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    <title>Unqualified | Cosmos Malick</title>
    <dc:date>2026-04-16T05:24:20+00:00</dc:date>
    <link>https://cosmosmalick.net/2026/04/09/unqualified.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As I noted in an introduction to this site, I’m not a film studies professor. I have no formal academic training in the history or technique of film, unless a single, memorable undergraduate class counts — and it doesn’t. But that was the class that turned me into a cinephile, that enabled me to see the richness and depth of cinematic tradition, and also to see its possibilities as an art form. Above all, I’ve continued to watch films — many, many films, the best of them repeatedly. And I have read extensively about cinematic art and technique — and about the economics of the business (which interests me strangely). 

I have only written about film occasionally, and have only taught films occasionally. But I do write a lot, and I also teach a lot, and so over the years it has added up. My experience as both a writer about and a teacher of cinema is, by this point, not inconsiderable.

But it really wasn’t until Josh Jeter, Malick’s chief of staff, invited me to watch a cut of the work then in progress, later to be called A Hidden Life — an experience that I’ve written about here — that film started moving closer to the center of my interests. Aside from Malick, my focus is especially on films made in the period that is my scholarly home, which is essentially the middle third of the 20th century; so, you might say, from Chaplin’s Modern Times to Kubrick’s 2001. That covers a lot of ground, of course. But I do know that territory very well.

And I want to note here that mid-century films were fundamentally formative for Malick, something which he talked about often in the days when he was still giving interviews. 

Two major traditions are essential for understanding the filmmaker he became. One is the Italian neorealist cinema. Malick adores the early Fellini, especially The White Sheik (1952) and I Vitelloni (1953). He adores Rossellini, especially Voyage to Italy (1954). But then he also loves Elia Kazan and William Wyler and the massive widescreen blockbusters they made in the early years of Cinerama and CinemaScope. (Foster Hirsch’s Hollywood and the Movies of the Fifties is great on the development of these technologies.)

And I believe — I don’t know that Malick has ever said this, but I am convinced — that there’s a good bit of John Sturges in Malick’s directorial DNA. P.T. Anderson has said — it’s a claim that has become notorious among cinephiles — that you could learn more from listening to John Sturges’s commentary on his 1955 film Bad Day at Black Rock than you could learn in twenty years of film school. And that commentary — here and here — is actually very interesting and wide-ranging. Bad Day at Black Rock is one of the very first CinemaScope films, and Sturges is the director who first figured out how you could make that wide aspect ratio work for you as a serious storyteller. It required thinking in new ways about composition, and (Sturges thought) about the freedom of the viewer to direct his or her attention. 

Sturges11 blackrock.

But I digress … a little. We’ll return to some of this material in future posts. 

In any case, those are the two major strands of influence on Malick: Italian neorealist cinema in black & white, with its emotionally intense explorations of (especially) family life; and the intensely colorful widescreen Hollywood films of the 1950s, especially by Kazan and Sturges. And I think if you put together sweeping dramatic landscapes and emotionally intense depictions of family life, well, then you kind of have Days of Heaven, The Tree of Life, and A Hidden Life, don’t you?

And Malick brings these influences together in his own inimitable way. Many years ago, when I was living in Chicagoland, I subscribed to Chicago magazine, my favorite part of which was the restaurant reviews. Each issue featured capsule reviews of dozens and dozens of restaurants, each of which had a tag to suggest the type of restaurant it was: Mexican or Italian or Thai or whatever. And then when you got to Charlie Trotter’s, the tag was: Trotter’s cuisine. What Trotter was doing was so distinctive, so unlike what anyone else was doing, that that was the only thing you could call it. And exactly the same is true of the movies Terrence Malick makes: it’s Malick’s cinema, indescribable by any conventional terms, within any conventional categories. You just have to get to know it.

And I have gotten to know it very well. Most of that is a result of my simply watching the movies over and over again with a notebook in my lap, pausing occasionally to respond (with timestamps). I’ve been willing to do that over and over.

However, it’s also true that when I got to see the cuts of A Hidden Life, I was introduced to The Process. I saw four versions of it, and while I am forbidden (by an NDA) to discuss the details of my experience, I can say this much: observing how the story developed, seeing and hearing (Malick’s films are as much aural as visual) the effects of editing, seeing and hearing the ways in which even seemingly small alterations can have massive reverberations, and then talking about everything with Malick and his editors — all that was extraordinarily illuminating. And I feel that that experience gave me a kind of right-brain, that is to say, genuine but not wholly expressible, insight into the gestalt of Malick’s cinema.

It’s also true that Terry Malick and I have become friends in the years since then; I see him fairly regularly. But when we talk, we say very little about his movies, past or present. There are two reasons for that. One is that I figure he could use a mental break from his work. The other is that Terry is never Terry’s preferred topic of conversation. Like many artists, he doesn’t want to get overly analytical about what he does, because that doesn’t help. But also, he’s just not focused on himself. He’s more interested in the world, in other people. The last time I got together with him, the main thing he wanted to talk about was my recent biography of Paradise Lost, which he had just read and loved. (Maybe I shouldn’t say that, but I am frail. That one of the greatest living artists enjoys my writing makes my head swim a little. Sue me.) We talk about books, about the Monterey oaks we’ve planted in our respective yards, about unusual birds we have recently seen, about new cameras and new lenses that he’s been fooling around with. (As someone who knows him well has said to me: “Terry’s a gearhead.”) On occasion we sing together verses of hymns.

I can’t claim that getting to know Terry has led to the revelation of secrets about his filmmaking that I can then put into my own words and post here on the site. It’s not like that. I do think that getting to know him has given me a feel for the work, but I’m not certain about that. And he has never, at any point, said anything remotely like “What I was trying to do in this scene was X.” And so, while getting to know him makes a difference to how I see his movies and how I’m going to be writing about them, it doesn’t do so in a way that I can specify. And now that I’m done with this blog post, I’m not going to say anything about it again."]]></description>
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<item rdf:about="https://exo.org.uk/blah/on-bicycles-and-ai">
    <title>exo : on bicycles and ai</title>
    <dc:date>2026-01-17T04:41:03+00:00</dc:date>
    <link>https://exo.org.uk/blah/on-bicycles-and-ai</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Yes, I know, it is 2026 and no one needs another AI take but this all popped into my head on a bike ride and I must expel it.

In short, generative AI is not for me. This is not based on extensive, or really any, use, it is more about how I want to do things.

I know you can do good things with it, I have seen good things done with it, things that otherwise would likely not have happened.

I just don’t want to.

For the most part I enjoy my job. It is interesting and challenging in the right ways. Yes, there can sometimes be tedious bits to it but even those are enjoyable in a meditative way and I don’t think ridding myself of them would make me a better developer. I expect for some measures AI might make me more productive but it’s hard to say without putting in the effort to get good with the tools. What I am fairly sure of is it would not make me a happier developer. In the past I’ve managed people and it did not agree with me. I do not think that managing a machine is likely to be an improvement. On top of all this I am very much a figure things out by writing code so having a machine do this for me seems more likely to result in oversight and error.

The same goes for any other aspect that I might employ generative AI for. For me the act of making a thing is partly about noticing. If you are taking a photo it is because something has caught your attention, and in order for that to happen you have to be paying attention. Writing is the same. You have to interrogate your thoughts and in the process understand the reasoning or feelings behind them. To do this requires, for me at least, spending time with things and that is one of the things generative AI is designed to reduce.

There’s some reference to the bicycle for the mind metaphor with regard to these tools and, to me, it fundamentally misunderstands the what a bike is. Yes, it is an efficient means of getting from a to b but it is under your own power; let us ignore e-bikes here. More than that though, it is a machine for moving through the world. You cannot ride a bike without being aware of and understanding your surroundings. There is no setting a direction of travel and leaving the rest to the machine, it is a stream of decisions, some of which may become unconscious with time, but no part of the ride can happen without input. For me it’s this that makes bicycles great. You see so much from a bicycle but at a pace you can appreciate it.

I learn so much about my area from riding. I see the shops that close, or open, when the fields are dry, where the flooding happens, which towns are busy, where the paths go and when they are good to ride. I don’t want to skim over all that to get to my destination because it’s in those details that the joy is found.

I want the journey and generative AI does not."]]></description>
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    <title>STOP Buying Watches: You Don't Need ANOTHER ONE! - YouTube</title>
    <dc:date>2025-07-30T23:03:44+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["I know — it sounds strange coming from someone who loves watches, who creates content about them. But I think it’s time we talk about something important:

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

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

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

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

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

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

Maybe the question isn’t “what watch is next?”
But where are you going to wear the ones you already have?"]]></description>
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<item rdf:about="https://emergencemagazine.org/practice/playful-listening/">
    <title>Playful Listening – A Practice by David G. Haskell</title>
    <dc:date>2025-04-28T05:12:51+00:00</dc:date>
    <link>https://emergencemagazine.org/practice/playful-listening/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For billions of years, our planet has been alive with sound. When we listen playfully, we can still encounter sonic vibrations older than terrestrial life, layered with the harmonies and cacophonies of the modern world. This practice by David Haskell invites you to immerse yourself in the web of connections created by sound. To hear what the ancient Earth might have sounded like, listen to David’s companion sonic journey “When the Earth Started to Sing.”

Sound is ephemeral, gone as soon as it arrives. Sound is tiny, too. A typical sound wave makes air molecules vibrate by only about a micrometer, the size of the smallest smoke particle. Yet, despite its fugitive and insubstantial nature, sound is a great connector and revealer. Sound passes through obstacles. It links vibrating beings even in the dark or in dense foliage. Listening therefore opens us to what is hidden or unappreciated. Sound also carries within it the imprints of deep time. Listening roots us in the stories of the ancient Earth.

In the midst of landscapes that are shifting on often unimaginably large scales, what might it mean to witness the tiny and ephemeral? How might we cultivate our listening? The practices that follow are intended as invitations to play. Their aims are the cultivation of spontaneity, curiosity, and grateful appreciation.

Spontaneity: Openness to the sensory qualities of the moment.

Curiosity: Every sound has a story. Follow it.

Grateful appreciation: Accepting the wondrous and bittersweet bequest of sensory consciousness, in all its beauty and brokenness."]]></description>
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    <title>94 practical and emotional human experience optimising recommendations for 2025</title>
    <dc:date>2025-01-01T23:37:28+00:00</dc:date>
    <link>https://humancarbohydrate.substack.com/p/94-practical-and-emotional-human</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I know you all want to be told what to do

The transition from age 20 to age 30 is brutal, both mentally and physically. Many people leave their prime behind while others only now enter it. The former become older and heavier not in body but in spirit. I am going through a second puberty and am skinnier than I was in uni, so you should obviously listen to me.

I have padded out my hysterical advice with milquetoast (but effective) tips so that only those of you with enough dopamine to read the whole thing get them. I don’t every zombie normie freaking out in the comments section.

1. People either pursue an interesting or a happy life (that does not mean you are either boring or miserable; it means these values guide your decision-making). Penelope Trunk has a test I came across years ago. People who fall in the ‘interesting’ camp move away from family for career reasons, are maximisers of looks, status and experiences, have strong opinions and diverse friendship groups, are interested in experimenting and are predisposed to melancholy. Happy people want to be content. Interesting people suffer from existential angst. People who are great at something are obsessives to the detriment of ‘happiness’.

2. The pursuit of happiness alone will make you miserable. Happiness is the by-product of pursuing loftier goals.

3. Find the perfect word; don’t be lazy in speech or writing. People long to be described accurately.

4. You earn the right to be yourself by consistently withstanding people’s reactions to you.

5. Use everything. Don’t save outfits, stories, or bottles of wine. Don’t worry about using garments that stain easily if you love them. White looks lovely on tanned skin.

6. I guarantee you will fall in love with anyone you give your undivided attention to. If you struggle to enjoy human interactions, pay closer attention. Nobody is boring.

7. All villains are redeemable. Even you.

8. Take as much career risk as your health allows, not as much risk as your anxiety dictates is safe. If your genes survived past the 21st century, it is highly unlikely you are wired to enjoy a mundane life. I know many rich, depressed lawyers.

9. If your parents can afford to pay your rent you have 0 excuse for not living a creative life.

10. If not, know that art craves boundaries. Art loves nothing more than a deadline and no desk to write on. Adversity gives you stories. Every great artist had a struggle. Nobody cries looking at nepo babies taping rotting fruit on a canvas.

11. Arguing with someone can be a sign of respect. Someone respects you enough to think they can reason with you and are confident enough in their relationship with you to know it can withstand disagreement. Confrontation is a net positive.

12. All people have something interesting to tell you if only you know to ask the right questions. My favourites are:

a. What were you like in high school?

b. What’s your favourite dish/movie and why?

c. What’s your zodiac sign (confirm whether the characteristics of their sign are true for them)?

d. What’s your relationship with your family like?

13. Many people want to be writers, but not many people want to spend hours and days typing alone. The same goes for all professions, arts, hobbies.

14. Find the exquisite pleasure in a broken heart. Like a baby tooth hanging by its last ligament, the heart yearns to be pulled apart. Some people are melancholic by nature. Those who fight this nature tend to become depressed easily. Those of us who embrace it write really good love letters.

15. There is only one way to be loved for who you are: to be hated for who you are not. It is better to have 10 people who hate you and 10 who love you than 20 who don’t feel anything when they see a photo of your 4-year-old self in striped pyjamas bouncing on Santa’s knee.

16. Looking sexy is incompatible with looking uncomfortable. This goes for both men and women. However, sometimes you need to be a little cold. Never wear tights with over the knee boots. The girls from The North have a point.

17. Walk everywhere and eat a lot of protein, that’s the secret to a ‘high metabolism’.

18. Nuts and legumes and don’t have enough protein: eat skyr, greek yoghurt, white fish, chicken, venison and other wild meats (lower in fat and higher in protein), tuna and shrimp. If you need a snack and you are on the go, buy a tab of cottage cheese and eat it with a spoon like a yoghurt. If you want it to be sweet, buy the pineapple-flavoured one.

19. The sooner you learn not to care about people staring at you, the more productive, joyful and easy your life will become. Whether you are eating a tub of cottage cheese on the bus or wearing your Pikatsu onesie to the corner shop, there is great pleasure in the confidence to ignore society’s unwritten rules.

“People are always angry at anyone who chooses very individual standards for his life; because of the extraordinary treatment which that man grants to himself, they feel degraded, like ordinary beings.” — Friedrich Nietzsche

20. As soon as possible in your life, learn why some people love vegetables. Befriend those of us who grew up eating them out of love, not punishment. The secret is usually good olive oil, a LOT of lemon, and salt. Blanch or steam, don’t boil. Don’t overcook.

21. Buy people coffee and drinks whenever you can; they may not always reciprocate, but you are not doing it because you need a free coffee in the future. People will forget what you tell them but will never forget how you made them feel. Our parents bought us things for free, without expectation, for the first and the longest time. People will never forget you made them feel taken care of and thought of.

22. Order chips at the pub and share them with everyone. Crunchy communal carbs are social lubrication far superior to shots.

23. When you feel grateful about something someone has done for you, text them immediately. A simple text. A check-in or a ‘I thought of you’. Don’t leave it for later because postponing things only leads to deathbed regrets. Don’t let the perfect text be the enemy of a good enough text.

24. Equally, always pay deserved compliments. If your eyes light up when you see a woman in a beautiful dress, tell her. Compliment the men, too; they look nice sometimes.

25. Never network. Make new friends.

26. A loyal and admiring junior is worth ten times the senior who doesn’t know your name.

27. Drugs fry some of the greatest minds of every generation because greatness comes from obsessiveness. Obsessive people have addictive personalities, and drugs that stimulate their brains make people who already feel like Jesus feel like Father God himself. Slowly, their speech patterns change, and they don’t really respond to what you are saying, and they don’t realise it, and then ten years later, they have a psychotic break out.

28. Also, a lot of alcoholics. My cardinal addictions were men and food, and I have channelled them into my career and fitness.

29. Don’t worry whether people invite you to their parties or over their homes for dinner. If you enjoy hosting and feeding others, you don’t need them to return the treat to feel the benefits.

30. Closeted Gays are a million times more fun after they come out of the closet. If you have friends from the past who you sense might be gay and who you distanced yourself from over the years because you did not feel connected enough, give them another shot once they are out to themselves and the world because normally, they transform into full humans after that and a lot of their shortcomings make more sense in the context.

31. Bonus point: If you fancy or fancied me at any point, there is a 70% chance you are bi/gay. Data don’t lie, look into it.

[image: "me and one my many gay ex-boyfriends outside our high school"]

32. If you can’t organise your kitchen in a way that doesn’t make cooking an infuriating task, you have too much stuff. You don’t need two cheese graters. You should not need a hazmat suit to open your cupboard.

33. To boost your self-confidence, buy personal training sessions rather than new clothes and expensive make-up. Fit people look good in anything. It’s hard not to love your body when you spend time working with it.

34. Generally, spending money on things is the least effective way to use your money to improve your appearance and attractiveness. The most effective ways (descending order) are diet, exercise, cleanliness, a good haircut, learning what suits your skin tone and body shape, wearing the correct size, taking a few deep breaths, relaxing your eyebrows and lips, pushing your shoulders down and straightening your back, not fidgeting or playing with your hair, letting your locks frame your face as they please, loosening up your belt, shoe strings, top button, steaming/ironing your clothes.

35. Most people need to size up in clothing and won’t do it either because they are attached to the size they were wearing in college or because they don’t realise that ‘I can pull the zipper up’ is not the definite cue that something is the best size for you. I wear a UK size 12 (US size 8), and curiously, 90% of my friends wear smaller sizes than me. Reader, I am not the biggest in my social circle but I am the most effective looks maximiser. Some men need to size down, but it’s rare.

36. If you want to smile for a photo or to conceal your inner existential dread, touch your tongue behind the top row of your teeth. It makes your smile look genuine, and your eyes light up. I read it in Cosmopolitan when I was 13 and never stopped doing it. It is a handy trick if you are mercurial and don’t want to spend a whole night telling people everything is fine because the gothic novel princess in your brain would rather have stayed under the duvet.

[image]

37. Your habits become your character and as you can change your habits, you can also change your character. You can reinvent yourself whenever you want. Do the things the person you want to be would do.

38. Don’t ask people whether they think you can do something, ask them how to do it instead.

39. If someone gives you negative feedback, react calmly and gratefully, even if you disagree. You want them to feel comfortable to do it again. Reward those who engage in social behaviours that risk their social standing but ultimately benefit your personal development. Don’t shoot the messenger. Get a link for anonymous feedback.

40. If there is no food left over, someone is still hungry.

41. Always be ready to be seen naked, it doesn’t matter if you never have casual encounters. You deserve presentable underwear every day and sexual vigor is a sign of a thriving organism.

42. Don’t listen to people triggered by phone-yielding youths; take hundreds of photos of your friends and times together. It will boost dopamine every time you flicker through your album.

43. Take candid photos of people and send them to them. Even strangers! When you go on holiday abroad, photograph a couple kissing and ask them to airdrop their photo. They will be so grateful.

44. Infatuations are to be enjoyed twice. The first time is when they are felt. The second is when they are confessed. Tell them and remember point number 10 above.

45. Don’t worry about boosting other people’s egos because they think you fancy them more than you do. Romance is not a blinking match. Infatuations are selfish acts. We tell people we want them because we will burst if we don’t, what they do with it is none of our business.

46. If you want to know how someone judges you, notice what they criticise about others when they gossip with you. Remember that this is also how they judge themselves.

47. Everyone is looking for free therapy, whether they know it or not. Time your pauses generously after each question.

48. Envy is my favourite feeling. I am awash with excitement when I feel it. It’s my subconscious’s way of showing me what I want. Now I can go out and get it.

49. My second favourite feeling is desperation in myself and in others. Don’t be repelled by it; receive it and channel it. People live lives of meekness out of fear of exposing their wants. Underpinning this is the lack of belief they can get what they want once they’ve said they want it. To want and to not get is a universal human condition, and it is that universality that makes it romantic and timeless, not sad and pathetic as its bearers fear. We are all in the gutter, but some of us are looking at the stars.

50. Don’t distance yourself from people because they are better looking or more privileged in material ways unless they are obnoxious about it. Having hot, rich friends is a superpower.

51. If you don’t want to live life anxious, people will abandon you when you are poor, sick or sad; don’t abandon people when they are poor, sick or sad. Superpower.

52. Generally, the more you are afraid people will judge you about something, the more likely it is you judge others by that value. If you don’t value, say, unearned wealth, then you should be pretty chill about people finding out you never went abroad until you went to uni.

53. 70% of looking presentable is being very very clean.

54. Most people go to grad school because they don’t know what to do with their lives. Your parent's money is better spent investing in your new business. If you don’t know what business that could be…

55. ….get a job, any job you can and pay close attention to which parts of it you enjoy and hate, what comes easier to you than your colleagues and what comes harder. Then, find another job based on those.

56. Life is too short to fight your sensitivities and proclivities. Don’t be embarrassed by what moves you, and ignore the repressed people who are jealous you are living an honest life.

57. Usually, when people are repeatedly triggered by a specific attribute in people (e.g. insecurity, snobbism, vanity, selfishness), it is because they are aware they have it too.

58. Men are good at arguing, and women are good at manipulating. Women need to learn to fight back and not flee a fight, and men need to learn to be subtle and play the long game.

59. One time in your life, read a bunch of self-help books. Do it once: finance, fitness, career etc. Do everything they say: set up your savings account/pension/investment scheme, start weightlifting, clear out your closet, fold everything Mary Kondo style etc. Then, never read another self-help book in your life.

60. There may be people you were very fond of in your life but who find it hard to be around once your lives take different turns. You might be a painful reminder of the person they could have been but aren’t. Leave the door open if you want but let them go in peace.

61. If your friend or partner is upset, ask them if they want solutions or a listening ear before you autistically ruin the vibe.

62. When I ask friends for feedback on my writing, and they comment on the story or commiserate me on something that sounds sad- I don’t care. I am more interested in knowing if they found the writing entertaining, nourishing or moving. If someone asks you to critique their art, gauge what they want. Many people crave encouragement. A few crave the candid and withering feedback.

63. Good career advice for many women is never to learn to do the things you don’t want to continue doing. I am useless with working diaries and Excel sheets, but you can always count on me to give a speech or chair a panel.

64. Also, always learn to do the technical things only a handful of men in the team know how to do. In one of my initial campaigns, I lasted longer than most other staffers because I insisted that the only man in our group who could program the backend of our new app and handle the data inputs and outputs to teach me how to do it too. I ignored his protests that it would be quicker for him to handle it than teach me. When the time came for our next assignment, only two out of tens of staff members were diploid to the next state: me and the dipshit. The girls who were very good at separating the recycling got sent home.

65. There is no escape from suffering. You can either suffer because you love someone or something or because you don’t love anyone and anything. Decisions, decisions, decisions.

66. Splurge on what you use daily; save on what you use once a year. Buy the best-fitting fucking jeans. Don’t worry about buying heels; remember, you can’t dance in them.

67. Don’t say you hate your job if you actually love it. Don’t say you love it if you actually hate it. Resist the temptation to lie when people ask you how you are doing, but if the answer is genuinely that you are tired, stressed or bored all the time, then ask yourself what would need to change for you to feel energised, motivated, and engaged. Whenever someone asks me if I like my career, it is an opportunity to remind myself how grateful I am.

68. Misery loves company; don’t take advice from people whose lives you don’t want to emulate. One of the most miserable married women I know (my mom) is sending me Pew Research Marriage Makes People Happier studies.

69. The cure to hate is curiosity.

70. Something is only a problem if it makes you feel bad. Eating healthy is very different from ‘dieting’.

71. Become people’s safe space by controlling your reaction when you witness them being humiliated or confessing something embarrassing. Many people’s nervous systems are fried from being raised by reactive parents. The reason people keep their struggles or shameful moments secret, with compounding detrimental long-term effects, is because they still have the emotional composition of a toddler eager to please their elders. If you want to enshrine emotional resilience in someone, model stoic acceptance of life’s rollercoaster. Whatever it is, we will work through it.

72. If you get a baby pet, say a puppy or kitten, take a million photos and videos of them while they are still small. Presumably, the same goes for baby humans, but what do I know.

73. Embrace responsibility, act like you, and you alone must save the world. If the world’s lost, it’ll be on you.1

74. If you don’t know what to write about, stop stopping yourself from writing what you are thinking. There is a reason I mostly write about men, careers, and mom. Most people hate writing because when they try to do it, they force themselves to write what they think will make them look good: a topic that makes them sound serious, an argument that makes them sound deep. Who are they kidding? Most of people’s minds are in the GUTTER. WRITE ABOUT THAT.

75. Be the first on the table to put down your knife and fork and use your fingers when the dish craves it. Others will silently thank you.

76. Do you fancy them, or do you want to be them? If it’s the latter, don’t fret; copy them.

77. Don’t use rich men for money; use them for access.

78. Never order takeaway alone. Buy a steak and a bag of salad. Come to think of it, never order take away, ever, unless you feel nostalgic. Buy two steaks and a bag of salad.

79. Enjoy the power and beauty of your youth. [https://www.goodreads.com/quotes/40501-enjoy-the-power-and-beauty-of-your-youth-oh-nevermind ] Oh, never mind. You will not understand the power and beauty of your youth until they've faded.

80. If a social situation needs to claim an ego, offer up your own. People feel subconscious loyalty to those who let them save face.

81. Don’t worry about powerful men chasing you and then hanging you out to dry. Let them think they humiliated you. Men who are not psychopaths but have leadership qualities feel terrible when they know they hurt women. Don’t try to take revenge; let the situation cool off and use them for favours for the rest of your life.

82. Proactively give positive feedback to people excelling at something for a long time. People stop acknowledging excellence when you break into the top, but even Obama craves to know that his speech went well.

83. When someone posts online about a relative or friend dying or some other personal misfortune, message them immediately with a simple offer of sympathy. Don’t worry if you don’t know them well enough. The result of people looking for the perfect reaction to people’s grief is that we leave the grieving to struggle alone.

84. Sometimes, people need you to mirror their feelings to feel heard; other times, they need you to calm them. Know which friend will give you which, too, if you want to let your feelings flow with a friend. If I am distressed, I don’t want to be with people who will mirror my emotional state because that makes me feel worse. Equally, if I am very excited about something, I don’t want to confess it to the friend who asks rational, practical questions about every update.

85. Whether you think you can or can’t do something: you are right. A lot of success is about ambition more than it is about skill or even hard work. Most people don’t even apply.

86. Men and children love red dresses, lips and nails. Find the crimson shades that suit your undertones and overtones and wear them liberally.

87. Wear at least 2 different primers under your foundation.

88. Buy professional shampoo and conditioner.

89. Start a blog. [https://blog.penelopetrunk.com/penelopes-guide-to-blogging/ ] A private journal is not good enough because you won’t do it. It doesn’t matter if nobody reads it at first or ever. You are not writing to make money but to force yourself to structure your thoughts. Self-discovery will make you richer in the long run. People assume those who express more know more. Studies show individuals who speak more during group interactions are likelier to be viewed as leaders, independent of what they say.

90. The most comforting relief of grief destined never to resolve itself is to think of everyone else suffering the same pain. If you don’t think suffering brings you closer to God, know it brings you closer to mankind.

91. Dressing down when you are a regular glamazon is a power move. Every now and then, show up to a party in jeans and a crop top to keep them guessing.

92. The sexiest recipe in the universe: chicken thighs in cream and tarragon (Jay Rayner has the best recipe).

[image]

93. Hang around people significantly younger and older than you. Pick a few and develop close friendships with them. Feed off the energy of the young and soak the wisdom of the old.

94. Finally, someone in my feedback link said I am obsessed with status (brother, you are telling me?), but I have found status to be a poor motivator for any habit that sticks. If the 12 years of adulthood have taught me anything about self-improvement and discipline is that the only effective motivation to do anything is to take care of others. Get fit, make money, and amass clout and social influence, all in the hope that if you find yourself driving down the highway, you won’t speed past the wounded dog. Everything else falls off the wagon."]]></description>
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    <title>Cabel Sasser, Panic - XOXO Festival (2024) - YouTube</title>
    <dc:date>2024-10-21T19:38:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Df_K7pIsfvg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Don’t waste this. Keep everyone guessing. Make me proud.” When Panic co-founder Cabel Sasser spoke at our second festival in 2013, the Mac software company had just started venturing into games by funding the studio behind Firewatch, an indie blockbuster that launched Panic’s games publishing business and, eventually, the Playdate handheld console.

See the artwork in this talk, and more, at Cabel’s new Wes Cook Archive:
https://wescook.art/

Cabel's XOXO 2013 talk: https://xoxofest.com/2013/videos/cabel-sasser/ [and https://www.youtube.com/watch?v=8ZXWdR7RzV8 ]
His excellent blog: https://cabel.com/
Panic: https://panic.com/
Playdate: https://play.date/
Follow Cabel on Mastodon: https://social.panic.com/@cabel"

[UPDATE 12 FEB 2026

See also:
https://cabel.com/wes-cook-and-the-mcdonalds-mural/

and 
https://wescook.art/
https://en.wikipedia.org/wiki/Wes_Cook ]]]></description>
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    <title>An Exciting Time - The Loaf, with Tim Kreider</title>
    <dc:date>2024-02-02T15:45:14+00:00</dc:date>
    <link>https://timkreider.substack.com/p/an-exciting-time</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Excitement” is a word people use a lot when you have a book coming out: You must be so excited! Such an exciting time! We’re all very excited, etc. My friend Nell currently has a book out: Transient and Strange: Notes on the Science of Life. The emotional alloy “excitement” has a lot of different elements, one of which is dread. (I once read an interview with a writer who said that whenever he heard that someone had a new book out, he always thought: You poor bastard.) Nell and I share the same literary agent, The Fabulous Meg Thompson, who recently griped to me that a lot of her authors—particularly the essayists and memoirists—seem less than excited about the prospect of promoting their own books. This attitude is confounding to T.F.M.T., but to me it seems self-explanatory: “They’re writers,” I explained. When I first decided to become a writer, authors were known as people who wrote whole novels entirely in bed isolated in cork-lined rooms or walked into rivers with pocketfuls of stones or were addicted to heroin and shot their wives in the head. It was not assumed they’d be eager to do AMAs on Goodreads or promos on Book-Tok.

I used to think the ideal situation would be to be like Thomas Pynchon or J.D. Salinger—a famous recluse. But you don’t get to be famous by being a recluse anymore. Through an insidious Darwinian winnowing over the last decades, most of the living writers you’ve heard of now tend to be of that freakish breed who take naturally to self-promotion and thrive on social media, like those newly evolved bacteria that eat plastic. (The most successful writer I know—by “know” I mean I once smuggled her pet ferret into her dorm room for her—now runs $700 theme weekends based on her own novels.1) These are highly adaptive qualities in the harsh 21st century media environment, but they rarely correlate to writing talent, and are more often inimical to it; writing is a lonely, obsessive practice, favored by those types who prefer solitude, observation, and long, uninterrupted thoughts to celebrity, performance, and mouthing off on twitter.

The two skills sets may overlap—Harlan Ellison used to write whole short stories sitting in the windows of bookstores—but they’re not naturally compatible. (Dorothy Parker pointed out that none of the members of the Algonquin Roundtable—the equivalent of the twitterati ca. 1920s—were among the literary giants of their day: they were “just a lot of people telling jokes and telling each other how good they were.”) One instructive contrast is between Ken Kesey, who wrote a couple of great novels and then became a motley clown-prophet of LSD, partied with biker gangs, roved around the country in a psychedelic bus and forgot ever to write anything again, and his less celebrated friend Robert Stone, who quietly continued to write some of the best American novels of the last half-century.

The fate of those writers who buy their own acts, and succumb to the addiction of celebrity, lacks even the dignity of Greek tragedy: think of Truman Capote’s trajectory from In Cold Blood to Murder by Death. I saw Hunter S. Thompson—once an important writer to me—speak after he’d become a professional Hunter S. Thompson impersonator: he sat onstage holding boozily forth drinking Chivas Regal and whacking things with a rubber squeak-toy mallet. It was like seeing an animal that once could’ve skwapped your head off with one paw dressed in a tutu and riding a unicycle.

But Nell, unlike most writers, is already practiced at public performance, and putting on a professional persona. You’re probably familiar with her work already, whether you know it or not; her name is listed on “The Women of NPR” T-shirt: Nell Greenfieldboyce, science correspondent. (Most recently she delivered the crushing disillusionment that the best-known images of Neptune are in false color; rather than a deep oceanic azure, it’s really a washed-out pea green, little more photogenic than Uranus.) And she’s done everything expected of her in her book’s publicity campaign: a friend wrote me that at a reading in DC “she knew how to hold the room [and] answered questions, no matter how left-field, with insight and nuance”; in interviews she comes across as articulate, funny, and candid; and she is, as I write this, reading her throat raw recording the audio edition of her book. So if she does have any trepidation about publication, I suspect it’s for other, less obvious reasons.

It is an unavoidably fraught business, relinquishing a book you’ve been working on for years to the judgment of the public, even more so if your material is your own life. If I were to pick up a book by an NPR personality, I would not be expecting what you’ll find in Transient and Strange: it is intimate, literary, and serious. It’s not a collection of science essays like Lewis Thomas’s or Stephen Jay Gould’s, but personal essays intertwined with science, as inextricably as science is intertwined through all our lives, through matters of birth and sex and life and death. Nell writes about trying to assuage her children’s fear of tornadoes while knowing that disasters are in fact coming that she can’t protect them from; about being hit on as a 12-year-old girl by an older guy and the creepy etymology of the term “black hole”; about the history of eugenics as refracted through the medical and ethical ordeal of trying to ensure that her own children won’t inherit a genetic kidney defect. Nell is pretty phlegmatic about exposing herself in her work (when I asked her permission to write about some confidential or delicate detail, she finally decided: “Oh who cares. We’ll all be dead someday”), but I can only imagine she must feel discomfitingly naked in these pages, or at seeing her husband and children mentioned in reviews.

But her book’s imminent release has also had another, unexpected effect. Since advance copies have become available, colleagues, friends and acquaintances who’ve read it keep approaching Nell with a kind of perplexed and tender awe. A friend’s husband, seeing her at a Christmas party, immediately gushed, “Nell—WTF?” and embraced her “like a soul mate” —as if to say: Who is this sensitive sentimental person you’ve secretly been this whole time? I can imagine that, to people who don’t know her well, Nell’s demeanor might seem daunting, even intimidating, so for them this book must come as a revelation. Like a lot of writers, Nell often feels at an involuntary remove from other people, like a researcher observing subjects from behind one-way glass, which can be an advantage as an artist, but is isolating and sad for a human being. So this breaching of that barrier comes like the touch of a finger through an air hole.

I recognize this experience from my own writing career: my sister told me she’d learned more about me from reading my first book than she had from being my sister for forty years. It’s awkward to be caught confiding things to strangers that you never got around to mentioning to your own family—and I’m not sure whether it’s more awkward talking to strangers who now think they know everything about you, or to your family, who realize that they don’t. It feels both exhibitionistic and like a betrayal. Of course it’s easier to tell you some things, reader, the same way it’s easier to tell them to a stranger in a bar, because—no offense—I have nothing to lose with you. And it’s different for a writers to tell the truth to readers than to people in their own lives, because it’s in a professional context, like someone who would not normally go about shooting total strangers doing so because he’s a soldier. It’s the job.

Maybe because I write about my own life, I’ve always had an ambivalent relationship with readers. Of course, like most ambitious artists, I was always covetous of fame, but once I actually attained some modest renown, I affected to be dismissive of the attention that I (as opposed to my work) received. I felt as if, by focusing on me as a person, readers fundamentally misunderstood what I was trying to do. My writing wasn’t supposed to be about me, but about them; it’s like when you’re pointing at something for a dog and it just stares at your finger. They’d already gotten the best aspect of me in my work; it was a fallacy to imagine that there’s more of the same to be found in the real-life person of me. (Which is why I’ve never quite understood people’s plaints about writers or other artists turning out to be imperfect, even terrible people.) So my attitude was partly the reflexive contempt you feel toward anyone gullible enough to admire you (cf. the aphorisms of Nietzsche and Marx), partly a protective recoiling from their somewhat valid/somewhat delusional presumption that they knew me. And some of it was an ascetic impulse to quash my own embarrassing greed for attention, no different from an Instagram influencer’s or Donald Trump’s. I had to not to care at all to keep from caring too much.

Whenever I felt sorry for myself because my books were never featured on the display tables of bookstores, I’d turn to the consolation of posterity: Okay, so maybe my books were not exactly bestsellers, and I never won any literary awards, but someday people will recognize my talent. This seems silly and misguided now, like pretending it doesn’t matter that your life sucks because you know you’re going to Heaven. For one thing, it won’t matter to me; I’ll be dead. Ovid and Seneca don’t care that I’m reading their work. And those future readers are purely imaginary, or at least hypothetical (and if we as a species really screw things up, they may never exist at all). And anyway, why would I imagine that people a century or millennium from now will be any wiser or more discerning than the ones currently awarding stars on Goodreads? There is no ideal audience, no council of elders to adjudicate literary quality; it’s just us. The only people you’ll ever really be able to connect with are the ones who are here now, enjoying their one brief chance to be alive alongside you.

In defending myself against that corrosive attention, I was also denying myself something vital. In the same way that I sometimes wish I’d paid more attention during the Obama years, appreciated what we had while we had it, I now wish I’d been less guarded in my interactions with readers. Because, it turns out, this may have been the part of writing a book that mattered the most. When I saw Ray Bradbury speak—one of my own favorite writers as a young reader—he told us that, when he was a teenager, he’d sent a crazed fan letter to Hal Foster, creator of the comic strip Prince Valiant. By way of thank-you note, Foster sent young Ray a whole page of his original art (a page that would now go at auction for the cost of a new car). “I wrote him to say, ‘I love you,’ and he wrote back and said, ‘I love you too,’” Bradbury concluded. “Write the people whose work you love and tell ‘em you love them!” he commanded. The best consequence of having written my books has been the people it’s brought into my life—writers I’ve long admired who are now correspondents, students who’ve graduated to become colleagues and friends, strangers I came to know and, sometimes, to love. You beam your feeble radio signals out into the abyss and then, one morning, years later, the skies are full of starships.

My partner is a writer, too, but you’ve never read anything by her because she’s not particularly interested in publishing. She writes, she says, in order to think; she’s so constantly harried by running a business that she cherishes the chance to sit and untangle her inchoate thoughts, trace their patterns, and follow them to their ends. It is, I think, a purer, saner motive than mine. But most people who write for publication are not entirely healthy; we’re afflicted with an insatiable craving for the validation of strangers. But my partner’s former husband, a musician, also told her that the creative process really isn’t complete until you’ve shared your work with others. Which, for the kinds of people who prefer to spend hundreds of hours alone in a room toying with their own ideas, can be a nerve-racking ordeal. But there’s a crucial difference between the need to be paid attention to and the desire to connect—it’s the difference between trying to one-up someone else’s story and telling one of your own to commiserate, to empathize; between saying Look at me, everybody and You’re not the only one.

All the self-promotional bullshit that Nell and I and every other writer acquiesces to is just the crass commercial means to an authentic human end; it’s what the recording industry is to music, what taxes are to a civil society. At the end of this month I’m going to see Nell give a reading in New York City, at the swank and mysterious Cosmopolitan Club. I’m very much looking forward to this event—to being not up at the podium but out in the audience, not only as Nell’s friend and colleague but an admirer, a fan. Just another reader, out there in the dark."]]></description>
<dc:subject>timekreider 2024 writing howwewrite attention recluses solitude publishing kenkesy huntersthompson trumancapote thomaspynchon jdsalinger excitement books bookreleases ambition fame modesty nietzsche karlmarx ovid seneca howweread howwethink thinking appreciation halfoster raybradbury self-promotion readers harlanellison celebrity performance nellgreenfieldboyce megthompson correspondence conversation acknowledgement</dc:subject>
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<item rdf:about="https://biblioracle.substack.com/p/choosing-consideration-not-consumption">
    <title>Choosing Consideration, Not Consumption - by John Warner</title>
    <dc:date>2024-01-25T23:17:47+00:00</dc:date>
    <link>https://biblioracle.substack.com/p/choosing-consideration-not-consumption</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In many ways, these books are an antithesis of consumption. If something is consumed, it is used up entirely. Rather than consume, these books consider the subjects at hand and leave substantive material behind for the reader to make something for themselves.

I try not to get too panicky about things, and I’m not one to embrace the past simply out of a sense of nostalgia, but I can’t help but believe that some vital stuff is being lost, not necessarily (or just) Pitchfork itself, but an entire way of looking at the world that builds a sense of communal around something other than just what we buy/stream/promote. Yes, Pitchfork could be very irritating, but that’s fine! They didn’t get to decide what I liked. They were a voice I could compare my voice to.

Mustich sent The Common Reader to subscribers in the mail. Christgau had a sustainable gig at The Village Voice. Thomson has published numerous books and innumerable works of criticism. We had an infrastructure that allowed people to produce stuff of value without having to spend the bulk of their time drumming up audience and attention.

What has to happen to make space for this kind of work in today’s world?"]]></description>
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<item rdf:about="https://www.latimes.com/travel/story/2024-01-18/how-to-rediscover-childlike-wonder">
    <title>Feeling drained? Here's how to rediscover your childlike wonder - Los Angeles Times</title>
    <dc:date>2024-01-25T19:45:43+00:00</dc:date>
    <link>https://www.latimes.com/travel/story/2024-01-18/how-to-rediscover-childlike-wonder</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>wonder attention noticing juliacarmel 2024 beginnersmind joy mundane everyday play playfulness relationships slow small appreciation life living presence ritual rituals walking awe</dc:subject>
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<item rdf:about="https://jackforster.substack.com/p/age-of-innocence-the-disappearing">
    <title>Age Of Innocence: The Disappearing Charm Of The Good Cheap Watch</title>
    <dc:date>2023-12-10T03:27:05+00:00</dc:date>
    <link>https://jackforster.substack.com/p/age-of-innocence-the-disappearing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""You don't know what you've got 'til it's gone." – Joni Mitchell

There are two watches I own which, for me, define one of the most important features of watch collecting, and of being a watch enthusiast. One of them is a Tudor Black Bay from 2015 and the other is a Seiko 5. Both of them have the virtues which the Joker, in The Black Knight, ascribed to a couple of other things: 

"See, I'm a man of simple tastes. I like gunpowder ... and dynamite ... and gasoline! Do you know what all of these things have in common? They're cheap."

Cheap they may be, but they get the job done and when it comes to watches, there is a surprising amount of interest to be found in being a watch lover on the cheap.

There are of course any number of people who start out with plenty of money, and who, right away, want to find out what watches are considered cool and which will be part of a larger project of building prestige on social media. This sounds like a cynical and even judgemental statement but it is not; we all get into watches, watchmaking and watch collecting for different reasons, and there is nothing inherently more virtuous about having an entry level job but finding your way in through Seiko 5 watches (or Casio G-Shocks, or what have you) than there is about have an annual watch budget of fifty thousand dollars or more, and starting out with high-end vintage, or with trying to get on the list for blue-chip watches from Audemars, Lange, Patek or Rolex (the Big-ish Four).

Still, though, there is something to be said for being forced to start small, because the new watch enthusiast on a budget is forced to concentrate on details, and on aspects of value added, which are not necessarily going to force themselves on someone who is starting out knowing they are secure for life financially, and who have enough to spend on watches that it’s more or less a question of choosing from among the usual suspects.

One of my favorite writers, A. J. Liebling, was a writer for the New Yorker for most of his professional career, and during that time he covered a lot of deadly serious subjects, including World War II (he rode a landing craft in towards the Omaha beachhead on June 6th, the first day of Operation Overlord) and some less serious but still of international interest, including boxing (The Sweet Science should be a must-read for anyone interested in old-fashioned, craftsmanlike, excellence in writing, not just boxing enthusiasts, although the latter will be apt to get the most out of a book on boxing, natch).

He also wrote, widely and enthusiastically, about food and his reflections on eating in Paris before the war, and then finding it something of a shadow of its former self afterwards. You would expect that, from years of rationing and occupation, but mourning for what's gone is separate from knowing there is a reason it happened. Anyway, on the subject of an eater's education, he wrote:

"A man who is rich in his adolescence is almost doomed to be a dilettante at the table. This is not because all millionaires are stupid, but because they are not impelled to experiment. In learning to eat, as in psychoanalysis, the customer, in order to profit, must be sensible of the cost." (Between Meals: An Appetite For Paris).

The situation for watch enthusiasts has to do with deciding, on a fixed collector's budge, what will give you the most satisfaction for a certain number of dollars. You fall in love with watches and you very quickly, if you are anything like the average watch enthusiast, find out that you are not a client for Patek, Vacheron, Lange, Rolex or Audemars Piguet.

Instead, if you are lucky, you can to choose between brands like Grand Seiko, Tudor, and Omega and if you go down the price scale a bit, companies like Longines or Hamilton or even Mido are within reach but then again, you also are starting to get into some interesting German brands, including Sinn and NOMOS Glashütte (and others.) And of course, the 800 pound gorilla of value for the money is Seiko, with its bewildering variety of models, model families, and sub-brands – including Presage (and if anyone can tell me if it should be pronounced pre-SAHZH or PRESS-ahzh, I will die a happy man, or at least, less unhappy.

Being forced to work within a budget, in other words, means you have to pay attention to details that you might not consider if you had five (or six) figures to work with and were looking for one of the top six or seven hardest-to-find, and therefore most prestigious, luxury watches. You don’t necessarily notice that both the Nautilus and the Royal Oak have baignoire (bathtub) hands because they’re both more or less the same watch, in terms of perceived prestige at least, and the details of the watch matter less than the difficulty and probability of acquisition.

On the other hand, if you are choosing among Seiko dive watches or even dive watches under five hundred dollars, the differentiating details suddenly become the only things that matter. Because acquisition is easy, taste becomes the paramount consideration. A few years of exercising taste in the field of sub-500-dollar watches and you find, surprisingly, that you can tell a good piece of work from a bad whether the name on the dial is Daniel Wellington or Patek Philippe.

The premiumization of watch prices across the board, means that the exercise of taste is harder and harder to nurture because how easy or hard it is to get something, and how much it costs, is what matters, both to the enthusiast and from a social signaling standpoint. The cheap but good watch is a critical experience in building discriminating taste, which takes time and requires looking at factors other than conferred prestige (the worst manifestation of which is the current “got the call” trope, which is I believe what the kids used to call a humblebrag). Ironically, it’s among the wide (but decreasing) pool of cheap but good watches that much of the real exercise of taste exists nowadays and without it, the whole ecosystem of watch connoisseurship collapses, like an ocean full of whales, suddenly devoid of krill."]]></description>
<dc:subject>jackforster 2022 taste watches connoisseurship signaling socialsignaling price appreciation details</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=DRYgY9yO5gc">
    <title>The Un-Private Collection: Hank Willis Thomas + Robin D. G. Kelley - YouTube</title>
    <dc:date>2022-09-20T01:56:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=DRYgY9yO5gc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Artist/activist Hank Willis Thomas will speak with his mentor and former teacher, UCLA professor and noted author Robin D. G. Kelley about Thomas’s art practice and his activism as co-founder of the organization For Freedoms. The Broad recently acquired  America (2021) by Thomas, which is on view along with his work 15,580 (2017), 2018 in The Broad’s special exhibition This is Not America’s Flag from May 21 through September 25, 2022. In America, Thomas dismantles the US flag, reforming its red and white bars to spell “America,” prodding the inequity present in the fabric of the nation, past and present. In 15,580 (2017), Thomas commemorates victims of gun violence, each star representing a life lost in the United States in 2017."]]></description>
<dc:subject>hankwillisthomas 2022 robindgjelley art learning love activism flags poetry storytelling hope creativity healing optimism collaboration freedom liberation dreaming freedomdreaming howwething howwelearn jimcrow civilwar democracy confederacy us race racism inclusivity inclusion branding complexity nuance civicengagement engagement politicaldiscourse museums libraries unschooling deschooling lcproject openstudioproject education future messaging stewardship arts society survival attention stillness noticing awareness awakeness now thenow presence appreciation being brands nike capitalism patagonia labor change nba nfl sports accountability critique criticism ajamonet rationalization resistance surrealism andrébreton modernity humanism decolonization advertising markerting speculativefiction speculativedesign ownership wealth community virtuesignaling reparations bayarea sanfrancisco interdependence radicalism radicalimagination imagination colonialism rationality aimécésaire dereckapurnell abolitionism</dc:subject>
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    <title>The Truth About Watches and Consumer Culture - IDGuy Audio - Episode 2 - YouTube</title>
    <dc:date>2022-02-25T09:54:49+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Discussion looking at Watches and Consumer Culture by focusing on an Analogy about Cowboys. The focus is aimed at collectors, those who are interested in buying watches solely for the sake of resale potential and questioning if we are maybe overreaching in a few areas."]]></description>
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<item rdf:about="https://annehelen.substack.com/p/thats-what-the-money-is-for">
    <title>That's What the Money Is For - Culture Study</title>
    <dc:date>2021-05-03T06:40:39+00:00</dc:date>
    <link>https://annehelen.substack.com/p/thats-what-the-money-is-for</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["All across the United States parents and caregivers are receiving and forgetting instructions on what they’re supposed to be preparing for their preschool and elementary school kids’ teachers. That’s because next week is officially “Teacher Appreciation Week,” an official holiday orchestrated by a combination of Classroom Parents and PTAs that, over the course of the last four decades, has exploded into an intricate, overly-complicated, largely hollow performance of gratitude.

[embedded tweet]

This year, Teacher Appreciation is particularly overdetermined, because most teachers have had an ass of a year — attempting, based on their location and particulars of their situation, to balance potential COVID exposure, extreme hygiene theater, in-person learning, distance learning, hybrid learning, vitriolic attacks from parents on their unions, and generalized demoralization. Depending on the state and strength of union, many elementary and high school teachers may be struggling to make ends meet; almost everywhere, ECE teachers receive truly garbage pay. That was true before the pandemic, and as with so many jobs deemed “essential,” the garbage pay feels even more insulting.

Parents are also exhausted after this ass of a year, but the United States is particularly good at looking a sprawling problem like systemic disinvestment in public education square in the face and thinking “I bet some very small individual purchases will fix this.”

Teacher Appreciation used to be a single-day, celebrated on March 7th. But in the 1980s, the PTA (Parent-Teacher Association) lobbied to expand it to a full week — and move it to early May. Like so many other capitalist American rituals, Teacher Appreciation Week has come to individualize care, and gratitude, and behavior: so long as the parent practices gratitude towards their kids’ teachers in the form of thank-you notes and gifts, larger decisions (like, say, voting) that negatively affect the entire educational system (and other people, particularly people who aren’t like you) can be excused.

You might be saying: I really thought I was just getting my kid’s teacher a nice lotion from Bath and Bodyworks. You were, indeed, getting a nice lotion (in addition to the Starbucks giftcard, the homemade loaf of pumpkin bread, the mug that reads BEST TEACHER EVER, or whatever other slew of tokens has become an “optional” display of thanks). I’m not really trying to shame anyone who’s come to participate in these rituals, because they’ve been slowly normalized — and who wants to interrogate a gift-giving practice? But I am trying to call attention to the way in which practices like Teacher Appreciation Week enroll both parents and educators in a larger exchange schema that somehow manages to ask very little of parents and give very little to teachers in the most exhausting way possible.

[embedded tweet]

Temporarily setting aside the fact that this is the sort of labor that almost always falls upon mothers, and serves as yet another way in which working moms, less financially stable moms, single moms, and/or less mobile moms can “fail” at public performances of proper motherhood…and also setting aside the many parents are already paying up to a third of their income on daycare and preschool…and also setting aside the fact that those failures often filter down and serve as sources of shame for children…and also setting aside the fact that making participation in these weeks “optional” is at once bullshit and gaslighting, these gifts don’t actually make the teacher feel supported.

When I started tweeting about these scenarios earlier this week, my DMs flooded with messages from teachers telling me about all of the lotions and tchotchkes and socks and candles they have to handle disposing every year. Some they have family members put them on Facebook Free Groups, because god forbid a teacher reject “appreciation.” Some they donate. Others they surreptitiously throw away. It’d be one thing if these gifts were actually coming from their students — if a ‘spa item’ overflowed with meaning. But it does not.

They’re like the gift from your Aunt who feels like they should give you a candle the size of your thigh for Christmas and you have to fly all the way home across the country with it before it sits in your closet before the next time you move. They’re like when your high school boyfriend got you Black Hills Gold earrings that were definitely not your style and you had to hide them in your jewelry box for years. They’re like the latest pair of tube socks your mom got you that go on top the 25 other pairs of unworn tube socks your mom got you. They are empty tokens. They’re the gesture that doesn’t count. These gifts can simultaneously “mean well” and serve to protect parents from larger, tougher, more challenging understandings of what support can and should look like.

So what does that support look like? The easiest route, at least in this moment, is money, filtered for actual use in the form of an actually useful giftcard. Depending on your background, you may or may not have internalized the idea that giving money as a means of thanks is tacky or untoward. That is bullshit posturing and you should forget it. A giftcard to Target will actual support a teacher in a way that a desk full of breakfast items cannot.

But that solution is also fairly shallow. There are several ways that you, as a parent or a caregiver or just an adult in the world, can support the teachers in your life in far more meaningful ways. In public, you can show up and back them and their unions at rallies. You can defend them when people start talking shit about them and their unions in Facebook Parent Groups. You can write them with specific and non-performative and non-passive-aggressive ways that they have impacted your child’s life, and be very clear that you don’t expect a response.

[image]

In private, you can vote for politicians and support policies — especially education levies — that move to robustly fund public education. You can vocally support national plans that conceive of childcare and preschool as essential infrastructure: a market failure that demands public investment in order to 1) be affordable & and accessible to all families and 2) pay a living wage.

You can get behind unionization efforts, like those in California, of ECE workers, because worker solidiarity doesn’t just mean supporting people in your union, or in your field, or in your particular vocation. It means supporting workers — which is what teachers are, no matter how much others try to conceive of their labor as ‘passion’ and thus ‘should be done at any salary’ — in their pursuit of a living wage and labor protections.

Teacher appreciation — outside of verbal and written praise — shouldn’t manifest in individual tokens that hinge on family income and gendered labor, because we actually have an efficient, effective, and generally fairly distributed way to show public servants our gratitude and support. It’s called taxes. Taxes are the way we “appreciate” the people who build our roads, the people who process our wedding paperwork, the people who maintain our buildings. And taxes should also be the way we appreciate our teachers: to adequately outfit their classrooms with enough supplies, to make a wage that allows them not to take on a second job and afford housing in their district, to have the sort of stability that makes it possible for them to continue to be one of the most important people in your children’s lives, but also the lives of children you’ll never know.

Taxes are our way of paying for civilization. They’re also our best, most seamless, least labor-intensive way of showing we value teacher’s work. That doesn’t mean that you can’t show appreciation in other purposeful ways. But conceiving of and publicly talking about taxes in this way — and even supporting (gasp!) paying more of them, and disarticulating school funding from local property taxes — is year-long, life-long teacher appreciation."]]></description>
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    <title>Don’t leave jazz to the jazz guys | The Outline</title>
    <dc:date>2020-01-30T06:20:40+00:00</dc:date>
    <link>https://theoutline.com/post/8604/jazz-guys-stereotypes-music-genre</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“The music is more than a personality trait.”

…

“I prefer to pay attention when I listen to music, so if I need background noise while I’m doing something else, I put on a TV show that I don’t expect to be good. One show that met my expectations recently is ABC’s Stumptown, a private-eye procedural with forgettable mysteries and gratuitous action sequences.

One character on the show is a police officer named Miles, which has a significance that was not initially clear to me. But as I was puttering around the house with the TV on, I took notice of a line of dialogue. It came up during a conversation Miles has with his boss, after he is scolded for going off-book and taking the law into his own hands.

“You like jazz, lieutenant?” he asks. My ears perked up.

“I mean, I’m more of a Joni Mitchell fan,” says the lieutenant. “But super excited to hear where this is going.”

Same! Or maybe not so much excited but mortified. It turned out he was doing some kind of extended metaphor.

“Coltrane,” says Miles. “He was the master of perfectly composed music. And then there was Mingus. He was raucous, free-form, rebellious. Nothing polite about him, rejected the mainstream. I’m a Mingus guy. I get him. I understand him.”

Let’s just set aside how cringe-inducing this is as fictional dialogue — the relevant thing is what it tries to say about the subject under discussion: jazz. Here, jazz represents something other than a genre of music; it is meant to evoke a sensibility, that of being unscripted, authentic. The improvisational aspects of the music are meant to designate the free spirit of the vigilante cop.

Not surprising, really. The jazzy detective is a familiar archetype, even if crime fiction rarely includes any meaningful engagement with the music itself. One rare contemporary exception is the character Harry Bosch, title character of the show Bosch. He has a record collection that would impress a real-life jazz collector, but he doesn’t talk about it unless someone brings it up.

This is the approach I take. I’ve been listening to jazz my whole adult life, or more. But I generally do not raise the subject with anyone unless I know they are also into it, as though it was a sexual kink or a fringe religion. This is because if you disclose this kind of interest out of context, you risk being typecast. Later in the season, Miles — obviously named for trumpeter Miles Davis — is seen on a date with a different Stumptown character, at a punk rock concert. Aftwards, his date tells a friend that it wasn’t an ideal outing. “Wasn’t really his thing,” she says. “He’s more of a jazz guy.” The “jazz guy” is certainly a type.

The first “jazz guy” — the kind of person who would invoke jazz as a metaphor for his personality, as opposed to someone who just likes to listen to jazz — was probably Jack Kerouac, whose On the Road includes effusive descriptions of concerts by George Shearing and Slim Gaillard. “The madness would lead nowhere,” Kerouac notes after seeing Shearing. The jazz guy is most often white and usually insufferable. He probably knows relatively little about jazz. Indeed, in 1949, the English pianist George Shearing should not have been your favorite jazz musician.

The worst thing about jazz guys, as Kerouac epitomized, is the tendency to talk about jazz a lot without really having much to say about it. Stumptown’s Miles fits the bill. It’s bad enough to lecture people about a subject they may not share your interest in; what makes it even worse is if you get it all wrong. I try my best not to participate in that kind of conversation, but since Miles started the ball rolling, I reserve the right of response.

The specifics of the above dialogue are rather severely off-base. The musicians in question, John Coltrane and Charles Mingus, are characterized nearly inversely. Coltrane, a saxophone player, was hardly a player of perfectly composed music — he was possibly the most influential, and at times “free-form,” improviser of his era. Mingus, on the other hand, is one of the few figures in modern jazz whose reputation takes the shape primarily of a composer rather than a performer, after Duke Ellington and Thelonious Monk. As a bass player, he played improvised solos far less frequently than Coltrane, at times leading his ensemble through material performed more or less as written.

There is already an oversight embedded into whole framing of the conversation, which counterposes Joni Mitchell against jazz, as presumably a polar opposite: the frail, folksy white lady. But if either participant in this conversation really knew their favorite musician’s work, they would know that Mitchell was one of Charles Mingus’s major collaborators late in the composer’s life, recording an album with his supervision in 1979, called Mingus. Joni Mitchell was arguably a jazz guy — or at least she could have been mistaken for one.

***

That being said, the jazz guy is almost always a guy. However, the Claire Danes character on Homeland was a jazz guy. In her, like Miles, a fondness for jazz was supposed to symbolize a coloring-outside-the-lines approach to law enforcement — in this case, the war on terror. John Mayer is a notable jazz guy, though he does seem to genuinely love jazz, making occasional winking references to classic Blue Note records. Ken Burns doesn’t even appear to listen to jazz, but became one of the worst jazz guys of all time for the purposes of his documentary miniseries on the subject.

The most prominent contemporary jazz guy has to be Damien Chazelle, director of the films Whiplash (2014) and La La Land (2016), the latter of which is best-known for not winning the Academy Award for Best Picture. Whiplash is a sports movie in which the athletes compete using musical instruments. The protagonist, a student jazz drummer, is an admirer of Buddy Rich, a big-band celebrity whom hardly anyone who has heard more than a little bit of jazz would consider a favorite. The climactic big game is a competitive concert where the music itself is thoroughly boring. As Steely Dan’s Donald Fagen, whose body of work shows an ongoing engagement with modern jazz, put it in Rolling Stone, Whiplash “has nothing to do with actual jazz unless you consider it to be a species of martial arts.”

La La Land managed to be even worse — a story about black music that is overwhelmingly white, a movie musical that is inspidly heterosexual. The movie’s hero, Sebastian, is a jazz pianist played by Ryan Gosling. He has stepped up from Buddy Rich, copping licks in one scene from a Thelonious Monk solo. Much of the movie’s dialogue consists of him offering his perspective on why jazz is good, or what jazz really is. As he tells Emma Stone’s character, Mia, on their first date:

<blockquote>I just think that people, when they say that they, you know, hate jazz, they just, they don’t have context, they don’t know where it comes from. Jazz was born in a little flophouse in New Orleans, and it’s just because people were crammed in there, they spoke five different languages, they couldn’t talk to each other. The only way they could communicate was with jazz.</blockquote>

This is a bit ridiculous, for one thing. People in New Orleans at the turn of the century were surely speaking English, French, Spanish, and Creole dialects, rather than carrying out conversations by blowing trumpets at each other. But cringier still is the shape this takes: a man lecturing a woman on a date about her lack of appreciation for a particular art form.

This is, unfortunately, a thing, one that particularly haunts women who play or listen to jazz. I once witnessed a first date at the Village Vanguard, the world’s most famous jazz club, where a man pointed at a picture of Joe Henderson and told his date it was Dexter Gordon. He then proceeded to sing her the bass line to Miles Davis’s “So What,” the first song on the first jazz album most people listen to. As Alexander Pope once wrote: “A little learning is a dangerous thing.”

***

My own interest in jazz grew in parallel to other kinds of music, and one of the things that has most confused me about the public perception of it is its depiction as something entirely distinct from different genres. Think of the way people ask each other, as part of a variety of getting-to-know-you processes, “what kind of music do you like?” People draw a variety of conclusions about your cultural background based on your answer, but if your answer is “jazz,” that seems to carry more of a connotation about your personality, like that you are a white guy who wears a fedora and calls people “cat.” It’s the type of thing you don’t list on a dating profile. An interest in jazz too often signifies the things it is depicted as in either Whiplash — a preening display of technical ability — or La La Land — a nostalgic fixation. It’s as though you admitted to being a Civil War reenactor, or worse, a snob. But for me, it’s never had anything to do with either.

Miles Davis’s 1959 album Kind of Blue — the one with “So What” — was probably also the first jazz album I heard, though I don’t remember the first time I heard it. There was a copy at my local library, and I do remember flipping past it many times. I began to recognize it as the token jazz album on Rolling Stone-type best album lists, but in the back of my mind, I thought, “that one is boring.”

[audio embed]

The first jazz album I liked was Grant Green’s 1963 Idle Moments, which I saw in the same bin, and chose for the unsophisticated reason that I liked the cover — a classic of Blue Note’s distinctive design. The 15-minute title track is like a film noir in miniature, and I’d never heard a vibraphone before, an instrument that sounds like a wisp of smoke in black and white. It’s played here by Bobby Hutcherson, and I started keeping my eye out for his name in lists of credits. Jazz was still a curiosity to me, but I began to browse books on it.

I chanced upon an outdated record guide, and flipped through it to check for names of artists and albums to look into. It was not a recommendation I remember but a warning: against saxophonist and composer Ornette Coleman, whom the author deemed a ruiner of jazz. By abandoning conventional harmony, said the author, Coleman’s music had disrupted the decorum of jazz and released it to the wolves. Obviously, I had to hear it.

[audio embed]

I found his breakthrough 1959 album The Shape of Jazz to Come, back in those CD bins. The cover is almost a visual joke, with its declarative title laid out over a rather demure photo of Coleman wearing a nice sweater and cradling a saxophone — scandalously, for the era, made of cheap white plastic rather than the traditional brass. The music was a revelation — unpretentious, but startlingly unique, somehow belonging to both a city street and to outer space. I’d never heard anything like it, and still haven’t. I began to trace his music backwards, to Charlie Parker and Thelonious Monk, and it was only after I spent years with the accelerated density of bebop that the spaciousness of Kind of Blue made any sense to me.

***

In a recent article in Jacobin titled “In Defense of Kenny G,” the composer John Halle — whose bio states that he was “formerly on the faculties of Yale and the Bard Conservatory” — characterizes jazz fans as elitists, scornful of the masses who have rightly rejected jazz as an indulgence of the bourgeoisie. The article contains no meaningful defense of Kenny G, and Halle admits he is not making a case for listening to him, which seems to miss the point of music in general. But he argues that distaste for Kenny G among jazz fans, along with their preference for the music in the jazz canon, is an instance of contempt for the authentic culture of working people. This doesn’t really line up with the public perception of the music. In La La Land, after Sebastian offers his account of the origins of jazz, Mia responds, “What about Kenny G?” For many people, both fans and haters, Kenny G, sadly or not, epitomizes jazz.

One might ask why jazz is the target for this invective in the first place. As a college student, I once attended a performance by the jazz pianist Jason Moran, of the compositions of Thelonious Monk. Beforehand, I overheard a conversation with an administrator of the concert hall, who noted the interruption of their program of “serious music” with amused disdain. Our discourse is so hampered by polarized debates between Marvel movies and art films that it becomes easy to forget that such creatures do exist, and they often hold positions of power and influence. Jazz is still subject to the same objectification Amiri Baraka noted in his 1963 essay “Jazz and the White Critic”:

<blockquote>We take for granted the social and cultural milieu and philosophy that produced Mozart. As Western people, the sociocultural thinking of 18th-century Europe comes to us as a legacy that is a continuous and organic part of the 20th-century West. The sociocultural philosophy of the Negro in America (as a continuous historical phenomenon) is no less specific and no less important for any intelligent critical speculation about the music that came out of it.</blockquote>

What Halle neglects to note is that jazz has been a form of popular music, one linked to the social life of a community, for most of its existence. Even music meant for listening rather than dancing, like the bebop of the 1940s, had populist qualities — the era’s major innovator, Charlie Parker, spent some of his final recording sessions playing pop songs over orchestral arrangements, an approach closer to Kenny G than either acolytes or detractors of modern jazz might like to admit.

Inconveniently, jazz recurs in subsequent forms of American popular music as well. Joni Mitchell and Steely Dan are obvious examples, as were many of their contemporaries, from experimental rock groups like King Crimson to soul songwriters like Stevie Wonder. More recently, Kendrick Lamar’s now-classic 2015 album To Pimp a Butterfly is, among other things, an experiment in making hip hop with a jazz methodology — contemporary jazz musicians like Kamasi Washington, Robert Glasper, and Ambrose Akinmusire are all over it.

I have often heard jazz described by people who don’t like it as music where everyone is soloing at once, or something to that effect. This sounds unpleasant, if what you’re used to is guitar solos in rock songs — boring interludes where you temporarily stop paying attention. Jazz, at its best, is something entirely different. The difference between composed music and improvised music is a matter of timing.

[audio embed]

Last year, the guitarist Bill Frisell put out an album of duets with bassist Thomas Morgan, the second release from a weeklong engagement they played at the Village Vanguard. I treasure both albums on their own merits, but the most incredible thing about them, for me, is that I was there — on one of the nights they recorded the music that makes up the album, I sat in the room and heard it come into being. They played a version of Billy Strayhorn’s “Lush Life” so exquisite that the moment it ended I wanted to share it with everyone I knew, and wished there was a way I could. In this case, I can. But better yet, this is an experience I can have again, and you can too. Jazz is a living music, one that exists in the real world in real time, and living, breathing musicians create moments of indescribable beauty every night.

It’s important not to be a jazz guy. But you don’t have to be one to listen to jazz.”]]></description>
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    <title>Jack Kornfield on Instagram: “Seeing the Goodness in Another Being (2:32) - Jack Kornfield”</title>
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<item rdf:about="http://interconnected.org/home/2017/08/25/gratitude">
    <title>Gratitude and a possibly inappropriate technological intervention (25 Aug., 2017, at Interconnected)</title>
    <dc:date>2017-08-26T22:13:59+00:00</dc:date>
    <link>http://interconnected.org/home/2017/08/25/gratitude</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I was reading Melanie Klein's Envy and Gratitude and Other Works (which I still haven't finished) and there's something about Kleinian gratitude which is crucial in developing the primal relationship between mother (the good object) and child. It is also the basis for the child perceiving goodness in others and herself.

Conscious gratitude seems to be more focused on the other (rather than a self-centred idea of being the cause of goodness or its reverse): developing gratitude might allow for greater capacity for appreciation, acceptance, and sharing of love.

Gratitude is inherently outwards looking. And surprisingly hard! It touches all kinds of other feelings like deservedness, and is easily corrupted with responses like entitlement.

So I was thinking: a habit of gratitude would be an interesting thing to foster. Gratitude being a component of prayer, I know, but I don't pray. So. I need to get it somewhere else.

Anyway.

We can fix this with technology. I know, I know. Forgive me.

What I do is I have a folder in Ulysses, which is a writing app I have on my iPhone (and I use for everything). The folder is called: What I Am Grateful For.

Please also forgive the ugly dangling preposition. It upsets me too.

In that folder are tons of notes. Each note has a date, and a line of text: the thing I am grateful for that day. Sometimes big, mostly small. Sometimes easy to observe, sometimes really, really difficult. Always interesting to note when I’m going through a phase where gratitude is a challenge to attain, and with what that correlates.

Back to the tech.

Once a day, at midday, I get a notification which says "What are you grateful for today?" I tap the notification, and a text box opens up on my phone. I type into the text box and it gets saves into the folder.

Here's how that bit of automation works:

• I use an app called Workflow which is like a way to link together different apps and program them in a flowchart sort of way

• I've written a particular workflow called "Grateful Daily" that does all the work of opening the text input box and saving it to Ulysses. You can get the workflow here. If you copy the workflow, you'll have to update the special Ulysses code bit to make sure it saves to the right folder

• Another app called Launch Center Pro is able to trigger workflows on a timer. I have it set to run Grateful Daily at midday

Cross-app automation is a nascent but interesting area. I'm finding myself able to do pretty complex workflows from my phone now (I also have a process to edit and deploy code, using multiple different apps). It's got a way to go as a pattern of user behaviour, but I'd like to see iOS or Android take automation more seriously. To see where it could go. It has a different nature to automation on PCs, and I think there's the opportunity for these automation scripts to unbind from the smartphone and move into the cloud (somehow). Maybe use a bit more intelligence too. Centaur automation.

Yeah but so: gratitude.

To receive - and to be open to receiving! - something which is good, and to take it that goodness and to internalise it, but to also appreciate the goodness itself, and its source and the source’s reasons. A tricky business.

I don't even pretend to have even half a handhold on Klein, or Kleinian gratitude, or hell even gratitude, but her words opened something in me. (Thanks!)"]]></description>
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    <title>Austin Kleon on Twitter: &quot;George Saunders on taking compliments: 1) thanks for saying so, means a lot 2) don't know if it's true, but I'm gonna try to make it true&quot;</title>
    <dc:date>2016-07-25T22:26:19+00:00</dc:date>
    <link>https://twitter.com/austinkleon/status/757588617761927169</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["George Saunders on taking compliments:

1) thanks for saying so, means a lot

2) don't know if it's true, but I'm gonna try to make it true"

"Paraphrased from his @longformpodcast: https://longform.org/posts/longform-podcast-75-george-saunders "
https://twitter.com/austinkleon/status/757589189651107841 ]]]></description>
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<item rdf:about="http://www.openculture.com/2013/12/akira-kurosawa-to-ingmar-bergman.html">
    <title>Akira Kurosawa to Ingmar Bergman: “A Human Is Not Really Capable of Creating Really Good Works Until He Reaches 80” | Open Culture</title>
    <dc:date>2016-07-21T15:44:59+00:00</dc:date>
    <link>http://www.openculture.com/2013/12/akira-kurosawa-to-ingmar-bergman.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dear Mr. Bergman,

Please let me congratulate you upon your seventieth birthday.

Your work deeply touches my heart every time I see it and I have learned a lot from your works and have been encouraged by them. I would like you to stay in good health to create more wonderful movies for us.

In Japan, there was a great artist called Tessai Tomioka who lived in the Meiji Era (the late 19th century). This artist painted many excellent pictures while he was still young, and when he reached the age of eighty, he suddenly started painting pictures which were much superior to the previous ones, as if he were in magnificent bloom. Every time I see his paintings, I fully realize that a human is not really capable of creating really good works until he reaches eighty.

A human is born a baby, becomes a boy, goes through youth, the prime of life and finally returns to being a baby before he closes his life. This is, in my opinion, the most ideal way of life.

I believe you would agree that a human becomes capable of producing pure works, without any restrictions, in the days of his second babyhood.

I am now seventy-seven (77) years old and am convinced that my real work is just beginning.

Let us hold out together for the sake of movies.

With the warmest regards,

Akira Kurosawa"]]></description>
<dc:subject>akirakurosawa ingmarbergman age aging appreciation 1988 creativity film filmmaking tessaitomioka</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=rD1qKMgTnAE&amp;t=0s">
    <title>Bad Taste - YouTube</title>
    <dc:date>2016-07-20T01:24:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=rD1qKMgTnAE&amp;t=0s</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You often hear it said that taste is all in the eye of the beholder - and that there is no such thing as 'bad taste'. We think there is - and that bad taste is often down to excess; caused by trauma."]]></description>
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<item rdf:about="http://www.cornelwest.com/nelson_mandela.html">
    <title>Dr. Cornel West | Reflections on the Life and Legacy of Nelson Mandela | Official Web Site</title>
    <dc:date>2016-03-21T17:54:33+00:00</dc:date>
    <link>http://www.cornelwest.com/nelson_mandela.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[previously on militant tenderness and subversive sweetness: https://twitter.com/search?q=rogre%20militant%20tenderness ]

"The natural death of Nelson Mandela is the end of not only a monumental life but also an historic era. Like any spectacular cultural icon, Mandela was many things to all of us. Yet if we are to be true to his complex life and precious legacy, we must pierce through the superficial surfaces and market-driven fanfares. Mandela was a child of his age and a man who transcended and transformed his times. He was a revolutionary South African nationalist who embraced communists even as he embodied his Christian faith and enacted his democratic temperament. He was a congenial statesman whose prudential style and message of reconciliation saved South Africa from an ugly and bloody civil war.

Mandela the man was rooted in a rich African tradition of soulcraft that put a premium on personal piety, cultural manners and social justice. Ancestor appreciation, gentle embrace of others and fair treatment of all was shot through the "soul-making" of the young Nelson Mandela. The fusion of his royal family background, high Victorian and Edwardian education and anti-imperialist formation yielded a person of immense self-respect, moral integrity and political courage. These life-enhancing qualities pit Mandela against the life-denying realities of the dark underside of European imperialism—realities of pervasive terror, chronic trauma and vicious stigma. Yet though deeply wounded and perennially scarred by these realities, Mandela emerged from such nightmarish circumstances with sterling character—a militant tenderness, subversive sweetness and radical gentleness even acknowledged by his foes. To put it bluntly, Mandela the man chose to live a life of wise remembrance, moral reverence and political resistance rather than a life of raw ambition, blind avarice and personal subservience. More pointedly, Mandela refused to be intimidated by the Goliath-like powers of an authoritarian regime.

Mandela the revolutionary movement leader was blessed with a rich South African progressive tradition unmatched anywhere on the globe. Where else can we find so many spiritual giants and political exemplars of courage—from Desmond Tutu, Walter Sisulu, Beyers Naudé, Joe Slovo, Ruth First, Albertina Sisulu, Robert Sobukwe, Steve Biko, Billy Nair, Allen Boesak, Ronnie Kasrils, Rusty Bernstein, Oliver Tambo and so many others. Mandela the man was deeply shaped by the South African freedom movement. He began as a narrow black nationalist, shifted quickly to a United Front strategy, supported the armed struggle and called off the counter-violent stance only when the government renounced violence. Mandela was designated a dangerous enemy of the South African government—a terrorist, communist, traitor and hater—because he led a movement that saw South African laws as themselves criminal. He was imprisoned for over 27 years, permitted one visit and one letter every six months, forbidden to attend the funerals of his mother and oldest son, often relegated to solitary confinement, and sometimes permitted to read only his Bible because his courageous witness as part of the freedom movement constituted the major threat to the South African government. As international support for Mandela and the movement escalated (including many African leaders, the Soviet Union, and millions of people of all colors around the world) and international support for the South African regime was exposed (including America's Reagan and Britain's Thatcher), old-style apartheid began to crumble. The writing on the wall was clear as the Berlin Wall fell.

Mandela the statesman tried to hold together a fragile emerging multiracial democracy and heal a traumatized society against the backdrop of a possible civil war. This incredible balancing act highlighted the spiritual qualities and moral sentiments of Mandela the man—and made him the democratic saint of our time. Yet this gallant effort also downplayed Mandela the revolutionary movement leader who highlighted targeting wealth inequality, corporate power and sheer corruption and cronyism in high places. Mandela is the undisputed father of South African democracy because the freedom movement he led broke the back of old-style apartheid. Yet his neoliberal policies—much to the delight of corporate elites and new black middle-class beneficiaries—failed to address in a serious manner the massive unemployment, inadequate housing, poor medical facilities and decrepit education. The masses of precious poor people—disproportionately black—have been overlooked by the full-fledge integration of the South African economy into the global capitalist world.

I asked the great Nelson Mandela about this grave situation after I gave the Nelson Mandela lecture in Pretoria a few years ago. I lambasted the Santa-Clausification of Nelson Mandela that turned Mandela the man and the revolutionary leader into an unthreatening, huggable old man with a smile with bags full of toys—especially for cheering oligarchs like the Oppenheimers or newly rich elites like Cyril Ramaphosa. Even global neoliberal figures like Bill Clinton and Richard Stengel of Time Magazine become major caretakers of Mandela's legacy as his revolutionary comrades fade into the dustbin of history. As I approached him, he greeted me with a genuine smile of deep love and respect, expressed in the most elevating and encouraging language his appreciation of my righteous indignation in my speech and told me to be steadfast in my witness.

The most valuable lesson we can draw from the life and legacy of Nelson Mandela is to be neither afraid nor intimidated by the neoliberal powers that be. We must create our own deep democratic forms of soulcraft, social movements and statecraft—forms that resist the dominant forces of privatizing, financializing and militarizing that overlook poor and working people. Nelson Mandela met the most pressing challenges of his day with great dignity, decency and integrity. Let us confront the free-market fundamentalism, escalating militarism and insidious xenophobia in our day with his spirit of love, courage and humor.

-- Dr. Cornel West"

[via: "Showed kids 60 Minutes with Cornel West last night. ("I'm unimpressed by smartness.") http://www.cbsnews.com/news/60-minutes-cornel-west-on-race-in-the-u-s/ "
https://twitter.com/ablerism/status/711908596540379136

"+ See also West on Mandela: "a militant tenderness, subversive sweetness and radical gentleness." http://www.cornelwest.com/nelson_mandela.html "
https://twitter.com/ablerism/status/711908847695368192 ]]]></description>
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<item rdf:about="https://vimeo.com/115977920">
    <title>Eyeo 2014 - Claire Evans on Vimeo</title>
    <dc:date>2015-02-08T02:09:38+00:00</dc:date>
    <link>https://vimeo.com/115977920</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Science Fiction & The Synthesized Sound – Turn on the radio in the year 3000, and what will you hear? When we make first contact with an alien race, will we—as in "Close Encounters of the Third Kind"—communicate through melody? If the future has a sound, what can it possibly be? If science fiction has so far failed to produce convincing future music, it won’t be for lack of trying. It’s just that the problem of future-proofing music is complex, likely impossible. The music of 1,000 years from now will not be composed by, or even for, human ears. It may be strident, seemingly random, mathematical; like the “Musica Universalis” of the ancients, it might not be audible at all. It might be the symphony of pure data. It used to take a needle, a laser, or a magnet to reproduce sound. Now all it takes is code. The age of posthuman art is near; music, like mathematics, may be a universal language—but if we’re too proud to learn its new dialects, we’ll find ourselves silent and friendless in a foreign future."]]></description>
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<item rdf:about="http://civic.mit.edu/blog/natematias/gratitude-and-its-dangers-in-social-technologies">
    <title>Gratitude and Its Dangers in Social Technologies</title>
    <dc:date>2014-08-07T22:41:49+00:00</dc:date>
    <link>http://civic.mit.edu/blog/natematias/gratitude-and-its-dangers-in-social-technologies</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do our designs change when we start emphasizing people and community and not just the things they do for us? Over the next year of my research, I'm exploring acknowledgment and gratitude, basic parts of online relationships that designers often set aside to focus on the tasks people do online.

In May of last year, Wikipedia added a "thanks" feature to its history page, enabling readers to thank contributors for helpful edits on a topic:

[image]

The Wikipedia thanks button signals a profound change that's been in the making for years: After designing elaborate social practices and mechanisms to delete spam and maintain high quality content, Wikipedia noticed that they, like other wikis, were becoming oligarchic (pdf) and that their defense systems were turning people away. Realizing, this Wikipedia has been changing how they work, adding systems like "thanks" to welcome participation and encourage belonging in their community.

Thanks is just one small example of community-building at Wikimedia, who know that you can't create a welcoming culture simply by adding a "thanks" button. Some forms of appreciation can even foster very unhealthy relationships. In this post, I consider the role of gratitude in communities. I also describe social technologies designed for gratitude. This post is part of my ongoing research on designing acknowledgment for the web, acknowledging people's contributions in collaborations and creating media to support community and learning.

Why does Gratitude Matter?

People who invest time in others and support their communities describe their lives through a lens of gratitude. Dan McAdams at Northwestern University studies "generativity," the prosocial tendency of some people to see themselves as a person who supports their community: donating money, making something, fixing something, caring for the environment, writing a letter to the editor, donating blood, or mentoring someone. After asking them to take a survey, McAdams asks them to tell the story of their lives. Highly generative people often describe their lives through a lens of gratitude. People who give back to their community or pay it forward often think of things in exactly those terms: talking about the people, institutions, or religious figures who gave them advantages and helped them turn difficult times into positive experiences (read one of McAdams's studies in this pdf).

Gratitude that becomes part of our life story builds up over time. It's the kind of general gratitude we might direct toward a deity, an institution, or a supportive community. McAdams argues that this gratitude is an important part of the stories we tell ourselves about who we are: the person who loses his job and reimagines this tragedy positively as more time for family. A thankful perspective has also been linked to higher well being, mental health, and post-traumatic resilience (Wood, Froh, Geraghty, 2010 PDF)

Can we cultivate gratitude? Aside from my personal religious practice, I'm most often reminded to be grateful by Facebook posts from Liz Lawley, a professor at RIT who participates in the #365grateful movement. Every day in 2014, Liz has posted a photo of something she's grateful for. It's part of a larger participatory movement started by Hailey Bartholomew in 2011 to foster gratitude on social media:

[video: "365grateful.com" https://vimeo.com/22100389 ]

…

The Economy of Thanks

… signals an understanding …

Expressions of gratitude can dramatically increase the recipient's pro-social behaviour…

Expressions of gratitude are a significant factor in successful long-term, collaborative relationships.…

…the link between reciprocity and thanks…

…commercial employee recognition technology for managers…

… expressions of thanks are signals of exchange within a relationship…

…

The Dark Side of Thanks

Gratitude or its absence can influence relationships in harmful ways by encouraging paternalism, supporting favoritism, or papering over structural injustices. Since the focus of my thesis is cooperation across diversity, I'm paying close attention to these dark patterns:

Presumption of thanks misguides us into paternalism… 

… gratitude can support favoritism. …

Gratitude sometimes offers a moral facade to injustice.…

…

Mechanisms of Gratitude and Acknowledgment

In design, gratitude and thanks are often painted over systems for reputation, reward, and exchange. The Kudos system offers a perfect example of these overlaps, showing how a simple "thank you" can become freighted with implications for someone's job security, promotion, and financial future. As I study further, here are my working definitions for acts in the economy of gratitude:

Appreciation: when you praise someone for something they have done, even if their work wasn't directed personally to you. This could be a "like" on Facebook, the "thanks" button on Wikipedia, or the private "thanks" message on the content platform hi.co

[image]

Thanks: when you thank another person for something they have done for you personally. This is the core interaction on the Kudos system, as well as the system I'm studying with Emma and Andrés.

Acknowledgment: when you make a person visible for things they've done. This is closely connected to Attribution, when you acknowledge a person's role in something they helped create. I've already written about acknowledgment and designed new interfaces for displaying acknowledgment and attribution. I see acknowledgment as something focused on relationships and community, while attribution is more focused on a person's moral rights and legal relationships with the things they create, as they are discussed and shared.

Credit: when you attribute someone with the possibility or expectation of reward. Most research on acknowledgment focuses on credit, either its role in shaping careers or its implications in copyright law.

Reward: when you give a person something for what they have done. For example, the Wikipedia Barnstars program offers rewards of social status for especially notable contributions to Wikipedia. Peer bonus and micro-bonus systems such as Bonus.ly add financial rewards to expressions of thanks, inviting people to add even more bonuses toward the most popular recipients.

[video: "Bonus.ly: Peer-to-peer employee recognition made easy" https://vimeo.com/87399314 ]

Review: when you describe a person, hoping to influence other people's decisions about that person. Reviews on "reputation economy" sites like Couchsurfing are often expressed in the language of thanks, even though they have two audiences: the person reviewed as well as others who might interact with the subject of your review. In 2011, I blogged about research by Lada Adamic on reviews in the Couchsurfing community.

Designing for Gratitude, Thanks, and Acknowledgment

Gratitude is a basic part of any strong community. Thanks are the visible signal of a rich economy of favors and obligations, a building block in relationship formation and maintenance. Gratitude is common in the life stories of people who give back to their community, and it's the hallmark of the most successful long-term collaborative relationships. Despite the importance of gratitude, processes for collaboration and crowdsourcing much more frequently focus on rewards, reviews, and other short-term incentives for participation. Gratitude does have a dark side when it overrules consent, fosters favoritism, and even hides systemic injustices.

If we're going to design for community (civic technologies, I'm looking at you), we need to focus on relationships, not just the faceless outputs we want from "human computation." Across the academic year, I'll be posting more about the role of acknowledgment in cooperation, civic life, learning, and creativity, accompanied by more in-depth data analysis. I'll also write more about Wikipedia's initiatives for online collaboration that aim for greater inclusivivity."

[Cached version: http://webcache.googleusercontent.com/search?q=cache:TymwLDcrpYYJ:civic.mit.edu/blog/natematias/gratitude-and-its-dangers-in-social-technologies+&cd=1&hl=en&ct=clnk&gl=us ]]]></description>
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</item>
<item rdf:about="http://selinjessa.tumblr.com/post/76011941920/hold-everything-dear">
    <title>thinking out loud: Hold Everything Dear</title>
    <dc:date>2014-02-08T20:23:49+00:00</dc:date>
    <link>http://selinjessa.tumblr.com/post/76011941920/hold-everything-dear</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["for John Berger

as the brick of the afternoon stores the rose heat of the journey

as the rose buds a green room to breathe
and blossoms like the wind

as the thinning birches whisper their silver stories of the wind to the urgent
in the trucks

as the leaves of the hedge store the light
that the moment thought it had lost

as the nest of her wrist beats like the chest of a wren in the morning air

as the chorus of the earth find their eyes in the sky
and unwrap them to each other in the teeming dark

hold everything dear

the calligraphy of birds across the morning
the million hands of the axe, the soft hand of the earth
one step ahead of time
the broken teeth of tribes and their long place
steppe-scattered and together
clay’s small, surviving handle, the near ghost of a jug
carrying itself towards us through the soil

the pledge of offered arms, the single sheet that is our common walking
the map of the palm held
in a knot

but given as a torch

hold everything dear

the paths they make towards us and how far we open towards them

the justice of a grass than unravels palaces but shelters the songs of the searching

the vessel that names the waves, the jug of this life, as it fills with the days
as it sinks to become what it loves

memory that grows into a shape the tree always knew as a seed

the words
the bread

the child who reaches for the truths beyond the door

the yearning to begin again together
animals keen inside the parliament of the world

the people in the room the people in the street the people

hold everything dear

Gareth Evans, in Hold Everything Dear (thank you, Jen)"]]></description>
<dc:subject>garethevans poems poetry johnberger appreciation noticing everything</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f9feafb97348/</dc:identifier>
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</item>
<item rdf:about="http://inthespacebetween.com/">
    <title>In the Space Between</title>
    <dc:date>2013-10-02T08:39:33+00:00</dc:date>
    <link>http://inthespacebetween.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Artist. The Artist's Work. > A Space < The Viewing. The Viewer.
I am the Viewer. On these pages, I step into the Space between. 

Process 

1. Choose a piece and, without pause or forethought, look at it as I begin to write. 

2. Write as quickly as physically possible, hammering at the keyboard, occasionally—but rarely—circling back to change the position of a word or phrase if my mind returns to that thought and I want to amplify that line of thinking. The writing experience is intense and short. I anticipate writing one or two of these each month—or none. I don't quite know where they come from and often wonder if another one will find me. 

I am happily attempting the impossible. I want to fully capture my first experience of that work of art, and to do that, I must write rapidly so that I don’t lose thoughts or have my experience muddled by what I imagine a reader or the artist might think, or by intellectualism, or by extraneous or false thoughts. This is not art history, analysis, or interpretation. I am opening myself up to the piece and recording my experience and creating my own “piece of work,” as I do.

3. No editing is permitted. No changes. No checks for typos. No additional thoughts. No, not even if edits or rewrites would make it “better.” It is about the writing, because that is my art form, but it is not about the writing, because it is about my experience of the art. As a writer, am I dying to return to what I wrote and copyedit, fix punctuation, remove or add a phrase? Of course. But, then it would no longer be about my first experience. It would no longer be without pretense. This is not an essay. This is a message from the space. 

4. If a person appears in the work of art, as in piece #4, I write to ask the subject's permission. But the writing won’t be about that person. The writing will be responding to the artist’s use of that person in his or her art— and my experience of that.

5. What I write likely has no connection with or resemblance to what was happening in the artist’s mind during the artist’s process. They may delight in the fact that something has been created from what they created, or even just that someone paid attention. They may have intended for the viewer to have an entirely different reaction. They may not have intended any reaction. They may even have hoped for no emotional response or reject the concepts of “meaning” or “an experience” in regard to art. 

Each time, I found something rich with meaning in what the artist created. It was meaning that the artist stimulated and that surprised me. It was a meaning, too, that I somehow brought with me and then, magically, discovered for the first time as I stepped into the space between."]]></description>
<dc:subject>carolynwood art appreciation writing love process 2013 classideas canon</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:df1b478f170d/</dc:identifier>
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<item rdf:about="http://dashes.com/anil/2011/06/all-in-favor.html">
    <title>All In Favor - Anil Dash</title>
    <dc:date>2013-07-01T16:50:48+00:00</dc:date>
    <link>http://dashes.com/anil/2011/06/all-in-favor.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In short, favoriting or liking things for me is a performative act, but one that's accessible to me with the low threshold of a simple gesture. It's the sort of thing that can only happen online, but if I could smile at a person in the real world in a way that would radically increase the likelihood that others would smile at that person, too, then I'd be doing that all day long."]]></description>
<dc:subject>anildash 2013 favoriting liking appreciation accessibility gestures twitter flickr youtube vimeo facebook stellar.io bookmarks bookmarking sharing social socialmedia online behavior favorites faving</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2f91e1101d68/</dc:identifier>
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</item>
<item rdf:about="http://apps.npr.org/codeswitch-changing-races/">
    <title>NPR Code Switch | When Our Kids Own America</title>
    <dc:date>2013-04-25T07:34:34+00:00</dc:date>
    <link>http://apps.npr.org/codeswitch-changing-races/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s much harder now to patrol the ramparts of our cultures, to distinguish between the appreciators and appropriators. Just who gets to play in which cultural sandboxes? Who gets to be the bouncer at the velvet rope?"

…

"If something is everywhere and everyone trafficks in it, who gets to decide when it’s real or not? What happens when hip-hop stops being black culture and becomes simply youth culture?"

…

"So once some piece of black American culture slips outside that culture, when does it stop being black and just become this new thing? Where do the borders of one culture end and another begin?"

…

"When young people inherit the new America, this reconfigured hip-hop will be part of their birthright: the code-switching, style-shifting, and swagger-jacking that’s always been there, mashed up with stories about thrift-shopping, border-crossing and rich South Koreans. Lest anyone get it twisted and think this new America will be some kind of Benetton ad, be forewarned: it’s going to be confusing and it’s going to be messy."

…

"My generation started writing our chapters on race during the Crack Era — the time of of Rodney King, The Cosby Show, and Menace II Society. But that was 20-something years ago, and we’re still applying the templates that we created in 1992 and 1963 to the chapters that are being scripted now. Those old stories reflect a starkly different demographic reality than the one we now inhabit. It’s not that those stories are wrong, it’s that they’re incomplete. And so we find ourselves having to assimilate into these places we thought we knew and that we thought were ours.

The Afropunk skater in Philly, the Korean b-boy graffiti artist in Los Angeles, the bluegrass-loving Latino hipster in Austin — they’re all inheriting an America in which they’ll have access to even more hyphens in their self-definitions. That’s undoubtedly a good thing. But it’s important that those stories be complete as well. If you’re in Maricopa County, Ariz., and brown, the sheriff’s deputies won’t care whether you’re bumping Little Dragon in your ride when they pull you over. The way each of us experiences culture each day may be increasingly unmoored from genre, from geography, and yes, even from race, but America will not be easily untethered from the anchor of its history. We may be more equal, but mostly in our iPods.

How the country fares in the next century will depend in part on how it deals with these dissonances. It will be determined by whether we grapple with the complications of some basic assumptions about our spaces — who gets to play and work and live in them and how they get to do that.

And so, the “Harlem Shake” kerfuffle isn’t just about some hip-hop dance, but about these anxieties of ownership of the past and future, about generational tensions around acknowledgement, respect and reverence, about the understandable if futile impulse to want culture to retain something like purity, about disparities in power both real and perceived, about land and property, about realness and authenticity and race and history.

For good or ill, the country our kids are creating will work by new, confounding rules.

It’s the rest of us, those of us who’ve been here for awhile and who still find comfort with these old modes of viewing the world, who will start to face the discomfort of assimilating. A Minnesota suburb that looks more like a Brooklyn ‘hood. A “Harlem Shake” that looks nothing like Harlem."]]></description>
<dc:subject>codeswitch 2013 culture appropriation us appreciation gentrification diversity race ethnicity harlemshake genedemby rafaelcastillo laurenrock npr harlem nyc oakland brooklynpark minnesota discrimination sterotypes popularculture hiphop marginalization teens youth youthculture ebonics ceciliacutler civilrightsmovement blackpanthers joshkun signaling separateness hsamyalim language communication english wealth power access borders repurposing shereenmarisolmeraji chantalgarcia music remixing sampling dumbfounded jonathanpark losangeles biboying breakdancing messiness codeswitching stevesaldivar hansilowang karengrigsbybates assimilation generation demographics evolution change canon remixculture blackpantherparty</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bfa433113cc6/</dc:identifier>
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</item>
<item rdf:about="http://www.sfu.ca/tlcvan/clients/sfu_woodwards/2013-02-12_Woodwards_Hern_10260/">
    <title>SFU's Vancity Office of Community Engagement</title>
    <dc:date>2013-02-20T17:47:46+00:00</dc:date>
    <link>http://www.sfu.ca/tlcvan/clients/sfu_woodwards/2013-02-12_Woodwards_Hern_10260/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Matt Hern, "In Defense Of An Urban Future"

[On YouTube: https://www.youtube.com/watch?v=97nKYOdQmGM ]]]></description>
<dc:subject>vancouver britishcolumbia 2013 urban urbanism diversity conviviality tolerance busyness time memory cities ecology environment sustainability density colonization participatory commonspaces publicspace justice equity matthern richardsennett cv conversation appreciation community communities hospitality land water air bc intolerance</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://www.gelatobaby.com/2013/01/08/watching-huell-reading-ada/">
    <title>Watching Huell, Reading Ada | Gelatobaby</title>
    <dc:date>2013-01-09T19:12:04+00:00</dc:date>
    <link>http://www.gelatobaby.com/2013/01/08/watching-huell-reading-ada/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I don’t think it will come as any surprise to people who know me when I admit that I aspire to become a Howser-Huxtable hybrid in the course of my career. I can’t just watch Howser or read Huxtable, I find myself studying them. Because although their approaches were wildly different, they both used their strong and distinctive voices to help us—their loyal, hungry audience—to see, appreciate, and protect the places where we live."]]></description>
<dc:subject>noticing observation wherewelive lookaround exploration appreciation local adalouisehuxtable huellhowser 2013 alissawalker</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1b9a421c7feb/</dc:identifier>
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</item>
<item rdf:about="http://www.tandfonline.com/doi/full/10.1080/17439760.2011.626791#tabModule">
    <title>Taylor &amp; Francis Online :: The preference for experiences over possessions: Measurement and construct validation of the Experiential Buying Tendency Scale - The Journal of Positive Psychology - Volume 7, Issue 1</title>
    <dc:date>2012-09-17T06:12:14+00:00</dc:date>
    <link>http://www.tandfonline.com/doi/full/10.1080/17439760.2011.626791#tabModule</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There is growing support that money spent on experiential items increases an individual's happiness. However, there is minimal research on the causes and long-term consequences of the tendency to make experiential purchases. Given the importance of experiential buying for improving well-being, an understanding of the preference for experiential purchasing is imperative. Thus, we developed the Experiential Buying Tendency Scale (EBTS) to measure habitual experiential purchasing. Across eight samples (n = 9634), the EBTS was developed, and shown to be reliable, valid, and predictive of consumer behavior and psychological well-being. An experiential purchasing tendency was related to higher extraversion, openness, empathic concern, and reward seeking. Further, non-materialistic values predicted a preference for experiential purchasing, which led to increased psychological need satisfaction, and, ultimately, increased subjective well-being. The discussion proposes that experiential…"]]></description>
<dc:subject>purchases openness extraversion rewardseeking empathicconcern empathy rewards delayedgratification appreciation ebts emotions cv experiences 2011 raviiyer paulinapchelin ryanhowell spending money materialsm via:aaronbell consumerism consumption well-being happiness experientialliving experiential wellbeing</dc:subject>
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</item>
<item rdf:about="http://www.warrenellis.com/?p=14314">
    <title>Warren Ellis » How To See The Future [What? Not yet bookmarked?] [Purposely tagged 'boredome'.]</title>
    <dc:date>2012-09-11T03:37:21+00:00</dc:date>
    <link>http://www.warrenellis.com/?p=14314</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Can you even consider being part of a culture that could go to space and then stopped?

If the future is dead, then today we must summon it and learn how to see it properly.

[more examples]

We live in the future. We live in the Science Fiction Condition, where we can see under atoms and across the world and across the methane lakes of Titan. …

Understand that our present time is the furthest thing from banality. Reality as we know it is exploding with novelty every day.

To be a futurist, in pursuit of improving reality, is not to have your face continually turned upstream, waiting for the future to come. To improve reality is to clearly see where you are, and then wonder how to make that better.

Act like you live in the Science Fiction Condition. Act like you can do magic and hold séances for the future and build a brightness control for the sky.

Act like you live in a place where you could walk into space if you wanted. Think big. And then make it better."

[Video now here: https://www.youtube.com/watch?v=RLTs4RXM3vE ]]]></description>
<dc:subject>boredom boredome spacetravel jgballard philipkdick takealookaroundyou appreciation science sciencefictioncondition rearviewmirror space nasa voyager voyager1 vintage vintagespace magic weliveinamazingtimes perspective atemporality iphone googlegloves googleglass manufacturednormalcy venkateshrao reality marshallmcluhan noticing hereandnow now lookaround futurism sciencefiction 2012 scifi technology future warrenellis</dc:subject>
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</item>
<item rdf:about="http://www.laphamsquarterly.org/voices-in-time/why-not-be-jubilant.php">
    <title>Why Not Be Jubilant? - Lapham’s Quarterly</title>
    <dc:date>2012-09-06T05:54:33+00:00</dc:date>
    <link>http://www.laphamsquarterly.org/voices-in-time/why-not-be-jubilant.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The secret of success is concentrating interest in life, interest in sports and good times, interest in your studies, interest in your fellow students, interest in the small things of nature, insects, birds, flowers, leaves, etc. In other words to be fully awake to everything about you & the more you learn the more you can appreciate & get a full measure of joy & happiness out of life. I do not think a young fellow should be too serious, he should be full of the Dickens some times to create a balance.

I think your philosophy on religion is okay. I think every person should think, act & believe according to the dictates of his own conscience without too much pressure from the outside. I too think there is a higher power, a supreme force, a governor, a something that controls the universe. What it is & in what form I do not know. It may be that our intellect or spirit exists in space in some other form after it parts from this body…"]]></description>
<dc:subject>interestedness nature balance fathers 1928 appreciation happiness belief religion presence noticing wisdom living life whatmatter parenting letters jacksonpollock interested</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e8cd1b226113/</dc:identifier>
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</item>
<item rdf:about="http://metaismurder.com/post/28708410932/gombrowicz-on-art-and-artificiality">
    <title>Meta is Murder. Writing and lesser things by Mills Baker. Gombrowicz on Art and Artificiality.</title>
    <dc:date>2012-08-05T01:02:15+00:00</dc:date>
    <link>http://metaismurder.com/post/28708410932/gombrowicz-on-art-and-artificiality</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“This is not the first time that the face of art has irritated me by extinguishing the faces of the living.”

“I demand of art not only that it be good art, but also that it be well rooted in life.”

"He says: I admire. I say: You are trying to admire. A slight difference, yet on this slight difference is built a mountain of devout lies. It is in this deceitful school that style is formed. Not just artistic style, but the style of thinking and feeling of the elite which comes here in order to perfect its sensitivity and achieve a sureness of form."

[More from Mills Baker on Gombrowicz:

http://nomore.metaismurder.com/post/28636852893/witold-rita-and-their-dog-listen-everyone-im

http://nomore.metaismurder.com/post/28637151593/should-be-more-widely-read-than-pretty-much-all

http://metaismurder.com/tagged/Witold-Gombrowicz ]]]></description>
<dc:subject>artificiality stupidity thinking spectatorship appreciation glvo millsbaker witoldgombrowicz galleries museums elitism leisurearts art artleisure</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b7af35d315fd/</dc:identifier>
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</item>
<item rdf:about="http://storify.com/tealtan/the-aesthetics-of-athletics">
    <title>The aesthetics of athletics (with tweets) · tealtan · Storify</title>
    <dc:date>2012-07-09T05:06:10+00:00</dc:date>
    <link>http://storify.com/tealtan/the-aesthetics-of-athletics</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>humans human gymnastics ballet performingarts competition bodycontests storify music davidfosterwallace aesthetics writing appreciation discussion 2012 performance performing peterrichardson maxfenton derrickschultz justincharles carenlitherland erinkissane charlieloyd allentan art sports</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1fbdebde29f7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humans"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gymnastics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ballet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:performingarts"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storify"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidfosterwallace"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maxfenton"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derrickschultz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:justincharles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:carenlitherland"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:erinkissane"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:charlieloyd"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:allentan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sports"/>
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</item>
<item rdf:about="http://raisingable.com/2011/02/10/encouragement-is-the-fuel-that-powers-children-tweens-teens/">
    <title>Encouragement</title>
    <dc:date>2012-05-28T00:17:12+00:00</dc:date>
    <link>http://raisingable.com/2011/02/10/encouragement-is-the-fuel-that-powers-children-tweens-teens/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[<blockquote>Encouragement is like an apple; praise is like candy.</blockquote>

<blockquote>[Praise] can only be given after success. Encouragement is so potent that it can be given after failure.</blockquote>

<blockquote>Praise is general and high-energy. Encouragement is low-key.</blockquote>

<blockquote>By the way, “thank you” is a powerful form of encouragement.</blockquote>]]></description>
<dc:subject>thinking appreciation encouragement psychology failure praise teaching learning success via:litherland</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0088b73c5bbc/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:encouragement"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:litherland"/>
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</item>
<item rdf:about="http://sldistin.tumblr.com/post/11011925366/this-is-what-happens">
    <title>(SL) DISTIN 15 (This is what happens.)</title>
    <dc:date>2012-02-01T20:13:17+00:00</dc:date>
    <link>http://sldistin.tumblr.com/post/11011925366/this-is-what-happens</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Looking, really looking, at art (some might say seeing…feeling) is like this: It is like all the other really amazing things in life…You do it too much & you forget how good it can actually be…you become jaded. You don’t get enough & it is all you can think about—the good & the bad. Then, there is one photo…drawing…performance & you want to know all there is to know about it…It is a little bit like falling in love. It’s best, most exciting, when you don’t know why you like something…the thing you are looking at is something you might usually be inclined to dislike…But, with this, you cannot stop looking, cannot stop thinking. And so, in every other thing that you think about, talk about, read about, talk about, read about, you start to see it in all of those other things, whether or not they, directly, have anything to do with that thing you are suddenly, entirely, falling for…all of those other things have changed. And everything that you thought you knew is no longer the same."]]></description>
<dc:subject>rabbitholes looking taste feeling artappreciation interestedness interest interests thinking howwelearn evolution understanding appreciation art love 2011 passion obsession wittgenstein change yearning learning noticing seeing saradistin canon interested</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4659d3fd2fa6/</dc:identifier>
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<item rdf:about="http://blog.millsbaker.net/post/14035427027/how-to-listen-to-jazz">
    <title>The Aporeticus - by Mills Baker · How to Listen to Jazz</title>
    <dc:date>2011-12-16T07:59:34+00:00</dc:date>
    <link>http://blog.millsbaker.net/post/14035427027/how-to-listen-to-jazz</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["…part of life is finding new things to love and new ways to love things more deeply, and understanding the creative arts —their scope, history, contemporary contexts, intentionality— opens them up for ever-deeper appreciation. But the most obvious way to learn an art is to become a practitioner of that art, a time-consuming and difficult task, and one impossible to pursue across all fields.

Fields that make such demands have a high barrier to audience entry. 

…when I talk to people who find jazz musically intimidating, or unintelligible in its refusal to be as repetitive as popular music, I sometimes tell them to try to hear in the solos little musical structures, any one of which could be a song in itself, but each of which is built, explored, and discarded with breakneck speed. Popular music relies on the ecstasy of trance: repetition of what resonates. Jazz relies more on restless exploration."]]></description>
<dc:subject>millsbaker jazz music appreciation listening learning understanding audience 2011 exploration trance repetition craft intentionality</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1ac6a63e9d90/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:craft"/>
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</item>
<item rdf:about="http://www.theamericancrawl.com/?p=969">
    <title>The American Crawl : Not Quite EverythingEverything: Why Our Approach to Music Education is Kinda Awful</title>
    <dc:date>2011-12-16T07:52:36+00:00</dc:date>
    <link>http://www.theamericancrawl.com/?p=969</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And all of this is to prelude a simple question: Why did I have to wait so long for this opportunity? While I was already a music “fan” and immersed in family practices that included going to musical performances, singing at family gatherings, and enthusiastically drumming on car dashboards, it really wasn’t until college that I was able to see music as a source of study, as a place to connect passion with purpose, a place to learn new ways of listening…

we leave music instruction into the hands of people who are inclined on the production side of things (and even then in only limited ways such as marching bands and big band numbers). Why do we wait to make the study of music, its history, and the cultural meaning of it an option only for those students that eventually matriculate into universities?"]]></description>
<dc:subject>anterogarcia 2011 music education teaching appreciation listening popularculture oddfuture culture culturalstudies semiotics engagement classideas instruction academics ofwgkta</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ead425ca3057/</dc:identifier>
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</item>
<item rdf:about="http://spacesforlearning.wordpress.com/2011/07/06/on-parenting-learning-and-possibilities-of-the-city/">
    <title>On Parenting, Learning, and Possibilities of the City | A Space for Learning</title>
    <dc:date>2011-07-06T21:24:31+00:00</dc:date>
    <link>http://spacesforlearning.wordpress.com/2011/07/06/on-parenting-learning-and-possibilities-of-the-city/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I will never be comfortable in my own skin in a city. I need to be able to see the sky without a multi-story building obscuring the view. Walking in a forest sans the cacophony of taxis and emergency vehicles always feels safer than venturing deep into Olmsted’s well planned Central Park woodlands.<br />
<br />
However, I’ve also learned to appreciate cities from my son. He views cities as places of delight; intersections of rich cultures and an artistry of space.<br />
<br />
I’ve grown up as a parent while observing my millennial grow into an adult. I feel he’s learned some important life lessons from me, but I’ve also learned many critical lessons from him as well. I learned the power of Skype when he lived in Valencia, Spain. I learned don’t call, just text when he spent time in Mexico City. And, I learned to experience, not reject, buildings, people, sidewalks, dogs, parks, graffiti, museums, sounds, smells, and the sky of cities."]]></description>
<dc:subject>pammoran differences urban rural cities parenting preferences appreciation 2011</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:497f81d51dfe/</dc:identifier>
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</item>
<item rdf:about="http://rossignol.tumblr.com/post/3793875003/when-my-husband-died-because-he-was-so-famous">
    <title>ROSSIGNOL -  Anne Druyan on Carl Sagan and belief and death and life and miracles</title>
    <dc:date>2011-03-13T04:41:00+00:00</dc:date>
    <link>http://rossignol.tumblr.com/post/3793875003/when-my-husband-died-because-he-was-so-famous</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When my husband died, because he was so famous & known for not being a believer, many people would come up to me — it still sometimes happens — & ask me if Carl changed at the end & converted to a belief in an afterlife. They also frequently ask me if I think I will see him again. Carl faced his death with unflagging courage & never sought refuge in illusions. The tragedy was that we knew we would never see each other again. I don’t ever expect to be reunited with Carl. But, the great thing is that when we were together, for nearly twenty years, we lived with a vivid appreciation of how brief & precious life is. We never trivialized the meaning of death by pretending it was anything other than a final parting. Every single moment that we were alive & we were together was miraculous — not miraculous in the sense of inexplicable or supernatural…" [continues]]]></description>
<dc:subject>carlsagan death life belief religion miracles annedruyan afterlife illusion courage appreciation</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3f6fc1766ce0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:carlsagan"/>
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</item>
<item rdf:about="http://www.tolerance.org/magazine/number-39-spring-2011/giving-students-room-run">
    <title>Giving Students Room to Run | Teaching Tolerance</title>
    <dc:date>2011-02-05T20:57:27+00:00</dc:date>
    <link>http://www.tolerance.org/magazine/number-39-spring-2011/giving-students-room-run</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 3rd grade, near end of WWII, I learned why I wanted to be a teacher…Mrs. Wright…taught me what every child needs to know…

…She was a gentle, supportive & knowledgeable person who was obviously born to be a teacher…voice never rose in anger or frustration…pleasant, plain face…never displayed anger or disappointment.

& in back of room…sat Joel, active 7-year-old w/ dark unruly hair, lopsided glasses & fidgeting hands…decided lisp…did not speak to rest of us often…math genius…exceptional intellectual ability…taking math classes through local HS & college-level classes…Today…would be identified as ADHD, or perhaps even as autistic…spent most…time running around classroom…

Joel was different in how he worked, but we respected his differences because Mrs. Wright respected them.

…if I could make 1 child feel as comfortable w/ “specialness” as Joel was made to feel…help 1 child accept another who was “different”…I would do something really wonderful.

&…that is why I teach."]]></description>
<dc:subject>lornagreene teaching tolerance differentiation differences specialed patience howto ability adhd autism communities modeling appreciation tcsnmy specialness respect understanding</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cb2945e67c2d/</dc:identifier>
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</item>
<item rdf:about="http://blog.frankchimero.com/post/1574845504/i-saw-this-a-few-weeks-ago-at-powells-im">
    <title>Frank Chimero — Design must be free, because it is a liberal art for all, while at the same time it is the craft and trade of a few.</title>
    <dc:date>2010-11-22T06:27:16+00:00</dc:date>
    <link>http://blog.frankchimero.com/post/1574845504/i-saw-this-a-few-weeks-ago-at-powells-im</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If design is visual communication, it should be treated as such: as a means for people to transmit what they think, what they feel, and as a way to amplify their message, whatever that may be. Teaching people about design in no way nullifies the value of designers, much in the same way that teaching someone to write does not dismiss the value of the work of Shakespeare, an essayist at the New Yorker, or a copywriter. Learning to write teaches us to organize thought and how to communicate with one another. I believe design can do the same when taught at a mass scale. [quote here] I guess what I’m saying is that an understanding by the masses doesn’t negate the value of the specialists. Or, more simply: if we think it’s important, let’s teach everyone."]]></description>
<dc:subject>education design democracy communication typography frankchimero liberalarts newliberalarts understanding thinking appreciation designappreciation</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8f357bd7ad6b/</dc:identifier>
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</item>
<item rdf:about="http://dinkypictures.blogspot.com/2010/09/ordinary-love-stories.html">
    <title>dinky pictures: ordinary love stories</title>
    <dc:date>2010-09-16T05:42:32+00:00</dc:date>
    <link>http://dinkypictures.blogspot.com/2010/09/ordinary-love-stories.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["in a day or so, i will leave bombay for a longlong time. i wrote ordinary love stories in tribute to andre jordan, one for every friend who came to bid me fare-thee-well. and they wrote some back for me." [via: http://twitter.com/tanushri_shukla/status/24598432658 via: @robinsloan]]]></description>
<dc:subject>classideas writing letters love appreciation tcsnmy</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9a20b0406cd4/</dc:identifier>
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<item rdf:about="http://sethgodin.typepad.com/seths_blog/2010/02/more-more-more.html">
    <title>Seth's Blog: more, More, MORE!</title>
    <dc:date>2010-02-19T19:10:48+00:00</dc:date>
    <link>http://sethgodin.typepad.com/seths_blog/2010/02/more-more-more.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The challenge of winning more than your fair share of the market is that the best available strategy--providing remarkable service and an honest human connection--will be abused by a few people you work with.]]></description>
<dc:subject>sethgodin markets service tcsnmy loyalty appreciation quality</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e0d88d4a80db/</dc:identifier>
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</item>
<item rdf:about="http://tcsnmy7.tumblr.com/post/358632052/an-open-letter-to-those-in-attendance-at-the-childrens">
    <title>tcsnmy7 - An open letter to those in attendance at The Children’s School Board of Trustees pre-board forum on Monday, January 25</title>
    <dc:date>2010-01-29T04:20:32+00:00</dc:date>
    <link>http://tcsnmy7.tumblr.com/post/358632052/an-open-letter-to-those-in-attendance-at-the-childrens</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Follow-up to a presentation about the NMY program and Q&A with students including reference to articles mentioned and an introduction to others not mentioned during the talk. Topics include progressive education, one-to-one laptop programs, transparency, high scool and college admissions, and the purpose or 'big meaning' of education. Also posted at: http://tcsnmy6.tumblr.com/post/358630658/an-open-letter-to-those-in-attendance-at-the-childrens
]]></description>
<dc:subject>cv comments tcsnmy school schooling putpose 1to1 laptops technology philosophy meaning why del.icio.us bookmarks transparency hollandchristian ap future appreciation admissions highereducation highschool colleges universities reflection 1:1 schools</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bce44df8128b/</dc:identifier>
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<item rdf:about="http://bookfuturism.com/?q=content/reading-or-technology">
    <title>Reading or Technology | Bookfuturism</title>
    <dc:date>2009-12-16T08:40:22+00:00</dc:date>
    <link>http://bookfuturism.com/?q=content/reading-or-technology</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I used to work in a bookstore and often parents would ask me how they could get their children to read more.  Always, my first question was "what was the last book you read?".  Unvariably, the return answer was "Oh, I don't read."  <insert head in doorway, slam door hard until rendered unconscious.>  That is one reason I was happy to find this site. ... So, we return to the question at the top.  How do we get children to read more?  We have to focus on the children because it is already too late to convince the latest generation to hit twenty that reading is a singular, important and valid experience itself.  This leads to two points:]]></description>
<dc:subject>books reading children bookfuturism tcsnmy parenting print booksellers publishing online future classicalmusic classical mucic appreciation</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:941c060e448b/</dc:identifier>
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</item>
<item rdf:about="http://favrd.textism.com/">
    <title>Favrd.</title>
    <dc:date>2009-12-09T05:47:59+00:00</dc:date>
    <link>http://favrd.textism.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Just an idea: next time you see something you like, write the person who made it a note telling them so. Even better, explain why."
]]></description>
<dc:subject>community internet web social aggregator twitter appreciation deanallen textism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2ce42466d332/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
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</item>
<item rdf:about="http://journal.davidbyrne.com/2009/11/110909-estoril-portugal-the-future-the-past-the-present-and.html">
    <title>David Byrne Journal: 11.09.09: Estoril, Portugal — The Future, the Past, the Present and…</title>
    <dc:date>2009-11-18T05:17:52+00:00</dc:date>
    <link>http://journal.davidbyrne.com/2009/11/110909-estoril-portugal-the-future-the-past-the-present-and.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I suggested that it was more important that children, and everyone really, be imbued with a sense that they themselves might make things — that the things they might make have value — as opposed to learning mainly to appreciate the great masters, whether they be Bach, Picasso or the literary canon. I proposed that the value of art might be of more use to society in that regard, rather than focusing on supporting, well, museums and symphony halls. ... Encouraging students to write, to make stuff, to cook, design, to draw, play an instrument, record music, sing, edit films, etc. — all of that creates a sense of self-worth, curiosity and experimentation that has applications way beyond each of those disciplines. I would argue that this is where the greater percentage of state funding should go. Of course in the US, it’s the part that has been eliminated almost completely."
]]></description>
<dc:subject>davidbyrne education art arts music policy funding film creation self experimentation tcsnmy lcproject glvo design museums portugal francisfordcoppola children making doing self-worth appreciation culture society us religion production filesharing drm future media</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cefa781fad0b/</dc:identifier>
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</item>
<item rdf:about="http://www.paulrossen.com/paulinekael/trashartandthemovies.html">
    <title>Trash, Art, and the Movies - Pauline Kael</title>
    <dc:date>2008-07-31T10:53:31+00:00</dc:date>
    <link>http://www.paulrossen.com/paulinekael/trashartandthemovies.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["pleasure, something a man can call good without self-disgust"; "Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize"; "A nutty Puritanism ... in the schoolteachers' approach of wanting art to be "worthwhile""
]]></description>
<dc:subject>via:preoccupations culture film criticism paulinekael toread filmmaking education teaching appreciation pleasure art glvo play entertainment lowbrow trash</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:645fa3545330/</dc:identifier>
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</item>
<item rdf:about="http://www.collisiondetection.net/mt/archives/2006/12/a_while_ago_one.html">
    <title>collision detection: How YouTube is saving the lost art of guitar wanking</title>
    <dc:date>2006-12-21T00:52:24+00:00</dc:date>
    <link>http://www.collisiondetection.net/mt/archives/2006/12/a_while_ago_one.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>music video youtube audience songs guitar culture appreciation</dc:subject>
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