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  </channel><item rdf:about="https://buymeacoffee.com/ayjay/in-which-i-make-mighty-vow">
    <title>In Which I Make a Mighty Vow — ayjay</title>
    <dc:date>2026-07-04T05:05:25+00:00</dc:date>
    <link>https://buymeacoffee.com/ayjay/in-which-i-make-mighty-vow</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I'm going to begin this report — have y'all noticed that I do one of these each month? — by giving you a long quotation from a post by Anil Dash [https://www.anildash.com/2026/03/27/endgame-open-web/ ]:

</blockquote>The open web is something extraordinary: anybody can use whatever tools they have, to create content following publicly documented specifications, published using completely free and open platforms, and then share that work with anyone, anywhere in the world, without asking for permission from anyone. Think about how radical that is.

    Now, from content to code, communities to culture, we can see example after example of that open web under attack. Every single aspect of the radical architecture I just described is threatened, by those who have profited most from that exact system.

    Today, the good people who act as thoughtful stewards of the web infrastructure are still showing the same generosity of spirit that has created opportunity for billions of people and connected society in ways too vast to count while — not incidentally — also creating trillions of dollars of value and countless jobs around the world. But the increasingly-extremist tycoons of Big Tech have decided that that's not good enough.

    Now, the hectobillionaires have begun their final assault on the last, best parts of what's still open, and likely won't rest until they've either brought all of the independent and noncommercial parts of the Internet under their control, or destroyed them.</blockquote>

There’s a lot of bad news in that post, but I recommend the whole thing. 

I’ve written a good deal over the years about my love for and commitment to the open web, so I won’t re-hash all that here. I’ll just make two points. The first is that my affection for the open web has grown more passionate as I have become more interested in anarchism, that is, in bottom-up collaborative social practices, negotiated among equals — Acts 2 kinda stuff, for those who are into the whole Bible thing. Like Anil Dash, I think the open web is a miracle of unstructured collaboration; it’s a treasure we should work desperately to preserve. 

The second point is a more uncomfortable one. Look: I really hate Substack. I especially loathe the way it has turned itself into a social network that essentially replicates the web within a paywalled platform. (Have you noticed that Substackers almost always just “restack” other writers on the platform and rarely show any awareness of what’s being published outside their Sub-walls? The platform’s architecture really promotes that, to the degree that I wonder if, like Elon’s X, they shadowban outbound links.) In short: Hate hate hate. 

And yet … 

… I have never quite brought myself to the point of saying I will never move to Substack. The reason? Because I know I could make a lot more money on Substack than I make by using Buy Me a Coffee. Indeed, people remind me of this! My friend Freddie deBoer wrote to me recently to say that a post of mine would have done gangbusters on Substack — which would have meant a lot of people impulse-buying subscriptions. That’s the thing about being in that platform ecosystem: thanks to network effects, you get the impulse buyers. That does not happen on Buy Me a Coffee. You all have had to be really intentional about supporting me, which is a great thing. 

Why is it a great thing? Because by writing on the open web and merely asking for support, I have wholly escaped the pressures that come when people have paid money to see your writing and therefore have certain expectations for what you say and how you say it. Also escaped: that other kind of pressure that comes when people really like one particular post and show their liking with money — which plants the idea in the back of your head that you need to write more posts like that … whether you really want to or not. By contrast, y’all have supported me because you see what the whole package is, and know what you’re getting and are likely to continue to get. That’s really wonderful. So I have every reason to keep writing for the open web and merely requesting/hoping for your contributions.

Well, every reason but one, anyway. Why haven’t I forsworn Substack? Simple: I’m afraid that when I retire next year and take a big financial hit, I’ll be poor, or significantly poorer anyway, unless I hawk my wares on that platform. Which is pathetic. That attitude is unworthy of a mature Christian man. 

So — taking a deep breath here — I solemnly affirm before God and my fellow humans that I will never write on Substack. There, I said it. If no one supports my writing I’ll work as a greeter at Walmart — but as for my personal online writing, I pledge my troth to the open web! You heard it here first."]]></description>
<dc:subject>alanjacobs substack anildash decentralization openweb newsletters subscriptions anarchism web internet online bigtech freddiedeboer buymeacoffee writing howwewrite independence christianity 2026</dc:subject>
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    <title>idea injection – The Homebound Symphony</title>
    <dc:date>2026-06-25T08:47:23+00:00</dc:date>
    <link>https://blog.ayjay.org/idea-injection/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this piece [https://www.noahpinion.blog/p/does-anything-i-write-matter-anymore ] on why he blogs, Noah Smith says that

<blockquote>blogging has allowed me to inject ideas into the discourse with unparalleled speed, breadth, and access. A researcher goes deep into a few topics; a blogger can quickly hit the main points of many topics. This enables speed; academics might take months to write something useful about a breaking event like the Iran War or Trump’s tariffs, while I can have something out in hours.</blockquote>

Then he continues, 

<blockquote>Injecting ideas into the discourse is incredibly powerful. John Maynard Keynes famously described the power of idea injection:

“Practical men, who believe themselves to be quite exempt from any intellectual influences, are usually the slaves of some defunct economist. Madmen in authority, who hear voices in the air, are distilling their frenzy from some academic scribbler of a few years back.”</blockquote>

But Keynes’s point contradicts what Smith has just claimed. In fact, Keynes’s point is the polar opposite of Smith’s. 

Keynes says that it’s not the “practical men” (in which category we might include not just politicians but also journalists and bloggers) whose ideas rule but rather the “academic scribblers”: now-defunct economists who indeed took months, or even years, to write something useful on their topic. And what they wrote might have had no impact at the moment, but made their way into “the discourse” years or decades or even centuries later. 

It’s noteworthy how Smith describes why he does what he does: “actually having an impact on the world” is his goal. “Being an opinion writer has probably allowed me to change the world much more than being an academic or an engineer or a financier or a consultant would have.” He never says anything about what changes he wants to make in the world, only about his desire to be the one who makes the change. He’s what we call an influencer, which is to say, he is one of the “practical men” that Keynes says don’t make a difference in the long run.

The passage Smith quotes comes from the final paragraph of Keynes’s General Theory of Employment, Interest and Money (1936) [https://en.wikipedia.org/wiki/The_General_Theory_of_Employment,_Interest_and_Money ], and the sentences Smith quotes need to be seen in context. Here’s how the conclusion of that book goes: 

<blockquote>Is the fulfilment of these ideas a visionary hope? Have they insufficient roots in the motives which govern the evolution of political society? Are the interests which they will thwart stronger and more obvious than those which they will serve?

I do not attempt an answer in this place. It would need a volume of a different character from this one to indicate even in outline the practical measures in which they might be gradually clothed. But if the ideas are correct — an hypothesis on which the author himself must necessarily base what he writes — it would be a mistake, I predict, to dispute their potency over a period of time. At the present moment people are unusually expectant of a more fundamental diagnosis; more particularly ready to receive it; eager to try it out, if it should be even plausible. But apart from this contemporary mood, the ideas of economists and political philosophers, both when they are right and when they are wrong, are more powerful than is commonly understood. Indeed the world is ruled by little else. Practical men, who believe themselves to be quite exempt from any intellectual influences, are usually the slaves of some defunct economist. Madmen in authority, who hear voices in the air, are distilling their frenzy from some academic scribbler of a few years back. I am sure that the power of vested interests is vastly exaggerated compared with the gradual encroachment of ideas. Not, indeed, immediately, but after a certain interval; for in the field of economic and political philosophy there are not many who are influenced by new theories after they are twenty-five or thirty years of age, so that the ideas which civil servants and politicians and even agitators apply to current events are not likely to be the newest. But, soon or late, it is ideas, not vested interests, which are dangerous for good or evil.</blockquote>

The “potency” of Keynes’s ideas, he says, is to be determined “over a period of time.” He does believe that the circumstances of his moment — he is primarily thinking of the Great Depression — incline people to listen to new ideas, especially if those ideas promise “a more fundamental diagnosis” of their economic condition. But even so, he doesn’t think his argument will have influence “immediately, but after a certain interval.” He’s playing the long game. 

If Keynes is right, then the ideas that Smith “injects into the discourse” won’t be his, but rather those of thinkers from decades past — the people who weren’t worried about having “something out within hours,” but rather cared about making arguments strong enough to last. Instead of seeking to be quoted by Substackers and podcasters, they rely on “the gradual encroachment of ideas.” 

It may not be possible to have both immediate currency — quotability — and long-term significance. You might have to choose between Smith’s model and Keynes’s. "]]></description>
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<item rdf:about="https://cosmosmalick.net/2026/06/15/autocinema.html">
    <title>Autocinema | Cosmos Malick</title>
    <dc:date>2026-06-17T10:29:10+00:00</dc:date>
    <link>https://cosmosmalick.net/2026/06/15/autocinema.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The working method I described in my previous post is relevant to another question commonly asked about some of Malick’s films: To what extent are they autobiographical?

There’s no question that there are close correspondences between The Tree of Life and Malick’s childhood in Waco, between To the Wonder and his experience in marriage, between Knight of Cups and his time spent as a screenwriter and script doctor in Hollywood. But even if those films began with straightforwardly autobiographical scripts — which I doubt — they would have undergone massive change on set, as Malick discovered what resonated and what did not resonate, what particular actors brought to their scenes, etc. Christian Bale once commented that Malick’s mantra on set was “Let’s start before we’re ready,” because in that way the cast and crew and director might find something powerful that they weren’t planning and weren’t expecting.

Teresa Palmer, who in Knight of Cups plays a stripper named Karen, was originally asked to be on set for a single day. But, as she later reported, things changed:

<blockquote>Every night I kept getting another phone call thinking it was my last day on set and just being happy with that one day, and then getting a phone call that one night saying Terry wants you to come back in tomorrow. You okay with that? I was like, yes! Yes I’m okay, that is so exciting. And then the next night, the same thing, the same thing, and I think I ended up shooting about eleven days and they took me to Vegas. I remember Christian [Bale] laughing, he was like, you’ll probably end up being the main character in this movie.</blockquote>

And that’s just one example of how completely the filming can diverge from the script. Imagine then, the transformations that can take place in the process of editing. The Criterion edition of The New World contains an interview with the films’s editors, and they talk extensively about how Malick encouraged them to experiment, to get beyond their usual practices. One of them said that his typical experience in editing was to be constrained by the director, but when working with Malick he often wanted to say, Whoa, Terry, let’s pull it back a little.

With such an improvisatory, open-ended approach, even the most strictly autobiographical script might turn into something very different by the time the story is filmed and edited. It’s safe, I think, to say that the three films I have mentioned have deep roots in Malick’s own experience, but it would be unwise to see any of those films as documenting his life. "]]></description>
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    <title>“The open web and the world of hobbyist and small-scale devices (often built on the Raspberry Pi) are our remaining refuges of Tolstoyan computing.” - Alan Jacobs</title>
    <dc:date>2026-06-07T00:34:17+00:00</dc:date>
    <link>https://social.ayjay.org/2026/06/06/freeman-dyson-it-often-happens.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Freeman Dyson (1997) [Imagined Worlds: https://archive.org/details/imaginedworlds00dyso ]:

<blockquote>It often happens that a scientific revolution is accompanied by a change in style. I like to use the names of Napoleon and Tolstoy to symbolize two contrasting styles: rigid organization and discipline represented by Napoleon, creative chaos and freedom represented by Tolstoy. In the world of computers, Napoleon is the massive IBM main-frame; Tolstoy is the humble Macintosh. The computer revolution was an escape from the Napoleonic ambitions of von Neumann to the Tolstoyan anarchy of the Internet. Future revolutions will bring more such escapes.</blockquote>

The big AI companies are the apotheosis — literally, in the view of many who work for them — of Napoleonic science. The open web and the world of hobbyist and small-scale devices (often built on the Raspberry Pi) are our remaining refuges of Tolstoyan computing. See also: Erik Larson reflecting on Dyson in 2022 [https://hedgehogreview.com/web-features/thr/posts/twenty-five-years-after-imagined-worlds-what-world-are-we-living-in ]."]]></description>
<dc:subject>alanjacobs freemandyson 1997 computers computing centralization decentralization anarchism tolstoy raspberrypi internet web online ai artificialintelligence llms eriklarson 2022 mac apple ibm openweb hobbyists hobbies tinkering</dc:subject>
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<item rdf:about="https://blog.ayjay.org/audens-faith/">
    <title>Auden’s faith – The Homebound Symphony</title>
    <dc:date>2026-05-29T06:32:08+00:00</dc:date>
    <link>https://blog.ayjay.org/audens-faith/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>whauden edwardmendelson alanjacobs 2026 kindness charity god christianity simoneweil josephcampbell jesus jesuschrist christ faith</dc:subject>
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<item rdf:about="https://social.ayjay.org/2026/05/28/the-most-important-point-about.html">
    <title>“The most important point about rising AI use in the arts is simply this: Millions of people desperately want affirmation.” | Alan Jacobs</title>
    <dc:date>2026-05-28T22:39:01+00:00</dc:date>
    <link>https://social.ayjay.org/2026/05/28/the-most-important-point-about.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The most important point about rising AI use in the arts is simply this: Millions of people desperately want affirmation. They don’t want to go to the trouble of writing or painting or drawing or making music — or maybe they are afraid that their own work won’t be good enough — but they want people to believe that they have made art. We should be thinking seriously about the intensity of the human need to be recognized, to be thought not basic but special."

[See also:
https://www.manton.org/2026/05/28/ais-hand-in-creativity.html 

https://micro.blog/ayjay/91084999

"Yep, that’s why I say we really need to be thinking about this. One way or another, the recognition that people now receive for AI-generated work will get harder to come by. Remember The Incredibles, when Dash’s mom says “Everybody is special,” and he mutters, “Which is another way of saying that nobody is.”"]]]></description>
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<item rdf:about="https://blog.ayjay.org/rowan-williams-on-solidarity/">
    <title>Rowan Williams on solidarity – The Homebound Symphony</title>
    <dc:date>2026-05-27T07:28:53+00:00</dc:date>
    <link>https://blog.ayjay.org/rowan-williams-on-solidarity/</link>
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<item rdf:about="https://blog.ayjay.org/two-views-of-iain-mcgilchrist/">
    <title>two views of Iain McGilchrist – The Homebound Symphony</title>
    <dc:date>2026-05-06T05:24:53+00:00</dc:date>
    <link>https://blog.ayjay.org/two-views-of-iain-mcgilchrist/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Andrew Louth [https://lareviewofbooks.org/article/beyond-our-delusions-on-iain-mcgilchrists-the-matter-with-things/ ]:

<blockquote>Although McGilchrist is clearly arguing a case (a case that he feels needs to be accepted, if there is to be any future), his mind is profoundly capacious, capable of entertaining ideas coming from elsewhere than he is coming from. The case he is making, however, is not unheard of: it coincides with all-too-common laments about modernity, pointing to the reign of quantity, the rise of individualism, the abandonment of tradition — opinions easily dismissed by those who pride themselves on the achievements of modernity. Perhaps it is to these “cultured despisers” that McGilchrist’s case is directed — a LH case against the hegemony of the LH.

Whether that is so or not, this book is almost unique in combining extensive scientific expertise with learning characteristic of the humanities, a sensitivity to language, and an appeal to poetry as the ultimate language of truth. McGilchrist sounds like someone who knows of what he speaks. RH, he tells us, is disposed to pessimism, but this book gives grounds for at least a cautious optimism, amounting to “good thoughts in bad times.”</blockquote>

Rowan Williams:

<blockquote>And so, unsurprisingly, the second volume of The Matter with Things leads us into considerations about “the sacred.” The chapter on this subject is as long as a short book in itself. It is both the natural conclusion to the argument up to this point and a springboard for further refinement of the themes of the whole project. McGilchrist has no difficulty in seeing off the high-school-debating-society arguments of fashionable atheists (and has some pertinent things to say about the imagined tension between science and religion in another appendix). He quotes with malicious relish from one or two famous names in this field, to demonstrate the intolerant and philosophically crude way in which some polemicists have foreclosed the question of what counts as knowledge or as truthful speech, and draws extensively on the traditions of “negative” theology in the Christian tradition (Meister Eckhart, Nicholas of Cusa), as well as ideas from Taoist and Buddhist cosmology, Indigenous American lore, some strands of Jewish Kabbala, and (not least) William Blake.

Whitehead is an important presence in this section of the book, chiefly because of his conviction that “process” is a fundamental category for thinking not only about the finite but also about the infinite; there is an argument for the relation between God and creation being seen as a sort of feedback loop, through which the divine is “enhanced” in some way. McGilchrist also distances himself both from the classical Christian argument about evil as “privation” (that is, as something that has no inherent substantiality but is simply the negation or erosion of what is desired as good) and from the Buddhist affirmation of nonduality (which he sees as compromising the reality of moral choice). He holds back from any identification with a particular religious tradition but is skeptical of the assimilation of spirituality to generalized well-being that seems to pervade so much contemporary talk about religiousness.

Ultimately, as he says in a forceful and eloquent epilogue, we either acknowledge God or we invent a God for ourselves. If we invent a God for ourselves, we are bound to invent that God out of ourselves, out of our own psychic resources, and so sacralize our own ambitions and anxieties, projecting on to the universe our passion for analysis of and control over every aspect of what surrounds us. This is the idolatry that is literally killing us as a species. That is why it is so urgent to rethink how we understand thinking.</blockquote>"]]></description>
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<item rdf:about="https://social.ayjay.org/2026/04/17/ordering-the-texts-for-my.html">
    <title>Ordering the books for my … | Alan Jacobs</title>
    <dc:date>2026-04-18T05:37:35+00:00</dc:date>
    <link>https://social.ayjay.org/2026/04/17/ordering-the-texts-for-my.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ordering the books for my classes … for the last time. (A solitary tear slides down my cheek.) All 19th and 20th century texts, which is somewhat unusual for me, but not altogether unrepresentative of what I do. The one book on the list I’ve never taught before is the Balzac.

    G. K. Chesterton, The Man Who Was Thursday (Modern Library: 9780375757914)
    Simone Weil, Waiting for God (Harper: 9780061718960)
    Dorothy L. Sayers, The Mind of the Maker (Harper: 9780060670771)
    C. S. Lewis, That Hideous Strength (Scribner: 9780743234924)
    Dietrich Bonhoeﬀer, Letters and Papers from Prison (Fortress: 9781506402741)
    Shusaku Endo, Silence (Picador: 9781250082244)
    W. H. Auden, Selected Poems (Vintage: 9780307278081)
    Balzac, Lost Illusions (Modern Library Classics: 9780375757907)
    Eliot, Middlemarch (Penguin: 9780141439549)
    Tolstoy, Anna Karenina (Oxford: 9780198748847)
    Dostoevsky, The Brothers Karamazov (Picador 9781250788450) 

One of those classes will include music, art, and film. So probably the last two things I’ll teach will be The Brothers Karamazov and Malick’s A Hidden Life."]]></description>
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<item rdf:about="https://cosmosmalick.net/2026/04/14/patience-and-attention.html">
    <title>Patience and Attention | Cosmos Malick</title>
    <dc:date>2026-04-16T05:19:31+00:00</dc:date>
    <link>https://cosmosmalick.net/2026/04/14/patience-and-attention.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Yes, I needed patience to watch that first cut of A Hidden Life, because it was well over four hours long. In its theatrical release it was just under three hours, but that makes it the longest of Malick’s movies — so far. Let’s do a quick run-through of his films, with their dates and running length:

• Badlands (1973): 93
• Days of Heaven (1978): 94
• The Thin Red Line (1997): 170
• The New World (2005): 136
• The Tree of Life (2011): 139
• To the Wonder (2012): 112
• Knight of Cups (2016): 118
• Song to Song (2017): 129
• A Hidden Life (2019): 174

Clearly, Malick’s movies have gotten longer since those first — but not in a way that makes them unusual. For instance, almost all of the Marvel Cinematic Universe movies are over two hours, with Avengers: Endgame leading the way at 181 minutes. The two longest Malick movies are set in World War II, which Hollywood has a long history of treating expansively: The Best Years of Our Lives (1946), William Wyler’s epic about returning American servicemen, is precisely the same length as The Thin Red Line; Patton (1972) is two minutes longer; The Longest Day (1962) six minutes longer still.

Why am I pursuing this theme? Because Malick has a reputation for making long movies, a reputation which, it turns out, is unwarranted. But still: Might his movies require more patience than is normal? A movie may not be long but it can certainly feel long, especially if nothing seems to be happening.

Here’s what I would say: In many of his films, Malick asks us to do a couple of things that we easily and readily do in certain other circumstances.

Consider, for instance, what it’s like to visit a city you’ve never visited before, especially if it’s in a foreign country. One of the things you probably want to do, as early as possible in your visit, is to find a place to sit. Perhaps a plaza outside a museum; or a café with outdoor tables; or, if the weather is inclement, a restaurant or a coffeeshop with a table near a big window. You want to take some time to absorb the scene. You want to look and listen, to acclimate yourself to this new environment into which you have been thrown. If someone were to ask you, “What, are you just going to sit there? Aren’t you going to do anything?” you could very reasonably answer that you are doing something. You are adapting your sensibilities to the environment. It’s a necessary initial adjustment if you want to get the most out of experiences that to observers look more like “doing.”

Here’s the second thing. Imagine yourself as a counselor — either a professional or an amateur, maybe a friend helping out a friend. In any case you are someone to whom someone else has come for counsel and advice. And the first thing that you’ll need to do – you know this, you don’t have to be told – is to listen. You have to listen to that person’s voice. You have to give them time to open themselves to you, and as they do, you will need to listen, not only to what they say, but to how they say it. You’ll need to attend to their tone of voice, to notice when that voice cracks a bit, or when it rises in pitch out of anger or pain. This is something that most of us know how to do — though few of us are as good at it as we should be — but it’s not something that we usually do at the movies.

Terrence Malick in his films asks us commonly asks us to do both of these things. First, to attend to our new environment, to allow ourselves the time necessary to adapt to this cinematic world into which we have been thrown, and often to do so because it is in an environment into which the characters on the screen have been thrown. They are often just as confused as we are. And then, second, we have to listen to them. We have to take the time to let their voices enter our minds and hearts, because only in that way can we understand how they are really responding to their world. We have to hear their voices because the things that people do, the actions they openly perform, never tell us the whole story about them.

Does this mean that in watching a Malick movie we must arm ourselves with patience? In a way, yes – but maybe only until we get used to having these distinctive demands placed on our attention. Because, after all, as I have said, we are used to doing these things, we are used to acclimating ourselves to new environments and to listening to human voices; we’re just not used to doing it at the movies, at least not in the way that Malick asks us to. If you insist that patience is required, I won’t argue; but I think what we are asked to do is better described as an adjustment of our attention. We need to attend to things that, in other movies, we might simply take for granted as part of the background. And if we do that, well, then a thousand flowers can bloom."]]></description>
<dc:subject>alanjacobs film filmmaking patience attention howweread reading 2026 terrencemalick listening noticing observation slow</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:49d0c508ec8b/</dc:identifier>
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<item rdf:about="https://cosmosmalick.net/2026/04/02/learning-on-the-job.html">
    <title>Learning on the Job | Cosmos Malick</title>
    <dc:date>2026-04-05T07:41:52+00:00</dc:date>
    <link>https://cosmosmalick.net/2026/04/02/learning-on-the-job.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Malick learned filmmaking by trial-and-error, one mistake at a time. He wrote and rewrote. Often after a day of shooting on The Thin Red Line (1998) he would return to his cabin or trailer to write new dialogue that he would give to the actors the next morning. He learned fast; he iterated, again and again. He still does.

He experiments constantly with narrative strategies, with lighting, with composition, with the rhythms of editing. His style of filmmaking has become increasingly sophisticated, but it is, fundamentally, handmade: he became a tactical bricoleur. He improvises, he tries the untried. He always surprises us, and probably surprises himself.

It’s difficult for someone who graduated from Harvard to be an outsider artist, but in many ways Malick is. His connections to the big Hollywood studios have always been tentative and distant; he approaches them when necessary but whenever possible goes his own way. He is one of the great American originals."]]></description>
<dc:subject>terrencemalick alanjacobs film filmmaking autodidactism autodidacts howwelearn education 2026 paulschrader davidlynch americanfilminstituteconservatory</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5dce0c8f6b94/</dc:identifier>
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</item>
<item rdf:about="https://cosmosmalick.net/">
    <title>Cosmos Malick</title>
    <dc:date>2026-04-05T07:40:30+00:00</dc:date>
    <link>https://cosmosmalick.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The late great cultural critic and novelist Albert Murray used to speak of the intellectual world he had created — through decades of reading and listening and viewing and talking and arguing — as Cosmos Murray. Murray was one of the great American originals, a well-educated man but also one who made his own way in the world, never content merely to redeploy what he had learned from others but rather always seeking a new synthesis of his own.

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

So stay tuned. 

N.B.: Terrence Malick himself is not associated with this site in any way."

[bibliography:
https://cosmosmalick.net/a-malick-bibliography/ ]]]></description>
<dc:subject>terrencemalick alanjacobs film filmmaking autodidactism autodidacts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:caf6f2d3ef1c/</dc:identifier>
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</item>
<item rdf:about="https://www.robinsloan.com/newsletters/good-trains/">
    <title>Good trains</title>
    <dc:date>2026-03-25T06:04:15+00:00</dc:date>
    <link>https://www.robinsloan.com/newsletters/good-trains/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>robinsloan trains japan travel hsr highspeedrail california shinkansen johnmaynardkeynes sayakamurata ginnytapleytakemori michicoaoyama alisonwatts taiyomatsumoto michalearias bananayoshimoto meganbackus richardlloydparry kyoto craigmod florentynaleow society johndower 2026 culture jimrion jrkyushu eikimitooka robinrendle poojasaxena spencerchang china jacobastor healthcare food astrideichhorn dwarkeshpatel adapalmer alanjacobs robertmacfarlane language local taiyōmatsumoto</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d0e288daae85/</dc:identifier>
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</item>
<item rdf:about="https://social.ayjay.org/2026/03/13/novelists-who-help-us-think.html">
    <title>Novelists who help us think … | Alan Jacobs</title>
    <dc:date>2026-03-13T23:30:31+00:00</dc:date>
    <link>https://social.ayjay.org/2026/03/13/novelists-who-help-us-think.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Novelists who help us think theologically about this country’s racial history:

• for 1850-1900: William Faulkner
• for 1900-1950: Ralph Ellison
• for 1950-2025: Albert Murray"]]></description>
<dc:subject>theology alanjacobs novelists history williamfaulkner ralphellison albertmurray fiction writing howwewrite race us 2026</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:d816f43294f8/</dc:identifier>
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</item>
<item rdf:about="https://social.ayjay.org/2026/03/13/all-of-americas-most-theologically.html">
    <title>All of America’s most theologically … | Alan Jacobs</title>
    <dc:date>2026-03-13T23:29:17+00:00</dc:date>
    <link>https://social.ayjay.org/2026/03/13/all-of-americas-most-theologically.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["All of America’s most theologically rich and provocative thinkers are novelists — and this is true even when they don’t know they’re being theological.

• Marilynne Robinson: theologian of America’s past
• Thomas Pynchon: theologian of America’s present [https://hedgehogreview.com/issues/theological-variations/articles/the-far-invisible ]
• Philip K. Dick: theologian of America’s future"]]></description>
<dc:subject>novelists fiction us theology alanjacobs marilynnerobinson thomaspynchon philipkdick 2026</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b83ea4171b41/</dc:identifier>
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</item>
<item rdf:about="https://hedgehogreview.com/issues/humanism-in-a-posthumanist-age/articles/up-from-darkness">
    <title>Up from Darkness | Humanism in a Posthumanist Age | Issues | The Hedgehog Review</title>
    <dc:date>2026-03-10T07:00:35+00:00</dc:date>
    <link>https://hedgehogreview.com/issues/humanism-in-a-posthumanist-age/articles/up-from-darkness</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>alanjacobs humanities 2026 posthumanism robertnisbet jonathanglover brucecockburn humanism human humans publiusterentiusafer terence luceirigaray montaigne cicero multispecies morethanhuman empathy others christinewebb ivanillich technology conviviality anthropocene anthropocentrism humansupremacy humanexceptionalism arrogance christianity darkhumanism davidwaynedepape nancypelosi donaldtrumpjr charliekirk paulpelosi dostoevsky garysaulmorson brotherskaramazov dehumanization belittlement insult iliad simoneweil nazis erikakirk malheur oliversacks margiekohl francisbacon primolevi whauden llms leifweatherby dietrichbonhoeffer hubertdreyfus heidegger lewismumford charlestaylor micheldemontaigne fransdewaal</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:178018479058/</dc:identifier>
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</item>
<item rdf:about="https://thedispatch.com/article/artificial-intelligence-college-essay-teachers-innovation/">
    <title>What AI Is Teaching Us About Humanities Education</title>
    <dc:date>2026-03-10T06:36:50+00:00</dc:date>
    <link>https://thedispatch.com/article/artificial-intelligence-college-essay-teachers-innovation/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How I learned to stop worrying and be thankful for chatbots."

[archived:
https://archive.is/tDR2g ]

"If you are a professor of humanities, as I am, then widespread use of chatbots by your students is either the worst thing that’s ever happened to you—or one of the best. What I suggest is scary for non-academics, I know, but bear with me: Let’s try looking at these matters from the teacher’s point of view.

If you are committed to doing what you’ve always done—which you may well be, because what you’ve always done is all you know how to do—then the rise of the chatbots will hurt, and hurt a lot. If you’re the typical humanities professor, what you’ve always done is assign the good old thesis essay (with or without research, depending on the situation): an essay that stakes a claim and then defends that claim against possible objections. In its most classic form, such an essay will have an introductory paragraph that states the thesis, then three major points in which that thesis is developed and defended against potential objections, and then a conclusion. In high school, that’s a five-paragraph essay; in college, the essays are often longer, but they have essentially the same structure. (If you’re not a humanities professor, you’re still probably having some essay memories right now … painful ones, I expect.)

If that’s what you assign, you can be very clear about this: No matter what rules you establish, your students are going to get AI to do these essays for them. It’s exactly the kind of thing the chatbots are really good at, because it’s completely formulaic and mechanical, and there are zillions of examples out there for the LLMs to draw upon.

Your university has likely purchased some software that claims to be able to detect AI use. But all such services occasionally produce false positives, and that has made many universities very wary about using them. It would not be good publicity—nor good marketing—to let it be known that students were denied credit, or perhaps even denied graduation, because a service said that their work was AI-generated when in fact it was not. So if you want to game your students’ system for gaming your system, hard times are a-comin’—unless, like some professors I know, you keep assigning the same things you’ve always assigned while merely telling your students that they’re on their honor not to use AI. (If you can do that and sleep at night, I admire your powers of compartmentalization. But only your powers of compartmentalization.)

One of the favors that chatbots have done for humanities professors is to reveal to us that chatbots are so good at doing the thesis-essay assignment because it has always been an exceptionally formulaic thing. If we engage in a little self-examination, we’ll realize that we like it formulaic, because that reduces the time and mental energy we have to invest in grading. It’s easy to compare any given student’s essay to the template in your mind and quickly see the extent to which it matches or deviates from it. The rise of the chatbots—with their algorithmic pattern-matching, their stochastic parrot behavior—has revealed that students and faculty alike have been, for many decades, functioning in exactly the same way. If we could confront our chatbots the way parents confront their kids about drug use, the bots would surely reply “I learned it by watching you!”

If we’re willing to let the rise of the chatbots force certain questions upon us, this could be not the worst of times, but the best of them. A little reflection would allow us to see the ways that we have for many years misunderstood what we’re all about: We may have thought we wanted our students to be more sensitive readers, more thoughtful interpreters, more rigorous analysts, but what we were really telling our students was that we wanted them to be better writers of thesis essays.

What do such essay assignments achieve? Well, you might say, they show that students have understood the texts assigned to them, that they can read intelligently, interpret with some degree of sophistication, and relay those interpretations in clear prose. Fine. But what if that’s not what the assignments actually do? What if they don’t mark genuine engagement with and response to literature? What if, instead, they simply reward students who internalize the formula and are able to regurgitate it? On some level, we’ve probably all realized that in many cases that’s exactly what happens. The rise of the chatbots gives us an opportunity to admit it. And that’s a pretty good thing. 

I should pause here to say that, of course, there are many professors in the humanities who want their students to use AI to do their assignments—who wish to increase their students’ dependence on the big AI companies. To those professors I say: Go in peace, and may our paths never cross.

To resume:

When I have talked with my fellow professors in the Great Texts program at Baylor’s Honors College, I have learned a few things. Some professors have for many years been giving oral examinations in the old Oxford and Cambridge tutorial style, where students read their papers aloud, and the professor interrupts to ask questions like “What do you mean by that word? What does that phrase mean?” This allows the professor to discover whether the student actually knows what he or she is talking about. In such situations, and in full oral exams, there are few ways to hide your ignorance. Professors who teach this way can largely (if not wholly) ignore the AI freakout. 

Other professors have been using this new world as an opportunity to rethink what they’re doing and why. One colleague, for instance, went to Walmart and bought her students a bunch of cheap composition notebooks, handed them out, and asked the students to use them to make commonplace books—that is, choice quotations from wise authors written out in your own hand. I have been bringing into class handouts with a paragraph or two on them, and asking the students to annotate them thoroughly in class. This does take up more classroom time, but I compensate by making short audio lectures that I email to my students. I’ve always given a lot of reading quizzes; now I give more. This is a version of what some people call the flipped classroom, but accelerated by the rise of chatbots.

I’ll be retiring from teaching at the end of this year. It has been wonderful to spend time coming up with alternative assignments—trying, after more than 40 years in the classroom, to think in fresh ways about what I want my students to know and what I want them to be able to do. Properly understood, the disruption of humanities teaching by AI is a gift, and I plan to receive it as such, rather than complain about a burden. As a teacher, I find these new conditions invigorating and refreshing. I feel like Charles Foster Kane when he started his career as a newspaper publisher: I don’t know how to teach masterpieces of literature and philosophy and theology, I just try everything I can think of. I find that my students—even if they’re not always as excited as I am—welcome these experiments and are quite willing to engage in them.

I’m teaching a course on fantasy this semester, and we’re now reading The Lord of the Rings. I asked my students to note the extensive maps printed at the end of that book, which the previous books we’ve read—George MacDonald’s Phantastes, Lord Dunsany’s The King of Elfland’s Daughter, and Lud-in-the-Mist by Hope Mirrlees—do not have. I handed my students some blank sheets of paper and asked them to draw, as best they could, maps of the worlds of those books. They quickly discovered that it was not possible to do this for Phantastes—though it was quite easy, if with some debate about how best to do it, for the other two. Phantastes is unmappable. Which leads to an interesting question: Why? Why did MacDonald write a book set in a world you can’t map? That turns out to be a very important question if you want to understand his peculiar and powerful book.

I don’t think we would have gotten into these issues about the visualization of fictional worlds—why it matters, and what you do instead when you can’t visualize—if I hadn’t been on the lookout for a different kind of assignment.

So for me, the rise of the chatbots has been an unexpected, late-career gift. It has made my teaching more fun for me, and I think more interesting for my students. And I believe the lessons I have learned can be generalized.

As humanities education has become more threatened by budget cuts, an all-consuming university focus on STEM, and self-inflicted unpopularity, it has in a circling-the-wagons way become more and more fad-obsessed and formulaic in its gestures. I remember when, 25 years ago, every English department in America suddenly decided it had to have a “body critic” to talk about “representations of the body” in literature. (Never “bodies,” by the way: the body.) That led to graduate seminars on “Feminism and the Body,” or “The Black Body in the Southern Imagination,” or “The Colonized Body”—which then became undergraduate classes. That’s just one example among many. This trickling-down of concepts from initial critical writings to graduate seminars to undergraduate classes, and then the expectation that undergraduates would be able to (stochastically!) parrot this discourse in their essays, has been how humanities departments function. The boundaries of academic discourse got policed more vigorously as the territory shrank.

The circling of wagons makes sense when we’re confident that the enemy is outside our perimeter, but when the enemy is everywhere, including inside our wagons’ tents and holding the reins of our horses, then some new and imaginative strategies are called for. The current circumstances, properly seized, could prompt a genuine reinvigoration of the humanities, and even of student interest in taking humanities classes. By depriving students of constant AI use—or, to put it more accurately, by allowing them some respite from the tyranny of the chatbots over their lives—we actually enable them to exercise their minds in unfamiliar, and for some unprecedented, ways. 

In short, there’s a great opportunity here for those who want to take it. Humanities professors of the world, unite! We have nothing to lose but our self-forged chains."]]></description>
<dc:subject>alanjacobs writing howwwrite 2025 ai artificialintelligence chatbots education humanities llms pedagogy teaching howweteach</dc:subject>
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<item rdf:about="https://social.ayjay.org/2026/02/28/we-know-that-the-best.html">
    <title>We know that the best, … | Alan Jacobs</title>
    <dc:date>2026-03-01T07:18:37+00:00</dc:date>
    <link>https://social.ayjay.org/2026/02/28/we-know-that-the-best.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We know that the best, most effective users of AI platforms are people with highly developed skills and domain knowledge that they acquired independently of any AI use. So if we want our young people, who will become adults in an AI-dominated world, to navigate that world wisely and skillfully, we need to teach and train them as though AI does not exist. Only then can they use AI rather than be ruled by it."]]></description>
<dc:subject>alanjacobs 2026 ai artificialintelligence education thinking howwethink</dc:subject>
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<item rdf:about="https://hedgehogreview.com/web-features/thr/posts/blow-up-a-parable">
    <title>Blow-Up: A Parable [ Antonioni’s London Eye ] | THR Web Features | Web Features | The Hedgehog Review</title>
    <dc:date>2026-02-24T06:43:56+00:00</dc:date>
    <link>https://hedgehogreview.com/web-features/thr/posts/blow-up-a-parable</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If people know only one thing about Michelangelo Antonioni’s 1967 movie Blow-Up, it is that the movie is somehow about voyeurism. This is correct. Our protagonist, Thomas, is a photographer who alternates between colorful fashion photography and gritty black-and-white documentation of London’s underclass. But in either mode he is one who observes. He is fully engaged only when observing.

In a scene from the first minutes of the film that was used on its theatrical release poster, a model lies on the ground with her arms thrown back and her back arched—Thomas has told her to arch her back—while he straddles her to take her photograph. It is of course a profoundly sexualized scene. But in the seconds immediately following this image, Thomas runs out of film. He gets up without a word to the model, tosses the camera aside, and flings himself onto a sofa in what is obviously meant to look like post-coital exhaustion. But the coitus here has been not fleshly but ocular. It is the consummation of seeing.

Thomas’s friend Bill is a painter, one who works in a range of styles, from something very like Picasso’s Cubism to something else very like Jackson Pollock’s drip painting—which is also sometimes called action painting—though with spots rather than lines or smears: pointillism taken to an extreme. Bill gets paint on himself—it is one of the ways he acts. Another is to have sex with his girlfriend, while Thomas silently watches.

Later, Thomas visits a park and—hiding behind trees to see without being seen—takes photos of a couple as they embrace and talk. But eventually he is seen, and when the woman demands that he give her the photos, he recuses. Later she somehow finds his house and renews her demand, offering him sex in exchange for the images. He shows more interest in photographing her than having sex with her, but her anxious insistence on retrieving the pictures arouses his curiosity—though not his compassion. Whether she is in the kind of trouble she says she is in is a question he cannot be bothered to think about, though he does take a certain pleasure in knowing that he has power over her, as he likewise dominates the models whom he snaps at, shouts at, orders about.

When the woman leaves—thinking, wrongly, that she has the roll with the pictures of her—he develops those pictures and then enlarges (blows up) the more interesting ones. Inspecting them, he comes to believe that he has photographed not just the couple but also a hidden man—another observer, but this one who wants to do more than watch: one who holds a gun.

Gradually, Thomas constructs from his images a narrative, one in which the hidden man was deterred from killing the other man by Thomas’s own presence. He calls his agent and tells the story, crowing, “I saved his life!” But the more he looks at his enlargements, the more he questions his original assumptions: Is that not a body lying in the grass, half-hidden by a tree? Might he not have averted a murder but recorded one? Trying to be sure, he enlarges his enlargements, which gives him larger images but blurrier ones. When Bill’s girlfriend Patricia visits Thomas and looks at these extreme close-ups, she comments that they look like Bill’s paintings. They’re just dots, dots which can be assembled by the urgent eye into any pattern, any story.

Patricia has come to see Thomas because she wants help, but she never tells him what she wants; she can tell that he’s not very interested. He is preoccupied with interpreting what he has observed. Compassion too is a form of action, and Thomas does not act.

Obsessed by his re-interpretation of his images, he returns to the park, and indeed finds there a man lying dead. Or does he? He thinks he does—he even bends to touch the man’s cheek—but he has not brought his camera. How can he be sure of anything he has not documented with his camera? And when he returns to the park once more more with camera in hand, the body is gone. Was it ever actually there?

And also…how can he be sure of the meaning of what his camera has documented?

Thomas is caught in an endless and fruitless circle. The making of images is a quasi-erotic experience for him that has also made him rich; so he does not notice the way that it has sapped his will. Like other people we see in the film listening with silent passivity to music or drifting glassy-eyed through a drug party, he is passive and at best reactive. Though he knows that he should report the dead body he found to the police, he never gets around to it, and even the mystery of what his photos depict interests him only intermittently. By the end of the movie, when every possibility of understanding what happened in the park has been taken away from him, he appears ready to forget about it, to occupy himself with the next distraction.

Thomas, like many of those among whom he lives, is both rich and unconstrained by traditional social norms. Some people would call this a condition of freedom, but the great sociologist Émile Durkheim rightly called it anomie—the condition of being without nomos, law, order, structure. As he wrote in a late book on moral education, it is not freedom but a “malady of infiniteness”:

<blockquote>Through the power wealth confers on us, it actually diminishes the power of things to oppose us. Consequently, it lends strength to our desires and makes it harder to hold them in check. Under such conditions, moral equilibrium is unstable: it requires but a slight blow to disrupt it. Thus, we can understand the nature and source of this malady of infiniteness which torments our age. For man to see before him boundless, free, and open space, he must have lost sight of the moral barrier which under normal conditions would cut off his view. He no longer feels those moral forces that restrain him and limit his horizon. But if he no longer feels them it is because they no longer carry their normal degree of authority, because they are weakened and no longer as they should be. The notion of the infinite, then, appears only at those times when moral discipline has lost its ascendancy over wants; it is a sign of the attrition that occurs during periods when the moral system which has prevailed for centuries is shaken, and fails to respond to new conditions of human life, without any new system having yet been formed to replace that which has disappeared.</blockquote>

Thomas thinks he lives freely, but in fact his life is characterized by what another sociologist, Hartmut Rosa, calls “frenetic standstill.” He is in constant motion but in an ever-shrinking circle that asymptotically approaches complete moral immobility. As we have seen, at several points in this film, he has the opportunity to reach beyond himself and respond with compassion to troubled people, but he does not take those opportunities. Indeed, so preoccupied is he with the making, controlling, and interpreting of images, he does not even seem to be aware that another way is possible. And certainly the concept of justice—justice for the man killed—has never entered his consciousness.

One can—perhaps with difficulty—imagine a future for Thomas in which he becomes aware, in Durkheim’s words, that a “moral system which has prevailed for centuries” has failed, “without any new system having yet been formed to replace” it; and should that happen, Thomas would surely be an easy mark for any dictatorial tribalism that happened to come his way and promise stability and belonging. But for now, he has his images to keep him company.

In another famous work, Durkheim explores the links between anomie and suicide. But I don’t think Thomas will commit suicide. After all, he’s already dead."]]></description>
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<item rdf:about="https://www.frontporchrepublic.com/2026/02/revisiting-milton-a-review-of-alan-jacobs-biography-of-paradise-lost/">
    <title>Revisiting Milton: A Review of Alan Jacobs’ Biography of Paradise Lost - Front Porch Republic</title>
    <dc:date>2026-02-18T07:16:18+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/02/revisiting-milton-a-review-of-alan-jacobs-biography-of-paradise-lost/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Milton may displease, offend, or disrupt, but he rarely leaves a reader unmoved."]]></description>
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<item rdf:about="https://hedgehogreview.com/web-features/thr/posts/the-devils-citadel-extended">
    <title>The Devils’ Citadel Extended | THR Web Features | Web Features | The Hedgehog Review</title>
    <dc:date>2026-02-16T04:43:11+00:00</dc:date>
    <link>https://hedgehogreview.com/web-features/thr/posts/the-devils-citadel-extended</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Must mechanization be a blind agent of change?"

[See also:

"The Devils’ Citadel
A documentary of the Industrial Revolution in the words of its contemporaries."
https://hedgehogreview.com/web-features/thr/posts/the-devils-citadel ]]]></description>
<dc:subject>2025 alanjacobs humphreyjennings industrialrevolution sigfriedgiedion johnruskin paulkennedy hughkenner modernism technology alanturing claudeshannon</dc:subject>
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<item rdf:about="https://hedgehogreview.com/web-features/thr/posts/the-devils-citadel">
    <title>The Devils’ Citadel | THR Web Features | Web Features | The Hedgehog Review</title>
    <dc:date>2026-02-16T04:40:13+00:00</dc:date>
    <link>https://hedgehogreview.com/web-features/thr/posts/the-devils-citadel</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A documentary of the Industrial Revolution in the words of its contemporaries."

[See also:

"The Devils’ Citadel Extended
Must mechanization be a blind agent of change?"
https://hedgehogreview.com/web-features/thr/posts/the-devils-citadel-extended ]]]></description>
<dc:subject>alanjacobs 2025 ideas technology history documentary film filmmaking johnmilton paradiselost humphreyjennings montage georgeorwell marie-louisejennings dannyboyle mass-observation foliosociety christopherfrayling thomascarlyle thomasgray felixmendelssohn jamesnasmyth industrialrevolution</dc:subject>
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<item rdf:about="https://hedgehogreview.com/web-features/thr/posts/a-novelists-reflections-on-useful-fictions">
    <title>A Novelist’s Reflections on Useful Fictions | THR Web Features | Web Features | The Hedgehog Review</title>
    <dc:date>2026-02-16T03:53:24+00:00</dc:date>
    <link>https://hedgehogreview.com/web-features/thr/posts/a-novelists-reflections-on-useful-fictions</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hope Mirrlees and her curious masterpiece."

[See also:

https://en.wikipedia.org/wiki/Lud-in-the-Mist
https://standardebooks.org/ebooks/hope-mirrlees/lud-in-the-mist (epub and other formats)]]]></description>
<dc:subject>hopemirrlees alanjacobs 2023 scifi sciencefiction lud-in-the-mist 1926</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=U8dcFhF0Dlk">
    <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>
<dc:subject>adamneely suno ai artificialintelligence art artmaking music musicmaking slow friction chatgpt howwethink thinking loneliness narcissism work labor effort isolation friendship influences copyright deskilling learning howwelearn humanism human humans tecnhooptimism movefastandmakethings futurism technology songwriting culture relationships community movefastandbreakthings efficiency impatience patience optimization dystopia craft mikeyshulman howwemake making howwewrite writing rickrubin taste skill skills rolemodels inspiration lineage influence improvisation alanjacobs evil techmooptimism siliconvalley arthurcclarke ip intellectualproperty streaming internet web online creativity sharedexperience experience disruption fun humanity chess play craftsmanship turingtest jamming sychophancy capitalism technodeterminism technologicaldeterminism tressiemcmillancottom control power marketing mohinidey education vc venturecapital artseducation musiceducation italianfuturism filippomarinetti marcandreessen nickland pr</dc:subject>
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</item>
<item rdf:about="https://blog.ayjay.org/analog-elites/">
    <title>analog elites – The Homebound Symphony</title>
    <dc:date>2026-01-25T04:09:50+00:00</dc:date>
    <link>https://blog.ayjay.org/analog-elites/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s interesting to juxtapose this WSJ story [https://www.wsj.com/style/design/everyone-wants-a-room-where-they-can-escape-their-screens-230d8712?mod=WTRN_pos8 ] about people building “analog rooms” in their houses with Jason Fried’s account [https://world.hey.com/jason/the-big-regression-da7fc60d ] of his parents’ “smart home”: 

<blockquote>It’s new construction. No one has lived in it yet. It’s amped up with state of the art systems. You know, the ones with touchscreens of various sizes, IoT appliances, and interfaces that try too hard.

And it’s terrible. What a regression.</blockquote>

Consider also this [https://www.wired.com/story/why-car-brands-are-finally-switching-back-to-buttons/ ]: 

<blockquote>“It is really important that steering, acceleration, braking, gear shifting, lights, wipers, all that stuff which enables you to actually drive the car, should be tactile,” says [Steven] Kyffin, who once worked on smart controls for Dutch electronics company Philips. “From an interaction design perspective, the shift to touchscreens strips away the natural affordances that made driving intuitive,” he says. 

“Traditional buttons, dials, and levers had perceptible and actionable qualities — you could feel for them, adjust them without looking, and rely on muscle memory. A touchscreen obliterates this,” says Kyffin. “Now, you must look, think, and aim to adjust the temperature or volume. That’s a huge cognitive load, and completely at odds with how we evolved to interact with driving machines while keeping our attention on the road.”</blockquote>

(My one quibble here is with the phrase “we evolved”: natural selection has not been at work in the slightly-more-than-one-hundred-years that humans have been driving automobiles.) The question for me is whether this return to analog will trickle down to the average car models or will remain a luxury good. My bet is on the latter. 

The more ubiquitous screens are the more people hate them, but often, it seems, only the rich have any real chance of escaping them. I’ve noticed the same phenomenon in stereo equipment: if you want to have the tactile button-dial-and-switch experience that everyone’s stereos had back in the Seventies and Eighties, you had better be prepared to open your wallet real wide, because you’ll either be buying an expensive high-end amplifier or (for roughly the same price) a restored vintage one. 

We’ve collectively reached the point, I think, at which the words “digital” and “new” typically convey “cheap, unpredictable, frustrating slop.” This ought to be an opportunity for manufacturing businesses of many different kinds to differentiate themselves from their competitors, but that seems never to happen these days — and not just when the differentiation would involve avoiding touchscreens. 

Consider, for instance, the toaster: All toasters are crap [https://www.nytimes.com/wirecutter/blog/your-toaster-will-eventually-fail/ ], no matter how much they cost, so you might as well buy a cheap one and expect to throw it out and buy another one after just a few years. So shouldn’t somebody be making a quality toaster? Apparently no one will: it would mean forging a supply chain that’s different than that of the competition, and that’s considered an unacceptable risk these days. So every single toaster manufacturer makes the same crappy product and tries to differentiate via marketing. 

As far as I can tell, what’s happening in every part of the manufacturing sector is an absolute reliance on Chinese factories for components, and the only real factor is price. With a handful of products — say automobiles and cameras (Hasselblads and most Leicas are still hand-assembled) and audiophile stereo equipment — you can, if you’re wealthy enough, buy things that offer more mechanical components and fewer cheap-ass digital ones. And you can display some of your cool mechanical gadgets in your “analog rooms.” But those of us who are not among the one percent are probably gonna be stuck with touchscreen slop. 

Last year, on a very rainy day, I was driving my 2013 Toyota RAV4 down a Texas highway and hydroplaned into a tree. I was unhurt, and was even able to drive the fifty miles to my house. But eventually my insurance company decided that the car was totaled, and when I learned that one of my first thoughts was “Oh great, now I’ll have to buy a car that shoves a stupid big screen in my face.” Ever since then I’ve been sharing a car with my wife while I try to decide whether I should buy a new car or take a chance on an aged but largely screenless used one. It’s a tough call. 

Related: the Sam Vimes Boots Theory. [https://en.wikipedia.org/wiki/Boots_theory ]"]]></description>
<dc:subject>analog alanjacobs 2025 jasonfried smarthome cars stevenkyffin toasters luxuries screens manufacturing electronics digital</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.frontporchrepublic.com/2026/01/an-invitation-to-the-wonders-of-reading/">
    <title>An Invitation to the Wonders of Reading - Front Porch Republic</title>
    <dc:date>2026-01-23T05:57:25+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/01/an-invitation-to-the-wonders-of-reading/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Through short and accessible chapters, Crosby makes a case for the inspiration that comes through reading. In Part 1, he lays the foundation—the why and what of reading, from stories to scripture.…"]]></description>
<dc:subject>alexsosler 2026 reading howweread scripture jeffcrosby jessicahootenwilson karenswallowprior alanjacobs christianity cslewis philipyancy frederickbuechner eugenepeterson tedkooser</dc:subject>
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<item rdf:about="https://www.commonwealmagazine.org/kingsnorth-paul-brad-east-technology-machine">
    <title>A Cooked Ascetic | Commonweal Magazine</title>
    <dc:date>2026-01-08T19:55:11+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/kingsnorth-paul-brad-east-technology-machine</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For Paul Kingsnorth, Western culture is in a terminal state."

...

"Against the Machine is a long book, and so I have had to leave out much of interest, including Kingsnorth’s wilder speculations about the demonic character of chatbots and his darker predictions about where the world is headed. I have sought to present the vision and arguments of the book in their best light, on the terms Kingsnorth himself sets for them. For all their grand doomsaying, they couldn’t have a more sympathetic ear than mine. I was prepared to adore this book. I had hopes that it would fashion a new synthesis for tech criticism going forward, a prophetic vision alive to the threats bearing down on human life from the internet, smartphones, social media, and so-called AI. I even hoped it might provide an agenda for the coming decades.

I am sorry to report that Against the Machine is not that book. It is in fact the least compelling piece of work I have read by this otherwise remarkable author. It is neither a coherent book nor a collection of essays, but a hodgepodge of internet writing stitched together between two covers. It occurred to me while reading it that what I was holding belonged to a new genre: the Substack Book. Like the blogs of the aughts, Substack has already become its own thing: it incentivizes a certain mood, feel, and style; it has brought into being a recognizable literary form. You know it when you see it. Any one of this book’s twenty-seven chapters would be unexceptionable as a standalone newsletter in my inbox. In fact, I read early versions of some of them there. Spread across nearly three hundred and fifty pages, however, they make for tedious and mostly unpleasant reading. The prophetic voice curdles into preachiness. The pithy imperatives (“Buckle up”; “Be ready”; “Head for home”) lose their power to provoke. The grand pronouncements and historical summaries beguile, then befuddle, then bore.

The book should have been one-third its size or written from scratch. As it is, it’s a mess. It still contains plenty of insights and wonderful turns of phrase, and anyone who reads it will not only gain new perspective but be introduced to other authors and ideas worth tracking down. To new readers, one of these authors will be Kingsnorth himself. For them, his past writing, including his poems and novels, still awaits. And for all of us, his future writing awaits, too. My expectation is that, with this heavy tome behind him, he will now move on to work that is just as exciting and unpredictable as his previous output. Rare is the author who never swings and misses. The challenge is to keep swinging until the sound of a crack tells you that you’ve got another hit on your hands."]]></description>
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    <title>Days Gone By</title>
    <dc:date>2025-12-31T21:38:39+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/days-gone-by/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What a terrible year. Good riddance to today being the very last of it.

Way back when I used to publish things on Hack Education, I was always proud of my end-of-year stories -- the series of articles I posted annually that tried to chronicle all the incredibly awfulness that ed-tech had wrought in the prior months [https://hackeducation.com/2019/12/31/what-a-shitshow ]. It was important, I believed, to remember and reflect; capitalism and technology work hand-in-hand to encourage us to forget, to move on. I toyed with the idea of doing the same thing here, on Second Breakfast; but new site, new name, new distribution mechanism... it seems best to leave some things behind.

Or more accurately, I’m not sure I have the stamina right now to revisit the horrors of 2025 in detail, the kind of detail that I’d carefully track in those Hack Education essays. It has, since the very first days of January -- Trump’s inauguration, surrounded and applauded by Silicon Valley’s leaders -- been dangerous, disastrous, deadly, inside and outside of schools.

And I’ve received one too many email newsletters in the past week or so in which someone boasted that they’d had ChatGPT identify the important themes and trends for the year for them -- a good reminder that these sorts of seasonal prompts for content production (lists after lists after lists after lists) have never really been about inquiry or criticism, but more about the churning out of data for someone else’s algorithmic machinery. It’s insulting. It’s undignified. But it’s the future that some men sure seem to yearn for.

That said, I do think I'd be remiss to not make a few observations here on December 31, particularly before the usual suspects launch into the new year peddling the very same bullshit they've tried to have us choke down with a smile for decades now. (Indeed, 2026 marks the 100th anniversary of Sidney Pressey's landmark article that launched the whole teaching machine industry [https://mitpress.mit.edu/9780262546065/teaching-machines/ ]: "A simple apparatus which gives tests and scores-- and teaches." I'll have more to say about that anniversary in the coming weeks.)

Artificial intelligence has, no doubt, sucked all the proverbial oxygen out of the proverbial room in education and education technology. It is not just the top of the year-end list; it is the list. (And as I noted above, too many people let the technology “generate” the list for them.) “AI” seemed to be almost all that anyone could talk about, certainly all that many hope to sell. Of course, this is why the ed-tech amnesia does matter: the myriad of ed-tech products with some sort of algorithmic teaching and testing and bureaucratic classroom-management procedures -- built and sold that way for decades now -- have all rebranded as "AI," and "AI" has been inserted into almost every single piece of software, whether you like it or not.

And you shouldn't. It's bad fucking news. It's bad for thinking. It's bad for learning. It's bad for teaching. It's bad for research. It's bad for knowledge. It's bad for justice. It’s bad for democracy. It's bad for humanity. It's bad for the planet. Everyone knows it [https://blog.ayjay.org/everyone-knows/ ], as Alan Jacobs recently wrote. But plenty of folks are out there hustling hustling hustling. They’re willing to ignore the bad, in no small part because that's what their privilege affords them.

<blockquote>It is difficult to get a man to understand something, when his salary depends on his not understanding it – Upton Sinclair</blockquote>

As the Department of Justice slowly releases more documents relating to Jeffrey Epstein, perhaps it's worth reminding people of this convicted sex offender's connection not just to artificial intelligence, but to those working in AI and ed-tech specifically. Bill Gates. Marvin Minsky. Roger Schank. Joi Ito. Whether or not these men -- or any of the men listed in Epstein's "little black book" -- were engaged in child sex trafficking is beside the point: they were willing to ignore its occurrence, willing to continue their own access to money and power and influence at the expense of the health and safety of girls.

And so it continues: the willingness of those supporting some "AI" future to overlook the real harms, the substantive exploitation, the actual violence in order to maintain their own access to money and power and influence.

It's par for the course, I suppose. Because "the big story" in "AI" doesn't necessarily involve this new generative "AI" hoopla, but rather an older, even more dangerous version of / vision for the technology: prediction, facial recognition, geolocation, surveillance, policing. "The big story" in education and "AI" isn't necessarily students using the technology to cheat themselves of learning or teachers using the technology to automate their profession away; but rather the usage of "AI" by ICE -- with the assistance of every major technology company, not just Palantir [https://www.nytimes.com/2025/12/03/business/dealbook/palantir-alex-karp-ice-trump.html ]-- to identify [https://www.404media.co/cbp-quietly-launches-face-scanning-app-for-local-cops-to-do-immigration-enforcement/ ], mis-identify [https://www.404media.co/how-a-us-citizen-was-scanned-with-ices-facial-recognition-tech/ ], harass, arrest, imprison, and deport people. Hundreds of thousands of people. People in our communities. People in and around our schools. Our neighbors. Our co-workers. Our students. Our teachers. Families. Parents. Children.

This is the story of what "AI" means in education – or part of it, at least. “AI” is central to the move towards techno-authoritarianism [https://www.authoritarian-stack.info/ ], a move that of course will target democratic institutions – institutions tasks with building knowledge and building human capacity – first.

"AI" is, after all, an endeavor undeniably intertwined with eugenics [https://bookshop.org/p/books/disabling-intelligences-legacies-of-eugenics-and-how-we-are-wrong-about-ai-rua-m-williams/b5e49f6b89f846a8?ean=9783032026644&next=t&next=t&affiliate=93920 ]. It is fundamentally a reactionary effort – despite all the rhetoric about it being future-facing – an effort inseparable from the anti-diversity initiatives undertaken throughout governments and corporations this year. "AI" is a backlash to civil rights movements, a backlash to the advancements of the past few decades that shifted (ever so slightly) the power away from white men.

You can see this in the onslaught of "AI" hype, almost entirely vocalized by men – the Sams and the Marks and the Peters and the Jasons so deeply aggrieved at having to share the stage, the mic, the platform, the workplace, the classroom, the world with women, with Black people, with queer folk, with people with disabilities, with indigenous people, with refugees, with non-English speakers, with Muslims, with anyone from the majority world. And this isn't simply a matter of representation in their datafied corpus – although that still matters. "AI" means erasure, epistemic erasure – all writing, all images, all sounds, all expression squeezed towards the middle, the mundane, the Man. AI is a silencing; "AI" is genocidal [https://www.theguardian.com/world/2025/dec/30/israeli-military-big-tech ]. Its acceptance, begrudging or willful, means the normalization of this violence – of its harms to ourselves and to one another and to the environment; of its demands for efficiency and optimization; of its sing-song allure of sycophantic mediocrity at the expense of creativity, spontaneity, diversity, life.

But “let’s be clear: AI" is not the only technology being wielded right now to control bodies, to control minds, to control labor, to control knowledge. And here's where the incessant focus on "AI" -- whether it be promotion or critique -- easily serves to further impoverish our understanding of what's happening in education. Among the other important stories of 2025: the banning of books [https://thelibrariansfilm.com/ ]; the banning of cellphones in the classroom [https://www.afterbabel.com/ ]; age-restrictions on social media [https://www.pbs.org/newshour/world/australia-to-enforce-social-media-age-limit-of-16-with-fines-up-to-33-million ]; the re-emergence of the “standards” (and standardized testing) cadre [https://www.theatlantic.com/podcasts/archive/2025/10/the-david-frum-show-margaret-spellings-school-testing/684489/ ]; the digital surveillance and silencing (and firing) of professors [https://www.theguardian.com/us-news/2025/oct/10/academics-professors-charlie-kirk ] for what’s on the syllabus, what’s discussed in class -- all efforts, to one degree or another, to limit access to information. To certain kinds of information, of course. To acquiesce to “AI” is to surrender to what Neil Postman so presciently called Technopoly [https://bookshop.org/p/books/technopoly-the-surrender-of-culture-to-technology-neil-postman/411fadc13061d77a?ean=9780679745402&next=t&next=t&affiliate=93920 ] – the monopolistic control of knowledge and information and media, the control of our very understanding of ourselves and the world around us, in the hands of a small handful of fascistic tech billionaires.

And look, I’ll be the first to suggest that we’d all be well-served to step away from our digital devices, to spend much much much less time on the Internet. Put your phone away while you eat and while you walk down the street, for crying out loud. “Touch grass.” Read a book. Read a book to your children. Please.

But I’m wary of many of the efforts to curb children’s access to technology because these initiatives are, at their heart, often not about the tech (and certainly not about structural redress) but about curbing children’s access to knowledge. These are efforts at stifling children’s self-discovery – particularly around questions of gender identity – and their discovery of like-minded community.

***

<blockquote>"Narrative power, maybe all power, was never about flaunting the rules, yelling at a cop, making trouble – it was about knowing that, for a privileged class, there existed a hard ceiling on the consequences.

    And on the heels of that realization, a converse one: I began to suspect that the principles holding up this place might not withstand as much as I first thought. That the entire edifice of equality under law and process, of fair treatment, could just as easily be set aside to reward those who belong as to punish those who don't. A hard ceiling for some, no floor for others."

    – Omar El Akkad, One Day Everyone Will Have Always Been Against This [https://bookshop.org/p/books/one-day-everyone-will-have-always-been-against-this-omar-el-akkad/4191784c40750b09?ean=9780593804148&next=t&next=t&affiliate=93920 ]</blockquote>

***

There’s a refrain you’ll often hear, that “the kids are alright.” I get it. It’s comforting to think that, despite all the horrors that surround them – environmental destruction, genocide, school shootings, immigration raids, anti-trans policies, economic inequality, homelessness, mental health crises, job insecurity (hell, job non-existence [https://nymag.com/intelligencer/article/ai-replacing-entry-level-jobs-gen-z-careers.html ], some say) – that younger folks are good and strong and resilient. And maybe some are. Maybe some can put on a good face. They can still go through the motions. They over-schedule; they over-achieve. What choice is there, really? Right?

But what if they aren’t okay? (I mean, crikey, what if none of us grownups really are either? And I’m looking right at those of you lulled by the siren call of “AI," driving this ship straight into the rocks. But I'm looking at, I'm looking to all of us.)

A day doesn’t go by where I don’t think about my son – about my own losses, my own grief in the face of this abysmal world we have built for our children. And since this summer, barely a day has gone by when I haven’t thought about Adam Raine, the 16-year-old who died by suicide after lengthy discussions -- encouragement, even -- from ChatGPT [https://www.nytimes.com/2025/08/26/technology/chatgpt-openai-suicide.html ]. And for the past few weeks now I think about the Reiner family too, a very famous stand-in, I suppose, for all the families who have chronically mentally ill children – violent or not, adult or not, in or not in active addiction. I’d say “you have no idea what it’s like” but so many of us do. More than we care to admit, more than we care to talk about, and obviously – fucking hell – more than we care to address.

“The purpose of a system is what it does,” the cybernetician Stafford Beer famously said. It is clear to me what the purpose of “AI,” what the purpose of ed-tech is. 2025 made it oh so clear. Sure, people still like to talk about innovation and enhancement. They wave their hands around excitedly – some "think bigger!" gesture, extolling some imaginary shiny future of cognitive speed and efficiency. But the purpose of these systems is what they do. And look what they have done.

Everyone knows. Everyone sees it. Some of us try to convince ourselves otherwise. But it's right there. The purpose of the system is extraction. The purpose is obedience. The purpose is compliance. The purpose is death – death of agency and death of dignity and death of joy.

We have much work to do to make our institutions – educational and otherwise – into something else. We cannot do it chained to the technologies that are designed to stop us from ever even thinking about becoming free.

But we can do it.

***

Today’s bird is the starling, which has been called one of the worst invasive species [https://www.invasivespeciesinfo.gov/terrestrial/vertebrates/european-starling ] in the world, brought to the US from Europe in the late nineteenth century, according to one story at least, by Eugene Schieffelin [https://en.wikipedia.org/wiki/Eugene_Schieffelin ], an ornithologist who thought it'd be neat to introduce into the US – via a release in Central Park in the case of the starling – every bird mentioned in Shakespeare's works. (Good grief, the hell men will unleash just to get you to pay attention to western literature.)

I see starlings almost every day in the park – during warmer months at least. Close up, their plumage is striking: an iridescent purple and green. Their beak is yellow. Their calls are comprised of squeaks and clicks, but they're known to mimic other birds. (Hotspur tries to teach a starling to say "Mortimer" in Henry IV, Part 1.)

Starlings are aggressive birds, attacking and displacing other species and, according to the USDA at least [https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1023&context=nwrcinvasive ], causing hundreds of millions of dollars of damage to agricultural crops every year. But what happens when we mark up the world – who belongs, who belongs where – into "native" and "invader" and "alien" [https://www.allaboutbirds.org/news/essay-are-starlings-really-invasive-aliens/ ]?

Starlings are "gregarious," meaning their flocks are often very large. Very very large – roosts can be comprised of over one million birds. Their swarm-like flights are called murmurations; and these are beautiful, almost musical, magical feats of coordination.

We don't know why the birds move this way; there's so much we do not know about the beings with whom we inhabit this world (although I'm sure ChatGPT, that other shiny invasive species specious, would surely tell you that it knows.)"]]></description>
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    <title>Email from one of my … | Alan Jacobs</title>
    <dc:date>2025-12-16T22:14:21+00:00</dc:date>
    <link>https://social.ayjay.org/2025/12/16/email-from-one-of-my.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Email from one of my best students accompanying a final paper: “While I always want my final papers for classes to be the culmination of all my learning, in truth, they usually end up being the worst work of the semester. I always find out what I really wanted to say once the break starts as I learn what it feels like to be a thinker and not just a harried, hunted animal.”"]]></description>
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<item rdf:about="https://blog.ayjay.org/historicizing/">
    <title>two quotations on historicizing – The Homebound Symphony</title>
    <dc:date>2025-12-10T20:54:56+00:00</dc:date>
    <link>https://blog.ayjay.org/historicizing/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What If Our Ancestors Didn’t Feel Anything Like We Do? – The Atlantic [https://www.theatlantic.com/magazine/2026/01/human-ancestors-emotion-history/684959/ ]:

<blockquote>But as a historian trying to comprehend feelings, [Rob] Boddice can’t stand those cute _Inside Out_ characters. Because not only do we imagine other people to have the exact same set of emotions that we have, but we project this thought backwards through time. Love for us can’t be that different from what it meant to Heloise and Abelard writing letters to each other in the 12th century. The laborers who hauled stones to build the pyramids in Giza felt anger that is our anger. We perform this projection on any number of human experiences: losing a child, falling ill, being bored at work. We assume that emotions in the past are accessible because we assume that at their core, people in the past were just like us, with slight tweaks for their choice of hats and standards of personal hygiene.

Boddice starts with the opposite premise, that we are not the same — that the experience of being human in another era, with all of its component feelings and perceptions, even including something as elemental as pain, is so foreign to us as to live inside a kind of sealed vault. “There is nothing about my humanness that affords me insight into humanity,” Boddice has said.</blockquote>

Tom Stoppard, _The Invention of Love_, at a moment when A. E. Housman as an old, in fact a dead, man (AEH) is meeting his 20-year-old self (Housman): 

<blockquote>**AEH** There are always poetical people ready to protest that a corrupt line is exquisite. Exquisite to whom? The Romans were foreigners writing for foreigners two millenniums ago; and for people whose gods we find quaint, whose savagery we abominate, whose private habits we don’t like to talk about, but whose idea of what is exquisite is, we flatter ourselves, mysteriously identical with ours. 

**Housman** But it _is_, isn’t it? We catch our breath at the places where the breath was always caught. The poet writes to his mistress how she’s killed his love — ‘fallen like a flower at the field’s edge where the plough touched it and passed on by’. He answers a friend’s letter — ‘so you won’t think your letter got forgotten like a lover’s apple forgotten in a good girl’s lap till she jumps up for her mother and spills it to the floor blushing crimson over her sorry face’. Two thousand years in the tick of a clock — oh, forgive me, I … 

**AEH** No (need), we’re never too old to learn.</blockquote>

Gal Beckerman, the author of the _Atlantic_ article on Bodice, treats his claims as revolutionary new ones. In fact, they were the reigning orthodoxy when I was in graduate school forty years ago. We were all reading Fredric Jameson’s The Political Unconscious [https://www.google.com/books/edition/The_Political_Unconscious/HYeAWY0bYtsC ], with its instantly famous opening sentence: “Always historicize!” We got busy historicizing the crap out of everything, and were duly scornful of the very idea that one should — or even, if one’s mind was properly formed, _could_ — be moved by the works of ancient and medieval literature that we read, as though those people were “like us.” Such thoughts were deemed ahistorical.

(People who had read Julian Jaynes’s The Origin of Consciousness in the Breakdown of the Bicameral Mind [https://en.wikipedia.org/wiki/The_Origin_of_Consciousness_in_the_Breakdown_of_the_Bicameral_Mind ] — I knew quite a few — had further means of historicizing. That was a niche view, but interesting; maybe a topic for a future post.)  

Only gradually did it occur to me to ask why, if the past is an utterly foreign country, we laugh at the places in Shakespeare that were obviously meant to be funny, and cry when the characters on stage were crying — even yes, even cry when reading something as ancient as the _Iliad_, for instance when Hector tells his beloved wife Andromache that what grieves him the most about this terrible war is the certainty that someday he, being dead, will be unable to rescue her from enslavement. 

Absolute historicizing cannot survive the experience of _reading_. Lament that if you wish. 

Bodice’s view that the past can teach me nothing about my humanity is of course ruled out for me by my Christianity, but it’s worth noting that it is equally ruled out by evolutionary accounts of human experience ands behavior.

One more thing. Beckerman writes, 

<blockquote>The universalism that Boddice mistrusts is a relatively new concept in human history. It comes to us from the Enlightenment. The presumption that all people share a common nature was dreamed up by European intellectuals sitting in their salons.</blockquote>

This is nonsense on stilts. It is a character in a play by the Roman dramatist Terrence who says _Homo sum, humani nihil a me alienum puto_. The ancient Israelites believed that “man” (_adam_) was created in the image of God, and the apostle Paul says that “all” — which is to say, all human beings: he’s not talking about pigs and lice — “have sinned and fallen short off the glory of God.” Later, Christian theologians in particular, working from Genesis 10, would argue that the three sons of Noah populated different regions of the world: Shem in Asia, Ham in Africa, Japhet in Europe. These understandings of humanity — these modes of _humanism_ —  underline the emergence of the individual person as the subject of laws and the bearer of rights, as Larry Siedentop has patiently and thoroughly demonstrated [https://www.google.com/books/edition/Inventing_the_Individual/f_6EBAAAQBAJ?hl=en&gbpv=0 ]. 

(This is not, of course, to say that the concept of the human is always and everywhere precisely the same, and it is _certainly_ not to say that claims of universal humanity led to the acknowledgment of universal equality. They did not. For much more on these fascinating matters, see Jonathan Z. Smith’s 1996 essay, “Nothing Human Is Alien to Me.” [https://www.tandfonline.com/doi/pdf/10.1006/reli.1996.0024 ] 

Moreover, if the passage of time so radically distinguishes us from other members of our species, does not space do the same? Maybe we have nothing in common with people from other cultures either. Slaveowners in the antebellum South told themselves that it was acceptable to separate slaves’ children from their parents because “they” — the children of Ham — don’t feel it as “we” — the children of Japhet — do. The mistrust of universalism always has a demonic side, and many of the Extremely Online, on the left and right alike, are making careers out of the rejection of universalism. We don’t need any more manufactured Otherness. There’s already plenty to go around. 

By all means historicize, but strive also to know the limits of historicizing. You’re never too old to learn."]]></description>
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<item rdf:about="https://blog.ayjay.org/tot/">
    <title>Tot – The Homebound Symphony</title>
    <dc:date>2025-11-06T04:58:24+00:00</dc:date>
    <link>https://blog.ayjay.org/tot/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve tried all the major note-taking apps in the Apple ecosystem. For some years, starting more than a decade ago, I used Simplenote, then Drafts, then Bear. I used Ulysses for a while, though that’s really more of a text editor than a notes app. Obsidian, yep. Notion, yep. I tried Day One to take notes as well as keep a journal. I even tried Apple’s own Notes app, though I hate everything about it, starting with its ugly yellow color. Etc. (I’m not naming them all, so do not write me to ask “Have you tried … ?” Whatever it is, the answer is Yes: I have tried it.) My favorite was Notational Velocity, in its original form — I dislike all the supposedly more capable forks of it. 

After a long while, I finally came to realize that what all note-taking applications have in common, what they primarily feature, is for me a bug. What they all offer is a place to store text — and in some cases images, though that starts to take us into Everything Bucket territory. And yes, I’ve tried all the Everything Bucket apps as well, starting with Evernote and then moving to Yojimbo and then DEVONThink — among others. 

Anyway: the promise of the note-taking app is that you can jot down or copy bits of text, put them in folders or add tags or employ some other way to organize them, and then retrieve them later. But I didn’t retrieve them later. I dutifully tagged them and then … almost always forgot about them. If I happened to remember, then I could do a quick search and easily find them, but that was a rare event. Thus, the fact that all my little scraps of text were present and searchable did me no good at all. If I could have asked an app “Look through the hundreds of items in your database and find the five that would be of greatest interest to me right now,” and gotten a useful answer — well, then that app would have been tremendously useful to me. But technology hasn’t reached that point.

So for years I just kept on adding notes to apps and then forgetting about them. Lord knows what brilliant ideas of mine are hidden away in those now-neglected apps, because I have no idea how to search for them. I would just have to take time out to scroll through note after note after note, which of course makes the whole tagging-and-organizing thing pointless. 

My search for a proper notes app ended when I realized that what virtually all notes apps do is counterproductive for me. The answer, for me, turned out to be Tot. Tot is beautiful, simple, limited in its formatting possibilities, easy of access on all my devices, and — this is the absolutely essential thing — it allows me to make seven notes. Seven. That’s it.

What that means for me is this: when I want to store a chunk of text, written by me or by others, I put it in Tot. But then, after a few days, I’ve run out of storage spots. So then I take a look at my most recent additions to Tot and ask myself: What do I want to do with this? I can put it in a micro.blog post, put it in a post for this blog, create a draft of an essay containing it, add some task associated with it to my Reminders list, or delete it. Tot’s limitations force me into that decision, and for me that’s ideal. Textual things don’t just disappear into the depths of a database: they have to be dealt with, so I deal with them. Productive resistance for the win, once again!"]]></description>
<dc:subject>alanjacobs howwewrite writing text applications wordprocessing notion obsidian simplenote bear notationalvelocity notetaking notes 2025 macos ios productiveresistance friction software organization</dc:subject>
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<item rdf:about="https://blog.ayjay.org/towards-old-man-willow/">
    <title>towards Old Man Willow – The Homebound Symphony</title>
    <dc:date>2025-11-01T03:43:20+00:00</dc:date>
    <link>https://blog.ayjay.org/towards-old-man-willow/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Brian Eno, interviewed by Ezra Klein, recalled a moment some years ago when he was talking with the engineers at Yamaha about one of their synthesizers. Like most synthesizers, this one came with a series of preset tones but was also programmable, and Eno told the engineers that they should make the synthesizer easier to program. They replied that nobody ever programs the synthesizer, they just use the presets. There would be no value for Yamaha in investing the thought and effort into making programming easier, given the vanishingly small number of people who would benefit from the change.

In a sense, these people are not not using the synthesizer; the synthesizer is using them. You know the old line that a chicken is an egg’s way of making another egg? Well, a human being’s fingers are a synthesizer’s way of getting its preset sounds played. A human thumb is the TikTok interface’s way of getting itself scrolled. The human being is a means to the device’s end. And that’s ultimately what the device paradigm, as Albert Borgmann called it, leads to. When Eno told that story about his encounters with Yamaha Ezra Klein rightly commented that people who think they are using social media end up conforming themselves more and more closely to the affordances of whatever social-media platform they’re on.

I’m reminded of that passage in The Fellowship of the Ring where the hobbits are trying to get through the Old Forest, and the one way that they don’t want to go is down into the valley of the Withywindle. But they keep being forced down there. The lay of the land, the affordances of the land push them towards the place they’re trying to avoid. And eventually they discover that resisting those affordances is just too exhausting. And that’s what it’s like when we use social media, and when we use chatbots: it’s characteristic of all of our currently dominant technologies to force us to become devices. The entire system is oriented towards the transformation of what had formerly been human beings into devices. Jaron Lanier says You Are Not a Gadget but, increasingly, you really are. Eventually you’re drawn head-first into the roots of Old Man Willow and in danger of being crushed to death.

This explains why, in the face of varied but always vociferous complaints, the big tech companies keep shoving their AI programs in our faces, keep building out data centers in the face of protests, keep stealing people’s electricity and water, etc. etc. People say, You can’t force this on us against our will, and the techlords reply, Of course we can, we always have. Eventually down into the valley of the Withywindle we’ll go — unless we don’t enter the Old Forest in the first place.

And for now, anyway, we have that choice. The other day I happened to read this piece by Charlie Warzel on the deluge of AI slop that he encounters every day. “This Is Just the Internet Now,” the title says. But it isn’t. I’m on the internet every day, and I haven’t seen any of the crap he describes. Almost all of it comes from the major social-media platforms and I’m not on any of them — and you don’t have to be either. The hobbits had good reason to take the great risk of entering the Old Forest; I don’t."]]></description>
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<item rdf:about="https://comment.org/the-blues-idiom-at-church/">
    <title>The Blues Idiom at Church - Comment Magazine</title>
    <dc:date>2025-10-30T05:26:06+00:00</dc:date>
    <link>https://comment.org/the-blues-idiom-at-church/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My thesis can be simply stated: There is today no more important writer for North American Christians to read than Albert Murray—a man who, as far as I know, had no religious belief whatsoever. But he held as his guiding principle an idea that Christians today cannot flourish without adopting “the blues idiom”—otherwise known as life in the briar patch."]]></description>
<dc:subject>alanjacobs 2023 albertmurray blues soranealhurston ralphellison wytonmarsalis cudjolewis cosmosmurray change</dc:subject>
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<item rdf:about="https://social.ayjay.org/2025/10/25/i-keep-hearing-that-were.html">
    <title>I keep hearing that “we’re … | Alan Jacobs</title>
    <dc:date>2025-10-26T04:41:20+00:00</dc:date>
    <link>https://social.ayjay.org/2025/10/25/i-keep-hearing-that-were.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I keep hearing that “we’re living in a post-literate society,” but worldwide literacy levels are the highest in human history [https://ourworldindata.org/grapher/cross-country-literacy-rates?time=earliest..2023&country=RUS~GBR~NLD~OWID_WRL~IND~SWE~NOR~DNK~FRA~DEU ]. When people say “post-literate society” what they mean is “a North American and/or Western European society in which a smaller percentage of people read books than in 1950, and are correspondingly more likely to get information and entertainment from audio, video, and short-form texts.” Which is a big thing! But it has nothing to do with literacy. I would bet that the average today reads and writes more words-per-day than the average person in 1975 did, when TV ruled the media world. Almost every “post-literacy” jeremiad or lamentation acknowledges this — e.g. [https://www.fordforum.org/observer-essays/2025/10/16/postliterate-republic ] — but their authors can’t be bothered to come up with a phrase that accurately describes what they are rightly concerned about."]]></description>
<dc:subject>alanjacobs 2025 literacy reading howweread comparison society history post-literacy postliteracy</dc:subject>
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<item rdf:about="https://blog.ayjay.org/thats-still-how-it-goes-everybody-still-knows/">
    <title>that’s still how it goes, everybody still knows – The Homebound Symphony</title>
    <dc:date>2025-09-05T18:45:35+00:00</dc:date>
    <link>https://blog.ayjay.org/thats-still-how-it-goes-everybody-still-knows/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’m a High Schooler. AI Is Demolishing My Education [https://www.theatlantic.com/technology/archive/2025/09/high-school-student-ai-education/684088/ ]:

<blockquote>AI has transformed my experience of education. I am a senior at a public high school in New York, and these tools are everywhere. I do not want to use them in the way I see other kids my age using them — I generally choose not to — but they are inescapable.

During a lesson on the Narrative of the Life of Frederick Douglass, I watched a classmate discreetly shift in their seat, prop their laptop up on a crossed leg, and highlight the entirety of the chapter under discussion. In seconds, they had pulled up ChatGPT and dropped the text into the prompt box, which spat out an AI-generated annotation of the chapter. These annotations are used for discussions; we turn them in to our teacher at the end of class, and many of them are graded as part of our class participation. What was meant to be a reflective, thought-provoking discussion on slavery and human resilience was flattened into copy-paste commentary. In Algebra II, after homework worksheets were passed around, I witnessed a peer use their phone to take a quick snapshot, which they then uploaded to ChatGPT. The AI quickly painted my classmate’s screen with what it asserted to be a step-by-step solution and relevant graphs.</blockquote>


As I have said before: Everybody knows what this is [https://blog.ayjay.org/everyone-knows/ ]. There is literally not one person who thinks that kids learn anything about anything when they’re allowed to spend their classroom time on their laptops and phones. Everybody knows that education has been given up on; everybody knows that teachers are just babysitting; everybody knows that the fix is in. 

The only question remaining is: Can we lie about the situation forever?"]]></description>
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<item rdf:about="https://blog.ayjay.org/the-pleasures-of-reading/">
    <title>the pleasures of reading – The Homebound Symphony</title>
    <dc:date>2025-09-01T18:51:22+00:00</dc:date>
    <link>https://blog.ayjay.org/the-pleasures-of-reading/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jancee Dunn, author of the NYT’s Well newsletter, asked me a while back to answer some questions about reading. Just a couple of items from my reply made their way into her column [https://www.nytimes.com/2025/08/29/well/reading-tips-habit.html ] — she had plenty of other people to interview! — so I thought I would post my whole email to her here. Some of these thoughts are expressed at greater length in a book of mine [https://books.google.com/books?id=Yg8WDAAAQBAJ&newbks=0&hl=en ].  

Jancee, I think I’ll start with the “reading challenges” and keeping track of your reading on Goodreads or elsewhere. I’m not saying that that can’t be a good: it can help build self-discipline, for one thing, and you can prove to yourself that you’re able to resist the temptation to flick through TikTok or play another round of Candy Crush. But I don’t think it has a lot to do with reading as such. I often hear people who do these self-challenges talk about how many books they have “gotten through” in a month or a year, and that just makes my reading-loving heart ache. Books are not to be “gotten through”! Books are to be delighted in!! (Books you’re reading by choice, anyway.) 

This is related to the question of when you should read. I look of people who want to add to their numbers — to be able to say at the end of the year that they read X number of books in 2025 — are often tempted to open a book at 10pm, stare at it with glazed eyes, make those tired eyes pass across each page, and then set it down at 11:15 with the bookmark fifty pages farther in than it had been … and after a few nights of this they have another book they’ve “gotten through” that they didn’t enjoy and don’t remember — don’t remember because they never actually read it in the first place. That’s why before they post their review on GoodReads they have to ask ChatGPT to summarize the book they’ve just “read.” 

Don’t try to tell me this doesn’t happen. A LOT. 

So to people inquiring about these things I would say: Do you want to read? Or do you just want to have read — or even to be able to say, online and relatively convincingly, that you have read? If you’re in those latter two groups, I can’t help you. But if you really want to read more, then I have some advice: 

1) Start by re-reading something you love — something that made you love reading. If you want to read now, it’s probably because of that book. Re-connect with it, and you’ll re-connect with your reading self. 

2) Never ever apologize for re-reading. Read the same thing three times in a row if that gives you pleasure. One of the most wonderful moments you can have as a reader is to reach the final page, sigh, stare off into space for a few moments … and then return to page one. (I do this with movies sometimes too: “Watch from beginning.”) 

3) Read responsively. For some that will mean writing in the margins or on sticky notes, but I have found that when you’re reading plot-driven fiction you won’t want to do that: better to wait until the end of a long session and then write your responses in a journal or make a voice memo to yourself. (Apple’s Voice Memos app now has automatic transcription, so you can turn your voice memos into written text. There are similar apps for Android, the best of which appears to be Google Recorder.) One of the best ways to feed your reading impulse is to revisit your excitement about past reading experiences. Heck, even if you don’t like a book there’s fun in explaining to yourself just why you dislike it. If you read responsively you’ll read fewer books but you’ll READ them. 

4) Don’t keep count of how many books you read. If you start keeping count you’ll rush, you’ll neglect to be responsive, you’ll get back into that bad habit of just passing your bleary eyes across the page and calling it “reading.” 

5) New way to be the coolest kid in the room: “I only read a few books this year, but I read each of them three times and made extensive notes to be sure I got the most out of them.” 

6) My idea about reading “upstream” is this: if you loved Harry Potter, you’re not going to be able to recapture the delight by reading a new book about a boy named Larry Carter who goes to the Mugwumps Academy of Sorcery. That never works. Same with all the Tolkien knock-offs. Instead, find out what books J. K. Rowling and J. R. R. Tolkien really loved and read those. What fed their imaginations stands a good chance of feeding yours. 

(Sometimes little things, even, are useful. In the Harry Potter books the caretaker Argus Filch stalks around Hogwarts with his snoopy cat Mrs. Norris. Why “Mrs. Norris”? Well, in Jane Austen’s Mansfield Park the heroine, Fanny Price, has a nasty aunt who’s always watching her and trying to put her in her place. Her name? Mrs. Norris. And then you realize that, like Harry Potter, Fanny Price is a young person living not with her parents but with an aunt and uncle … hmmm. Suddenly connections start to form between two stories that on the surface don’t look alike at all.) 

7) I always smile when people tell me they don’t enjoy or don’t understand or are intimidated by poetry. I ask them, “How many songs can you sing from beginning to end?” The answer is probably: hundreds. And songs are poems set to music. A fun exercise: look for poems in rhyme and meter and see if you can find a good tune for them. The easiest poet to do this with is Emily Dickinson, because she always wrote in what’s called “common meter” or “hymn meter.” So you can sing all of Emily Dickinson’s poems to the tune of “Amazing Grace” — or, even more enjoyably, to other songs that are not hymns but are in that meter. For people of my generation, I would suggest the Gilligan’s Island theme song. And then you can do a Gilligan’s Island / “Because I could not stop for death” mashup. Sing it with me: 

<blockquote>Because I could not stop for death 
He kindly stopped for me
The carriage held but ourselves
And immortality,
And Gilligan, the skipper too,
The millionaire and his wife…</blockquote>

If you want to develop a love of poetry, reconnect it with music, which is its origin. You’ll not only appreciate poems better, you’ll find yourself memorizing them! Then you can gradually move on to poems that are less obviously musical. (Though all really good poems have music to them.) 

8) Libraries are great places to find things that no algorithm would ever suggest to you. This is important because we are collectively losing our faculty for total random surprise — for serendipity. Libraries are serendipity vendors. Unfortunately, in our time libraries are becoming less common, and the ones that still exist are becoming less like libraries. But if you live anywhere near a university, university libraries tend to be open to the public, and also tend to preserve their collections longer than public libraries do. Even if you can’t check out the cool random book you discover, you can sit down with it for a while. And then if you love it you can buy your own copy."]]></description>
<dc:subject>alanjacobs 2025 howweread reading pleasure attention enjoyment libraries discover response</dc:subject>
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<item rdf:about="https://blog.ayjay.org/denialism-and-its-counterfeits/">
    <title>denialism and its counterfeits – The Homebound Symphony</title>
    <dc:date>2025-08-07T22:34:24+00:00</dc:date>
    <link>https://blog.ayjay.org/denialism-and-its-counterfeits/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>alanjacobs freddiedeboer taschamounck ai artificialintelligence denialism llms machinelearning language</dc:subject>
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<item rdf:about="https://blog.ayjay.org/my-anarchist-notebook/">
    <title>my anarchist notebook – The Homebound Symphony</title>
    <dc:date>2025-08-04T21:30:43+00:00</dc:date>
    <link>https://blog.ayjay.org/my-anarchist-notebook/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I mentioned in a recent post [ https://blog.ayjay.org/flanagans-ireland/ ] that reading Thomas Flanagan’s novels about Ireland has me thinking about revolution – the causes and consequences of revolution, and of course the difficulty of defining “revolution.” Often it is defined quite narrowly as “an attempt to overthrow an existing government by force of arms” and equally often quite expansively as “advocacy for major social change.” In my recent thinking Michael Collins has played a large role, because while there can be no doubt that Collins wanted the British out of Ireland altogether, he became convinced that the best way to do this was to move one step at a time, to accept Dominion status as a way-station to complete independence. This made him, I think, a kind of gradualist revolutionary, though to his Irish opponents it made him into something altogether unrevolutionary, which is why they killed him. (For urgent Irish revolutionaries, the advocacy of anything other than immediate violence made you a “West Briton,” as Gabriel Conroy is called by Miss Ivors in Joyce’s story “The Dead.”) 

My interest in anarchism complicates my thinking about these matters. On the one hand, an anarchist society would be radically different than the one we now live in, and in that sense would be the fruit of a revolution. But organized armed revolution could not, in my view, be pursued anarchically – it would be anti-anarchist even if conducted in the name of anarchy. That was also true of the “anarchist” bombers of the late 19th and early 20th centuries: they were not anarchists, for as Proudhon said, “Anarchy is order”; rather, they were Chaotics, a very different thing. To render a social order non-functional in the hope that something more just will somehow rise from the ruins is antithetical to the character of anarchism, which is all about collaboration and cooperation. Terrorism and armed insurrection are thus equally alien to true anarchism. 

So how could anarchism be practiced in such a way that society changes for the better? How is it possible to remake the world without betraying your principles in the process? (“We had to destroy the village in order to save it.”)

I’ve written off and on about these matters for years – see the “anarchism” tag at the bottom of this post – but my thoughts are still largely confused. So I decided to make this post a kind of notebook of ideas. I’ll post today but then I will come back and add second and third thoughts later, and see if some kind of order eventually emerges. After all, isn’t anarchic method appropriate to the study of anarchism? 

If you haven’t read anything I’ve written about this, start with this essay [https://harpers.org/archive/2022/12/between-chaos-and-the-man-the-dawn-of-everything-graeber-wengrow-the-dispossessed-ursula-k-le-guin/ ] and then this reflection on Christian anarchy [https://blog.ayjay.org/anarchism-as-a-spiritual-discipline/ ].

One more thing: my major guides to thinking about anarchism are 

- Peter Marshall, Demanding the Impossible: A History of Anarchism [https://archive.org/details/demandingimpossi0000pete ] 
- James Scott, Two Cheers for Anarchism [https://press.princeton.edu/books/paperback/9780691271781/two-cheers-for-anarchism ]
- David Graeber, essays [https://theanarchistlibrary.org/category/author/david-graeber ]

And now on to the notebook: 

Malatesta [https://en.wikipedia.org/wiki/Errico_Malatesta] thought that the committed libertarian, who cares only about his own freedom of movement, will if he follows his natural course become a tyrant, and in even the best case “anything but an anarchist.” 

•

It is vitally important to distinguish anarchism from libertarianism [https://blog.ayjay.org/a-path-forward/ ]. The highest goods of the libertarian are freedom of action and freedom to own property, both conceived as belonging to the individual. The anarchist, by contrast, seeks some form of the good life in collaboration and cooperation with others. Anarchism is therefore intrinsically social, pluralistic, and unplanned. Because, as Isaiah Berlin says, the Great Goods are not always compatible with one another, you collaborate with people who share your priorities, understanding and accepting that others will find other structures of collaboration. And in pursuing those goods you have the humility to recognize that you don’t know how they may be achieved; that is something you discover through your collaboration. (Related by me: this [https://hedgehogreview.com/web-features/thr/posts/alexander-herzen-and-the-plural-world ] and this [https://hedgehogreview.com/web-features/thr/posts/ten-theses-on-monism-and-pluralism-plus-a-quotation ].) 

Anarchism is therefore not a system of government but a practice, and one can practice it at any level of social interaction. The parent who tells two squabbling children to work out their differences themselves, rather than appealing to a parental verdict, is practicing anarchism, and a very important form of it too. 

•

The true anarchist can never throw bombs, because when you do that you are making decisions for other people without their consent, which is anthithetical to anarchism. 

•

Anarchism can never be revolutionary in the sense in which political systems (communism, socialism, fascism) can be revolutionary. But the ultimate effects of anarchism can be far greater than the effects of any of those other movements. As Hannah Arendt said, every revolutionary becomes a conservative the day after the revolution; as The Who said, “Meet the new boss, same as the old boss.” Anarchism declines bosses altogether. And that is truly revolutionary – but it is only brought about by means so slow and patient that no one can see them at work. 

•

It is a shame that, in The Dispossessed, Ursula K. Le Guin never describes in detail the revolution that led to the anarchist colony on Anarres. We only learn, in a wonderful story, about “The Day Before the Revolution.” [https://storyoftheweek.loa.org/2017/08/the-day-before-revolution.html ] So the question of how principled anarchists revolt is left unanswered. 

•

James Scott speaks of “the anarchist tolerance for confusion and improvisation that accompanies social learning, and confidence in spontaneous cooperation and reciprocity.” The key point here is that link between improvisation and “social learning.” An algorithmic order is incompatible with both improvisation and social learning. 

Scott again: in the last hundred years we have learned that “material plenty, far from banishing politics, creates new sphere of political struggle” and also that “statist socialism was less ‘the administration of things’ than ==the trade union of the ruling class protecting its privileges==.” 

•

Jacques Ellul thinks that Christians should be anarchists because God, in Jesus Christ, has renounced Lordship. I think something almost the opposite: it is because Jesus is Lord (and every knee shall ultimately bow before him, and every tongue confess his Lordship) that Christians should be anarchists.

[image]"]]></description>
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<item rdf:about="https://blog.ayjay.org/o-rescue-me-leviathan/">
    <title>O rescue me, Leviathan – The Homebound Symphony</title>
    <dc:date>2025-07-24T05:32:20+00:00</dc:date>
    <link>https://blog.ayjay.org/o-rescue-me-leviathan/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The really key thing here, the thing that connects Clarke’s vision with Harrington’s vision, is that Karellen gently holds children. He’s going to be our friend. He’s going to be everybody’s friend. He’s going to make friendship possible. See? Nothing to be afraid of. Yes, he has horns and a tail, and he’s enormous and frightening, but he’s our friend. Why should we be worried about our friend? Just look at the little children sitting comfortably on his shoulders and playing with his wings. 

But, of course, the Overlords end up destroying the Earth and almost everybody in it. They’re not our friends. They have no love for us. They are interested in accelerating the evolution of humanity — in a few humans who are able to go to the next level of consciousness and power, children whom they take with them; the rest of us are to be eradicated. This is inevitable.

<blockquote>It was the end of civilization, the end of all that men had striven for since the beginning of time. In the space of a few days, humanity had lost its future, for the heart of any race is destroyed, and its will to survive is utterly broken, when its children are taken from it.</blockquote>

The powerful love and recognize only power. They’re never going to be our friends. They’re going to use us and discard us. Power alienates, and absolute power alienates absolutely. This is why the Bible says, “Put not your trust in princes.” But Harrington does put her trust in princes — or hopes to.

Did the twentieth century teach us nothing?  

Which leads me to the third work of mid-century literature that I have in mind. Big Brother isn’t even here yet, and already Harrington has won the victory over herself. She loves Big Brother. But should her dream come true, one day he’ll say to her, and to all of us unfortunate enough to be present, “I’m not your brother, and I’m not your friend.”"

[regarding:

"The King and the Swarm" by Mary Harrington
https://firstthings.com/the-king-and-the-swarm/ ]]]></description>
<dc:subject>alanjacobs leviathan maryharrington nayibbukele dictatorship monarchism patriarchy christianity rustreno authoritarianism caesar juliuscaesar charlesnorriscochrane augustus staugustine saintaugustine augustine whauden nostalgia utopia arthurcclarke overlords humanity civilization</dc:subject>
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<item rdf:about="https://blog.ayjay.org/the-health-of-the-state/">
    <title>the health of the state – The Homebound Symphony</title>
    <dc:date>2025-07-23T20:56:11+00:00</dc:date>
    <link>https://blog.ayjay.org/the-health-of-the-state/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anarchy is thus the fons et origo of healthy order, and I am increasingly coming to believe that anarchy is the precondition of conservation. Anarchism (in this sense, the sense of order emerging from the voluntary collaborations of social equals) is the true conservatism. 

States sometimes do good things, but we can trust the state only to enable killing and to kill. Anything better than killing can reliably be achieved only by civil society, and civil society will thrive only insofar as we practice voluntary collaboration — and it requires practice: voluntary collaboration is something the state has taught us to be bad at."]]></description>
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<item rdf:about="https://blog.ayjay.org/oh-the-irony/">
    <title>oh the irony – The Homebound Symphony</title>
    <dc:date>2025-07-12T01:53:18+00:00</dc:date>
    <link>https://blog.ayjay.org/oh-the-irony/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Americans are reading less. Is that poisoning our politics? | Vox [https://www.vox.com/politics/414049/reading-books-decline-tiktok-oral-culture ]: 

<blockquote>As America’s test scores fall and its screen time rises, narratives of cultural decline become hard to dismiss outright.

Yet it’s worth remembering the perennial appeal of such pessimism. More than 2,000 years ago, Socrates decried the novel media technology of his day — the written word — in much the same terms that many condemn social media and AI in 2025. Addressing himself to the inventor of writing, the Greek philosopher declared, “You have not discovered a potion for remembering, but for reminding; you provide your students with the appearance of wisdom, not with its reality. Your invention will enable them to hear many things without being properly taught, and they will imagine that they have come to know much while for the most part they will know nothing.”</blockquote>

Lovely! Here’s an essay about the decline of reading that features either a misreading or non-reading of a passage from Plato’s _Phaedrus_ [https://classics.mit.edu/Plato/phaedrus.html ]. Remember, Plato wrote dialogues, and in this one Socrates is on a walk with Phaedrus, having a discussion about the written and spoken word. Thus: 

<blockquote>_Soc._ At the Egyptian city of Naucratis, there was a famous old god, whose name was Theuth; the bird which is called the Ibis is sacred to him, and he was the inventor of many arts, such as arithmetic and calculation and geometry and astronomy and draughts and dice, but his great discovery was the use of letters. Now in those days the god Thamus was the king of the whole country of Egypt; and he dwelt in that great city of Upper Egypt which the Hellenes call Egyptian Thebes, and the god himself is called by them Ammon. To him came Theuth and showed his inventions, desiring that the other Egyptians might be allowed to have the benefit of them; he enumerated them, and Thamus enquired about their several uses, and praised some of them and censured others, as he approved or disapproved of them. It would take a long time to repeat all that Thamus said to Theuth in praise or blame of the various arts. But when they came to letters, This, said Theuth, will make the Egyptians wiser and give them better memories; it is a specific both for the memory and for the wit. Thamus replied: O most ingenious Theuth, the parent or inventor of an art is not always the best judge of the utility or inutility of his own inventions to the users of them. And in this instance, you who are the father of letters, from a paternal love of your own children have been led to attribute to them a quality which they cannot have; for this discovery of yours will create forgetfulness in the learners’ souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves. The specific which you have discovered is an aid not to memory, but to reminiscence, and you give your disciples not truth, but only the semblance of truth; they will be hearers of many things and will have learned nothing; they will appear to be omniscient and will generally know nothing; they will be tiresome company, having the show of wisdom without the reality.</blockquote>

So, no: Socrates does _not_ speak to the inventor of writing: he tells a story in which a divine Egyptian king speaks to the inventor of writing. And this isn’t hard to discover, nor is the passage hard to understand. 

Bless me, what _do_ they teach journalists these days? It’s all in Plato — all in Plato! 

And if you keep reading the dialogue it gets more curious. Phaedrus says that he agrees with Thamus, but Socrates does not, not exactly. He too has concerns about writing, but they are rather different than Thamus’s. For Socrates, writing shares a problem with several other modes of expression: 

<blockquote>I cannot help feeling, Phaedrus, that writing is unfortunately like painting; for the creations of the painter have the attitude of life, and yet if you ask them a question they preserve a solemn silence. And the same may be said of speeches. You would imagine that they had intelligence, but if you want to know anything and put a question to one of them, the speaker always gives one unvarying answer. And when they have been once written down they are tumbled about anywhere among those who may or may not understand them, and know not to whom they should reply, to whom not: and, if they are maltreated or abused, they have no parent to protect them; and they cannot protect or defend themselves.</blockquote>

Socrates believes that writing, painting, and declamatory rhetoric _all have the same problem_: they are non-dialectical. This is also, Socrates shows in other dialogues, the problem with many versions of what people call “philosophy.” Genuine philosophy, Socrates believes, is dialectical, that is, it proceeds when people physically present to one another put one another to the question in a strenuous encounter that elicits _anamnesis_ — recollection (literally _unforgetting_) of the knowledge that one’s spirit had before being tossed into this world of flux. Nothing else counts as philosophy; nothing else — not painting; not poetry or speeches, whether in spoken or written form — is productive of genuine knowledge. The critique of Socrates is far more unbendingly radical than that of Thamus. "]]></description>
<dc:subject>alanjacobs reading plato howweread politics phaedrus writing media socialmedia socrates anamnesis unforgetting thamus ericlevitz 2025 journalism factchecking</dc:subject>
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<item rdf:about="https://blog.ayjay.org/computer-control/">
    <title>Computer Control – The Homebound Symphony</title>
    <dc:date>2025-06-24T05:57:25+00:00</dc:date>
    <link>https://blog.ayjay.org/computer-control/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What follows here are three related essays, or maybe a three-part essay, that I published in Books & Culture in 2002 … a documentary record of a different world, one in which a benighted humanist could get delightedly lost in an emergent world of code. Re-reading these essays for the first time since I published them, I have been quite surprised at how much of the reading I did in those days has continued to shape my thinking even today — and not just about computers. I’ve added a good many links but otherwise left the text largely unchanged, not because I approve of it all, but because it’s a kind of time capsule."]]></description>
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</item>
<item rdf:about="https://blog.ayjay.org/brain-donation/">
    <title>mind donation – The Homebound Symphony</title>
    <dc:date>2025-06-16T15:46:02+00:00</dc:date>
    <link>https://blog.ayjay.org/brain-donation/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>alanjacobs ai artificialintelligence chatbots caseynewton 2025 kevinroose</dc:subject>
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<item rdf:about="https://blog.ayjay.org/buckley/">
    <title>Buckley – The Homebound Symphony</title>
    <dc:date>2025-06-15T22:18:08+00:00</dc:date>
    <link>https://blog.ayjay.org/buckley/</link>
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<item rdf:about="https://blog.ayjay.org/the-plusses-and-minuses-of-gioiatopia/">
    <title>the plusses and minuses of Gioiatopia – The Homebound Symphony</title>
    <dc:date>2025-05-29T16:01:39+00:00</dc:date>
    <link>https://blog.ayjay.org/the-plusses-and-minuses-of-gioiatopia/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One final question, and then its answer: Do students want the kind of experience Gioiatopia would provide? Some would, certainly — but how many? I would guess considerably less than one percent of the pool of applicants. For the overwhelming majority Gioiatopia would be a dystopia. Why? 

Most young people today feel, with considerable justification, that they live in an economically precarious time. They therefore want the credential that will open doors that lead to a good job, either directly or (by getting them into good graduate programs) indirectly. Their parents want the same thing, and perhaps want it even more intensely because they tend to be making an enormous financial investment in their children’s education.

But those same young people also want to have a good time in college, a period of social experience and experimentation that they (rightly) think will be harder to come by when they enter that working world. Many people sneer at universities that build lazy rivers and climbing walls, and devote every spare penny to their athletic programs — I’ve curled my lip at such things a few times over the decades — but the fact remains that such amenities are significant factors in recruitment. Many students like them; they’re part of the [insert university name here] Experience. 

Here’s the key thing: what most people call AI but what I call chatbot interfaces to machine-learning corpora (yes, we’ve finally gotten around to that) do a great deal to facilitate the simultaneous pursuit of these two competing goods. Yes, students understand — they understand quite well, and vocally regret — that when they use chatbots they are not learning much, if anything. But the acquisition of knowledge is a third competing good, and if they pursue that one seriously they may well have to sacrifice one of the other two, or even both. Right now they can have two out of three, and as Meat Loaf taught us all long ago, two out of three ain’t bad.

The people who run universities understand all this also, even if they have their own regrets; and they’re not going to impede their income stream any further than it’s been impeded already by demographic realities. They will make the necessary accommodations to a chatbot-dependent clientele, because, especially when customers are scarce, the customer is always right. Those departments and programs that push back will be able to to do so only imperfectly, and probably at the cost of declining enrollments. So it goes. 

And the kind of learning that Ted Gioia and I prize will still go on. However, it will primarily thrive outside the university system — as it did for many centuries before universities became as large a part of the social order as they are now."]]></description>
<dc:subject>alanjacobs tedgioia 2025 colleges universities pedagogy highered highereducation howweteach teaching education technology ai artificialintelligence cheating</dc:subject>
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<item rdf:about="https://blog.ayjay.org/here-we-go-again-2/">
    <title>here we go again – The Homebound Symphony</title>
    <dc:date>2025-05-28T06:32:13+00:00</dc:date>
    <link>https://blog.ayjay.org/here-we-go-again-2/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nicole Krauss (https://www.washingtonpost.com/opinions/2025/05/22/ai-reading-writing-graduation-books/ ): 
<blockquote>In my lifetime, I have watched the demolition of the capacity to read and engage with books. Not just of our children, who have been the unwitting guinea pigs of growing up inside cellphones, but among all of us human beings. We have lost not just our ability to concentrate on deciphering long passages of written language; we have, I believe, begun to lose our attachments to the meaning of words and sentences, which we once trusted to carry the precious freight of communicating who we are — to ourselves and to each other. The blatantly, proudly senseless speech of our current leaders is not the cause, it is merely the most extravagant example of what happens when an entire culture — increasingly, the monoculture of the world — gives up on, and ceases to be capable of, the struggle to funnel meaning into language — to translate themselves, their thoughts, and their ideas into words that others can read and share. Writing and reading are not effortless. But, without that effort, we will slide deeper and deeper into inchoateness, darkness, violence, diminished freedom for all and a diminished state of human being.</blockquote>
I guess if people keep writing this sort of thing I’ll keep responding with the same questions: 

1.  When Krauss says “We have lost not just our ability to concentrate on deciphering long passages of written,” who are “we”?

2. Presumably she does not mean herself. She seems to be referring, rather, to “an entire culture.” But if our entire culture has “give[n] up on, and cease[d] to be capable of, the struggle to funnel meaning into language,” then how do we have novelists like Nicole Krauss? 

3. Krauss says that people have given up on the struggle to “translate themselves, their thoughts, and their ideas into words that others can read and share” — but is that true? When I look at the internet I see an astonishing amount of writing, writing done for others to read and share. Is an underproduction of writing really our problem? 

4. If “we have … begun to lose our attachments to the meaning of words and sentences, which we once trusted to carry the precious freight of communicating who we are,” when did “we” have that attachment? When did “we” acquire it? 

Let me ride my old hobby-horse once more: The reading and writing of books — and when Krauss says “books” I think she’s primarily referring to novels — has always been a minority pursuit. Until recently Western cultures did not even aspire to universal literacy, and until quite recently no one imagined that universal literacy would extend to the reading and comprehension of novels and poems by all young people. The idea that Western culture as a whole should involve encounters with serious literature is largely a product of World War II and the period following. That’s when we saw the percentage of the population who read novels rise to the highest level in human history. As I wrote last year (https://hedgehogreview.com/web-features/thr/posts/decline-or-oscillation ): 
<blockquote>The not wholly tangential question, of course, is what counts as “long-term.” The kind of variation in skills and interests that I have described can happen over a handful of years but also over decades and centuries. One might ask not just how American university students today compare to those of twenty or thirty years ago but also how they compare to students from a century ago. That would have been a much smaller population, for one thing, because before the G.I. Bill of 1944 sent millions of former soldiers to university, many of whom otherwise would never have considered it, a university education was not the passport to white-collar employment and a stable middle-class life that it has since become. As Kotsko’s essay indicates, we now expect what in historical perspective is a shockingly large percentage of our young adults to be able to read and write about complex texts in philosophy, literature, and related disciplines. But perhaps those are, over a truly long period of time, not reasonable expectations. What looks like a disastrous collapse in literacy may be simply a reversion to a kind of mean.</blockquote>
What percentage of English people could have read Paradise Lost when it appeared? What percentage of Americans could have read Uncle Tom’s Cabin when it appeared? We have to know things like this if we’re going to make comparative assertions. But people make comparative assertions all the time without even thinking about such matters. 

I agree that novels, and other long narratives, have become less culturally central, less influential, than they were fifty or sixty years ago. (And I regret this.) But are they less culturally central than they were a hundred years ago? I’m not sure about that. Two hundred years ago? Hard to say. 

How many ambitious and masterful novels can we reasonably expect our culture to produce each year? How many thoughtful and sensitive readers can we reasonably expect those novels to have? I don’t find these questions easy to answer."]]></description>
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    <title>Alasdair Macintyre R.I.P. – The Homebound Symphony</title>
    <dc:date>2025-05-24T00:55:06+00:00</dc:date>
    <link>https://blog.ayjay.org/alasdair-macintyre-r-i-p/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2025 alanjacobs obituary whauden christopherkaczor thomism marxism alasdairmacintyre virtueethics philosophy catholicism theology ethics morality virtue moralphilosophy</dc:subject>
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<item rdf:about="https://blog.ayjay.org/tag/disenchantment/">
    <title>disenchantment – The Homebound Symphony</title>
    <dc:date>2025-05-04T23:22:57+00:00</dc:date>
    <link>https://blog.ayjay.org/tag/disenchantment/</link>
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<item rdf:about="https://hedgehogreview.com/issues/after-neoliberalism/articles/i-was-strengthened-at-the-movies">
    <title>I Was Strengthened at the Movies | After Neoliberalism? | Issues | The Hedgehog Review</title>
    <dc:date>2025-04-30T17:57:02+00:00</dc:date>
    <link>https://hedgehogreview.com/issues/after-neoliberalism/articles/i-was-strengthened-at-the-movies</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Few filmmakers have inspired as much philosophical and theological commentary as Terrence Malick. He was, for a short time, a professional philosopher, but even if that fact were unknown, his films would still quite obviously provide a wealth of images, events, and experiences that invite philosophical or theological reflection. I have read most of these philosophical and theological treatments of Malick’s work, and they tend to have two things in common. First, they typically exhibit a deep knowledge of and enthusiasm for his work; but second—and here we run into problems—they tend to treat the films as a repository of helpful philosophical or theological illustrations. That is, Malick’s films are treated as an ancillary collection of material that allows professors of theology or philosophy to make arguments they could have made without reference to Malick’s films. All the movie stuff just makes those points more vivid.

Because this tendency has been unfortunately widespread, I am greatly delighted by the publication of Martin Woessner’s new book, Terrence Malick and the Examined Life. Woessner is, in my experience anyway, the first academic writing about Malick to take fully seriously the possibility that Malick’s films are themselves philosophical projects—unique philosophical projects whose value cannot be replicated by the conventional discourse of academic philosophy or theology and cannot fully be translated into any terms other than their own. As he writes in his introduction, “It is my contention that Malick’s films represent a continuous philosophical project in their own right, one that draws upon preexisting philosophical discourses and traditions yet also calls them into question and even, in some instances, transcends them. They remind us that philosophy can be not just an academic subject but also a way of life.” The rest of the book amply bears out this contention."

...


"In this book, Woessner quotes almost everything valuable that Malick has said about his films, but he missed (I think) one key interview. At the Rome Film Festival in 2007, Malick spoke of his abiding affection for the early films of Federico Fellini, which he had seen as a teenager. He recalled “coming out into the light and making vows to be a better son or brother, or work harder.” He noted that just watching such films “strengthened you.”

For Malick, the essential work that a movie achieves does not happen in the theater as we watch; it begins when we leave the theater and return to our social and personal worlds. This is the point that Woessner understands profoundly, and this is why his book continually returns to the questions implied by its title: those that arise when one examines one’s life. Malick’s movies, like most of the best movies, are inducements to self-examination; they depict that experience in wonderfully and agonizingly detailed ways, and they passionately encourage us to the same kinds of reflection that the characters undergo.

Woessner writes that “Malick’s turn away from professionalized philosophical work may have been the very thing that allowed him to become a true philosopher, not just some ‘professor of philosophy.’” And: “For as long as philosophy was associated with the question of how to live, it began with and returned to personal experience.” Terrence Malick and the Examined Life is an academic’s book that freely acknowledges the limitations of academic books; but when we academics point to those who do what we can’t do, we begin to transcend our professional limitations. As for Malick’s movies, they indeed return us to personal experience, or strive to do so, but not for the sake of nostalgia or easy comfort or emotional self-indulgence. If we let them, they can strengthen us.

But the viewer should be warned: The self-examination prompted by Malick’s films might lead to a place beyond philosophy. At the outset of Knight of Cups (2015), the movie about the existentially disoriented screenwriter, it is suggested to us that his story is a version of what John Bunyan called “The Pilgrim’s Progress from This World to That Which Is to Come.” But—and this is why the quest to know oneself is so scary—we can’t know our destination when we set out. As the final word of that film, a most Malickian word, teaches us, all we can do is: Begin."]]></description>
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    <title>Orange Man v Harvard (2024) – The Homebound Symphony</title>
    <dc:date>2025-04-25T04:15:42+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><dc:subject>alanjacobs highereducation highered 2025 universities colleges 2024 acadeia governance government us politics policy regulation academicfreedom</dc:subject>
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<item rdf:about="https://blog.ayjay.org/on-humanism-the-big-picture/">
    <title>on humanism: the big picture – The Homebound Symphony</title>
    <dc:date>2025-04-18T07:00:36+00:00</dc:date>
    <link>https://blog.ayjay.org/on-humanism-the-big-picture/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The word “humanist” has several meanings, but they tend to fall within two broad camps. (There are other, more specialized, meanings, but we won’t deal with them here.)

The first holds that “man is the measure of all things,” and that there is no God, or at least no God to whom we owe worship and obedience. This is the sort of thing preachers denounce when they speak of “secular humanism.”

The second sees humanism as a project – moral, intellectual, artistic – to restore, improve, and perhaps even perfect the human species. To usher us into our true and noble inheritance.

The first camp is not compatible with Christianity, but I would argue that the second camp pursues a project of which Christianity is the proper fulfillment. Christianity is the true humanism because Jesus Christ as man is what humanity ought to be, and by his death and resurrection he makes it possible for that “ought” to become “is.” Augustine: “As God, he is the goal; as man, he is the way“ (City of God XI.2).

The decline of Christianity in the West and its replacement as a key motive agent of society by liberalism entailed the exchange of a thick description of the human for an exceptionally thin one. Under liberalism, the human becomes the one who chooses its own way, and the role of society, including the political realm, becomes the facilitation of each human’s choice. This account is thin because it’s so simple, but the simplicity has certain virtues: in the light of liberalism’s one principle it becomes obvious, to many anyway, that the racist and sexist structures of the traditional social order are unjust and must be abandoned or at least seriously reformed. And this has been done, albeit inconsistently and imperfectly.

But as the thinness of liberalism’s anthropology – what Charles Taylor called the “Is That All There Is?” problem (A Secular Age, Chapter 8) – became more evident, alternatives with a thicker (if often also a coarser) account of human life began to emerge. And most of these are antiliberal and therefore antihumanist – because, remember, liberalism is a humanism, if an inadequate one. The various illiberalisms, on the Right and on the Left alike, have no room for the concept of the human.

Pause for what I hope will be a useful analogy: Back when I was devoting a good bit of my energy to cultivating ecumenical endeavors among small-o orthodox Christians, I discovered that there are some Roman Catholics for whom “non-catholic Christian” is a functional concept and some for whom it definitely is not, for whom the distinction between Catholic and non-Catholic is the only one that matters. The former might be willing to pursue ecumenical endeavors; the latter would not see the point. If I had pressed any people in that second group, they probably would have acknowledged that there are non-catholic Christians, but the fact was not relevant to them. It did not function as a concept in their ordering of the world. It cut no ice.

Something similar may be said of the illiberalisms of the Left and Right: they would probably acknowledge the existence of the category of the human, but not its relevance. They order the world by three categories: Us, Allies, and Enemies – that last being populated largely by the Repugnant Cultural Other. Thus in the assaults on liberalism humanism is also eviscerated.

In addition to those of the Right and the Left, there is one other antihumanism at work in the modern era, and that is the antihumanism of Capital: the reduction of men and women to machine, parts, instruments of commerce, either as Tools or as Targets. The great critic of Capital is usually thought to be Marx, but Marx’s response to the rise of a thoroughly dehumanizing industrial capitalism with an equally antihumanist account of the world has divided — so he and Engels say in The Communist Manifesto — between the Oppressors and the Oppressed. There’s no room in this analysis for the human. No, the great humanist critic of Capital is John Ruskin, who in The Stones of Venice and elsewhere denounced Taylorism before Frederick Winslow Taylor was even a gleam in his father’s eye.

Whether the antihumanism of modern Capital is a covert repudiation of liberalism or its natural and inevitable culmination is a question I don’t feel obliged to answer here.

But in any case, as the various illiberalisms and antihumanisms have risen and risen in power, we’ve seen various attempts to restrain and subdue those forces. Three such attempts are:

1. The reassertion of the liberal version of humanism as a secular alternative to the various illiberalisms and Christianity alike, all of which are seen as “extremist” and “intolerant.” (See Karl Popper, and, quite recently, Alexandre Lefebvre.)

2. The assertion of the vague colorless construct of “Judeo-Christian values” as the protector and guarantor of liberalism – liberalism’s Daddy, as it were.

3. The assertion of a robustly Christian anthropology as the only viable alternative to all antihumanisms. (This movement, in the intellectual realm as opposed to the populist realm in which Billy Graham and the larger evangelical movement largely operated, is the subject of my book The Year of Our Lord 1943.)

As the “humanism” tag on this blog suggests, I have thought quite a lot about these matters, and the one Great Conundrum for me continues to be this: Is the renewal of humanism a prerequisite for the renewal of Christianity – or the other way around? That is, does an embrace of humanism make Christianity more plausible, or must one become a Christian – one who believes that all humans are (a) made in the image of God and (b) ”fallen into sin, and become subject to evil and death” (BCP) – before the concept of the human becomes a living and vibrant one?

Beats me.

What I do feel sure of, though, is this: While there are great predecessors to the rearticulation of the human, like Ruskin, vast cultural energies were devoted to resisting antihumanism only in the middle third of the 20th century – basically the period from Lang’s Metropolis to Kubrick’s 2001. (I use cinema to establish those boundaries because cinema is the essential art form of this period, and the one most consistently occupied, if often in a subterranean sort of way, with “the question of humanism.” Even Cat People concerns the human and the nonhuman Other. But you could tell a similar story via any of the other arts. I could describe this as the period between Brave New World and Philip K. Dick, or between early-career George Orwell and early-career Joan Didion, or between Shostakovich’s Fifth Symphony and Revolver.)

In the latter third of the 20th century, several forces combined to suppress the influence of humanism, and since then the antihumanists have been largely triumphant. But that is why I devote my attention to the artists and intellectuals of the mid–20th century: They were the last generations to really fight back. I’m speaking generally, of course: we have humanist artists today, though not so many that you’d notice. Today, most people in the West and in other parts of the world as well have won the victory over themselves: They love their antihuman Big Brothers. So on this blog and elsewhere I will keep turning to those figures of the middle of the previous century for lessons in resistance, lessons in courage, lessons in hope."]]></description>
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<item rdf:about="https://blog.ayjay.org/moses-the-roadgiver/">
    <title>Moses the roadgiver – The Homebound Symphony</title>
    <dc:date>2025-04-17T21:51:34+00:00</dc:date>
    <link>https://blog.ayjay.org/moses-the-roadgiver/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Both Moses and LBJ were nasty men who did terrible things — but also did great things. And there was no way to get the great things without the terrible things coming along for the ride. Do you accept the deal? That’s the question Caro presses on all his readers, and that’s the key to his greatness as a biographer and historian."]]></description>
<dc:subject>biography alanjacobs robertcaro robertmoses thepowerbroker arrogance tradeoffs nyc newyork lbg lyndonjohnson cokestevenson texas history elections janejacobs urbanplanning urbanism parks lbj newyorkstate</dc:subject>
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</item>
<item rdf:about="https://blog.ayjay.org/forgiveness-2/">
    <title>forgiveness – The Homebound Symphony</title>
    <dc:date>2025-04-08T21:06:47+00:00</dc:date>
    <link>https://blog.ayjay.org/forgiveness-2/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Pale Flower (1964) is an extraordinary film — and, among other things, a masterclass in directorial tact: Shinoda knows precisely when his camera should move and when it should be still. The shape of every shot — and of every sound, for the sound design here is exceptional — is determined by the needs of the story and characters. I can’t imagine a movie from which you could learn more about how to direct a movie. 

How to describe it? Let’s call it a Yakuza existentialist noir. But the fundamental idea of the story (it’s more than a metaphor) is that of gambling: the playing of games, games with high stakes, games whose demands give you a feeling of being alive. One of those games is murder, by the way. Others are played with hanafuda cards — you see one of those above — and we encounter several such games in the course of the film. I haven’t counted, but I suspect they take up a quarter or more of its running time. 

In the scene above our two protagonists are discussing their addiction to wrongdoing. Each of them confesses to the other. Muraki (the Yakuza hitman) does most of the talking here, and concludes his story of how he killed a man and went to prison for it by saying, “Ask anyone: I’m no good. Even I think so. I’m the scum of the earth. I have nothing in common with ordinary society. But still — I forgive myself.” To which Saeko replies: “I know. No matter what others say, I forgive myself too.” 

And I find myself wondering: What, in their cultural context, does that mean? What is the Japanese word they’re using? What history does it have? What to these characters is forgiveness? Is it identical to, similar to, or wholly different from, the Christian meaning of the word? (It’s very curious that when Muraki and Saeko meet she picks him up — in her expensive sports car — in front of a church. But maybe that means nothing.) Their use of the word brought me up short. 

In his endlessly interesting book Studies in Words, C. S. Lewis talks about how the experienced reader learns to cultivate and to heed “semantic discomfort” — discomfort of the kind I am experiencing. But he also points out that often we don’t experience such discomfort when we ought to. The meaning of a word in its context seems so obvious to us that we glide right past it … and over the falls onto the rocks of Error. So when my mind stumbles on a word as it did at this moment in Pale Flower, my next question for myself always is: How many other important and (to the Western viewer) difficult words in this movie did my mind not stumble on? And I have no way to answer that question. Ignorance is always lamentable but only sometimes remediable. 

Fortunately, there’s such a thing as human life: we recognize in other cultures, and even in the most alien of cultures, experiences that remind us of ourselves and people who essentially are ourselves. Some version of the malady that afflicts Muraki and Seiko is known always and everyone. But I wish I knew more about the differences, subtle and not so subtle, that shape the distinctively Japanese character of those universal themes. "]]></description>
<dc:subject>alanjacobs film language translation forgiveness 2025 1964 japanese japan masahiroshinoda filmmaking human humanness</dc:subject>
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<item rdf:about="https://blog.ayjay.org/the-facts-dont-care-about-your-educational-philosophy/">
    <title>the facts don’t care about your educational philosophy – The Homebound Symphony</title>
    <dc:date>2025-03-07T05:28:52+00:00</dc:date>
    <link>https://blog.ayjay.org/the-facts-dont-care-about-your-educational-philosophy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This post by Freddie [https://freddiedeboer.substack.com/p/not-the-right-kind-of-provocation ] is a reminder that about education he has three major points to make: 

1. In any given population, the ability to excel academically (whether or not you call it “intelligence”) is, like almost all other human abilities, plottable as a normal distribution: that is, a few people will be really bad at it, a few people will be really good, and the majority will be somewhere near the middle. 

2. Because some people are simply better at school than other than other people, any pedagogical strategy, practice, or method that improves the performance of the worst students will also improve the performance of the best students; this means that “closing the performance gap” between the worst and best students will only be possible if you use the best strategies for the worst students and the worst strategies for the best ones — and even then the most talented students will probably adapt pretty well, because that’s what being a talented student means. (N.B. I am assuming that “Harrison Bergeron” [https://en.wikipedia.org/wiki/Harrison_Bergeron ] strategies will not be employed, though maybe that’s not a safe assumption.) Another way to put it: if every student in America were equally well funded and every student equally well taught, point 1 above would still be true. 

3. Resistance to these two points is pervasive because we collectively participate in a “cult of smart” [https://www.google.com/books/edition/The_Cult_of_Smart/ro1xDwAAQBAJ?hl=en&gbpv=1&printsec=frontcover ] that overvalues academic performance vis-à-vis other human excellences. That is, because we value “intelligence” as a unique excellence, necessary to our approval, we cannot admit that some people simply aren’t smart. (By contrast, we have no trouble admitting that some people can’t run very fast or lift heavy weights, because those traits are not intrinsic to social approval.)  

Each of these three points is incontrovertibly true — indeed, if you think for a moment, the first two are blindingly obvious — but each is unwelcome to those who’d very much like to believe that equal/equal-ish/equitable educational outcomes are possible, and attainable through (a) more money or (b) better methods or (c) both. So again and again readers (a) misread, probably deliberately, Freddie’s arguments or (b) attack his character or (c) both. It would be funny if it weren’t so sad. "]]></description>
<dc:subject>freddiedeboer alanjacobs education harrisonbergeron vonnegut smartness inequality learning howwlearn meritocracy intelligence us policy schools schooling humans society 2024</dc:subject>
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<item rdf:about="https://mbird.com/religion/prayer/spells-and-prayers/">
    <title>Spells and Prayers - Mockingbird</title>
    <dc:date>2025-02-27T05:35:16+00:00</dc:date>
    <link>https://mbird.com/religion/prayer/spells-and-prayers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I often tell my students that whether Christianity is true or not, it is the most unnatural religion in the world. Even a cursory study of the world’s religions will show how obsessed humans are with finding some way to (a) gain the favor of the gods, or transhuman powers of any kind, and/or (b) avert their wrath. Religious seeking is almost always about these two universal desires: to get help and to avert trouble. But in Christianity it is God who comes to seek and save the lost (Lk 19:10); it is God who reckons with His own wrath, himself making propitiation for our sins, and not for ours only but also for the sins of the whole world (1 Jn 2:2). The standard — or rather the obsessive — practices of homo religiosus have no place here. In Jesus Christ, the Christian gospel says, God has done it all.

I say: This may be true or it may be false, but it is the Christian account of things, and it is very, very weird — so weird that it is easy, indeed natural, for us to fall back on the standard model of religion and turn our prayers into spells. How often do we think, perhaps in some unacknowledged place deep inside our minds and hearts, that when we come to church and say the appointed words and perform the correct actions, we are somehow getting Management to take our side?"

[passage via:
https://sarahendren.com/2025/02/26/the-standard-practices-have-no-place/ ]]]></description>
<dc:subject>alanjacobs 2025 christianity philosophy religion christ jesus jesuschrist prayer rogerscruton</dc:subject>
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<item rdf:about="https://blog.ayjay.org/here-we-go-again/">
    <title>here we go again – The Homebound Symphony</title>
    <dc:date>2025-02-16T00:20:21+00:00</dc:date>
    <link>https://blog.ayjay.org/here-we-go-again/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>alanjacobs wheatoncollege criticalracetheory crt academia christianity 2025 evangelicals colleges universities highered highereducation</dc:subject>
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<item rdf:about="https://blog.ayjay.org/survival/">
    <title>survival – The Homebound Symphony</title>
    <dc:date>2025-02-13T19:11:23+00:00</dc:date>
    <link>https://blog.ayjay.org/survival/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bryan Johnson’s Quest For Immortality | TIME [https://time.com/6315607/bryan-johnsons-quest-for-immortality/ (2023)]:

<blockquote>Johnson, 46, is a centimillionaire tech entrepreneur who has spent most of the last three years in pursuit of a singular goal: don’t die. During that time, he’s spent more than $4 million developing a life-extension system called Blueprint, in which he outsources every decision involving his body to a team of doctors, who use data to develop a strict health regimen to reduce what Johnson calls his “biological age.” That system includes downing 111 pills every day, wearing a baseball cap that shoots red light into his scalp, collecting his own stool samples, and sleeping with a tiny jet pack attached to his penis to monitor his nighttime erections. Johnson thinks of any act that accelerates aging — like eating a cookie, or getting less than eight hours of sleep — as an “act of violence.”

Johnson is not the only ultra-rich middle-aged man trying to vanquish the ravages of time. Jeff Bezos and Peter Thiel were both early investors in Unity Biotechnology, a company devoted to developing therapeutics to slow or reverse diseases associated with aging. Elite athletes employ therapies to keep their bodies young, from hyperbaric and cryotherapy chambers to  “recovery sleepwear.” But Johnson’s quest is not just about staying rested or maintaining muscle tone. It’s about turning his whole body over to an anti-aging algorithm. He believes death is optional. He plans never to do it.</blockquote>

C. S. Lewis, Surprised by Joy: 

<blockquote>I had recently come to know an old, dirty, gabbling, tragic, Irish parson who had long since lost his faith but retained his living. By the time I met him his only interest was the search for evidence of “human survival.” On this he read and talked incessantly, and, having a highly critical mind, could never satisfy himself. What was especially shocking was that the ravenous desire for personal immortality co-existed in him with (apparently) a total indifference to all that could, on a sane view, make immortality desirable. He was not seeking the Beatific Vision and did not even believe in God. He was not hoping for more time in which to purge and improve his own personality. He was not dreaming of reunion with dead friends or lovers; I never heard him speak with affection of anybody. All he wanted was the assurance that something he could call “himself” would, on almost any terms, last longer than his bodily life.</blockquote>"]]></description>
<dc:subject>alanjacobs immortality death bryanjohnson jeffbezos peterthiel cslewis 2025 age aging</dc:subject>
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<item rdf:about="https://blog.ayjay.org/two-quotations-on-slow-reading/">
    <title>two quotations on slow reading – The Homebound Symphony</title>
    <dc:date>2025-01-23T02:13:24+00:00</dc:date>
    <link>https://blog.ayjay.org/two-quotations-on-slow-reading/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Guardian [https://www.theguardian.com/books/2022/dec/02/i-want-to-savour-every-word-the-joy-of-reading-slowly ]:

<blockquote>But there is power in reading slowly, something the Chinese-American author Yiyun Li tells her creative writing students at Princeton University. “They say, ‘I can read 100 pages an hour’,” she says. “But I say, ‘I don’t want you to read 100 pages an hour. I want you to read three pages an hour’.”

That’s the speed Li is happy to read at, even if she is re-reading a familiar text. “People often say they devoured a book in one sitting. But I want to savour a book, which means I give myself just 10 pages a day of any book.” On an average day, Li … reads 10 different books, spending half an hour on each title.

At that pace it can take Li up to three weeks to finish a novel. “When you spend two to three weeks with a book, you live in that world,” she says. “I think reading slowly is such an important skill. Nobody has ever talked about it, or taught me that. I’m a very patient reader. Even if it’s a very compelling book. I don’t want to rush from the beginning to the end.”</blockquote>

Me, from The Pleasures of Reading in an Age of Distraction:

<blockquote>Consider a story by one of the great weirdos of American literature, R. A. Lafferty (1914–2002). It’s called “Primary Education of the Camiroi,” and it concerns a PTA delegation from Dubuque who visit another planet to investigate an alien society’s educational methods. After one little boy crashes into a member of the delegation, knocking her down and breaking her glasses, and then immediately grinds new lenses for her and repairs the spectacles — a disconcerting moment for the Iowans — they interview a girl and ask her how fast she reads. She replies that she reads 120 words per minute. One of the Iowans proudly announces that she knows students of the same age in Dubuque who read five hundred words per minute. (As Stanislas Dehaene explains, that’s pretty close to our maximum speed.)

<blockquote>“When I began disciplined reading, I was reading at a rate of four thousand words a minute,” the girl said. “They had quite a time correcting me of it. I had to take remedial reading, and my parents were ashamed of me. Now I’ve learned to read almost slow enough.”</blockquote>

Slow enough, that is, to remember verbatim everything she has read. “We on Camiroi are only a little more intelligent than you on Earth,” one of the adults says. “We cannot afford to waste time on forgetting or reviewing, or pursuing anything of a shallowness that lends itself to scanning.”</blockquote>"]]></description>
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<item rdf:about="https://blog.ayjay.org/things-made-and-in-the-making/">
    <title>things made and in-the-making – The Homebound Symphony</title>
    <dc:date>2025-01-20T20:25:44+00:00</dc:date>
    <link>https://blog.ayjay.org/things-made-and-in-the-making/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A while back I commented on a post by Robin Sloan [https://www.robinsloan.com/newsletters/finisher/ ] in which he says this:

<blockquote>Sometimes I think that, even amidst all these ruptures and renovations, the biggest divide in media exists simply between those who finish things, and those who don’t. The divide exists also, therefore, between the platforms and institutions that support the finishing of things, and those that don’t.

Finishing only means: the work remains after you relent, as you must, somehow, eventually. When you step off the treadmill. When you rest.

Finishing only means: the work is whole, comprehensible, enjoyable. Its invitation is persistent; permanent.</blockquote>

I like this, but I want to make a distinction between resting from your labors on a particular project and resting from your labors altogether, through retirement or death.

My attitude toward the works I have completed — at at this point that’s fifteen books and a couple of hundred essays and reviews — is that I have never finished anything to my own satisfaction, I have only been forced to abandon it. That’s why I am psychologically incapable of re-reading anything I’ve written. I may retrieve small chunks of it for one purpose or another, but I’ve never re-read anything of mine longer than a blog post. I learned early in my career that revisiting what I’ve published brings only regrets. So, you know, as the man said: “Fare forward, voyagers.”

Maybe for this reason I am drawn toward the work that is never finished in the sense that it’s never handed over to someone else, never designated as complete. Take Montaigne’s Essays for instance, a page of which, in a modern edition or translation, looks like this: 

[image]

Montaigne published the first edition of the Essays in 1580 – that’s the main text here. Then in 1588 he published a second edition with new essays and revisions to the earlier ones: those are marked [b]. He continued up to the end of his life to add new essays and revise the old ones: those most recent changes are marked [c]. Montaigne died at age 59, but if he had lived twenty years longer we might have had further editions of the Essays and, consequently, texts with markings of [d], [e], and [f].

I love this. “Essay” means “trial” or “attempt,” of course, and thus Montaigne’s book by its very nature invites second and third thoughts, second and third trials: iteration that ends only when you die, or when you grow tired of it all and retreat into a life of pure contemplation.

I’m a big fan of contemplation, but I tend to contemplate most effectively when I have a pen in my hand. And a notebook provides endless opportunities to revisit, rethink, fail again, fail better. Though I never re-read my published works, I re-read my notebooks regularly: I consider such revisitations essential to thought, to growth, to intellectual and moral and spiritual maturation.

For me — for my personal wants and needs and satisfactions — my notebooks are the most important writing I do. Then come my essays, and then my books. I think I have written some good books, and they’re made a place for themselves in the world — I’ve sold about 300,000 copies all told, most of those The Narnian and How to Think, which is nothing compared to having a YouTube channel, but not altogether contemptible for a writer of books — but if I had not been in a profession that places a premium on the publication of books, I don’t know that I ever would’ve written a single one. (Maybe a collection or two of essays, though, if I had found any publisher charitable enough to put them out.) It has been good for me to be pushed towards book-writing, but it’s not my natural métier — the essay is. And maybe the notebook is, even more. 

But what about blog posts, like this one? This blog stands at the juncture of the essay and the notebook. Some of these posts are essays, though usually briefer than the ones that get published by other people; others are basically notebook entries shared with the public. What makes a post an essay is completeness: a story told to the end, a train of thought traced to a destination, a pattern of ideas or responses fully woven. Conversely, you can tell that a post is essentially a notebook entry when I say something like “I’ll revisit this idea later” or “Perhaps a topic for a future post.”

In my recent series of posts on the family [https://blog.ayjay.org/tag/family/ ] I was writing on a topic so complex, so nuanced, so difficult that it would have been an impertinence, I think, to issue a finished word. I would dishonor the multiplicity of people’s experiences, the complexity of my own experience, by offering anything like a complete statement. So I put some thoughts out there, related them to one another as best I could, and now I am pausing to reflect. Probably there will be more later. On a blog there can always be more later, and one of the best uses of hyperlinks is to link to your earlier self, even (or especially) when you think your earlier self was wrong about something or left something out.

It’s great to finish (or in my case abandon) something: to tell this story, to make this argument as well as you possibly can, crafting it with all your skill, and sending it out into the world to make its way as best it can. But there’s a place also — and I feel this increasingly strongly as I get older — for the tentative and incomplete, for “I’ll revisit this later,” for “Oh, I forgot this when I wrote that” — for, maybe above all, being corrected by charitable but honest readers and then being able to try again on the basis of what the lawyers call “information and belief.” I am always, and hope I always will be, gathering more information and developing my beliefs. As the man also said, “Old men ought to be explorers.”"]]></description>
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<item rdf:about="https://social.ayjay.org/2024/12/28/thomas-traherne-centuries-of-meditations.html">
    <title>Alan Jacobs -</title>
    <dc:date>2024-12-29T06:33:16+00:00</dc:date>
    <link>https://social.ayjay.org/2024/12/28/thomas-traherne-centuries-of-meditations.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Thomas Traherne, Centuries of Meditations I.5:

"I will not by the noise of bloody wars and the dethroning of kings advance you to glory: but by the gentle ways of peace and love. As a deep friendship meditates and intends the deepest designs for the advancement of its objects, so doth it shew itself in choosing the sweetest and most delightful methods, whereby not to weary but please the person it desireth to advance. Where Love administers physic, its tenderness is expressed in balms and cordials. It hateth corrosives, and is rich in its administrations. Even so, God designing to show His Love in exalting you hath chosen the ways of ease and repose by which you should ascend. And I after His similitude will lead you into paths plain and familiar, where all envy, rapine, bloodshed, complaint and malice shall be far removed; and nothing appear but contentment and thanksgiving. Yet shall the end be so glorious that angels durst not hope for so great a one till they had seen it.""]]></description>
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<item rdf:about="https://blog.ayjay.org/family-matters/">
    <title>family matters – The Homebound Symphony [Alan Jacobs]</title>
    <dc:date>2024-12-10T22:22:30+00:00</dc:date>
    <link>https://blog.ayjay.org/family-matters/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For Lasch, the Left and the Right alike consider the family largely sentimentally — the sentiments from the Right being positive, those from the Left negative — rather than analytically. And Haven in a Heartless World, while being in part a contribution to that analytical task, is more fundamentally a plea to Lasch’s fellow scholars to get to work to provide a deeper understanding of the extraordinarily complex situation of the modern family. 

Here again I want to invoke Wendell Berry, who made this very point at some length in his seminal 1992 essay “Sex, Economy, Freedom, and Community”: 

<blockquote>The conventional public opposition of “liberal” and “conservative” is, here as elsewhere, perfectly useless. The “conservatives” promote the family as a sort of public icon, but they will not promote the economic integrity of the household or the community, which are the main stages of family life. Under the sponsorship of “conservative” presidencies, the economy of the modern household, which once required the father to work away from home – a development that was bad enough – now requires the mother to work away from home, as well. And this development has the wholehearted endorsement of “liberals,” who see the mother thus forced to spend her days away from her home and children as “liberated” – though nobody has yet seen the father’s thus forced away as “liberated.” Some feminists are thus in the curious position of opposing the mistreatment of women and yet advocating their participation in an economy in which everything is mistreated.</blockquote>

This is effectively the conclusion that Lasch came to by the end of his book: that the conservation of the family is something that can only be achieved by politically and economically radical means. (Related: that’s why Lasch, like Berry, can’t be accurately described as a liberal or a conservative. That binary opposition is useless in many contexts.) 

One of the difficult questions Lasch raises is this: Why had parents, in the decades preceding the writing of the book, so often acquiesced in being sidelined? Why had they agreed to allow schools and institutions linked to schools — primarily clinical counseling of various kinds — usurp the role of formation that had once been essential to the family? Perhaps realizing that he had not clearly addressed this issue in the book proper, Lasch uses the Preface to the paperback edition to venture this idea:

The school, the helping professions, and the peer group have taken over most of the family’s functions, and many parents have cooperated with this invasion of the family in the hope of presenting themselves to their children strictly as older friends and companions.

— the idea being, Lasch thinks, to eliminate conflict from the home. A fruitless notion, says Lasch, in his quasi-Freudian mode: “The attempt to get rid of conflict succeeds only in driving it underground.”

My purpose in this post (and subsequent ones, when I can get them written) is to indicate some of the ways in which Lasch’s half-century-old book illuminates current ideas about the family — for the trends he identified in 1978 have continued to this day. And much can learned by juxtaposing the family’s complicity in its own marginalization with another point, one raised by one of Lasch’s critics from the Left. That critic, Mark Poster, rejects Lasch’s argument for the necessity of the family in these terms: “The only way to [ensure] democracy for children is to provide them with a wide circle of adults to identify with, the ability to select their sources of identification, and a separation between authority figures and nurturant figures.” (Poster published a book in the same year, 1978, that the paperback edition of Haven appeared: it is called Critical Theory of the Family and its argument is pretty much what you would expect from that title.)

There’s much that could be said about each of Poster’s criteria for ensuring “democracy for children,” but I think the key one is this: “the ability to select their sources of identification.” I believe that for Poster — and this is true of many, if not most, leftist critics of the family — the ineradicable failing of the family is simply that it is given, not chosen. From this point of view, only what the individual chooses for him- or herself can be valid for that individual. (Except in the case of race, which, as we learned some years ago from the cases of Rachel Dolezal and Rebecca Tuvel, simply though mysteriously cannot be chosen.) Poster’s user of the term “identification” is prescient, especially when one thinks of people who who say things like “I was assigned male at birth, but I identify as female.” I reject what was given and I choose otherwise. And the value of what I choose is determined wholly by the fact that I choose it. It is not something that anyone else has a right to an opinion about. (I find myself here thinking of Roger Scruton’s comment in The Meaning of Conservatism that the primary goal of liberalism is “the satisfaction of as many choices as short time allows.”) 

This mode of conceiving the person can shape how people think about their families as well, something readily seen in a recent New York Times article about people who end all contact with their families. One woman interviewed in that article — who cut off her father because he demonstrated “a lack of interest in my life as I got older” — articulates the key principle of this movement: “It is not a child’s responsibility to maintain a relationship with their parent(s).” In family matters, there are no responsibilities — at least none that bind me; there — again, for me — are only free choices. It would be interesting to know whether people who adhere to this principle think that parents have any responsibilities to their adult children. 

~ 2 ~
I was effectively raised by my paternal grandmother, because my mother worked long hours to keep a roof over our heads and my father was in and out of prison. He was a drunkard, and a violent one, so for me things were better when he was locked up. Not that we didn’t have good moments; you just never knew when the pivot to darkness would come. But you did know that it was coming. My mother was in a bad situation and did the best she could; but she was never an emotionally demonstrative woman, and at the end of the working day she didn’t have much energy left. Almost all of the demonstrated affection I received came from Grandma. Often she and she alone kept my head above water.

At age twenty-one, when I married the woman who has now been my wife for forty-four years, I entered a new family. I was not then merely rough around the edges — all my surfaces were abraded and abrasive, and I quiver slightly whenever I think about the conversations Teri’s parents must have had about the boy their daughter had determined to marry. Lord knows they had hoped for, and expected, someone much better than I was. But here’s the thing: once Teri’s father had said Yes to my request for his daughter’s hand in marriage — and yes, that’s how Teri wanted it: not just to give her consent, but to ask for and abide by the consent of her parents — I was his and his wife’s son. From that day forward I belonged to them just as securely and unquestionably as the children of their own marriage. I was not what they had chosen; I was handed to them not on a silver platter but on a chipped dinner plate; but they welcomed me into their home, into their life, into their hearts, and they never looked back. They could have said No; instead they said Yes, to me and all that I was and wasn’t. 

It is impossible for me to overstress how much that welcome meant to me, and how determinative that was for my future. Gradually I became someone not unlike the person they would have chosen if they had been the ones choosing, and one of the most gratifying moments of my life came when I was around fifty years old, and my father-in-law — a working man from Columbiana, Alabama, a simple man with a high-school education and a great big heart — gave me one of his characteristic bone-cracking hugs, looked me right in the eye, and said: “Alan, I’m so proud of the man you’ve turned out to be.” A Nobel Prize wouldn’t have meant so much to me as that word of praise from that man.

But all this began when they accepted me without question and without reservation, and committed themselves to my flourishing, as they were already committed to the flourishing of their biological children. I truly do not know what would have become of me if not for the constancy of their love. They loved their daughter; their daughter loved me; they were therefore called to love me too. So they did. To them it was as simple as that. 

Everything I think about family arises from this experience.

~ 3 ~

The phrase “haven in a heartless world” is Lasch’s but it is adapted from Karl Marx, who (in the introduction to his Contribution to the Critique of Hegel’s Philosophy of Right) wrote that “Religion is the sigh of the oppressed creature, the heart of a heartless world, and the soul of soulless conditions. It is the opium of the people.” Lasch’s phrase is thus more ambivalent and ambiguous than it appears to those who do not know what it borrows from, and have not grasped his long argument. That argument is: The modern economic order simultaneously creates the need for family to be a haven and prevents it from serving as a haven. (To get Marx’s argument, substitute “religion” for “family” in the previous sentence.) Lasch: 

<blockquote>The same historical developments that have made it necessary to set up private life — the family in particular — as a refuge from the cruel world of politics and work, an emotional sanctuary, have invaded this sanctuary and subjected it to outside control.</blockquote>

As our socio-economic order has extended itself into what I call metaphysical capitalism, its power to penetrate and demolish all would-be havens has only increased. It strives to render us all homeless, and then to sell us the goods and services that, it is claimed, compensate for any and all losses. And homelessness is a key concept here. The comforts intrinsic to family life are those that arise from what a family at its best does, which is to make a home.

When people are groping about for a good quote about home, they typically turn to a couple of lines from a poem by Robert Frost: “Home is the place where, when you have to go there, / They have to take you in.” But the quoters rarely know the context.

Those lines come from a dialogue in verse called “The Death of the Hired Man” (1915)."]]></description>
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<item rdf:about="https://hedgehogreview.com/web-features/thr/posts/the-school-for-scale">
    <title>The School for Scale | THR Web Features | Web Features | The Hedgehog Review</title>
    <dc:date>2024-12-05T03:43:25+00:00</dc:date>
    <link>https://hedgehogreview.com/web-features/thr/posts/the-school-for-scale</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The problem with scale is that we don’t understand it."
]]></description>
<dc:subject>scale alanjacobs 2021 perception</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://blog.ayjay.org/reasons-for-tolerance/">
    <title>reasons for tolerance – The Homebound Symphony</title>
    <dc:date>2024-12-05T03:40:50+00:00</dc:date>
    <link>https://blog.ayjay.org/reasons-for-tolerance/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There are two major reasons to practice tolerance of ideas that differ from, or conflict with, your own. Other reasons exist, but these are the most common:  

Epistemic humility: You may be wrong about some things, and even if you’re not wrong, may not fully understand your own position and may not be equipped to defend it against your opponents. Therefore you extend tolerance not only for the sake of your opponents but also for your own intellectual good. (This is a major theme in John Stuart Mill’s On Liberty.) 

Political pragmatism: If you’re not powerful enough to silence your enemies, your attempts to do so may bring on a fight you can’t win. Worse, the attempt to silence others may lead to their attempting to silence you — and if they’re sufficiently strong that attempt might just succeed. And then where would you be? 

In our current political moment, it is trivially easy to find strong, confident voices that confirm our opinions. And because we do not understand scale [https://hedgehogreview.com/web-features/thr/posts/the-school-for-scale ], it is easy to believe that everyone who matters, everyone who thinks, everyone who is decent is on our side. Securus judicat orbis terrarum. It is virtually impossible in such a climate to make an appeal to epistemic humility. Therefore tolerance can really only be recommended on the groud of political pragmatism. 

But even this is difficult for people for whom political opponents are the Repugnant Cultural Other [https://blog.ayjay.org/embrace-the-pain-living-with-the-repugnant-cultural-other/ ]. As I wrote in yet another essay [https://www.thenewatlantis.com/publications/wokeness-and-myth-on-campus ], “For those who have been formed largely by the mythical core of human culture, disagreement and alternative points of view may well appear to them not as matters for rational adjudication but as defilement from which they must be cleansed.” What is happening on the American left right now, in the wake of the recent election, is a struggle between political pragmatism and the deeply felt need for social hygiene. 

Which will win?"]]></description>
<dc:subject>alanjacobs howwelearn tolerance listening 2024 othering others human humans disagreement humility pragmatism politics</dc:subject>
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<item rdf:about="https://blog.ayjay.org/weil-and-antisemitism/">
    <title>Weil and antisemitism – The Homebound Symphony</title>
    <dc:date>2024-11-20T21:38:08+00:00</dc:date>
    <link>https://blog.ayjay.org/weil-and-antisemitism/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Madoc Cairns on a new book on Simone Weil:

<blockquote>Wallace’s subjects attempt to frame Weil’s antisemitism as an exception: a lacuna in her universal empathy, to be explained rather than understood; a psychological quirk, cultural inertia; a darkness (Gordon posits) impervious to interpretation. Wallace echoes one modern apologia: Weil lacked exposure to scholarly peers, who, sharing her concerns, reached different conclusions. But the same could be said of Weil’s eccentric reading of the classics: within her “Greek tradition”, Plato was crowned the “father of occidental mysticism”; Aristotle, by contrast, found no place at all. So too her account of medieval Languedoc as a fusion of ancient Egypt, the Athenian Golden Age and a repristinate – if suspiciously Weilian – Christianity of pacific, cultured humanism. So too the work these misreadings inspired. To excuse her errors is to excise her insights. Dismiss Weil’s idiosyncrasies and you dismiss Weil.

Recognize them, though, and Weil becomes unrecognizable. One exemplum: her disaffection with the Church and her attacks on Judaism are hard to disentwine. Her interpretation of Christianity was one systematically expurgated of Jewish influence. Athens displaced Jerusalem, with the Gospels reread as the “last and most marvellous account of Greek genius”, and Dionysus and Osiris recast as “in a certain sense, Christ Himself”. In Weil’s schema, radically Hellenistic and radically universalizing, non-Christian spiritualities have a place. Judaism – an exclusive revelation, for a people apart – has none.</blockquote>

Here’s what I said in The Year of Our Lord 1943 about Weil’s Judenhass:

<blockquote>The greatest blot on Weil’s thought and character is her extreme antisemitism. Many of her statements about Jews are indistinguishable from the utterances of Hitler. Of the history of Israel, Weil wrote that “from Abraham onwards,” and only “excepting some of the prophets,” “everything becomes sullied and foul, as if to demonstrate quite clearly: Look! There it is, evil!” Even the courageous resistance of the Jews to Roman tyranny is, bizarrely, portrayed by her as a vice: “The religion of Israel was not noble enough to be fragile.” Her comment on the idea that the Jews are the Chosen People of God: “A people chosen for its blindness, chosen to be Christ’s executioner.”

Weil’s hatred of Judaism centered on the idea of the Chosen People — which is to say, it bears a close kinship to her repudiation of the Roman Catholic Church’s practices of exclusion.</blockquote>

By “practices of exclusion” I mean Baptism — those baptized are “inside,” others “outside” — and limitations on the reception of Holy Communion. Weil hated every such distinction with a furious hatred. It’s hard to say whether Weil’s antisemitism develops from her rejection of what she calls the “spiritual totalitarianism” of the Roman Catholic Church, or the other way around. She was a very strange person and it is often impossible to discover the roots of her various absolutisms."]]></description>
<dc:subject>simoneweil alanjacobs madoccairns 2024 antisemitism catholicism baptism religion judaism catholicchurch hatred totalitarianism spirituality absolutism extremism</dc:subject>
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<item rdf:about="https://hedgehogreview.com/web-features/thr/posts/stories-to-live-by">
    <title>Stories to Live By | THR Web Features | Web Features | The Hedgehog Review</title>
    <dc:date>2024-11-05T01:12:16+00:00</dc:date>
    <link>https://hedgehogreview.com/web-features/thr/posts/stories-to-live-by</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If politics is your life, then you must tell yourself a political story in order to live."

[See also:

"Main character syndrome
Why romanticising your own life is philosophically dubious, setting up toxic narratives and an inability to truly love"
https://aeon.co/essays/why-main-character-syndrome-is-philosophically-dangerous ]]]></description>
<dc:subject>storytelling politics identity 2024 alanjacobs joandidion elections donaldtrump kamalaharris narrative 1970 1953 1979 self-importance self-centeredness</dc:subject>
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<item rdf:about="https://social.ayjay.org/2024/10/30/a-decade-ago.html">
    <title>Alan Jacobs - the centrality of literature to many people’s Christian faith</title>
    <dc:date>2024-11-01T04:28:42+00:00</dc:date>
    <link>https://social.ayjay.org/2024/10/30/a-decade-ago.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A decade ago, I wrote an essay about what seemed to me a strange development: the centrality of literature to many people’s Christian faith. I still think about how odd it is that thousands or even millions of people owe their faith not to pastors and sermons and churches, but to novelists and poets."

[points to this:

"Te Witness of Literature: A Genealogical Sketch" (Alan Jacobs)
https://ayjay.org/WitnessLiterature.pdf ]]]></description>
<dc:subject>christianity literature faith novels poetry writers novelists 2024 alanjacobs</dc:subject>
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<item rdf:about="https://social.ayjay.org/2024/10/15/phil-christman-i.html">
    <title>Alan Jacobs - Phil Christman</title>
    <dc:date>2024-10-15T20:44:01+00:00</dc:date>
    <link>https://social.ayjay.org/2024/10/15/phil-christman-i.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[quoting Phil Cristman (paywalled https://philipchristman.substack.com/p/a-bit-of-anecdotal-evidence-about ):

"I was curious about students’ causal arguments about this sudden eclipse of pleasure reading — again, the They who killed their love of reading. Why did it happen? The most common argument from them was that being made to analyze what they read had killed their enjoyment, not only of the analyzed, assigned texts but of texts in general. Now it’s possible that this is true, or true for some people, but because I am a teacher and because it’s my job to encourage people to think, I simply can’t accept it. It is baldly anti-intellectual and it is wildly counter to my experience and my observations of the world. I simply do not believe that thinking about things is in itself toxic to our enjoyment of those things — if that were true, there would be no sports radio. I absolutely believe that thinking about things in the wrong way — for example, in a deadening or loveless way — or under unnecessary pressure is toxic to our enjoyment of them, but that’s different. With almost anything but reading, deeper understanding leads to deeper pleasure — this is true of sex, football, food, the behavior of pets, everything else in the world. Why should reading be the one exception?"]

[Sure, go ahead and compare to other pleasures, pleasures that are not all ruined by compulsory schooling (cramming down the throat of subjects without their consent). But, to be clear, some of them are. The same happens with athletics in schools too! And food, how blissfully unaware of the many people who have food apprehensions because of the same, not necessarily the result of school but the result of forced feeding. 

You can be skeptical about the data, but this all smells of dismissal of your students because they are sharing a truth you refuse to hear. No one likes having someone who is excited about something forcing them to be excited in exactly the same way. This isn't about being opposed to thinking, but being opposed to being forced to think about things when and how someone else wants you to be.]]]></description>
<dc:subject>reading howweread literaryanalysis 2024 teaching howweteach enjoyment philchristman alanjacobs disbelief arrogance schooliness pleasure</dc:subject>
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<item rdf:about="https://blog.ayjay.org/rortys-bastard-children/">
    <title>Rorty’s bastard children – The Homebound Symphony</title>
    <dc:date>2024-10-11T03:42:12+00:00</dc:date>
    <link>https://blog.ayjay.org/rortys-bastard-children/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Charlie Warzel [https://www.theatlantic.com/technology/archive/2024/10/hurricane-milton-conspiracies-misinformation/680221/ ]:

<blockquote>The truth is, it’s getting harder to describe the extent to which a meaningful percentage of Americans have dissociated from reality. As Hurricane Milton churned across the Gulf of Mexico last night, I saw an onslaught of outright conspiracy theorizing and utter nonsense racking up millions of views across the internet. The posts would be laughable if they weren’t taken by many people as gospel. Among them: Infowars’ Alex Jones, who claimed that Hurricanes Milton and Helene were “weather weapons” unleashed on the East Coast by the U.S. government, and “truth seeker” accounts on X that posted photos of condensation trails in the sky to baselessly allege that the government was “spraying Florida ahead of Hurricane Milton” in order to ensure maximum rainfall, “just like they did over Asheville!”</blockquote>

The sentence from this paragraph I want to focus on is this: “The posts would be laughable if they weren’t taken by many people as gospel.” I think very few people take such posts as gospel. Or at least not in the sense that Warzel means it. 

Warzel errs here in assuming that when people in MAGAworld make declarative statements, and endorse or amplify the declarative statements of others, they do so because they believe those statements to be true. They don’t; nor do they believe or know them to be false. In my judgment, truth and falsehood do not at any point enter into the equation — such concepts are non-factors, and it is a category mistake to invoke them. 

In MAGAworld, declarative statements are not meant to convey information about (as Wittgenstein would put it) what is the case. Instead, declarative statements serve as identity markers — they simultaneously include and exclude, they simultaneously (a) consolidate the solidarity of people who believe they have shared interests and (b) totally freak out the libtards. That’s what they are for. They are not for conveying Facts, Truth, Reality — nobody cares about that shit. (People who call themselves Truth Seekers are being as ironic as it is possible to be.) Such statements demarcate Inside from Outside in a way that delivers plenty of lulz, and that is their entire function. In that sense only they articulate a kind of dark gospel. 

Thus it is pointless to insist that Democrats have not in fact unleashed weather weapons on Florida and the Carolinas; even more pointless to argue that if Democrats had such weather weapons they would have used them when Donald Trump was President in order to discredit him. Whether it is factually true (whether “it is the case”) that Democrats have and deploy weather weapons could not be more irrelevant; what matters is that this is the kind of thing we say about Democrats — so if you want to be part of this “we,” you’d better say it too. 

And the account I am articulating here is, at least sometimes, openly acknowledged by the leaders of MAGAworld. When confronted with his long chain of fantastical statements about immigrants in Ohio, J. D. Vance said [https://www.nytimes.com/2024/09/19/us/politics/vance-haitian-immigrants-illegal.html ], “If I have to create stories so that the American media actually pays attention to the suffering of the American people, then that’s what I’m going to do.” Because that’s what we do; that’s how we get what we want. 

The pundits and shitposters and, yes, elected representatives in our government whose real home is MAGAworld are the bastard children of Richard Rorty. When, nearly forty years ago [https://www.lrb.co.uk/the-paper/v08/n07/richard-rorty/the-contingency-of-language ], Rorty rejected “systematic” philosophy for “edifying” philosophy — that description actually comes from his earlier book Philosophy and the Mirror of Nature, but the essay linked to expands on that distinction — he rejected philosophy that wants to “correspond to the way things really are” for philosophy that builds “solidarity.” Such a philosophy in action “is changing the way we talk, and thereby changing what we want to do and what we think we are.” 

Rorty thought that this model of philosophical language would be a way of building a new, more just, more generous society — would help us “achieve our country [https://www.hup.harvard.edu/books/9780674003125 ].” What he never imagined was a huckster-turned-damagogue who thinks of language — every kind of language, every imaginable use-case — as a way for him to get what he wants and change who he thinks he is, and who by his example teaches tens of millions of Americans to use language for the same purposes. They want to achieve their country too. That is, they have a vision of what their country should be and are employing language to bring about that transformation. What do truth or falsehood have to do with it? Not a damn thing."]]></description>
<dc:subject>alanjacobs charliewarzel maga magaworld magaism wittgenstein richardrorty republicans democrats us politics jdvance philosophy falsehood 2024 elections misinformation web internet socialmedia language rhetoric reality society donaldtrump pundits shitposters online solidarity</dc:subject>
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<item rdf:about="https://www.thenewatlantis.com/text-patterns/the-factory-of-idols">
    <title>the factory of idols — The New Atlantis</title>
    <dc:date>2024-10-11T03:35:20+00:00</dc:date>
    <link>https://www.thenewatlantis.com/text-patterns/the-factory-of-idols</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Herewith a kind of thought experiment:

In a well-known passage from the 1559 edition of his Institutes of the Christian Religion, John Calvin writes that “we may infer that the human mind is, so to speak, a perpetual forge of idols” (I.11.8). That’s the Beveridge translation — I’m not sure what more recent translations have, but that one has entered the English-language Calvinist lexicon, and it’s a very nice phrase: “a perpetual forge of idols.”

Here’s the Latin: Unde colligere licet, hominis ingenium perpetuam, ut ita loquar, esse idolorum fabricam. The word Beveridge translated as “forge” — a synecdoche for “the place where a blacksmith does his work” — is fabrica, which actually has a more general meaning: it’s a workshop. It’s a place where things are fabricated. The human mind is, then, a workshop that perpetually cranks out idols.

But of course the workshop is the standard site of production in a pre-Industrial Revolution economy. Things have changed since Calvin wrote of the idolorum fabricam; we’re not about cottage industries any more. Now that the powers of the human mind have been extended and amplified by the development of capitalism we have an idol factory — an increasingly efficient, Taylorite factory.

And if we continue this line of thought, we might ask what to make of the computer? The computer is, as Alan Turing theorized when he first imagined it, the universal machine; it is therefore the universal idol-fabricating device. And now that almost all of us have smartphones, everywhere we go we take our idolorum fabricam with us. The work of idol-making churns away ceaselessly in our pockets."

[See also:
https://social.ayjay.org/2024/10/10/brad-east-asks.html ]

"Brad East asks “What does an idol promise?” [https://www.bradeast.org/blog/what-does-an-idol-promise ] — and then answers the question. A useful reminder that the Church needs a stronger idolology. This is a good start. See also my old post explaining that we carry idol-factories in our pockets (https://www.thenewatlantis.com/text-patterns/the-factory-of-idols )."]]]></description>
<dc:subject>alanjacobs idols idolatry 2017 johncalvin tayloirism socialmedia computers computing alanturing capitalism economics howwethink psychology christianity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:98a2276a7889/</dc:identifier>
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