need a change in the script, and I’ve got no idea how to make that happen, or even if we should."]]></description>
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<item rdf:about="https://www.thebulwark.com/p/norman-rockwell-museum-magafication-trump-culture-dhs">
    <title>The MAGAfication of Norman Rockwell - by Catherine Rampell</title>
    <dc:date>2026-01-07T06:37:14+00:00</dc:date>
    <link>https://www.thebulwark.com/p/norman-rockwell-museum-magafication-trump-culture-dhs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Trump misuses the artist’s work—like other cultural icons—to promote Gestapo tactics and nativist ideas."]]></description>
<dc:subject>maga donaldtrump aesthetics normanrockwell ice catherinerampell fascistaesthetics latefascistaestetics nativism daisyrockwell trumpism fasicsm antifa us ebwhite petehegseth deanmartin ratpack stephenmiller franklintheturtle nostalgia marthawhite sza villagepeople creedanceclearwaterrevival brucespringsteen oliviarodrigo semisonic sabrinacarpenter music imagery art culture appropriation boyscouts americana dhs</dc:subject>
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<item rdf:about="https://www.beyondthedial.com/post/bernhard-lederers-watchmaking-philosophy-could-liberate-the-swiss-watch-industry/">
    <title>The Swiss Watch Industry Needs Bernhard Lederer's Philosophy</title>
    <dc:date>2026-01-02T12:57:08+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/bernhard-lederers-watchmaking-philosophy-could-liberate-the-swiss-watch-industry/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For the first time, I found myself wholeheartedly agreeing with a press release [https://lederertimepieces.com/wp-content/uploads/2025/08/DP2-LEDERER-CIC39mm-T2.pdf ] that just landed in my in-box. This was disorienting. Agreement is not a position I’ve found myself taking vis-a-vis press materials before. Most aren’t pushing anything to agree or disagree with in the first place. But as I read the PDF explaining Lederer’s new watch (the CIC 39 [https://lederertimepieces.com/watch/cic-39-racing-green/ ], already sold out), I was nodding my head approvingly the whole way down.

The watch takes on the historically significant and rather fascinating detent escapement [https://revolutionwatch.com/the-detent-escapement-in-wristwatches-dream-a-big-little-dream/ ] invented by Abraham-Louis Breguet, but what struck me about this press release was the philosophical statements woven into almost every paragraph. Together, these statements formed a coherent—yet wonderfully dreamy—philosophy of watchmaking that also (perhaps unwittingly) lodges a long-needed critique of the Swiss watch industry writ large.

[photo of Lederer CIC 39]

I mean, this is a really good press release. It comes from Bernhard Lederer, one of the few great living independent watchmakers to come out of the generation that gave us Philippe Dufour, F. P. Journe, Kari Voutilainen and Laurent Ferrier—a tiny ilk of true masters.

Check out these extracted bits from the CIC 39’s press release, which in condensed form read like a hybrid of Wittenstein’s Tractatus Logico-Philosophicus and Shunryu Suzuki’s Zen Mind, Beginner’s Mind.

“…a watch is never an object, it is a manifestation of thought.”

“[Watchmaking’s] future belongs to those who pursue sincerity rather than spectacle.”

“…a creation has value only if it solves a real mechanical challenge, clarifies a system, stabilizes energy, or deepens understanding. Anything else is only noise.”

“Advancement cannot betray the craft.”

“Independence is not solitude….”

“Aesthetics arise not from decoration…”

“Every aesthetic choice in the [watch] exists to serve the mechanics.”

“…the elegance of a mechanism that has nothing to hide, only truth to reveal.”

“A movement should teach.”

“Its architecture is not merely functional; it is didactic.”

“Each wheel, bridge, and lever is placed with intent so that the movement reads clearly, teaching the eye how energy travels and how precision is earned.”

“…the [watch] expresses precision with a calm, almost meditative authority.”

“[The watch] does not demand attention; it invites a quieter form of fascination.”

[photo of Lederer CIC 39 movement from back of watch]

“…a quieter form of fascination.”

Many years ago, I started a podcast called Beyond the Dial that set out to explore the intersection of aesthetics and mechanics in watchmaking. I didn’t set out to explore mechanics and aesthetics separately, or even in parallel; I intended to explore the intersectionality of mechanics and aesthetics, what I envision as a kind of blurry overlaying of the Venn diagram’s circles into a unified field of aesthetic-mechanical creation from which those attuned to it could sometimes derive a state of prolonged wonder, a horological high.

A few truly great watches seamlessly fuse mechanics and aesthetics: Patek Philippe’s Ref. 1518, F.P. Journe’s Chronomètre à Résonance, the Lange 1, Jaeger-LeCoultre’s Master Hybris Mechanica Calibre 362. These watches, and precious few others, have transcended trends and can reliably engender the horological high, that uniquely prolonged state of wonder, that “quieter form of fascination,” as Lederer aptly puts it.

On the podcast, I struggled to express what this high was, exactly. I used phrases like “the phenomenology of watches,” [https://www.beyondthedial.com/post/insight-the-watch-collector-enthusiast-dichotomy-its-discontents-the-phenomenology-of-watches-as-spiritual-practice/ ] “mechanical wonder,” [https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/ ] and “tripping on watches” to expound the idea that—since telling the time was no longer the point of looking at a mechanical wristwatch—experiencing a heightened state of mind might be. 

Watches are aesthetic objects, of course. All objects are. But when I allow watches to become mere objects of style, the psychological balm, the horological high, the sweet buzz of time abstracted via a tiny machine…it all just evaporates. When this happens, I find myself chasing down some passing trend [https://www.hodinkee.com/articles/vintage-vacheron-allen-farmelo ], or vying for social position in the horological hierarchy, worried about what so-and-so would think of my so-called wrist-game. And then I’d grow cynical about watches and, in the end, bored with them.

[photo of Lederer CIC 39]

Grokking mechanics to some degree is fundamental to my achieving the horological high, “the quieter form of fascination.” Promoting this state of mind, I will argue, should be the core mission of the Swiss watch industry. This message is implicit in Lederer’s philosophy.

The Sweeping Problem

I believe that social media and the mass popularization of watches it helped foster have made it much harder to filter out the buzz of fast-fashion and tune into the hard-hitting horological high I was pushing via Beyond the Dial. 

With a tiny glimmer of hope, I sense a return to mechanical concerns across the industry as the post-pandemic markets calm down. I sense that serious watch maisons are realizing that something more than a sage-green dial or some clever “collab watch” is required to draw serious collectors back to their latest offerings. The bubble burst around 2023, and now the hype-fest is cooling down. I’m seeing little glimpses of a return to mechanical concerns from Panerai, Breguet, Vacheron Constantin, and even Rolex.

Lederer’s recent release of the CIC 39 (as well as the other five watches in his Masters of Escapement [https://lederertimepieces.com/wp-content/uploads/2025/08/2025_Press-Dossier-LEDERER_Bernhard-Lederer-Biography.pdf ] series) may point the way for the watch industry to regain its hold on generating that elusive sense of mechanical wonder in its customers. This is certainly the highest calling of the enterprise called watchmaking, and it is well worth considering how the Swiss watch industry can humbly return that sense of mechanical wonder to primacy.

The Language of a Master

The philosophy of Lederer, so eloquently woven into this recent press release, is built from the astute language of a master who knows about mechanical wonder, about attaining horological highs, about transcending the surface of visual aesthetics (i.e., going beyond the dial) and basking in the blurry merger I call mechanical-aesthetics.

If Lederer’s philosophy of watchmaking wasn’t sincere, this language would be easy to dismiss as just more high-handed marketing fluff, of which a great deal emanates from the Swiss watch industry. But the Lederer release rings sincere—even humble—when considered within the context of the mechanical problems with which he toils.

[photo of Bernhard Lederer]

“A mechanism must solve a real problem. If it doesn’t, it remains an idea, not watchmaking. For centuries, the detent escapement had potential locked inside it. I wanted to give it a voice,” Lederer is quoted as saying in the press release for the CIC 39.

I’m reminded of John Coltrane, the jazz saxophonist who toiled humbly for well over a decade before finally figuring out how to go beyond the bold accomplishments of Charlie “Yardbird” Parker. Many great artists toil tirelessly in the shadow of a specific forebearer, a (usually deceased) master who haunts them with lingering unanswered questions.

[photo of John Coltrane]

Coltrane once said [https://www.penguinrandomhouse.com/books/592345/3-shades-of-blue-by-james-kaplan/ ], “I’ve had a strange career. I haven’t yet quite found out how I want to play music. Most of what’s happened these past few years has been questions. Someday we’ll find the answers.”

“We go where watchmaking has questions left to answer,” Lederer says in the press release, sounding just like Coltrane.

The Detent Escapement and its Problems

Others of Lederer’s generation have toiled with Breguet’s escapements (both the natural and detent mechanisms), including Laurent Ferrier [https://laurentferrier.ch/blogs/news/in-depth-look-laurent-ferriers-natural-escapement ] and Kari Voutilainen [https://revolutionwatch.com/the-detent-escapement-in-wristwatches-dream-a-big-little-dream/ ]. The problems inherent to these mechanisms loom large, nagging the great masters to solve them.

You can find dozens of videos [https://www.google.com/search?udm=7&q=detent%20escapement&sqi=2 ] depicting the detent escapement’s fascinating motion, which will serve you better than my attempts at explanation. What I can confirm is that for centuries the detent escapement had suffered from limitations that make it unsuitable for use in everyday watches. It’s hard to get going once the movement has stopped, for one, and it is prone to instability at low amplitude, which is required for any meaningful power reserve in the relatively small space of a wristwatch movement. 

Lederer claims to have toiled—and, importantly, failed repeatedly—with the detent escapement for decades, slowly building up his understanding of the mechanism’s limitations and eventually finding workable solutions.

[photo of Lederer CIC 39 movement showing detent escapement]

The result of Lederer’s protracted effort is a gorgeous movement that runs the revised detent escapement off of a center-mounted balance cock. The escapement drives two independent gear trains, a configuration similar to the natural escapement-driven movement in his Central Impulse Chronometer [https://www.phillips.com/article/162598500/in-depth-the-lederer-central-impulse-chronometer ] of 2022, one of the six movements that Lederer is releasing as part of his Masters of Escapement series.

Humility and Slowness Can Reset the Watch Industry

As I read the press release for this watch, I hear a not-entirely subtle critique of the mainstream Swiss watch industry. Lederer’s philosophy of watchmaking is tersely in opposition to what has become the operable norm of Swiss watchmaking today: namely, that style and decoration (from gratuitous dial treatments to gaudy pave cases and trendy reissues) dominate watch design.

“Aesthetics arise not from decoration…”

“…a creation has value only if it solves a real mechanical challenge, clarifies a system, stabilizes energy, or deepens understanding. Anything else is only noise.”

“[Watchmaking’s] future belongs to those who pursue sincerity rather than spectacle.”

In espousing this philosophy, Lederer is, I think, showing the watch industry how it might rearrange its priorities and, with that, keep itself from bleeding out while caught in the hype-trap. The underlying message is that the marketing strategies of large luxury groups have sacrificed too much in service of social media’s voraciousness and the fashion industry’s quarterly renewals. Watchmaking that allows the inherently slow development of genuine mechanical innovation to (literally) undergird aesthetics can never keep that pace.

It is abundantly obvious to me that the reason Swiss watchmaking today can feel so spurious, so devoid of meaning, at times so blatantly dumb, is that too many brands insist on attempting to keep an unreasonable pace dictated by the demands of their marketing departments and not their R&D divisions. This hyper-pace has resulted in a splintering of annual collections into monthly, sometimes weekly, introductions of new dial colors, limited editions wrapped in weak partnership narratives, endless announcements about who wore which watch to what red-carpet event, and the press release I received last year asking me to tell my readers about a new strap color on offer for a watch already released multiple times with increasingly horrendous dial colors. I’m confident that this is the “noise” to which Lederer refers.

[photo of Lederer CIC 39]

With a measure of compassion, I understand that the onset of social media, the broadening of luxury markets, and the demand for quarterly ROI have pressured the great watchmakers of Switzerland (and elsewhere) to hustle beyond their capacity for genuine innovation. We all get it on some level; the impact is felt across industries around the world—including journalism.

But wasn’t watchmaking meant to be that one oasis of enduring sanity in a desert of spurious luxury madness? Or, shouldn’t it be?

Over and over we’ve seen the mandates for growth destroy the integrity of horological endeavors ranging from publications [https://www.wsj.com/style/fashion/hodinkee-luxury-watches-ben-clymer-b4078322 ] to philanthropic programs [https://robbreport.com/style/watch-collector/lists/15-watches-withdrawn-from-onlywatch-auction-1235595062/ ] to entire watch brands [https://robbreport.com/style/watch-collector/lists/bremont-watches-are-suddenly-good-investments-here-are-10-to-get-now-1235799724/ ]. At some point an industry gets stretched too far and can lose something essential, allowing consumer cynicism to creep in. Watchmaking has to at least consider resetting its priorities around something other than striving to keep pace with the mad tempos of social media and the world of fashion into which it seems so desperate to enter.

It’s time to put mechanical wonder back at the center of watchmaking, to respect the actual history of mechanical watchmaking rather than perennially spinning that history up into some seasonal marketing campaign, to more slowly help neophytes come to understand the subtleties of mechanical watchmaking rather than trying to degrade their sense of self in order to convince them to buy this week’s offering. We’ll get fewer bubbles this way, but they won’t burst their wet mess all over the quarterly reports, either.

Without a reinstatement of a core philosophy that prioritizes meaningful horological achievements, we’re going to end up in a world of uninspiring watches traded as the coinage of social capital. The world needs that about as much as it needs another smooth jazz record."]]></description>
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    <link>https://www.commonwealmagazine.org/literacy-culture-evolution-scialabba-knowledge-george</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When culture evolves too soon"

...

"We must either accept cultural overload or else find some way to extend our range, augment our capacities, enhance our neurophysiology."

...

"The design of a culture, the shape of a species’s collective sensibility is a political question."]]></description>
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<item rdf:about="https://www.lifeblogs.org/entertainment/fauxstalgia-when-the-internet-misses-a-past-that-never-existed.html">
    <title>Fauxstalgia: When the Internet Misses a Past That Never Existed</title>
    <dc:date>2025-12-31T07:06:41+00:00</dc:date>
    <link>https://www.lifeblogs.org/entertainment/fauxstalgia-when-the-internet-misses-a-past-that-never-existed.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the age of infinite scroll, nostalgia has become a marketing tool, a mood, and a meme. But the nostalgia flooding our feeds today isn’t about the past — it’s about the idea of it. This phenomenon, often called fauxstalgia, describes a longing for a time we never truly experienced. It’s the yearning for ‘simpler’ eras conjured through TikTok filters, vaporwave aesthetics, and AI-generated memories of 1980s summers we never had.

Fauxstalgia thrives in an internet culture obsessed with reboots, retro filters, and analog vibes. It’s comfort content — emotional escapism packaged as vintage fantasy. But beneath the sepia tones lies a fascinating question: why do we long for the unreal? And what does it mean when the internet manufactures collective memories?

This post explores how fauxstalgia works, who profits from it, and how we can engage with nostalgia consciously — not as a digital dream, but as a mirror for the anxieties of the present.

***

The Rise of Fauxstalgia in Digital Culture

The Internet’s Love Affair with the Past

From 8-bit graphics to lo-fi beats, digital spaces are saturated with simulated nostalgia. Social platforms, particularly TikTok, YouTube, and Instagram, recycle retro aesthetics — VHS filters, film grain, vintage fonts — to evoke emotions of innocence and comfort. These aesthetics aren’t authentic representations of the past; they’re aestheticized versions of it, stripped of complexity and hardship. The “good old days” are reconstructed for emotional impact, not historical accuracy.

Nostalgia Without Memory

Unlike traditional nostalgia, which comes from personal experience, fauxstalgia is borrowed emotion. A Gen Z user might romanticize the 1990s — floppy disks, MTV, mall culture — despite never having lived through it. This secondhand nostalgia is shaped by digital fragments: curated playlists, pixel art, and AI-enhanced footage that makes the past look better than it ever was. It’s a simulation of memory, a synthetic longing that feels real precisely because it’s shared collectively online.

Why We Crave the Simulated Past

Fauxstalgia offers emotional safety in uncertain times. As technology accelerates and the future feels unstable, the past becomes a psychological refuge. Online, nostalgia functions as an escape hatch — a pause button in an overwhelming digital world. But when that nostalgia is artificial, it reveals not our love for history, but our discomfort with the present.

***

Aesthetic Time Travel: The Digital Reconstruction of Memory

The Role of Aesthetics in Manufactured Memory

Every filter, soundtrack, and visual edit contributes to a sensory illusion of the past. Apps like Instagram and VSCO transform reality into a retro dreamscape, making even a 2025 selfie look like a Polaroid from 1979. These images aren’t about authenticity — they’re about emotional tone. The past becomes a brand aesthetic, a texture applied to modern life to make it feel meaningful.

The Rise of “Core” Culture

Online trends like “Y2K core,” “cottagecore,” and “90s core” illustrate how nostalgia has evolved into a taxonomy of moods. Each aesthetic reconstructs a version of the past designed for comfort: a stylized fantasy free of historical messiness. The 90s are remembered not for their inequality or turmoil, but for chunky sneakers and bright windbreakers. These selective memories flatten complexity into aesthetic pleasure, where emotion matters more than truth.

The Algorithmic Memory Machine

Algorithms play a crucial role in sustaining fauxstalgia. They learn which content evokes engagement — a pixelated filter, an old TV ad remix — and amplify it endlessly. The more users respond emotionally, the more nostalgia content gets pushed. In effect, platforms automate the past, creating an endless loop where yesterday is always trending.

***

The Commerce of Comfort: How Brands Sell Fauxstalgia



Marketing Through Memory

Brands have long understood the power of nostalgia, but the digital era has refined it into an art form. From Netflix’s retro series like Stranger Things to Pepsi’s 90s-style logos, companies resurrect cultural touchstones to trigger emotional loyalty. Fauxstalgia allows brands to connect emotionally even with audiences too young to remember the original eras they reference. It’s not about memory — it’s about mood.

The Resale of the Past

Products once considered obsolete — vinyl records, film cameras, typewriters — are being rebranded as lifestyle artifacts. The past is no longer gone; it’s re-merchandised. Online thrift platforms and retro subscription boxes sell experiences of authenticity in a world dominated by digital copies. This commodification of the past gives nostalgia a price tag, turning emotional connection into consumption.

The Ethics of Manufactured Memory

While fauxstalgia can feel harmless, it raises questions about authenticity and manipulation. When brands engineer longing for a past that never existed, they also shape how we interpret history. A glossy, corporate version of the 80s or 90s hides economic and social realities. By selling us curated comfort, companies risk erasing the complexity of real memory — and our ability to learn from it.

***

The Psychology of Fauxstalgia: Longing for an Unlived Life

Emotional Displacement and Digital Escapism

Fauxstalgia reflects a deeper psychological tension: the desire to escape modern disconnection. The internet offers boundless connection but limited intimacy. The idealized past, whether it’s a synthwave sunset or an imagined 2000s summer, becomes a symbol of simplicity. It’s not the past we miss — it’s the feeling of belonging and presence that modern digital life often lacks.

Collective Yearning in the Age of Uncertainty

Sociologists suggest that nostalgia spikes during cultural instability. Economic precarity, environmental anxiety, and information overload drive people toward emotional retreat. The collective longing for the “before times” — even invented ones — offers a sense of shared mourning. Fauxstalgia becomes both a symptom and a salve for collective unease, a digital campfire where users gather to remember what never was.

Memory, Authenticity, and Emotional Simulation

Fauxstalgia tricks the brain. Research shows that emotionally charged imagery can create false memories — we believe we’ve experienced things we’ve only seen or imagined. Online, constant exposure to curated “vintage” content reinforces these sensations, blurring the line between history and fantasy. The internet doesn’t just preserve memories; it fabricates them.

***

When Nostalgia Becomes a Loop: The Future That Keeps Looking Back

The Death of Newness

Fauxstalgia has created a culture of recycling rather than innovation. Music samples old tracks, fashion rehashes old silhouettes, and films reboot existing franchises. The obsession with the past has made cultural originality rare. We’re stuck in a feedback loop of remix culture — consuming the familiar endlessly while craving novelty we no longer trust.

The Emotional Cost of Endless Remakes

Living in constant nostalgia can dull our ability to experience the present. When every image and sound references something older, we risk emotional stagnation. Fauxstalgia offers comfort, but also a kind of cultural paralysis — a refusal to imagine new futures. The past becomes not a lesson, but a lullaby that keeps us from waking up.

Reimagining the Future Through Real Memory

Breaking free from fauxstalgia doesn’t mean rejecting nostalgia altogether. Authentic nostalgia — grounded in personal memory and reflection — can inspire creativity and healing. The key is awareness: recognizing when nostalgia is being sold back to us and choosing to engage with it critically. To move forward, we must reclaim memory as a tool for meaning, not marketing."]]></description>
<dc:subject>fauxstalgia nostalgia simulatednostalgia 2025 internet web online gilbertott digital digitalculture vaporwave aesthetics memory memories technology culture commerce marketing branding comfort psychology ethics yearning uncertainty authenticity emotions escapism remakes meaning capitalism 8-bit ai artificialintelligence 1980s presence tiktok youtive instagram retro innocence ahistoricism vacuity collectivity safety instability stability artificiality illusions meaningmaking y2k cottagecore 1990s messiness inequality whitewashing society manipulation hyperreality reality simplification disconnection unease despair stagnation consumerism consumption reflection criticalthinking</dc:subject>
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<item rdf:about="https://www.nytimes.com/interactive/2025/12/23/us/trump-white-house-oval-office-gold-decor.html">
    <title>A 3-D Look Inside Trump’s Revamped Oval Office - The New York Times</title>
    <dc:date>2025-12-27T21:31:33+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2025/12/23/us/trump-white-house-oval-office-gold-decor.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The New York Times recreated the president’s office in 3-D, using hundreds of photos taken in October."]]></description>
<dc:subject>donaldtrump latefascistaesthetics architecture design 2025 interiors ovaloffice whitehouse trumpism maga fascistaesthetics aesthetics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1a46dafb4862/</dc:identifier>
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<item rdf:about="https://www.japantimes.co.jp/life/2025/12/15/style-design/japan-internet-web-design/">
    <title>Why Japan’s internet looks weird — unless you live here - The Japan Times</title>
    <dc:date>2025-12-23T05:50:08+00:00</dc:date>
    <link>https://www.japantimes.co.jp/life/2025/12/15/style-design/japan-internet-web-design/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Complex values, aesthetics and history have shaped a digital world that outsiders often misread"

[archived:
https://archive.ph/EKAFm ]]]></description>
<dc:subject>japan design information density aesthetics japanese form website howweread digital thu-huongha informationdensity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.openculture.com/2025/12/the-evil-genius-of-fascist-design-how-mussolini-and-hitler-used-art-architecture-to-project-power.html">
    <title>The Evil Genius of Fascist Design: How Mussolini and Hitler Used Art &amp; Architecture to Project Power | Open Culture</title>
    <dc:date>2025-12-18T05:04:36+00:00</dc:date>
    <link>https://www.openculture.com/2025/12/the-evil-genius-of-fascist-design-how-mussolini-and-hitler-used-art-architecture-to-project-power.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When the Nazis came to power in 1933, they declared the beginning of a “Thousand-Year Reich” that ultimately came up about 988 years short. Fascism in Italy managed to hold on to power for a couple of decades, which was presumably still much less time than Benito Mussolini imagined he’d get on the throne. History shows us that regimes of this kind suffered a fairly severe stability problem, which is perhaps why they needed to put forth such a solid, formidable image. The IMPERIAL video above explores “the evil genius of fascist design,” focusing on how Hitler and Mussolini rendered their ideologies in art and the built environment, but many of its observations can be generalized to any political movement that seeks total control of a society, especially if that society has a sufficiently glorious-seeming past.

Fascism’s visual language has many inspirations, two of the most important cited in the video being  Romanticism and Futurism. The former offered “a longing for the past, an obsession with nature, and a focus on the sublime”; the latter “worshiped speed, machines, and violence.” Despite their apparent contradiction, these dual currents allowed fascism “a peculiar ability to look both backward and forward, to summon the glory of past empires while promising a radical new future.”

In Italy, such an empire may have been distant in time, but it was nevertheless close at hand. “We dream of a Roman Italy that is wise and strong, disciplined and Imperial.” Even Hitler drew from the glories of ancient Rome and Greece to shape his own aspirational vision of an all-powerful German civilization.

Hence both of those dictators undertaking large-scale Neoclassical-style architectural projects “to bring the aesthetics of ancient Rome to their city streets,” including even muscular statues meant to embody the officially sanctioned human ideal. Of course, the builders of the United States of America had also looked to Roman forms, but they did so at a smaller, more humane scale. Fascist structures were designed not just to be eternal symbols but overwhelming presences, intended “not to elevate the soul, but to crush the individual into the crowd and promote conformity.” This, in theory, would make the citizen feel small and powerless, but with an accompanying quasi-religious longing to be part of a larger project: that of fascism, which subordinates everything to the state. For the likes of Mussolini and Hitler (an artist-turned-politician, as one can hardly fail to note), aesthetics was power — albeit not quite enough, in the event, to ensure their own survival."

[Direct link to video:

"The Evil Genius of Fascist Design"
https://www.youtube.com/watch?v=tjrG7CT3vIg ]]]></description>
<dc:subject>mussolini benitomussolini hitler adolfhitler fascism nazism nazis aesthetics fascistaestherics art architecture italianfuturists futurists romanticism ancientrome ancientgreece neoclassicism italy italia germany design italianfuturism</dc:subject>
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<item rdf:about="https://www.kqed.org/news/12066104/how-maga-has-redefined-femininity">
    <title>How MAGA has Redefined Femininity | KQED</title>
    <dc:date>2025-12-05T07:04:55+00:00</dc:date>
    <link>https://www.kqed.org/news/12066104/how-maga-has-redefined-femininity</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What does femininity look like in the Republican MAGA world? Every presidential administration has its own aesthetic style, and in President Donald Trump’s administration, female allies and cabinet members have embraced what’s called Mar-a-Lago face. Marisa and Scott are joined by Vox senior correspondent Constance Grady to discuss what the MAGA aesthetic is, where it came from and how it fits in with the traditional role many conservatives say women should play."]]></description>
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<item rdf:about="https://www.plutobooks.com/product/from-printing-to-streaming/">
    <title>From Printing to Streaming: Cultural Production under Capitalism, by Michael Chanan (2022) - Pluto Press</title>
    <dc:date>2025-12-04T06:47:31+00:00</dc:date>
    <link>https://www.plutobooks.com/product/from-printing-to-streaming/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For mainstream economics, cultural production raises no special questions: creative expression is to be harvested for wealth creation like any other form of labour. As Karl Marx saw it, however, capital is hostile to the arts because it cannot fully control the process of creativity. But while he saw the arts as marginal to capital accumulation, that was before the birth of the mass media.

Engaging with the major issues in Marxist theory around art and capitalism, From Printing to Streaming traces how the logic of cultural capitalism evolved from the print age to digital times, tracking the development of printing, photography, sound recording, newsprint, advertising, film and broadcasting, exploring the peculiarities of each as commodities, and their recent transformation by digital technology, where everything melts into computer code.

Showing how these developments have had profound implications for both cultural creation and consumption, Chanan offers a radical and comprehensive analysis of the commodification of artistic creation and the struggle to realise its potential in the digital age."]]></description>
<dc:subject>2022 michealchanan marxism culture culturalproduction digitalage consumption culturecreation cultureconsumption technology photography soundrecording news printing orality capitalism karlmarx creativity labor commodification countercurrents analog digital autonomy aesthetics</dc:subject>
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<item rdf:about="https://ayeshaasiddiqi.substack.com/p/late-empire-life-extension">
    <title>Late Empire Life Extension - Ayesha A. Siddiqi</title>
    <dc:date>2025-11-29T01:03:34+00:00</dc:date>
    <link>https://ayeshaasiddiqi.substack.com/p/late-empire-life-extension</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Western decline, like its bloody ascent, produces anti aging panics. And while people might "yearn for woke" the growing beauty market portends concessions to the right wing."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=EwTUM9cFeSo">
    <title>Why don't movies look like *movies* anymore? - YouTube</title>
    <dc:date>2025-11-21T22:32:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=EwTUM9cFeSo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Remember when movies used to look good?

Rich shadows, bold colors, and depth. But now? A lot of films and shows look flat, dull, and lifeless. In this video, I break down why modern cinematography feels so uninspired, and it’s NOT digital’s fault. Let’s talk about dynamic range, lighting, and why intentional choices matter more than ever.

What you’ll learn:
 • Why older movies look better than modern ones
 • How dynamic range & contrast affect the cinematic look
 • The role of VFX, lighting, and production design in the decline of movie aesthetics

James Mathieson clip from The Unscriptify Podcast. 

Movies featured:
The Parent Trap
Superbad
Zodiac
WICKED
Se7en
The Killer"]]></description>
<dc:subject>film filmmaking patricktomasso cinematography lighting 2025 highdinamicrange intention taste talent aesthetics parenttrap deancundey superbad filmproduction johnmathieson davidfincher craft realism</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=oXmDje3HfHI">
    <title>T12x38 - Catolicismo pop: por qué volvemos a hablar de Dios (CARNE CRUDA) - YouTube</title>
    <dc:date>2025-11-16T23:20:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oXmDje3HfHI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Más allá de Rosalía, existe un revival cristiano entre algunos jóvenes con movimientos que convierten el catolicismo en moda pop, como Hakuna o Siloé, influencers pijas o la promoción de retiros espirituales Effetá. Moda pasajera o vocación duradera, fenómeno mediático o tendencia real, ética o estética... En este programa nos preguntamos "¿Por qué volvemos a hablar de Dios?" con Rafael Ruiz y Joseba García, sociólogos expertos en religión; hablamos de LUX y mística religiosa con Frankie Pizá, y debatimos junto a Ángela Rodríguez PAM y Estela Ortiz sobre el boom del género monjil, sus vínculos con movimientos reaccionarios como el de las tradwives y sus repercusiones, especialmente para las mujeres. Nos despedimos con una nueva entrega del humor de nuestra gran Antía Lousada.

Puedes ver la segunda parte de este programa, la sección de Antía Lousada aquí: https://www.youtube.com/watch?v=Yatx73b7a84

Más información aquí: https://www.eldiario.es/carnecruda/programas/catolicismo-pop-volvemos-hablar-dios_132_12756315.html 

"La sociedad española es cada vez más secular: el número de católicos ha caído del 90% en los años setenta a apenas un 55% hoy, y entre los jóvenes la cifra es aún más baja. Sin embargo, algo está ocurriendo en los últimos años: entre 2023 y 2025 la catolicidad confesa entre menores de 35 años ha pasado del 34% al 41%. No es un fenómeno exclusivo de España: en Francia, por ejemplo, los bautizos de adultos y adolescentes se han duplicado en solo 2 años, y en Reino Unido, los jóvenes de 18 a 24 años que dicen asistir a misa han pasado del 4% en 2018 al 16%.

El sentimiento religioso tiene un revival en Occidente y se manifiesta en todas partes: de la catarsis mística de Rosalía a Hakuna, movimiento de masas que arrastra a decenas de miles de jóvenes católicos en todo el mundo desde Hakuna a Efetá. ¿Se trata de una moda pasajera o tiene vocación duradera? ¿Es solo fenómeno mediático o una tendencia real? Exploramos este revival religioso con los investigadores Rafael Ruiz y Joseba García, sociólogos expertos en religión.""]]></description>
<dc:subject>rosalía christianity catholicism catholicchurch 2025 music god rafaelruiz josebagarcía frankiepizá estelaortiz reactionaries tradwives women gender antíalousada media influencers via:javierarbona effetá youth hakuna siloé spirituality religion trends aesthetics ethics sociology ángelarodríguezpam pandemic covid-19 coronavirus genz generationz zoomers uk france españa spain ángelarodríguez pam west secularism farright rightwing liberalism capitalism girlboss girlbosses feminism belonging purpose faith belief fads patriarchy bodies traditionalism transcendence precarity meaning meaningmaking life living ritual consumption consumerism submission obedience structure certainty uncertainty collectivism collectivity newage millennials geny generationy neoliberalism malaise individualism genx generationx babyboomers boomers religiosity femininity ideology conservatism beauty seduction</dc:subject>
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<item rdf:about="https://robhorning.substack.com/p/there-are-too-many-waterfalls-here">
    <title>There are too many waterfalls here - by Rob Horning</title>
    <dc:date>2025-10-20T21:00:08+00:00</dc:date>
    <link>https://robhorning.substack.com/p/there-are-too-many-waterfalls-here</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sora slop feeds"

...


"In other words, generative models don’t lead to “artificial general intelligence” but simply more content to keep people using their phones (and keep them under tech-company surveillance).

A Sora feed and Sora-moji make more sense to me than chatbot “companions”: That people would use generative models to help them sustain social connections rather than replace them corresponds with my hopeful belief that the only thing that is ultimately worth anything to anyone is other people’s time and attention. Slop might be easier or slightly less risky for some people to share when they want to be present online but don’t feel like they have anything interesting to say.

But this doesn’t explain why people would want to consume slop, or find it more interesting than other material they could share. Are Sora clips really in competition with TikTok clips for people’s idle consumption time? Are they as effective at making people distracted and distractable? Do generative clips offer anything (beyond fleeting novelty right now) that TikTok’s algorithm can’t provide a more human version of?

It seems self-evident that generative video makes the world of representation (if not the world in general) more boring. One could hope it would re-enchant those forms of visual experience that resist simulation, but instead there is a sense of theoretically infinite video unleashing an infinite boredom, depleting our capacity to see by inundating our eyes with synthetic sights. Generative models mean that no one has to create anything they don’t care about, but they also mean that all media has more of that sense of indifference attached to it. And if we consent to consume it, it is because we are willing to internalize aspects of that indifference, taking some solace in it.

Often the mainstream discussion of generated video begins with the concern about convincing fakes destroying our trust in documentary media, but if anything, it would seem to increase dependence on institutions with sourcing protocols. When anyone can produce realistic-looking fakes, being a trusted institution capable of persuasively certifying documents becomes more valuable, and the power of social “truth-making” becomes even more centralized and more pronounced.

At the same time, it seems like most clips aren’t trying to be persuasive on that level but instead hold attention by tricking people for an instant and then becoming “fun” or “watchable” (rather than disappointing and pointless) precisely because they are fake. They aren’t necessarily framed or understood as news. The criteria for them has less to do with showing real events but with their being legible — they have to be appropriately targeted jokes that one is in on; they have to be worth the attention spent on them. As Ryan Broderick suggests, “the online platforms that created our new world, run on likes and shares and comments and views, reshaped the marketplace of ideas into an attention economy,” and generated videos compete in that marketplace, where documentary veracity is mostly insignificant. Now the attention economy has “untethered popularity from tastemakers — cultural, political, financial — and turned it into something nakedly transactional,” Broderick argues. Regardless of their facticity, or what the “tastemakers” want, or what trusted institutions bother to verify, popular videos automatically become “true” in terms by virtue of their circulation (the only kind of fact that matters) and how they shape widely received narratives.

A flood-tide of heavily publicized generated video could have the effect of denaturalizing any tendency to treat video as automatically documentary."

...

"Claire Wilmot, in a piece for the London Review of Books, calls generated images “fascistic dream machines.” She explains that “part of the misunderstanding of the deepfake threat stems from the idea that it is a problem of bad information, rather than a problem of desire (or the material conditions that shape desire).” Generated images “offer clear, illustrative diagnoses” of “alleged problems,” which, if you are willing to surrender to them, must be a relief to see, particularly when you just want distraction or compensation for your own personal share of grievance.

As with other kinds of direct entertainment, the consumer’s impotence — their incapacity to imagine a better world or the reality of different ways of being — is turned into a kind pleasure and compensation for itself. When consuming images, it may be that people don’t typically want information (which reinforces impotence); they want ideology (which “feels true” and requires no power of mind). Part of the appeal then is indulging in unfettered cynicism.

<blockquote>A Londoner spreading deepfakes of white women saying they don’t feel safe ‘because of migrants’ told me impatiently that everyone knows the videos aren’t real, but I was missing the point: ‘It’s about us showing everyone what’s really happening.’</blockquote>

Generated video allows consumers to inoculate themselves against events and representations that don’t conform to their schema by instantly offering alternatives that soothe them and match their expectations: They can enjoy their own ideological interpellation as a movie, or an endless feed.

But also key to generated images appeal us the ease with which they bring ideology before one’s senses. It supplements algorithmic feeds’ tendency to make the worldview tailored to one’s consumption patterns seem ubiquitous and self-evident, beyond question.

If you have to work to imagine the images to confirm an ideological distortion of how the world works, you begin to lose the libidinal benefits of that worldview, which grant a kind of identity that requires no work to articulate. Whereas the fact that a machine can generate these “true-feeling” images instantly confirms that the images can do what they are supposed to do, which is to protect us from thinking. Generative models are well suited to articulating ideas and wishes that people don’t want to have to make the effort to think through themselves, because the “pleasure” (such as it is) in them is in their apparent automaticity, in the speed with which prejudice formats and pre-digests and orders the world.

Video generators allow people to experience ideas or beliefs as content without their having to invest their imagination into making them real, into “really” believing in them and coming to terms with the implications of their beliefs. They are more like gaming engines than truth simulators."]]></description>
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<item rdf:about="https://psyche.co/ideas/how-luxury-brands-engineer-desire-with-behavioural-economics">
    <title>How luxury brands engineer desire with behavioural economics | Psyche Ideas</title>
    <dc:date>2025-10-03T16:32:15+00:00</dc:date>
    <link>https://psyche.co/ideas/how-luxury-brands-engineer-desire-with-behavioural-economics</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From scarcity to market architecture, luxury fashion is manipulating our tastes. But a vintage countermovement has begun"]]></description>
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<item rdf:about="https://www.lux.camera/requiem-iphone-air/">
    <title>Requiem for the Rangefinder: An iPhone Air Review</title>
    <dc:date>2025-10-02T21:21:41+00:00</dc:date>
    <link>https://www.lux.camera/requiem-iphone-air/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Verdict

Since it doesn't have rangefinder, I won't call it the modern rangefinder. The iPhone Air is the spiritual successor to the Leica M6.

It isn't a camera for beginners, and you won't take it on a safari, but the Air's small size, discreet operation, and unmatched durability make it ideal for street photography, journalism, and candid portraits. You can buy phones with similar specs for half the price, but the premium pays for a beautiful piece of kit that is one-part tool, and one-part fashion accessory.

It's a camera that distills photography to its essence. It may have less, but that's what makes it fun. When you tap the capture button, you know that you, not the machine, took the photo."]]></description>
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<item rdf:about="https://posterhouse.org/exhibition/the-future-was-then-the-changing-face-of-fascist-italy/">
    <title>The Future Was Then: The Changing Face of Fascist Italy | Poster House</title>
    <dc:date>2025-09-30T18:37:12+00:00</dc:date>
    <link>https://posterhouse.org/exhibition/the-future-was-then-the-changing-face-of-fascist-italy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In a fascist movement inspired by art, how does the fascist government influence the artists living in its grasp? This exhibition explores how Benito Mussolini’s government created a broad-reaching culture that grew with and into the Futurist movement to claw into advertising, propaganda, and the very heart of the nation he commanded. 

Featuring 75 pieces from the world-renowned Fondazione Massimo e Sonia Cirulli in Bologna, Italy, this expansive exhibition chronicles the length of Mussolini’s regime, focusing on the often blurred line between propaganda and art.

B.A. Van Sise FRGS is a photographic artist, author, and curator, primarily focused on the intersection between language and the visual form. Previously a journalist for the Village Voice and Newsday, he is also the author of Children of Grass: A Portrait of American Poetry with Mary-Louise Parker, Invited to Life: After the Holocaust, and On the National Language: the Poetry of America’s Endangered Tongues with DeLanna Studi and Crisosto Apache. His work has been featured in major solo exhibitions at the Center for Creative Photography, the Peabody Essex Museum, the Woody Guthrie Center, and the Skirball Cultural Center, and in group exhibitions at the Centro Millepiani in Rome and Scuola Internazionale di Grafica in Venice, and in Moscow at both the Jewish Museum and Tolerance Center and United States Embassy. Italian-born, he splits his time between New York City and Rome. "


[via:
https://kottke.org/25/09/the-future-was-then-an-exhibition-of-fascist-italian-posters ]]]></description>
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    <title>Ken Sakata (@frontofficeco): &quot;How do you design clothes that Japanese people love? Western vs Japanese Aesthetics &quot;</title>
    <dc:date>2025-09-29T19:36:58+00:00</dc:date>
    <link>https://substack.com/@frontofficeco/note/c-117030760</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do you design clothes that Japanese people love? Western vs Japanese Aesthetics"]]></description>
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<item rdf:about="https://ablerism.micro.blog/2025/09/21/refrain.html">
    <title>Sara Hendren - refrain</title>
    <dc:date>2025-09-22T05:43:20+00:00</dc:date>
    <link>https://ablerism.micro.blog/2025/09/21/refrain.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The vertebrae texts of my architecture criticism are now Ruskin, The Nature of Gothic, a Wendell Berry collection called The World-Ending Fire, and Postman, Amusing Ourselves to Death. And lots and lots of short readings and other media in between. I’m pleased with this historical sweep and its gathering of material culture criticism (buildings, landscape and locality, technology) as social criticism, especially by three men who are politically uncategorizeable. My students are open, game, still pliable. I may just recite to them, weekly, the message: it’s never too late to become more of a human being, less of a machine."]]></description>
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<item rdf:about="https://nilsgilman.substack.com/p/stop-with-the-bullshit?triedRedirect=true">
    <title>Stop with the Bullshit - by Nils Gilman - Small Precautions</title>
    <dc:date>2025-09-15T21:25:06+00:00</dc:date>
    <link>https://nilsgilman.substack.com/p/stop-with-the-bullshit?triedRedirect=true</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dialogue without listening, states without capacity, science without rigor, logos without quality — the fakes want the glory but not the good-faith grind"

...

"It’s been a long, ugly, and dangerous week in American politics, and a hot take is the last thing that is needed in the already-overheated atmosphere of the moment. But I want to take a gander at one of the most howlingly bad takes that emerged this week, namely Ezra Klein’s much- and rightly-dunked upon op-ed-paean to the late Charlie Kirk.

Most people may not have gotten much past the headline, but you really don’t need to, because the whole essay was predicated on a category error so impressive it deserves recognition as its own art form. Klein, who has emerged as the most influential liberal public intellectual, confused Kirk’s heavily stage-managed content-creation pipeline with the difficult, unglamorous craft of democratic engagement. The mistake was not just that Klein misjudged Kirk’s motives (I’m not going to discuss the vile ideological content of Kirk’s politics), it was that he failed to distinguish between authenticity and inauthenticity, between practices that require effort, humility, and risk, and imitations that only borrow the trappings.

Let’s talk directly about what Charlie Kirk’s mode of “politics” entailed. The goal was never good faith engagement with opponents — an indubitable bedrock of democratic politics. Rather, it was always about content creation for his media machine. He did not engage with informed opponents in a spirit of inquiry or persuasion, but instead preferred to spar with jejune undergraduates who he could make look foolish, in order to create social media clips that would go viral among his fans. As a content-creation machine for confirming and amplifying the biases of his fanbase, his “practice” was undoubtedly brilliant — even if he sometimes ended up looking foolish.

But the fact that Klein considers this form of political practice “the right way” is bizarre, especially because Klein himself often demonstrates what genuine dialogue looks like. Consider for example his conversation last month with Yoram Hazony, the brains behind the neo-reactionary “national conservatism” movement. That podcast was truly a model of good faith dialog between two people who sharply disagree politically. It unfolded slowly, sometimes awkwardly, with Klein engaging seriously someone who is just as politically and intellectually experienced as himself. That was practicing politics “the right way” — not because Hazony convinced Klein or vice versa, but both men in the dialog embodied democratic cognitive virtues of attempting to understand before dismissing, and probing assumptions before condemning. Both men took a risk in engaging the other on equal terms. It wasn’t merely about content-creation to amplify priors.

Most of what Kirk produced was a simulacrum of such dialog. His “debates” contained the surface features of dialogue — microphones, arguments about politics, a supposed clash of ideas — but none of the substance. The goal was not persuasion of his interlocutors but the creation of content that could go viral. Everything about these events, from the lame opponents to the camera angles, were stage managed not to promote comprehension but to enact Kirk’s domination routine. It looked like conversation but its function and purpose was fundamentally theatrical. To mistake this for good faith democratic dialog is like mistaking a wax apple for lunch: superficially convincing, but nutritionally empty.

Kirk’s “practice of politics” forms part of a larger pattern: the collapse of good faith, sincerity, and authenticity — what we might call, echoing Cory Doctorow, the enbullshittification of everything.

Authentic versions of human practices are difficult, costly, and sometimes dangerous. They command respect precisely because of the risks involved. Their imitations are easy, cheap, and flattering. They borrow the aesthetic while dodging the substance. Sometimes the imitation is outright lying, but more often it is, in Harry Frankfurt’s famous distinction, “bullshit.” The liar at least cares about the truth: he wants to conceal it. The bullshitter is indifferent: truth is beside the point, what matters is only the performative effect of his words. Kirk’s debates were bullshit in exactly this sense. Whether his opponent has a good argument or whether Kirk’s response was accurate was irrelevant. The only metric that mattered was whether it output a selectively-edited clip that could go viral. Though composed in 1986, long before the commercial Internet even existed, Frankfurt’s description could have been written for social media politics: an entire economy built not on truth or falsehood, but on performative command of the attention economy.

Consider this distinction with respect to governments. James Scott once argued that the definition of a modern government is that it “sees like a state,” building a machinery of taxation, census-taking, and bureaucratic enumeration designed to render their societies legible to the governors. This legibility can be oppressive, but it is real: it creates the capacity to govern. By contrast, Steven Pierce has observed that many postcolonial states merely “look like a state” without actually being one in Scott’s sense. They sport flags, uniforms, and colonnaded buildings, but lack the capacity to collect taxes or deliver services. Police checkpoints sprout across highways, staffed by men in uniform with rifles. The aesthetic is one of authority, but the function is extortion. The checkpoints do not protect; they prey. And yet the performance continues, because it is profitable to the performers. The truth — that governance is absent — becomes irrelevant. Here again, the lie is less important than the bullshit. The roadblock is not pretending to enforce safety; it is indifferent to safety altogether. What matters is that it looks like a state — and that the passers-by pay up. The state as performative bullshit.

Science, too, has its bullshit twin: so-called pseudoscience. Genuine scientific work is punishing: experiments fail, hypotheses collapse, reviewers sneer, careers stall. Above all, science accepts the possibility of being wrong. That humility is what makes it trustworthy. Pseudoscience cannot accept such humility. It craves the prestige of science and takes on its trappings — the white coat, the jargon, the graphs — without accepting its discipline. The result is a facsimile: journals that mimic peer review but never reject manuscripts so long as they confirm cherished beliefs, conferences that feature badly dressed people reading aloud boring papers, popularizers who push the message to a poorly-informed audience. What matters is that it looks like science, that it comforts an audience, that it flatters priors. Science is inquiry. Pseudoscience is performance. Authenticity lies in the willingness to be disproved. Inauthenticity lies in donning the aesthetic of rigor while never accepting its risk.

Counterfeit luxury brands do the same thing in the language of commerce. A Louis Vuitton bag purchased at a street stall in Bangkok can look almost indistinguishable from the real thing. The pattern is right, the logo attracts, the aura of exclusivity shimmers. But it is not the product of costly craftsmanship, durable materials, or decades of accumulated brand equity. It is a simulacrum, designed not to perform the high-quality function of a real luxury good but rather to signal the appearance of one for socially performative reasons. The buyer is often in on the trick: they want the social recognition of a logo without paying the premium. Again, this is not always lying; it is bullshit. Whether the bag is real is irrelevant; what matters is that it’s cheap and looks “real enough.” The prestige of the genuine brand is borrowed by the counterfeit while producing none of the quality that underwrites it. Authentic brands accumulate legitimacy over years of investment; counterfeiters free-ride on that legitimacy by selling the look. Authenticity here is the cost of production; inauthenticity is the shortcut.

These examples all rhyme. Authentic practices are slow, costly, and sometimes dangerous: dialogue requires humility, governance requires capacity, science requires discipline, and brands require investment. Inauthentic practices are fast, cheap, and rewarding. They produce the look without the work, indifferent to whether the thing is real, so long as the effect is convincing enough. The intellectual equivalent of empty calories.

The social cost of all these practices is not only that the fakers are cheating the people who do the real work, but more deeply, that they erode the category of the real. Kirk’s pseudo-debates trained audiences to misrecognize domination spectacles as democratic dialog. Governments that merely “look like” states normalize predation as governance. Pseudoscience muddies the authority of real science, making voters and patients doubt whether expertise exists at all. Counterfeits hollow out the value of brands and weaken the very notion of quality. In each case, the parasite gnaws away at the host. Frankfurt’s warning about bullshit is apt: once indifference to truth becomes widespread, the very category of truth loses meaning. The counterfeit becomes “good enough.” The real is devalued.

Jean-Paul Sartre’s distinction between good and bad faith helps to explain why this persists. Good faith requires acknowledging what one is really doing. It demands that dialogue be recognized as risky, governance as difficult, science as humbling, branding as costly. Bad faith is self-deception: living inside the imitation as if it were the real thing. Kirk very likely believed that he was “practicing politics the right way.” The uniformed thug at a roadblock may believe he is governing. The pseudoscientist may claim he is merely raising questions. The counterfeit buyer may insist the bag is “just as good.” These are not pure cons; they are inauthentic practices performed in bad faith, half-or-more-believed by their practitioners. That is why they are sticky: they are not only frauds on others but frauds on the self.

Klein’s error was to treat Kirk’s bad-faith performances as good faith practice. But the distinction matters. A society that cannot tell the difference between authentic and inauthentic, between truth and bullshit, between good faith and bad, is a society in which legitimacy is slipping away. The clip is not the conversation. The roadblock is not the state. The graph is not the science. The logo is not the brand.

The authentic article is costly; that is why it deserves respect. The inauthentic version is cheap; that is why it spreads. The question is whether we still care about the difference — or whether we are content to live among counterfeits and call it real."]]></description>
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<item rdf:about="https://www.vox.com/today-explained-newsletter/459984/trump-white-house-remodel-gold-aesthetic-explained">
    <title>Trump’s plan to rebrand America, explained | Vox</title>
    <dc:date>2025-09-09T18:05:37+00:00</dc:date>
    <link>https://www.vox.com/today-explained-newsletter/459984/trump-white-house-remodel-gold-aesthetic-explained</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why Trump’s gaudy White House remodel matters."

[archived:
https://archive.ph/jrYsz ]]]></description>
<dc:subject>latefascistaesthetics fascistaesthetics donaldtrump trumpism maga aesthetics 2025 us fascism authoritarianism abdallahfayyad cameronpeters politics decorations decor whitehouse rebranding greed</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=AF7s16ATbJc">
    <title>Writer Èdouard Louis: Who Gets to Escape? - YouTube</title>
    <dc:date>2025-09-02T18:16:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=AF7s16ATbJc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“The will of escaping is such a universal condition.” French writer Èdouard Louis shares how his brother's death turned into his latest novel, how class shapes possibilities and the importance of understanding what you hate.

Èdouard Louis’ brother is 38 when he dies. Louis describes his sibling as an alcoholic, and someone he hadn’t seen in 10 years: “I didn’t want to see him anymore. I didn’t want to talk to him. He was a very violent person,” Louis says frankly. “He was an unbearable person, someone you could not love. And I didn’t love him.” When their mother called Louis to tell him that his brother had passed, he turned to writing, because he thought he knew exactly why he died: “I thought my brother was the extreme realization of social determinism, of someone who was born in the working class, in poverty,” he says and continues: “This social determinism had such an extreme impact on him that it killed him at 38.” The book took many years to write, because through the process, Louis realised that everything he thought he knew was not exactly true.

His brother had dreams, like opening a butcher shop—a dream that Louis calls “real.” But even a “real” dream was not attainable for someone like his brother: “His dreams were too big for his milieu. His dreams were too big for his class.” Though growing up in the same class, the same town, the same family, Édouard Louis dreams of the big city, of culture and a new way of life all came true: “I was this young gay boy thinking: I am different and I want to escape, but the other ones don’t want to escape.” Louis had long seen himself as “different and superior because I wanted to escape. And that my brother was inferior because he was happy with his reality.” 

“Everyone wanted to escape. But the thing is, not everyone had the same access to the tools of escaping,” Èdouard Louis says: “My brother was trying to escape with alcohol and with violence.” Louis continues to reflect on escaping, which essentially is what the book ‘Collapse’ is about: “It’s a question of unequal access to the, if not the means of production, then the means of expressing your feelings.”

While writing the book, Èdouard Louis reached out to his brother’s ex-girlfriend, whom he was all violent towards. But the girlfriends spoke deeply about their love for his brother: “I thought: do I take it out of the book because I don’t like this idea? Or do I let the reality with all this complexity?” Louis reflects: “If I take it out, it’s like patronising. I’m giving a version that I prefer of those women. They deserve to say what they have to say. At the same time, I disagree politically with what they say. So, I wrote this book in this kind of very precarious balance.”

“It’s our duty to understand what disgusts us, what frightens us, what we hate. We’d better look at what we hate.” For Èdouard Louis, change can’t be made by looking away from what we don’t like or understand. Only by understanding violence can it be stopped: “I am a toy of violence. I am an object of violence,” he says. “I’m talking because I went through it and have no choice.”

Édouard Louis (b. 1992) was born Eddy Bellegueule in Northern France. He graduated in sociology and philosophy from the École Normale Supérieure and the École des Hautes Études et Science Sociales. and thus has an academic education as the first in his family. Louis had his debut in 2014 with the award-winning bestseller The End of Eddy Bellegueule. He has published seven novels and has also been editor of works on Pierre Bourdieu and Michel Foucault. His work has appeared in The New York Times, The Guardian, and Freeman’s. His books have been translated into thirty languages, making him one of the most celebrated writers of his generation worldwide.

Èdouard Louis was interviewed by journalist Bodil Skovgaard Nielsen on stage at Louisiana Literature at Louisiana Museum of Modern Art, August 2025."]]></description>
<dc:subject>èdouardlouis freedom escape privilege sociology violence masculinity homophobia monsters left rightwing farright conservatives understanding hannaharendt poverty misogyny howwethink thinking refelction alcoholism reality complexity politics humanism humans hate socialdeterminism society class whiteness race racism exclusion othering conservatism others frankness openness privacy directness politeness civility judgement distance conviviality values transparency bourgeois bourgeoisie pathos workingclass emotion aesthetics culture classwar emotions facts uncertainty dehumanization knowledge power autobiography autofiction literature truth</dc:subject>
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<item rdf:about="https://news.artnet.com/art-world/white-house-founders-museum-prageru-2681816">
    <title>The White House Proposes Weird A.I. Paintings as the Future of Patriotic Education</title>
    <dc:date>2025-08-29T23:07:03+00:00</dc:date>
    <link>https://news.artnet.com/art-world/white-house-founders-museum-prageru-2681816</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Facts don't care about your feelings," declares John Adams, courtesy PragerU's Founders Museum."]]></description>
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<item rdf:about="https://www.vox.com/politics/459397/trump-rebranding-america-style-aesthetic-taste">
    <title>Trump is rebranding America — and his Oval Office makeover is just the start | Vox</title>
    <dc:date>2025-08-29T20:53:32+00:00</dc:date>
    <link>https://www.vox.com/politics/459397/trump-rebranding-america-style-aesthetic-taste</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The president’s tacky aesthetic is a window into his quest to become the single most enduring symbol of America."

[archived:
https://archive.ph/C5qGV ]

"That individualistic philosophy is why Trump is so invested in remodeling the White House, the Kennedy Center, and even museums in his own style — to exhibit his image as the greatest marker of success. It’s why, on the right, there’s such an overwhelming cult following around a single individual. There’s an obsession with personifying America, and Trump desperately wants to be that personification.
The America Trump wants to project, in other words, is not the Statue of Liberty welcoming “huddled masses yearning to breathe free” or a country of shared collective interests, but one that adheres to the concept of the survival of the fittest. And Trump seems to believe — or at the very least wants to convey — that he’s the fittest of us all.
Much of what has informed Trump’s whole philosophy is his simplistic idea of success: that his many failures aren’t necessarily a reflection on him, but that his success and wealth were achieved solely because of him. So the aesthetic Trump is trying his very best to push onto Americans — displays of sheer rugged strength, of vast wealth, of supposed success — points to a picture of an individualistic society that doesn’t really care about its past sins. Because in Trump’s world, so long as you amass an enormous amount of wealth and power (as both he and America have), then it’s all worth showing off.
It’s like he told Playboy back in 1990: “Let me tell you, a display is a good thing…It’s very important that people aspire to be successful. The only way you can do it is if you look at somebody who is.”
That’s why Trump doesn’t just want to be a political or historical figure, but a cultural icon that can represent American greatness long after he’s gone. He wants the whole world to forever look at him."]]></description>
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<item rdf:about="https://www.theverge.com/news/764142/trump-executive-order-national-design-studio">
    <title>Florida man orders beautification of America after gold-plating the White House | The Verge</title>
    <dc:date>2025-08-22T16:54:52+00:00</dc:date>
    <link>https://www.theverge.com/news/764142/trump-executive-order-national-design-studio</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Make America Design Again."

...

"President Donald Trump signed a new executive order on Thursday to improve the “usability and aesthetics” of US government services by creating “first-class online and offline experiences for Americans.”

“It is time to update the Government’s design language to be both usable and beautiful,” Trump said in the order, which establishes an America by Design initiative meant to “improve comprehensively the visual presentation and usability of Federal services provided to the public in both digital and physical spaces.”

A new National Design Studio is being set up to facilitate this, led by a chief design officer — with Airbnb co-founder Joe Gebbia reportedly lined up for the position, according to Reuters.

Gebbia has already been tasked with overhauling the sluggishly paper-based federal retirement process after joining Trump’s DOGE service in February. It’s unclear what direction Gebbia’s design choices will take, but here’s hoping he isn’t too influenced by Trump’s love for all things golden, gaudy, and gilded. Refraining from randomly capitalizing text would also be a bonus."]]></description>
<dc:subject>jessweatherbed design government politics donaldtrump fascism aesthetics whitehouse fascistaesthetics latefascistaesthetics</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:d69d432d4061/</dc:identifier>
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<item rdf:about="https://bayareacurrent.com/vibrational-data/">
    <title>Data Shows The Vibes Are Bad</title>
    <dc:date>2025-08-20T15:54:35+00:00</dc:date>
    <link>https://bayareacurrent.com/vibrational-data/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the Bay, data and vibes compete to define our lives. But what if they’re not as different as they seem?"

..

"The Bay Area has long been shaped by two seemingly opposing cultural forces: data and vibes.

For the uninitiated, data is what Silicon Valley wrought. Data is something beyond metrics — it’s tech culture, from Arc’teryx to Zoom. While more resistant to definition, vibes exist on the continuum between the “Summer of Love” and ethical non-monogamy. If data implies “cold hard facts,” vibes are its opposite, full of unfixed notions of “feeling your feelings,” “being free,” and, classically, “not being judgmental.” Simply put, vibes are “classic Bay Area,” and data is “new Bay Area,” courtesy of tech and the recent AI bubble.

At first I had a bias for vibes over data — vibes were old school and chill, while data I took to be responsible for ruining the Bay. My instinct had been to map these two forces — the good and the bad of it — onto the geography of the Bay.

In this vision, the East Bay, and Berkeley in particular, is all vibes, while the South Bay, with Silicon Valley, is data. San Francisco seems to represent the clash of these values: Hayes Valley and the Marina, given their high percentage of tech and tech-adjacent workers, lean data, while The Haight and North Beach, riding on their hippie and beatnik pasts, are more vibrational. The North Bay is contested territory. Marin, once commune-filled, is now only affordable if you have a high-paying data job while Bolinas and Point Reyes Station still feel vibe-y despite the influx of Oura Ring wearers.

When considered this way, the twin forces of data and vibes seem opposing and fundamentally at odds with one another. Data is the “oil,” which greases the wheels of capital within Silicon Valley and its surrounding areas, and the vibes are “water”— an apt metaphor for that open, fluid NorCal way of being. You have to choose between disrupting society through code or cuddle puddles. There is no in-between.

Or so I thought.

I soon realized I was mistaking data and vibes for different, mutually exclusive cultures. What I didn’t understand was how similar they were, that they’re two sides of the same optimizing coin.

<blockquote>The vibes are gestalt. The vibes are Wavy Gravy. The vibes are passive aggressive natural food co-op. The vibes are grief mandala. The vibes are the spring equinox accountability process.</blockquote>

The line between these two forces starts to get fuzzy when, for example, my arts job sends me to a mandatory professional development training and I end up in a group facilitation class with no less than six full-time employees of the nonprofit Burning Man Project where people say things like, “the 60 minute meeting is an inhumane technology.” It’s not exactly that I disagree, but there’s something unsettling about the way they phrase it.

Things get even more confusing, more slippery, when at my weekly pick-up game I notice players starting their Fitbits to count their steps and heartbeats as they arrive at the courts.

I initially attributed these incidents to tech creep — the undeniable fact that tech and its ideology are permeating everything in the Bay. Once I start to see it’s everywhere, I realize it’s always been everywhere.

It was the A’s doing the whole moneyball thing. It’s all-staff PowerPoints that read “We Are: Our Relationships” alongside a table of “Key Performance Indicators.” It’s microdosing LSD or mushrooms to optimize your workflow. It’s the Tesla drivers in the Berkeley Hills with those bumper stickers; it’s a graphic tee that reads “Effective Altruist.”

That’s when it dawned on me: tech is just an aesthetic, one that gives the illusion of deeper understanding and undergirds the belief that knowing what’s happening — having those percentages and projections, having that abstracted knowledge — allows you to make improved choices, to create efficiencies. So often, the actual data seems to be jettisoned. It’s not really used to inform or make decisions, but rather manipulated to justify them. All those numbers are really just a way to convey the vibe of intelligence, of smartness, of being the adult in the room. It means you might be a nerd, but you’re winning.

But the more I think about the vibes, the more similar to data they become, the more I realize they are different aesthetics in service of the same thing.

The vibes are human potential movement. The vibes are the Zodiac glyphs. The vibes are gestalt. The vibes are Wavy Gravy. The vibes are passive aggressive natural food co-op. The vibes are grief mandala. The vibes are Erotic Blueprints. The vibes are the spring equinox accountability process. The data is plasma exchange. The data is soylent. The data is wearables. The data is AI. The data-vibes are HR guiding you through a breathing exercise as they announce imminent layoffs.

Vibes, I realize, are ultimately about self-knowledge and the belief that one can lead a better, smoother, more optimized life. And, while vibes and data each have their idiosyncrasies, their own histories, they are part of the same psychology and culture. These vibes let you empty yourself out so you can let yourself run — without any friction — for capitalism. (Like, what if the biggest beneficiary of your therapy session isn’t your mental health, but your boss, who gets to manage an easier-going, more compliant and integrated you?)

So, it seems we have come full circle (or full grief mandala). Ultimately, vibes and data are two ways of saying the same thing: that life can be managed, perfected. That we can be optimized. But optimization — whether of people or the institutions they make up — is a foolish fantasy and a distraction. We are our mistakes, our mispronunciations, our psychic deviations, our mutations and our irrationalities. We’re never going to be optimized. Nor should we be."]]></description>
<dc:subject>data zoestahl 2025 metrics technology bayarea siliconvalley sanfrancisco norcal aesthetics optimization vibes</dc:subject>
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<item rdf:about="https://www.publicbooks.org/our-golden-age-of-reading-online/">
    <title>Our Golden Age of Reading (Online) - Public Books</title>
    <dc:date>2025-08-20T00:50:54+00:00</dc:date>
    <link>https://www.publicbooks.org/our-golden-age-of-reading-online/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>angelinaeimannsberger 2025 internet web online reading howweread digital federicopianzola digitalsocialreading social socialreading sarahbrouillette zakiyadalilaharris rfkuang emilyhenry tessmcnulty fiction safiyaumojanoble safiyanoble simonemurray goodreads wattpadd ao3 archiveofourown technology genz generationz plato gutenbergparenthesis hyperparatextuality affinity fanfiction affect aestheticjudgement aesthetics startrek genre pierrebourdieu johnguillory powerrelations platforms platformcapitalism capitalism cognition hope culture society zoomers</dc:subject>
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<item rdf:about="https://placesjournal.org/article/unbuilding-gender/">
    <title>Unbuilding Gender</title>
    <dc:date>2025-08-19T05:14:44+00:00</dc:date>
    <link>https://placesjournal.org/article/unbuilding-gender/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Trans* Anarchitectures In and Beyond the Work of Gordon Matta-Clark"]]></description>
<dc:subject>jackhalberstam gordonmatta-clark architecture anarchitecture 2018 transgender activism gender gendertheory queer yvelariscohen trans carolinevaneck paulpreciado audrelorde saraahmed buckminsterfuller lecorbusier lucascrawford walterbenjamin teresadelauretis stefanoharney fredmoten joséestabanmuñoz robertstoller kevinmumford stephenwalker douglascrimp jonathanweinberg karenabarad giakourlas christinacrosby francesrichard evahayward athinaangelopoulou joelsanders susanstryker boychild nyc realestate capitalism sexuality cassils namuelvason lgbtq emilyroysdon davidwojmarowicz éricalliez alvinbaltrop herbertmarcuse micheldecerteau incarceration pamelalee gentrification 1972 1974 laurieanderson richardlandry modernism soho absence silence invisibility landscape landscapes anarchy anarchism bodies removal fredherko ernstbloch femininity hudsonnriver homophobia collapse abandonment cruising embodiment representation aesthetics access transphobia 1973 normativity building unbuilding feminism louisebourgeois</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:feminism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:louisebourgeois"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=XQM5s3ZEctc">
    <title>True Hollywood Stories on the Military Industrial Complex Featuring Samantha Youssef - YouTube</title>
    <dc:date>2025-08-18T04:08:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=XQM5s3ZEctc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On Saturday and Sunday Palestinian-Ukrainian artist, character animator, and award-winning animation director Samantha Youssef will join Saturdays with Renee and MAKC for back to back episodes! Samantha has worked in both feature films and video games for Walt Disney Animation, Filmax, and Ubisoft. Folks have probably seen some of her previous conversations with Dr. Jared Ball on Black Liberation Media and IMIXWHATILIKE and her viral instagram reels about Superman and Andor. 

[Saturday:

"Donald Duck Does D.E.I. ft Samantha Youssef and Jared Ware"
https://www.youtube.com/watch?v=Toak26j_Z-Q ]

On Sunday's show specifically we'll get into the relationships between Hollywood and the Military Industrial Complex and hopefully touch on some aspects of these relationships that may not be exactly secrets, but are not well known by many. Youssef is a critical film scholar with a great deal of personal experience working with major Hollywood and video game studios, and she is sure to help us sharpen our own critical analyses of the popular culture industry in the heart of empire. 

Here is Samantha's linktree to follow her on social media, support Palestinian mutual aid, and find her work: https://linktr.ee/samanthasketches

Joining us in this roundtable discussion with Samantha we be Dr. Jared Ball (IMIXWHATILIKE/Black Liberation Media), Renee Johnston (Saturdays With Renee/BLMedia), and Mtume Gant (Within Our Gates).

THEATERS OF WAR: THE MILITARY-ENTERTAINMENT COMPLEX - Tim Lenoir and Henry Lowood: 
https://web.stanford.edu/class/sts145/Library/Lenoir-Lowood_TheatersOfWar.pdf

Visit https://lifeline4gaza.com/ to find and support nearly 1,000 Palestinian survival campaigns in Gaza.

Some of Samantha's previous appearances with Dr. Jared Ball

 Subverting Radicalism: How Andor and All Films Do It! ft Samantha Youssef
https://www.youtube.com/watch?v=wo7pXp1SgLY

""We See the Audience as Marks!" the Psychology of Manipulation in Film ft. Samantha Youssef"
https://www.youtube.com/watch?v=cNN65kgDpwY

"Encoding Empire with Samantha Youssef"
https://www.youtube.com/live/Vev644NSDks "]]></description>
<dc:subject>samanthayoussef 2025 jaredball warfare military militaryindustrialcomplex film media filmmaking darpa reneejohnston jaredware makc millennialsarekillingcapitalism television tv andor starwars revolution cia propaganda emotions intelligence manipulation storytelling lamguage aesthetics beauty culture narrative affect history psychology context empathy</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:d6cce7c5321b/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=U3qGzLFstko">
    <title>STOP Buying Watches: You Don't Need ANOTHER ONE! - YouTube</title>
    <dc:date>2025-07-30T23:03:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=U3qGzLFstko</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I know — it sounds strange coming from someone who loves watches, who creates content about them. But I think it’s time we talk about something important:

Maybe we need to stop buying watches. Not forever. Just... for a while.

In a world of endless “just picked this up” posts and “collection updates,” we’ve created a culture where owning is more important than appreciating. Where the thrill of the next purchase overshadows the joy of simply wearing and living with what we already have.

This video is about taking a step back.
It’s about questioning why we collect — and who we’re doing it for.
Is it for ourselves? Or is it to feed the algorithm? To chase status, identity, meaning?

We explore everything from the influence of social media and hype culture to philosophical ideas from Baudrillard and Marx — all through the lens of watch collecting.

I’m not saying stop collecting. I’m saying:
Stop. Reflect.
Shift the focus from acquisition to appreciation.

Because meaning isn’t something you can buy. It’s something you build — through time, experience, and the stories you create along the way.

Maybe the question isn’t “what watch is next?”
But where are you going to wear the ones you already have?"]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=euahMnkSDiw">
    <title>Overthinking Why Dive Watches Are All the Same - YouTube</title>
    <dc:date>2025-07-30T22:49:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=euahMnkSDiw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You’ve seen it before — the rotating bezel, the luminous dial, the rugged steel case. Whether it’s a Rolex Submariner, a Seiko SKX, or a $200 homage, the dive watch has become one of the most iconic and instantly recognizable objects in modern design.

But how did we get here? Why does every dive watch — from luxury icons to affordable beaters — follow the same visual formula? And what does that say about us, about design, and about the myths we choose to wear?

In this video, we explore:

The history of the dive watch, from military tool to cultural icon

The aesthetic convergence that shaped its design language

The brands that dared to challenge the mold — and why most didn’t stick

How semiotics, philosophy, and social media help explain the sameness

And what the future might hold for one of horology’s most enduring forms

This isn’t just about watches. It’s about tradition, identity, nostalgia — and the power of design to become myth.

👇 Chapters
00:00 - Intro
00:58 - Origins
03:20 - Formula
05:16 - Rulebreakers
07:37 - Form follows function
09:31 - Design conservatism 
11:29 - Social media
13:26 - Progress
15:12 - The future"]]></description>
<dc:subject>watches divers divewatches history rolex blancpain omega zodiac unimatic ming rolandbarthes baudrillard simulacra symbols semiotics aura talismans conservatism nostalgia permanence identity tradition business design designconservatism materials socialmedia algorithms progress function signaling heirlooms doug'swatches iso isoinertia inertia symbolism icons philosophy watchcanon form 1932 1953 fiftyfathoms zodiacseawolf doxa seiko seikoskx iso645 standards convergence traditions significance rolexsubmariner omegaseamaster steinhart fashion tudor blackbay58 sanmartin invicta blackbay ressence mb&amp;f mainstream innovation designdarwinism myths masculinity exploration competence readiness reality danger adventure survival mythologies objects courage stories storytelling trust walterbenjamin culturalmemory culture continuity memory taste aesthetics instagram echochambers stainlesssteel ceramics manufacturing credibility templates evolution functionality ritual historyy aspiration artifacts craftsmanship jeanbaudrill</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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    <title>Insight The Watch Collector / Enthusiast Dichotomy &amp; Its Discontents - The Phenomenology of Watches as Spiritual Practice - BEYOND THE DIAL</title>
    <dc:date>2025-07-28T04:47:47+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/insight-the-watch-collector-enthusiast-dichotomy-its-discontents-the-phenomenology-of-watches-as-spiritual-practice/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our Current Paradigm Is Divisive

Within the watch community we hear quite a lot about the distinction between watch enthusiasts and collectors. We consider enthusiasts to be on a lower order than collectors. Enthusiasts may own dozens of watches, but they are dilettantes who lack the focus, dedication and connoisseurship that characterize the collector. Collectors take a serious, academic, intellectual approach to watches, garnering expertise and carefully curating collections.

A third and lower tier also exists. Known vaguely as consumers by brands and more cleverly as civilians by watch enthusiasts and collectors, this is the vast consumer base that fails to achieve even dilettante status. Both enthusiasts and collectors will sometimes deride civilians, noting their lack of knowledge and often explaining away a watch that fails to rise to our own standards as existing for regular consumers, or as a mall watch, a predictable choice, and so on.

This three-tiered hierarchy replicates our broader socio-economic hierarchies. It places a small elite class (of collectors) atop a larger middle class (of enthusiasts) which sits above a vast common class (of consumers). 

[image: pyramid labeled "The broadly accepted stratification of the watch community" with "Watch Collectors (connoisseurs)" at top, "Watch Enthusiasts" (dilettantes) in middle, and "Watch Consumers" (pariahs)"]

Our tendency to stratify the watch community in this way belies an inability to imagine that – perhaps, here in the fun and truly harmless realm of watches – we might forego our common socio-economic strata and, instead, imagine a paradigm that not only aligns better with the benign and inclusive nature of our hobby but also empowers us to get more out of it. This rethinking of paradigms may also prove important for watch brands and the watch industry more broadly.

To assert a more benign and inclusive paradigm, we will need to shift our focus from people and watches onto the interaction between people and watches.

The Phenomenology of Watches

Over the past couple of years I’ve posited what I call a phenomenology of watches. This is a theoretical framework which focuses our attention on the real-time sensory interaction between a person and a watch. The phenomenology of watches doesn’t ask who is this person and what is this watch; it asks what’s really going on at the sensory level as this person interacts with this watch.

Working with this approach has led me to conclude that something akin to a spiritual experience sometimes arises when some of us behold certain wrist watches. I’ve concluded that this spiritual experience is not only the pinnacle of an emerging experience-centered paradigm, but is also an elusive yet powerful force driving the watch industry as a whole.

Phenomenology is an early 20th century philosophical position which, put simplistically, is all about beholding. Phenomenology dispenses with thinking about a subject (beholder) and an object (thing beheld), and instead investigates the beholding itself. Phenomenology homes in on perception and asks: What goes on as you behold something?

[image: photo of Edmund Husserl with the quote "To begin with, we put the proposition: pure phenomenology is the science of pure consciousness."]

I took this basic phenomenological framework and simply made the object, the thing beheld, a wrist watch. I did this based on a hunch that, like me, most watch fans were, colloquially speaking, grooving, vibing, tripping, zoning out, and even getting high when beholding wrist watches. Any lover of watches can tell you that this horological high is self-evident, and thus no great insight in and of itself. 

However, if we investigate the horological high further, a far more compelling paradigm than the typical three-tiered hierarchy begins to emerge. This experience-centered paradigm can challenge the ways we currently tend to divide our community, and it can become a more inclusive paradigm that reveals much more about what motivates our fascination with watches. The phenomenology of watches moves away from rigid classifications of types of watch consumers toward a more inclusive description of types of horological experience.

Enthusiasm Belongs At The Top

It makes sense that so many of us call ourselves watch enthusiasts. The word enthusiasm originates in English during the 16th century from the Latin enthusiasmus, which means ‘inspiration, frenzy’ and from the Greek enthousiasmos, which means ‘to be inspired or possessed by a god’. Though we might not think of our watch enthusiasm in such lofty terms, as a group we do self-identify using a word that points to something like rapture.

For so many watch enthusiasts, both the intellectual satisfaction of collecting and the material satisfaction of ownership are far less important than the aesthetic-emotional experiences (pleasure, joy, satisfaction) that arise as we interact with our watches. Watch enthusiasts who own dozens of watches may eschew collector status not because they lack the intellectual know-how, but because they are drawn to watches for the horological high and the social satisfaction of sharing that experience with other enthusiasts. This can include not wanting to take oneself too seriously, as that can stand in the way of the highs on offer. Similarly, watch enthusiasts elevate themselves above mere consumers because their relationship to watches has a spiritual, sensual, and /or emotional component that goes far beyond typical consumer satisfaction.

But probing, let alone understanding, these quasi-spiritual and rather personal dimensions of a person’s experience of watches proves to be quite difficult for a number of reasons.

The constant interaction with brands and the transactional nature of our hobby tends to narrow our focus onto the materialistic and intellectual aspects of watch ownership. With annual revenues in the tens of billions, the watch industry spends untold millions each year constructing narratives and experiences as individual brands compete for our loyalty and disposable income. Branded experiences can be informative, enjoyable – even meaningful – but branded experiences tend to fuel intellectual concerns and material consumption. This emphasis is partly due to the industry’s interest in cultivating those tendencies in us, but also because the direct sensory interaction we have with watches is elusive, ephemeral, private and, thus, very difficult for brands to intervene on.

However, by developing a different paradigm (and a vocabulary with which to explore it), we can begin to understand watch enthusiasm not as a lower form of an intellectual endeavor (collecting) or a higher form of a materialistic one (consuming), but as a qualitatively different type of experience altogether.

A Fluid & Inclusive Paradigm

[image: inverted pyramid labeled "Levels of horological experience" with "Experiencing watch enthusiasm (aesthetic satisfaction)" at top, "Collecting watches (intellectual satisfaction)" in the middle, and "Consuming watches (material satisfaction)" at the bottom]

We watch enthusiasts don’t talk about our enthusiasm that much. We are reticent for many reasons, including social pressure to vest our inner lives, but largely we don’t talk about our enthusiasm because we lack a framework and vocabulary by which to understand and express it. This is true of so many sensory/spiritual indulgences (e.g. art, music, love, nature, etc), which tells us that watches can occupy a rarified place in our lives, not as commodities, but as meaningful objects with what anthropologist Gregory Bateson called an “affecting presence.” And so, as with most sensory/spiritual experiences, we stumble and often surrender with vagaries like: “I don’t know, I just really like it.” or “It just speaks to me.” and so on.

That may not be such a loss in and of itself, but because we are so limited in our abilities to meaningfully discuss our enthusiasm we end up overemphasizing the materialistic and intellectual dimensions which, in turn, leads us to (I think needlessly) replicate the stratified hierarchies we experience in our broader socio-economic experience. This is a communal failure to better understand and express essential aspects of our enthusiasm, and thus ourselves individually and as a community.

This is where the phenomenology of watches comes into play; it can provide a framework by which to investigate our enthusiasm, and from there we might develop a vocabulary with which to engage in more meaningful discussions of our enthusiasm itself.

In my proposed restructuring of the paradigm around a phenomenology of watches, we first must move from thinking about watches and people (as nouns, things, objects, and subjects) and instead begin to think in terms of experiences and their satisfactions. In this reordering, I have stratified three levels of what I’ll call horological experience: the material satisfaction of consuming watches, the intellectual satisfaction of collecting watches, and at the very top the sensory-spiritual satisfaction of experiencing watch enthusiasm (which I also have called the horological high).

Note that these levels of experience require one to report on what they’re experiencing. This reporting forms the basis of phenomenological investigation. When one buys a watch, one often experiences a high of sorts, a rush, the so-called “thrill of the hunt.” We will call this a material satisfaction, for which there is abundant research into dopamine rushes and so on that can even cause addiction. When one collects watches, one indulges a deeper investigation that involves taxonomy, technical understanding, historical records, market analysis, and so on, all of which provides intellectual satisfaction. When one experiences enthusiasmus, one is having a direct, real-time sensory experience of a watch, and the satisfaction that comes from that can be said to exist on the aesthetic, sensory and even spiritual planes.

The reason that I have stratified these experiences in this way is that as we move from the material satisfaction up through the intellectual to the aesthetic experience, we are mirroring what is largely considered increasingly higher levels of experience. This stratification is mirrored in nearly all religions, within almost all cultures, and certainly within modern psychological paradigms that put a premium on self-realization, often culminating in peak experiences, states of grace, spiritual satisfaction and so on.

The Benefits of an Experiential Paradigm

Paradigmatically, this is a radical departure from the socio-economic hierarchy with which we are currently saddled. In the experiential paradigm, it’s possible to occupy all three levels at once, to move between them, to invite people into and out of different types of experiences during social interaction. It’s possible to break down spurious boundaries that result from focusing on access to knowledge and wealth and instead find commonalities across those boundaries.

Further, by understanding enthusiasm as a state of rapture, pleasure, joy, or elevation, we come to understand our personal aesthetics better, which can very much enrich both collecting and purchasing. One need not supplant material and intellectual satisfactions with real-time aesthetic experiences, but rather allow our aesthetic experiences to take their proper place at the top of a hierarchy of experience where becoming enraptured becomes a guiding principle in – perhaps the the very reason for – building a collection (and, subsequently, making individual purchases for that collection). 

In this way, we can not only better understand what motivates our curatorial and consumer decisions, but also build watch collections that are more reliably satisfying. Further, these satisfactions of the higher order are also more durable than the intellectual and material satisfactions, which so quickly dissipate. You only buy a watch once, whereas interacting with a watch delivers the horological high again and again.

My goals in reordering the paradigm are: 1) to better reveal the elevated level at which the interaction between humans and watches already operates; 2) to promote a more inclusive way to view and engage with the broader watch community; 3) to help the watch industry better refine their approach to consumers and, thus, to watchmaking more generally; and 4), most importantly, to empower individuals to get more out of the watch hobby.

By understanding how and why watches enrapture us, we can come to know ourselves better. We can come to know who we are as aesthetes, as sensual creatures who constantly process sensory input and, in our better moments, come to experience pleasure and joy – the stuff that makes life worth living. And if we gain insight into our individual sensuality, we can, ultimately, become better enthusiasts because we will be more in tune with what exactly enraptures us. By better enthusiasts, I mean better beholders of beauty: something like divine grace, what most religions call god. I realize how lofty that sounds, especially in regards to a hobby generally considered materialistic and somewhat shallow, and yet I’m convinced that our interactions with watches can and do enrapture us in a manner that is all too rare, and far too important to be obscured by a lazy and inaccurate paradigm."]]></description>
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