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  </channel><item rdf:about="https://newrepublic.com/article/211705/historians-took-liberal-punditry">
    <title>How Historians Took Over Liberal Punditry | The New Republic</title>
    <dc:date>2026-07-09T06:30:46+00:00</dc:date>
    <link>https://newrepublic.com/article/211705/historians-took-liberal-punditry</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The hottest resistance talking aheads during Trump 2.0 are academics. What happened?"

...

"Every nation sustains itself with mythmaking. This is why Augustus commissioned Virgil to write The Aeneid at the moment the emperor was transforming the Roman Republic into the Roman Empire, why the British monarch is crowned atop the Stone of Destiny, why Marianne looks over Paris from both the Place de la Nation and the Place de la République, and why the Mexican president emerges every September 15 around 11 p.m. onto the balcony of the National Palace in Mexico City to issue el Grito—the cry that sparked the Mexican war of independence—anew.

But perhaps no nation has been more dependent upon its stories than the United States, a country formed in the relatively recent past without the benefits of shared ethnicity, language, or custom. In the absence of the usual ties that typically hold a nation together, it is values, we are told, that make an American an American and that make this country the special place that it is. Ironically, while Americans have always bitterly disagreed about the practical implications of those values, they have largely been consistent in the story they tell about those values and thus themselves. That story goes a little something like this: The United States was founded by good men, rebelling against tyranny and dedicated to the cause of liberty. Throughout its history, the United States has sought to pursue the path of freedom and justice, although some people—often, but not always progressives—are willing to concede that it has sometimes fallen short of this ideal. What these people will not concede, however—what they almost never concede—is the fundamental assumption that the United States of America is collectively a nation striving for the good.

In any other time, this persistent bit of American Exceptionalism might be excusable, even charming. But in a moment in which it seems not only increasingly impossible, but irresponsible, to ignore the deep flaws at the heart of the American project, this is exactly the choice that has been made by a certain brand of liberal public intellectual cum influencer in the Trump era. This cohort includes figures such as Jill Lepore, Ruth Ben-Ghiat, Joanne B. Freeman, and Kevin M. Kruse. Heather Cox Richardson and Timothy Snyder are arguably the two most prominent examples of a new iteration of an old trend, the historian as explainer, and perhaps more jarringly as political strategist. Credentialed historians and critics of the current regime, they promise key insight into the present via their knowledge of the past, and they have become a prominent feature of the opposition to Donald Trump.

The narrative of history and, more importantly, of the present that they offer has gone viral, offering comfort to its audience and a substantial economic benefit to its creators in the form of newsletter subscriptions and book deals. While it seems cruel to challenge anyone’s source of comfort in this very disquieting age and is certainly unkind to question academics pursuing alternate income streams, it is time we start to question the narrative of history that has been so widely adopted by many Americans and ask whether this particular fantasy of the past is providing any benefit in our increasingly dystopian present. In particular, there is an insistence among these figures that the past is something to be mined for lessons about how to survive the rising tide of authoritarianism and fascism. It’s a compelling premise. But a decade into what future historians may very well term the “Trump Era,” it’s still not precisely clear what use the past is to understanding—let alone escaping—the current predicament.

The Resist! Historians, as you might call them, would not be possible if not for the American center-left’s increasingly romantic view of expertise. It (and the Democratic Party) have over the past 30 years come to be dominated by the most well-educated: Roughly 60 percent of people with graduate degrees lean blue. The nation’s best students are now collected in one political corner utterly unwilling to question the teacher’s competence. She is, after all, the teacher."

...

"The popular success of figures like Richardson and Snyder rests on the fact they are presenting a narrative that rarely challenges their audience—which is largely white, middle-class, well-educated, and progressive. It is an audience made up of people for whom, up until now, the American project has worked out very well. What many of these people want to hear is that the rise of Trump and the MAGA movement is an aberration, a fixable malfunction. The audience for Richardson and Snyder, whether on podcasts, Substack, or Threads, want to believe that the current president and his supporters are not heirs to their American legacy but have instead twisted the truth about this nation’s history for their own malign ends. In this context, not only are their detractors the real inheritors of the nation’s Founders, but there is a clear path to escaping this fraught moment: accepting the truth about the nation and following where it leads us."

...

"It is, of course, hardly unique for subject experts, particularly academics, to stray outside their areas, particularly while providing mainstream political commentary. Economics, in particular, has turned out a steady stream of pundits, from the respectable (former New York Times columnist and, yes, current Substacker Paul Krugman, for example) to the baldly ideological (such as the nationally syndicated, baldly libertarian John Stossel). But there is nothing about academic training, no matter the discipline, that translates automatically to expertise in political strategy, just as there is nothing in history that provides a clear playbook for escaping the overlapping crises brought about by the second Trump administration.

That is not to say that Richardson, Snyder, and the other historian influencers need to quit the public square, but more that their visions and approaches to historical punditry need to be challenged. There is room for more diverse and sometimes dissenting voices, who are more willing to voice facts about the United States that disquiet and disturb. There is room to question expertise, particularly when it is deployed as cover for political analysis or punditry. And there is room for more stories to be told about America, even when they are stories we may not like."]]></description>
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<item rdf:about="https://podcasts.apple.com/us/podcast/pope-leo-xivs-magnifica-humanitas-w-jack-hanson/id1462703434?i=1000773716438">
    <title>Pope Leo XIV's 'Magnifica humanitas' (with Jack Hanson) - Know Your Enemy - Apple Podcasts</title>
    <dc:date>2026-06-26T08:30:11+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/pope-leo-xivs-magnifica-humanitas-w-jack-hanson/id1462703434?i=1000773716438</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://dissentmagazine.org/online_articles/know-your-enemy-pope-leo-xiv-magnifica-humanitas/ ]

"As promised, here is our episode about Pope Leo XIV's recent encyclical, Magnifica humanitas, in which he brings to bear Catholic social teaching on the perils of artificial intelligence and what they reveal about what it really means to be human being. It's a distinctly Augustinian reading of our nature and destiny, marked not just by Leo's attention to our limits as flawed and fallible creatures, but the joy and hope found by living into them—which, finally, becomes his plea to see life from the perspective of the lowly, the downcast, the abandoned. 

To help us explain such a rich document, we had on our friend Jack Hanson, one of the most perceptive American writers on the Catholic Church. We tease out the connections between this Leo's first and encyclical and that of his namesake Leo XIII's Rerum novarum, an intervention on behalf of working people during the industrial and considered the origin of Catholic social teaching; Leo's "Augustinianism"; the encyclical's critique of artificial intelligence and what that has to do with its account of what really makes us human; and more.

Sources:

Pope Leo XIV, Magnifica humanitas, May 15, 2026
https://www.vatican.va/content/leo-xiv/en/encyclicals/documents/20260515-magnifica-humanitas.html

Pope Leo XIII, Rerum Novarum, May 15, 1891
https://www.vatican.va/content/leo-xiii/en/encyclicals/documents/hf_l-xiii_enc_15051891_rerum-novarum.html

Jack Hanson, "A Serious Man: The Militant Mysticism of Charles Péguy," Commonweal, May 3, 2021
https://www.commonwealmagazine.org/serious-man-0

– “The Heresy of Americanism,” The Drift, Jun 10, 2025. 
https://newsletter.thedriftmag.com/p/the-heresy-of-americanism

Michael Oakeshott, "The Tower of Babel" in On History and Other Essays (1983)
https://about.libertyfund.org/books/on-history-and-other-essays/

Reinhold Niebuhr, "The Tower of Babel" in Beyond Tragedy: Essays on the Christian Interpretation of History (1937)
https://books.google.com/books/about/Beyond_Tragedy.html?id=-Y0WAQAAMAAJ

Donna Haraway, “A Cyborg Manifesto,” (1985)
https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduates/modules/fictionnownarrativemediaandtheoryinthe21stcentury/manifestly_haraway_----_a_cyborg_manifesto_science_technology_and_socialist-feminism_in_the_....pdf "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Vinqz2Fs0zA">
    <title>Detroit Music, Creativity, Capital, &amp; the Working Class with Hanif Abdurraqib - YouTube</title>
    <dc:date>2026-06-03T20:27:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Vinqz2Fs0zA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hanif Abdurraqib returns to the show to talk about his new project, the video podcast 'Living For The City' with season one focused on Detroit. We'll talk about some of the dynamics Hanif examines in the new series, including how the working class has found time to make such globally influential music, how gentrification impacts artists and musicians, and more.

Living For the City:  https://www.youtube.com/channel/UCsjRzm4m1SLECMzBb96XQLA

As the podcast's description notes, "Before Detroit gave the world Motown, techno, and hip-hop, it gave the world something harder to name: a feeling that music made in basements and backrooms and borrowed spaces could become the soundtrack to an entire generation." 

"The full arc of how one city became the unlikely origin point for some of the most influential music ever made, told by the people who were actually there."

Hanif Abdurraqib is a poet, essayist, and cultural critic from Columbus, Ohio. His bestselling and award-winning books include Go Ahead in the Rain: Notes to A Tribe Called Quest, They Can’t Kill Us Until They Kill Us, A Little Devil in America: In Praise of Black Performance, and There’s Always This Year: On Basketball and Ascension, and poetry collections A Fortune for your Disaster and The Crown Ain’t Worth Much."]]></description>
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    <title>The MAGA Theory of Art</title>
    <dc:date>2026-04-15T07:05:15+00:00</dc:date>
    <link>https://www.artnews.com/art-in-america/features/maga-theory-of-art-evangelical-film-nazi-weimar-1234779167/</link>
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<item rdf:about="https://www.noemamag.com/limiting-not-just-screen-time-but-screen-space/">
    <title>Limiting Not Just Screen Time, But Screen Space - NOEMA</title>
    <dc:date>2026-04-06T02:54:40+00:00</dc:date>
    <link>https://www.noemamag.com/limiting-not-just-screen-time-but-screen-space/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We no longer think a robot is intelligent just because it can move in a world built for bodies like ours. Large language models (LLMs), in our imagination, are conversational beings without bodies, without any friction of environment. We speak to them as if they were somewhere nearby, and yet they are not anywhere our imaginations can place. And so we begin to accept the strange premise that intelligence might exist outside of the physical world, floating above the constraints that make human life legible.

Yet intelligence is environmental.

My colleague at Williams College, Joe Cruz, notes that for an AI to strike us as authentically intelligent, it will have to be embodied, because many of the features we value in human (and animal) intelligence arose from the task of keeping a body alive as it moves through shared space. We recognize dogs as intelligent, for instance, in part because they have facility in our built and social spaces, communicating through shared emotional expressions, having evolved to live within our environments. Some cognitive scientists argue that intelligence cannot be made sense of in isolation from body and environment at all. 

The sci-fi image of the floating brain that finds a body and learns to walk (or to love) has the steps reversed. We learn through our bodies; we sense the world, make decisions about it and act within it. Intelligence that is disembodied will not seem like intelligence to us. 

And yet, in Silicon Valley, the opposite vision holds sway. Powerful people, including tech experts and many of our elected officials, believe that with LLMs, we will find a better way of living together, a better way of governing our shared environment.

Sam Altman, the CEO of OpenAI, has argued that AI acceleration will usher in an “Intelligence Age” of “unimaginable” and “shared” prosperity and “astounding triumphs” like “fixing the climate.” Deep learning, he explains, is an algorithm that can truly learn the rules behind any distribution of data. The more compute and data available, the better it can help people “solve hard problems.” 

Altman’s vision collides with basic truths of how people live. We care for places because we inhabit them. Love of place arises through our bodies as much as our minds.

But those committed to disembodied intelligence reach for a different solution: total representation. If the model cannot dwell in the world, the world must be made to dwell in the model as a “digital twin,” rendered at ever finer resolution, until environment becomes data and data becomes environment. 

Argentinian author Jorge Luis Borges’ parable “On Exactitude in Science” imagines an empire that produces a map the exact size of the territory. It is a useless tool, one that becomes territory itself. “In the Deserts of the West,” Borges concludes his story, “there are Tattered Ruins of that Map, inhabited by Animals and Beggars.”

<blockquote>“What would it mean to limit not only screen time, but screen space?”</blockquote>

Those dreaming of a nascent cognitive revolution are imagining that Borges’ one-to-one map will be finally useful — that if we just feed enough text, enough human knowledge, into the machine, it will comprehend the world in a way we never can. 

Even if we had the time, labor and energy to attempt this, why would we? Why not put that effort into talking to each other? 

The alternative is an increasingly familiar solipsism. A solipsistic person believes the self is the only reality. Other minds, other bodies, may as well be an illusion. 

Today’s internet bends us toward solipsism. We no longer imagine ourselves to be placing our images and our voices into the internet. We imagine ourselves — our physical beings — to be living within it. We imagine the internet to be our environment.

In “Trick Mirror,” journalist Jia Tolentino warned that the internet, once imagined as a space of freedom, had become a mechanism for surveillance, performance and commodification. Online life encourages self-optimization and branding at the expense of connection. “In physical spaces, there’s a limited audience and time span for every performance,” Tolentino writes. “Online, your audience can hypothetically keep expanding forever, and the performance never has to end.” 

Tolentino focused on time, but this internet is an endless stage, too, one with no wings, no exit, no place to step off and be alone again. 

“brb” once acknowledged departure and faith in return. It reminded us of the body behind the screen. Now, we are infinitely available, and AI is sold to us as the tireless and needless assistant. But our bodies continue to live in the world with stubborn persistence, despite Silicon Valley’s dream of the immortal avatar, the ability to upload our essence into a durable machine, which is a dream of escaping death and environment alike.

Most of the questions worth asking are not about how to transcend the environment, but how to inhabit it. How to live together in shared space. 

Many social, historical and economic forces led me to check my work email in the bathroom. Among them is the way we have come to imagine the internet not as a place we go, but as a space we inhabit. We make sense of abstract experience through bodily metaphors grounded in orientation and sensation: Up is good, down is bad, warmth is affection, weight is importance. These metaphors shape how we act and what we value. 

Window, weather: Change the metaphor and you change the possibilities for thought and action. If the internet once taught us to say “brb,” perhaps the work ahead is to recover that ethic of interruption, to remember the body in a room, waiting to return."]]></description>
<dc:subject>2026 lauramartin interner web online ai artificialintelligence intelligence bodies embodiment physical environment senses wireless wifi mobile attention privacy space sharedspace smartphones place chatgpt samaltman openai connectivity gps jiatolentino spikejonze her llms joecruz socialspaces emotions cognition cognitivescience borges connection audience time performance freedom boredom surveillance commodification solipsism data representation sensory decisionmaking isolation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:afe49fb94827/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=2jtBSC-ZgCI">
    <title>The Ideology of Contentmaxxing - YouTube</title>
    <dc:date>2026-02-23T04:54:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=2jtBSC-ZgCI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The algorithm does to a discussion what Clavicular does to his face — a series of micro-fractures, delivered repeatedly and with precision, in the hopes that it will match a target number that nobody actually wants, but which the machine is thirsty for us to find."

[See also:

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

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

(referenced within) "We are entering the era of Show more
The endless agony of thinking doing being content" (Jamie Cohen)
https://newmediahomework.substack.com/p/we-are-entering-the-era-of-show-more ]]]></description>
<dc:subject>aidanwalker metrics looksmaxxing content contentmaxxing quantification latefascistaesthetics aesthetics reality hyperrealism hyperreality socialmedia measurement 2026 algorithms microfractures machines economics fascism web online internet rationalism transhumanism ideology ritual louisalthusser althusser engagement institutions popularity platforms instagram tiktok grades grading taste socialcapital pierrebourdieu performance surveillance attention competition access success interestingness society fascistaesthetics bodies maximization optimization hyperoptimization credibility individualism dehumanization mutilation taboos fame andrewtate nickfuentes clipfarming sneako myrongaines tristantate malcontents jamiecohen jestermaxxing farright rightwing radicalization nihilism politics audience desperation extraction sadomasochism attentioneconomy self-harm men whitesupremacy normality radicalism subjugation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:23dcb76ab2b3/</dc:identifier>
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</item>
<item rdf:about="https://www.theverge.com/cs/features/810002/influencers-creator-economy-special-series">
    <title>How the creator economy destroyed the internet | The Verge</title>
    <dc:date>2025-12-08T18:59:41+00:00</dc:date>
    <link>https://www.theverge.com/cs/features/810002/influencers-creator-economy-special-series</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["JimmyJimmy Donaldson, better known as MrBeast, has the most popular YouTube account with over 450 million subscribers, or a little over 1 in 16 people in the world. His success with high-production, high-output stunt videos have made him the aspirational model for independent content creators everywhere: the actualization of the promise that, thanks to the internet, gatekeepers no longer stand in the way of viral fame and the riches that supposedly come with it.

Some might say that the extraordinarily famous content creators at the top represent the exception that proves the rule, but even Donaldson, no matter how agape his algorithm-pandering maw, can’t actually make money from YouTube. Financial documents revealed that the content arm of the MrBeast empire is a tremendous money loser — three straight years in the red, including a whopping negative $110 million in 2024. In fact, today all of those viral videos are just a marketing front for the real MrBeast business: a line of mediocre chocolate bars, available at your local Walmart. If the dream was that content creators were supposed to forge a new way to make money, the reality is that they’re relying on the oldest method: selling millions of people crap they don’t need.

In this series, The Verge dives into the ever-shifting, ever-fucked-up incentives that fuel the content machine across TikTok, Instagram, and YouTube. There was a time when the internet wasn’t constantly trying to sell us things. Now, what was once mostly contained to large commerce giants has encroached on every nook and cranny of the web. It’s eating the internet, swallowing the web whole and all of us with it. Maybe that’s why MrBeast’s mouth is always wide open."

[articles:

"Knock it off!" by Mia Sato
https://www.theverge.com/cs/features/709635/knock-it-off

"﻿Getting copied is devastating — but not necessarily illegal. Who owns what in an era of unprecedented mass consumption?"

"Hot subpoena summer" by Kat Tenbarge
https://www.theverge.com/cs/features/804409/perez-hilton-lively-baldoni-subpoena

"The convoluted saga of Justin Baldoni, Blake Lively, and It Ends With Us is still raging on social media, thanks to influencers."

"News Daddy ❤️ New York Times 🤡" by Victoria Le
https://www.theverge.com/cs/features/818380/college-students-news-sources-tiktok-instagram-newsdaddy

"College students are choosing TikTok and Instagram over newspapers and magazines. And though they know social media is rife with misinformation, they still won’t give it up."

"Stop, Shop, and Scroll" by Mia Sato
https://www.theverge.com/cs/features/836456/influencers-tiktok-debt-shopaganda

"Behind every influencer is an army of the influenced, many adrift in debt and mass-produced clutter. The platforms need influencers and influencers need audiences — but what the influenced need is not so simple.""]]></description>
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    <title>How AI Will Translate Human Creativity as Sci-Fi and Reality Converge | The Futurology Podcast - YouTube</title>
    <dc:date>2025-11-04T18:43:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=q8ZR9-y4ik8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The first machines mimicked our muscles. Today, they’ve learned to mirror our minds. Now they’re beginning to imitate something even closer to the core of our humanity – imagination itself. Sci-fi author, translator, and technologist Ken Liu calls this new medium the Noematagraph: a tool for capturing creativity and collaborating with AI in the same way cinema tells stories with actors, sound and a splash of light on a screen.

In this episode of Futurology, Liu joins Berggruen Press’ Executive Editor Nils Gilman to explore how AI blurs the line between artist and audience, code and consciousness. They discuss why storytelling has always been humanity’s most powerful technology and how machines, by learning to tell their own stories, may change what it means to express emotion in the AI age."]]></description>
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<item rdf:about="https://reutersinstitute.politics.ox.ac.uk/news-creators-influencers/2025/mapping-news-creators-and-influencers-social-and-video-networks">
    <title>Mapping news creators and influencers in social and video networks | Reuters Institute for the Study of Journalism</title>
    <dc:date>2025-11-01T16:40:21+00:00</dc:date>
    <link>https://reutersinstitute.politics.ox.ac.uk/news-creators-influencers/2025/mapping-news-creators-and-influencers-social-and-video-networks</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["News creators and influencers operating in social and video networks have become a significant source of news in recent years. Our own Reuters Institute Digital News Report indicates that personalities and news creators often eclipse traditional news brands in terms of attention when using certain social and video networks (Newman et al. 2023, 2024, 2025). Pew Research finds that around a fifth (21%) of adults in the United States (US) and more than a third of Under-30s (37%) now regularly get news from so-called creators or influencers, with the majority of these saying that the way these personalities present the news helps them better understand current events and civic issues (Stocking et al. 2024).

Creators are also having an increasingly important political impact, with Donald Trump courting popular YouTubers and podcasters such as Joe Rogan and the Nelk Boys in the run-up to his 2024 election victory. The recent murder of activist and podcaster Charlie Kirk, and the coverage of the aftermath, reminds us of the critical role these personalities are now playing in shaping both public opinion and political narratives. In other parts of the world, politicians such as Emmanuel Macron (France),1 Anthony Albanese (Australia),2 Claudia Sheinbaum (Mexico),3 and Keir Starmer (UK)4 have also been taking notice of these trends, incorporating social media influencers into their media strategies, prioritising interviews with TikTokkers and YouTubers – as well as inviting them to government briefings. Elsewhere, in countries where press freedom is under threat or where debate in mainstream media is restricted, we have seen creators and influencers playing a different role – providing a much-needed source of critical or alternative views.

Online influencers may be attracting more attention but at least some of their content is considered unreliable by audiences (Newman et al. 2025), with well-documented cases of false or misleading information around subjects such as politics, health, and climate change raising important questions about what this might mean for our democracies.

In this report we aim to show how the trend towards online and social media news influencers is developing in 24 countries around the world. Using an audience-based approach we identify countries where influencers are having the biggest (and smallest) impact as well as some of the most important individuals. We also provide an emerging typology or categorisation of news creators, while recognising the inherent difficulties in this process given the diversity of styles, overlapping approaches, and broad range of content.

After explaining the methodology and typology, this report contains an opening section that summarises the overall findings. This is followed by 24 individual country sections where we highlight the news creators most mentioned by audiences in our Digital News Report surveys, the main networks used, and a few other characteristics of each market. The final section draws some conclusions and references other emerging work in this area."

[via:
https://www.theverge.com/news/812078/the-reuters-institute-developed-a-typology-of-news-influencers ]]]></description>
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<item rdf:about="https://pablohelguera.substack.com/p/partita-for-ghost-ladder-and-insect">
    <title>Partita for Ghost Ladder and Insect Eyes</title>
    <dc:date>2025-10-18T05:48:48+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/partita-for-ghost-ladder-and-insect</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Using artistic means for non-artistic ends."

...

"A

In 2005, I was invited by the members of the Mexican collective Laboratorio 060 (then composed of Javier Toscano, Daniela Wolf, Lourdes Morales, and Gabriella Gómez-Mont) to participate in a site-specific project that brought together international artists and the community of Frontera Corozal, Chiapas — a small town on the border between Mexico and Guatemala, along the Usumacinta River, deep in the Lacandon jungle.

B

I often think of the late Marjorie Perloff, whose brilliance I had the privilege to witness firsthand and whose book Wittgenstein’s Ladder has long served as a quiet compass. In that remarkable study, she demonstrated how the philosophy of language could illuminate the strangeness and beauty of poetic form — how the scaffolding of thought might itself be art.

Lately I have been preoccupied with a reversal of Wittgenstein’s metaphor. In the realm of art, contrary to his suggestion, we cannot throw the ladder away. The ladder — the process, the experience, the unfolding of thought and action — is not a means to an end but the very substance of the work. Yet our museums and markets, fixated on the permanence of the object, continue to discard the ladder, mistaking its residue for the work itself.

A

The Frontera project, about which I have written elsewhere, was among the first socially engaged art initiatives in Mexico and profoundly shaped my thinking about audience engagement. Some of the artists included in the project were Aníbal López, Bubu Negrón, Miguel Ventura, and many others.

The project’s interventions ranged from public works to provocative performances that generated puzzlement in the community. At times I think they saw us as a group of crazy tourists that were doing eccentric rituals, but at the same time we connected with them in ways that transcended language and our respective universes. I spent time with Chol children in a grade school, Primaria Torres Bodet, where the students wrote their own short stories (in Chol).

The project was, in every sense, complex — impossible to summarize here — but one challenge stands out: how to convey the story of what had happened in Frontera to those who had not been there. After a number of years, the collective eventually produced a documentary, but even the documentary does not manage to fully convey the intricacies of the project.

Writing workshop with students at the Escuela Primaria Federal Bilingüe Jaime Torres Bodet, Frontera Corozal, Chiapas, 2006 (Javier Toscano on the right side of the photo).

B

Wittgenstein viewed language as a ladder to be discarded once understanding had been reached. The art world, perhaps unwittingly, absorbed this idea by fetishizing the finished object. Museums and markets celebrate completed things rather than fulfilled intentions — as if the endpoint of artistic labor were a permanent object rather than a temporary state of comprehension.

The most meaningful artistic processes I have witnessed do not culminate in the object but move through it: the object becomes a prop, a marker, a trace of an encounter. To throw away the ladder, in this sense, is to discard the very work we seek to understand.

This misunderstanding — the elevation of the remnant over the realization — has shadowed much of modern and contemporary art. The avant-garde already attempted to dissolve the boundary between means and ends: Kaprow’s happenings, Lygia Clark’s relational objects, and Tania Bruguera’s arte útil all sought to locate meaning in acts rather than artifacts. Yet the museum, compelled by its custodial logic, continues to frame these works through the detritus they left behind. It behaves like Wittgenstein’s reader who climbs the ladder and then displays it in a vitrine — forgetting that its purpose was to enable ascent, not to be preserved as an object of study.

This institutional tendency betrays a deeper epistemological discomfort: the anxiety that, without the object, we lose our coordinates of value, authorship, and permanence. Against that anxiety, the task of both pedagogy and art may be to learn how to dwell within process — to recognize that the fleeting, dialogical, or collective experience is not a prelude to the work but its fullest form of existence.

A

In 2008, when I had the chance to invite Laboratorio 060 to exhibit in New York, at the CUE Foundation, and they sought to present an anthology of their past projects, the question of how to present Frontera Corozal returned. Javier Toscano proposed something radical in its simplicity: to have a person stationed in the gallery at all times, a living storyteller who would narrate aspects of the project — to embody what could never be contained in images or video. Financial limitations made it impossible, but the idea stayed with me. It remains, to my mind, one of the most eloquent metaphors for what museums and educators must learn to do: to animate the absent process, to make visible the invisible scaffolding of art through presence and narration.

Often I think that this is precisely what educators already do, albeit without formal acknowledgment: we serve as living interpreters of what the artwork cannot say for itself.

B

Perhaps what requires closer attention is not our misunderstanding of the ladder but our fear of letting it go. The art object is not merely an aesthetic artifact; it is a kind of security blanket. It reassures collectors of possession, scholars of focus, museums of purpose. The object anchors the otherwise unstable realm of artistic process, providing a surface upon which value and authorship can be inscribed. Without it, the canon loses its stage set, the archive its evidence, and the institution its promise of permanence.

Artists are not innocent in this arrangement. During creation, our attention belongs to the immediacy of process — the question, the exchange, the experiment. Yet, with time, the temptation to translate the ephemeral into consecrated form becomes irresistible. Photographs, certificates, relics of social projects: these become the tokens that secure our place in the narrative we once sought to unsettle. Thus, we too sustain the system that mistakes the ladder for the ascent, allowing documentation to stand in for the experience itself.

The question, then, is twofold. First: how might artists resist the gravitational pull that turns inquiry into artifact, action into documentation, and experiment into inventory? Can an artwork exist as a process of knowing that refuses to collapse into ownership yet sustains itself socially and economically? Perhaps the task is not to destroy the object but to destabilize it — to transform it from relic to relay, from residue to condition.

Second: the greater challenge may fall upon the institutions built to enshrine artists. Museums, designed to protect objects, must now tell the stories of works that resist objecthood. They must narrate gestures meant to vanish and teach audiences to encounter art that exists more in time than in space. Doing so requires an epistemological shift: from the museum as a container of artifacts to the museum as a mediator of processes.

This might mean collecting protocols rather than things, treating exhibitions as rehearsals rather than finales, and valuing the interpretive labor of the public as part of the work’s afterlife. Preservation may sometimes take the form of facilitation rather than possession. The true continuity of art may lie not in its objects but in its capacity to generate renewed forms of experience across time.

Museum education, I believe, holds a unique key to this dilemma. If curatorial practice is bound to the object, education is bound to the encounter. Through interpretation, activation, and conversation, educators can reveal what I call the museum’s ghost ladders — the vanished structures of process and inquiry that once supported the finished work but now haunt its display.

A

I remember one night in the Lacandon jungle during the Frontera project, sitting on a porch after dinner as waves of sound—cicadas, crickets, and other unseen creatures—rose and fell around us. The air was thick with humidity and the layered chorus of the forest. At one point, I noticed a large tarantula near my feet and instinctively recoiled, startling myself. The locals burst into laughter at my reaction, assuring me that these spiders were entirely harmless. The conversation then turned to the presence of all living beings around us that we were not aware about. A local then suggested I place a flashlight beside my temple and point it toward the trees, an area that was absolutely pitch dark. When I did, thousands of tiny glimmers blinked back — the reflections of innumerable insects’ eyes hidden in the dark.

That image returns to me whenever I think about the unseen processes that underlie the artworks we display: the invisible ladders that structure the visible world.

Fugue

James Joyce once wrote in Ulysses: “What is a ghost? One who has faded into impalpability through death, through absence, through change of manners.”

The processes of art, too, sometimes fade into a kind of impalpability — through institutional habit, curatorial absence, and changing manners of art-making. Yet their eyes still shimmer in the dark.

To recognize them is to acknowledge that the work of art is never finished, that the ladder remains even when unseen. Our task, as artists and educators, is to sensitize others to their presence — to make them glimpse, if only for a moment, those innumerable ghost ladders watching us climb, gleaming like the eyes of the jungle, reminding us that art itself is the act of ascent."]]></description>
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<item rdf:about="https://onethingnewsletter.substack.com/p/the-revenge-of-elitism">
    <title>🟧 The revenge of elitism - One Thing</title>
    <dc:date>2025-10-02T21:03:25+00:00</dc:date>
    <link>https://onethingnewsletter.substack.com/p/the-revenge-of-elitism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Everywhere I look I see elites, which is to say, people who already have power (or clout, fame, and capital) leveraging their power to gain more of it and to exert authority over other people. What’s more, the top-down hierarchy has become somehow cool — desirable or at least inescapable and thus ripe for adoption and appropriation. The crackpot tech philosopher Curtis Yarvin calls for an American king, which Trump acts like anyway. The Trump family forms a royal court that is busily extracting money from their demesne like any crew of evil princes of centuries past. Hangers-on compete to get closer to the center, or they just go to Butterworth’s in DC to bask in the elitist aura. (Even as government workers, the non-elites, are forced out of their jobs and lives.)

In culture, print magazines are getting new, young editors-in-chief: see Noah Johnson at Highsnobiety, Mark Guiducci at Vanity Fair, and Chloe Malle at Vogue, who instantly become power brokers themselves. People genuinely care about Taylor Swift’s and Charli xcx’s weddings. (If you don’t get married abroad are you really elite?) Celebrities all have podcasts where they interview other, even more famous, celebrities — see Amy Poehler’s “Good Hang.” And we listen to them, reinforcing their fame. Perhaps part of it is the fossilization of audiences: it’s harder to build a crowd online organically now, so it helps if everyone knows you already. Your clout can translate from film to TV to TikTok to YouTube. Or the elites have realized you can make real money on their own from the internet, so they’re jumping on board.

In tech, AI is a vector of total elitism, with its practitioners at the top. Sam Altman already acts like king of the world, and when he decides it’s a good time to launch a feed of video slop, he does it, and millions of piggies follow. The new OpenAI video advertisements glorify living your life as ChatGPT instructs you to, in faux-grainy, Ryan McGinley-ish hipster clips. Under AI, the robot is the true elite and the next layer down are those who adjust its variables, like worshipers tweaking the corpse of a dead god. There is no longer the hope of social-media “democratization” or lowering the barrier to entry. The self-negating idea of “AI-enabled creativity” is just culture as dictated by Zuckerberg and Altman and Musk, molded into shape by the algorithm and the LLM.

You can do very well right now by catering to these elites, peddling their ideas and following the pathways they build. (Congratulations to Bari Weiss for posting her way to wealth and dictatorial power over a television channel, for some period of time.) To be anti-elitist, however, is to stop caring about attention as a metric of quality, because those who already have it will always win. It requires caring about the people who aren’t on magazine covers and don’t have hundreds of thousands of followers. It requires engaging in smaller-scale, more private, and more coherent efforts — the community of friends and collaborators, people whose opinion you respect (as opposed to the passive hoards of onlookers and bots). Newsletters are a part of this, as is throwing your own parties. Some people call for the return of “selling out”, or the public shaming of this lean in to elitism. You could go further and say: Don’t give your attention to those who you think have sold out. Elitism doesn’t need to be so aspirational."]]></description>
<dc:subject>kylechayka 2025 elitism elites society curtisyarvin monarchism power culture donaldtrump markguiducci highsnobiety noahjohnson vanityfair chloemalle vougue taylorswift charlixcx celebrity celebrities amypoehler podcasts podcasting film tv television youtube tiktok attention audience samaltman opeanai chatgpt markzuckerberg llms algorithms elonmusk democracy democratization bariweiss wealth sellingout sellouts aspirations emilychang ambition menciusmoldbug darkenlightenment nerdreich</dc:subject>
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<item rdf:about="https://anarchive.fo.am/silver/from_scratch/">
    <title>From scratch? Live coding as creative interface — anarchive</title>
    <dc:date>2025-09-11T20:31:41+00:00</dc:date>
    <link>https://anarchive.fo.am/silver/from_scratch/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alex McLean in conversation with Justin Pickard
2025

Unsettling the boundaries between composition and improvisation, performer and audience, process and product.


This wry exchange captured something essential about live coding: how it transforms observation into participation. While ethnographers observe the practice from the outside, live coding itself emerged from a desire to make visible what computing culture normally hides — probing programming's creative possibilities, re-imagining code as a medium for live performance and shared discovery.

Conducted in September 2024, this conversation with Alex McLean, who has helped shape and steward the practice from its origins in the early 2000s, traces how this vision evolved from individual experimentation to a community-driven practice that challenges conventional assumptions about what technology can be and how we might relate to it differently."

[See also:
https://fo.am/blog/2025/09/10/weave-code-hammer/

"In "From Scratch?" Alex McLean and Justin Pickard trace live coding from today's performances back to bedroom experiments, manifesto-writing, and community formation. Making code visible as it's written – fallible, thinking out loud – this practice demonstrates how programming might be: not as product but performance."

https://anarchive.fo.am/silver/backwards_to_the_ground/
https://anarchive.fo.am/silver/jacquard_mistake/ ]]]></description>
<dc:subject>alexmclean justinpickard 2025 livecoding coding writing howwewrite composition improvisation process performance audience product interface creativity bolprocessor bernardbel live liverperformance software tidal haskell</dc:subject>
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<item rdf:about="https://netigen.com/publish-once-syndicate-nowhere">
    <title>Netigen: Publish Once, Syndicate Nowhere</title>
    <dc:date>2025-09-04T06:25:44+00:00</dc:date>
    <link>https://netigen.com/publish-once-syndicate-nowhere</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>posse publishing 2024 web internet online platforms openweb socialmedia mollywhite webdev mastodon threads bluesky writing howwewrite audience syndication</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2228f07c642d/</dc:identifier>
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    <title>Subverting Radicalism: How Andor and All Films Do It! ft Samantha Youssef - YouTube</title>
    <dc:date>2025-08-18T04:09:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=wo7pXp1SgLY</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>samanthayoussef andor 2025 jaredball lucasfilms georgelucas warfare military militaryindustrialcomplex film media filmmaking darpa pixar writing howwewrite storytelling pentagon cia narrative subliminality propaganda imperialism starwars patriarchy battleofalgiers resistance color audience visual television tv messaging</dc:subject>
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<item rdf:about="https://www.wired.com/story/zines-social-media-power/">
    <title>Social Media Replaced Zines. Now Zines Are Taking the Power Back | WIRED</title>
    <dc:date>2025-06-29T04:09:54+00:00</dc:date>
    <link>https://www.wired.com/story/zines-social-media-power/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At a time of fleeting memes and cultural platforms operated by multibillion-dollar companies, an old mode of creativity and community-building gets a second life."

...

"Communication constantly evolves, along with the way people want to receive information. As social media replaced zines, the messages traveled farther, but their permanence dissipated. Friendster fizzled. Tumblr will never be what it was. Posts on X or TikTok get drowned in the churn of what’s trending or what platform owners want to boost. Handmade zines can last much longer. “Writing things down on paper has value,” Spooner says. “It’s more permanent.”
As fears of surveillance and authoritarianism grow, the zine community may provide a means to organize under the algorithmic radar, in a format less beholden to the whims of multibillion-dollar social media companies. A vision of the future copied from the past."

[archived:
https://archive.ph/EUMqv ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=SM9hRuy31JA">
    <title>Adam Curtis on the BBC, Politics &amp; AI - YouTube</title>
    <dc:date>2025-06-23T04:30:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=SM9hRuy31JA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Adam Curtis is one of the UK's most iconoclastic and followed documentarians. His epic films, spanning decades of cultural and political history have become instant classics and gained him a worldwide following including the likes of Kanye West and Elon Musk.

Richard Osman and Marina Hyde interview the BBC journalist about his disappointment at modern television, unique approach to archival material and his thoughts on modern culture at large."]]></description>
<dc:subject>adamcurtis 2025 documentary history uk margaretthatcher politics society richardosman marinahyde culture shifty tv television archives entertainment economics liberals liberalism brexit workingclass pmc professionalmanagerialclass donaldtrump 1840s christopherclark inequality revolution politicians patronization academia highered highereducation bbc film realism imagination creativity lowbow hibrow highbrow rigidity music formula standardizedtesting mood feeling emotions connection pretentiousness cynicism class silos siloing perspective provocation didactivism experience 1980s 1990s 2000s 2010s everyday change power rulingclass disconnect dread loneliness fear melancholy smartphones video cameras performance audience authenticity performativity ai artificialintelligence self-consciousness accents labourparty individualism tonyblair newlabour bankofengland anxiety anorexia bulimia retreat isolation psychology technology web online poverty socialsafetynet hr phones mobile socialmedia internet algorithms techno</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=ktrYjMP75Mk">
    <title>Iran, Israel, USA and World War 3 | Chris Hedges | UNAPOLOGETIC - YouTube</title>
    <dc:date>2025-06-20T16:29:02+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ktrYjMP75Mk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Pulitzer Prize-winning journalist Chris Hedges joins us on UNAPOLOGETIC for a conversation on what the consequences could be if Israel draws the USA into a full-blown war with Iran.

Hedges reflects on his years reporting from war zones, the cynical nihilism driving Netanyahu’s assault, and how Israel’s genocide in Gaza has become a “spectacle” that has irreparably broken trust between North and South.

Are Israel’s and the Pentagon’s stated shifting priorities real, or a façade to continue diminishing societal infrastructure in the region? Will the complicity of Arab states in the genocide lead to blowback? Is regime change the goal, or is this just an excuse?

UNAPOLOGETIC is hosted by Ashfaaq Carim

Chapters
0:00 Introduction
1:40 Was Iran strike inevitable
4:10 Israel’s plan for Iran
8:00 Will US go deeper
9:45 Who leads US policy
12:30 Why regime change fails
15:00 Netanyahu’s nihilist war plan
20:00 Arab states’ complicity
25:00 Gaza genocide as spectacle
31:00 West Bank’s grim future
35:00 Risk of regional war
41:00 Global fallout of war
47:00 US politics and war
56:00 Journalism’s collapse today
1:04:00 Just US policy vision"]]></description>
<dc:subject>chrishedges ashfaaqcarim iran israel iraq iraqwar war 2025 policy us benjaminnetanyahu nihilism middleeast syris politics globalsouth journalism media change complicity arabstates westbank gaza palestine genocide syria lebanon history hezbollah hamas occupation isis afghanistan regimechange responsibility thomasfriedman newtgingrich zionism imperialism society davidfrum seanhannity johnbolton maxboot marklevin ideology aipac israellobby holocaust displacement neveragain dispossession impunity jdvance donaldtrump democrats resistance policestate suppression corporations corporatism billionaires civilliberties privacy police policing authoritarianism dissent democracy fascism money corruption bribery elections joebiden kamalaharris military militaryindustrialcomplex jamaalbowman foreignpolicy encampments columbia highered highereducation colleges universities princeton harvard nyu antisemitism zionistmccarthyism mccarthyism redscare oligarchy ww3 wwiii congress billclinton workingclass protest protests ice acad</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:d4193185bdb4/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=jtOffvS6ugQ">
    <title>Can We Radicalize the Professional Managerial Class? with Catherine Liu - YouTube</title>
    <dc:date>2025-06-01T20:36:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=jtOffvS6ugQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week Briahna Joy Gray speaks to Catherine Liu, professor of Film and Media Studies at the University of California Irvine & author of Virtue Hoarders: The Case Against the Professional Managerial Class, about whether the left takes it's criticism of PMCs too far. Is PMC bashing a kind of reductive class identity politics? Is it worth it to try to mobilize the petite bourgeoisie in an electoral context, or leave them to vote for Elizabeth Warren? Do we love a class traitor, or nah?"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=QKubRtKguv4">
    <title>Vijay Iyer’s art of listening | Amplify with Lara Downes - YouTube</title>
    <dc:date>2025-05-28T14:12:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=QKubRtKguv4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lara Downes | May 28, 2025

Vijay Iyer’s mind is a little bit terrifying. A MacArthur-certified “genius,” he earned degrees in mathematics and physics from Yale and Berkeley before committing to a career as a pianist and composer. His STEM background profoundly informs his music-making, from using the sequence of Fibonacci numbers to structure his work, to applying theories of embodied and situated cognition in his study of the music of the African diaspora. The New York Times has called Iyer a "social conscience, multimedia collaborator, system builder, rhapsodist, historical thinker and multicultural gateway."

But when I sat down with Vijay for this conversation at the Big Ears Festival in Knoxville, Tenn., (where we each performed during a weekend of music representing a breathtaking array of traditions and aesthetics), I wasn’t really focused on the intimidating power of his remarkable mind. Instead, I was acutely aware of the heart and soul in music — its capacity to create understanding and communication. At Big Ears, you can make your way from a traditional bluegrass set to an Indian jalatharangam performance, traversing continents, cultures and centuries as you cross the street between two venues.

So Vijay and I talked about listening. The alertness of listening in the creative states of improvising, composing and collaborating with other musicians. The importance of listening to your history and lineage, and the agility of listening to the present tense of the world around you. The ability to listen across borders of geography and language, affirming the humanity and empathy that comes with it. In the end, it was Vijay who brought up an emotion that’s the antithesis of anything cerebral. “It feels like family,” he said. “To really hear everything that's happening in the music and also hear what a person is saying and hear what they have to offer as a human being. It's really this deep love that is at the heart of it.”"]]></description>
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<item rdf:about="https://jacksondahl.com/dialectic/cwandt">
    <title>12. Che-Wei Wang &amp; Taylor Levy (CW&amp;T) - Iterating Together with Time - Jackson Dahl</title>
    <dc:date>2025-03-29T02:23:34+00:00</dc:date>
    <link>https://jacksondahl.com/dialectic/cwandt</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Che-Wei Wang and Taylor Levy are the founders of CW&T (Website, Instagram, X, TikTok), a Brooklyn-based studio creating products that exist somewhere between art, design, and engineering.

The husband-and-wife team met at NYU ITP and shares a background across industrial design, architecture, computer science, film, including time at Pratt Institute and MIT. They won the 2022 Cooper Hewitt National Design Award for Product Design. They design and manufacture everyday objects including clocks, pens, tools, and other strange objects that challenge our relationship with time, attention, and materiality. Their most recognizable products include the Pen Type-A,Pen Type-C (my favorite), Time Since Launch (a one-time-use, 100-year timekeeper), and Solid State Watch, a remix of the classic Casio F-91W.

Our conversation explores their fascination with time, their commitment to creating heirloom-quality objects in a disposable world, and how they've built a sustainable creative practice on their own terms. We discuss their prototyping-centered approach, the tension between digital and physical creation, and how they navigate collaboration as partners in life and work.

Throughout, Che-Wei and Taylor reveal a philosophy that treats making as its own reward—they create what fascinates them first, trusting that others will connect with their vision. In a world increasingly dominated by disposable products and digital experiences, CW&T offers a refreshing counterpoint: a workshop where physical objects are thoughtfully conceived, meticulously crafted, and built to accompany us through life's journeys. Their work invites us to reconsider our relationship with the objects we use daily and the passage of time itself, offering a refreshing counterpoint to our increasingly digital, ephemeral world.

Full transcript with all links and references.

Timestamps

(00:00): Time: a pattern across CW&T’s careers
(11:21): Time Since Launch: the idea of counting up instead of down, and creating personal epochs
(14:11): "Good design is long-lasting,” Durability of Electric Objects
(19:31): Balancing art, product, and design: CW&T's approach to creating strange (but useful) things
(23:51): First Word vs. Last Word Art: Michael Naimark's essay on innovation
(28:01): Death by consensus: Why Che-Wei left architecture, and the joy of creative collaboration
(32:52): Inspiration, Theory, and Self-Evidence
(38:40): Tools: iPhone world, what makes a great tool, and design that optimizes for joy
(44:21): The Hi-Tec-C pen cartridge and remixing what has come before
(48:01): Making physical objects: a case for prototyping and against rendering
(55:41): CW&T’s beloved products
(53:27): ITP, Electrified Objects, Software in Objects
(56:49): Dream Stem: Generative design, openness to new tools, AI's impact on the creative process, and intuition
(01:07:11): The value of friction, and what's lost and gained in the pursuit of efficiency
(01:09:46): CW&T the brand, contemplating CW&T's legacy and purpose
(01:15:24): Kickstarter, owning your audience, and what it would look like to start today
(01:19:35): Partners in life and work, the tension between merging identities and maintaining individuality
(01:25:02): Growth, explore vs. exploit, and learning, dream collaborators, and more resources
(1:33:56): Lighting round: great teachers, New York City focus & serendipity, creative inspirations, CW&T book, nature and green things, morphology and architecture, “form and force,” a gift for children or grandchildren, what to hang onto,
(01:52:07): Timelessness"

[also here:
https://www.youtube.com/watch?v=zEtWP1X-HNc
https://podcasts.apple.com/us/podcast/12-che-wei-wang-taylor-levy-cw-t-iterating-together-with-time/id1780282402?i=1000700540379
https://open.spotify.com/episode/4matdJ4VqtVACD4XhV8IzL ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Lc3U5JzPIww">
    <title>&quot;Every single one of us has a role to play&quot; with Mohammed el-Kurd - YouTube</title>
    <dc:date>2025-02-18T17:59:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Lc3U5JzPIww</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The brothers welcome journalist and writer Mohammed el-Kurd to the show to discuss his new book, Perfect Victims and the Politics of Appeal (2025), his family's surreal experiences with Jewish Israeli settlers in the Jerusalem neighborhood of Sheikh Jarrah, the role of resistance in the broader meaning of the term, and why Palestinians can never surrender to the "politics of appeal."

Date of recording: Feb 3, 2025."

[also here:
https://directory.libsyn.com/episode/index/id/35332445 ]
https://sites.libsyn.com/495388/every-single-one-of-us-has-a-role-to-play-w-mohammed-el-kurd ]]]></description>
<dc:subject>makdisistreet 2025 mohammedel-kurd palestine jerusalem gaza eastjerusalem sareemakdisi ussamamakdisi karimmakdisi westbank genocide ethniccleansing victimblaming zionism westbbank lebanon tropes rhetoric israel civility liberalism language humiliation self-censorship gemdmer men judaism settlercolonialism colonialism colonization occupation dispossession displacement tonepolicing violence systemicviolence decolonization atonement antisemitism ethnonationalism writing howwewrite sylviawynter theory humanization dehumanization saidiyahartman respectability humanrights edwardsaid class classcritique oppression repression suppression resistance cooption co-option hezbollah hamas liberation surrender aesthetics operationalaqsaflood propaganda normalization audience hizbullah cooptation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:02de88fc9276/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=1i-tyLshBR4">
    <title>Democrats Are NEVER Coming Back After Genocide Support (with Butch Ware) - YouTube</title>
    <dc:date>2025-02-13T22:25:42+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=1i-tyLshBR4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["2024 Green Party VP candidate and University of California Santa Barbara professor Butch Ware return to Bad Faith to discuss his run to be governor of California and concretely evaluate what it takes for third parties to win big against the two party duopoly. But first, the historian offers his analysis of the Kendrick Lamar Super Bowl halftime show, and whether it was genuinely "revolutionary" as claimed."]]></description>
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<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a14be7b17b24/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=cjT53b6qXHw">
    <title>David Hammons: Day's End - YouTube</title>
    <dc:date>2024-12-30T21:27:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=cjT53b6qXHw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Proposed to the Whitney by Hammons, Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the original shed—and, like Matta-Clark's intervention, it will offer an extraordinary place to experience the waterfront.

Taking both Day's Ends, as envisaged by Hammons and Matta-Clark, as jumping-off points, the Whitney has also created the Museum's first podcast, Artists Among Us, narrated by artist Carrie Mae Weems. Listen at https://whitney.org/podcast/days-end . 

Learn more at https://whitney.org/exhibitions/david-hammons-days-end "

[See also:

"Queer Histories of the Piers | David Hammons: Day's End" (2021)
https://www.youtube.com/watch?v=tS990SCeQIE

"The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Hammons’s Day’s End takes inspiration from an artwork of the same name by Gordon Matta-Clark, who cut five openings into the Pier 52 shed in 1975. Pier 52 was one of several piers inhabited by a vibrant Queer community in Manhattan’s Meatpacking District. Featuring interviews with artist and filmmaker Elegance Bratton; activist and Director of Client Services at the Sylvia Rivera Law Project Stefanie Rivera; photographer and archivist Efrain John Gonzalez; activist and performer Egyptt Labeija; and artist and art historian Jonathan Weinberg, this video recalls a time when sex, art, and creativity converged on the waterfront."

"Gordon Matta-Clark's Day's End | David Hammons: Day's End" (2022)
https://www.youtube.com/watch?v=uecdwXKuUco

"The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Hammons’s Day’s End takes inspiration from an artwork of the same name by Gordon Matta-Clark, who cut five openings into the dilapidated Pier 52 shed in 1975, transforming it into a "cathedral of light.""

"Preview: Day's End by David Hammons" (2019)
https://www.youtube.com/watch?v=Vv3rVp3g9Ic

"The Whitney, in collaboration with the Hudson River Park Trust, has developed a permanent public art project by David Hammons. Entitled Day's End (2021), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Proposed to the Whitney by Hammons, Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the original shed—and, like Matta-Clark's intervention, it will offer an extraordinary place to experience the waterfront.

Featuring interviews with Darren Walker (President, Ford Foundation), Lorna Simpson (Artist), Alex Fialho (Programs Director, Visual AIDS), Scott Rothkopf (Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator, Whitney Museum of American Art), Adam D. Weinberg (Alice Pratt Brown Director, Whitney Museum of American Art), and Guy Nordenson (Structural Engineer)"

"Adam D. Weinberg and David Hammons discuss Day's End" (2021)
https://www.youtube.com/watch?v=N4si3OLbVEI

"Adam D. Weinberg and artist David Hammons discuss the conception of Hammons's permanent public art project Day's End. This monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Whitney.

Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the origina"]]]></description>
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<item rdf:about="https://www.commonwealmagazine.org/catholic-voices-mute">
    <title>Catholic Voices on Mute | Commonweal Magazine</title>
    <dc:date>2024-09-28T05:36:29+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/catholic-voices-mute</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The theological silence on significant issues is a problem."

...

"Liberal Catholics have lately been lamenting the preponderance of conservative and traditionalist voices in mainstream op-ed sections, especially that of the New York Times. The attention given to the Catholicism of vice-presidential candidate J. D. Vance also seems to have struck a nerve. But this reaction may speak to a bigger issue: the paucity of public Catholic theological voices in the general political and societal discourse.

Back in 1960, following the election of John F. Kennedy, Time magazine featured John Courtney Murray on its cover. The tagline read “U.S. Catholics & the State.” Sixty-four years later, we see very little of this kind of mainstream exposure of Catholic religious leaders and thinkers, nor do we hear voices articulating or elaborating on the views of Catholics regarding major issues or world events. Consider, for example, the war in Gaza. In May, Cardinal Pierbattista Pizzaballa, Latin Patriarch of Jerusalem, noted the absence of prophetic voices of religious leaders working to foster peace and reconciliation in the region. The situation has not changed significantly since then. Catholics have spoken up, but in Catholic publications and outlets, not in mainstream media. A national sign-on letter from U.S. Catholics on Israel-Palestine garnered thousands of signatures—bishops and clergy, women religious, laypeople, academics, and activists—but it did not register in the national debate on Israel and Gaza.

One leading Catholic who does break through in the mainstream media is the pope. But Francis is also a head of state, and so there are limits on just what and how much he can say (the papacy is a combination of prophecy and diplomacy). On the war in Gaza, the pope and the Vatican face a cluster of doctrinal, theological, and political issues: the religious relations of the Church with Judaism and Islam; the diplomatic relations of the Holy See with the State of Israel, its position on Jerusalem and the holy sites, and the relations with Israel’s neighboring states; doctrinal issues around “just war” and emerging types of warfare; the theological uniqueness of the Holocaust for Jewish-Christian relations. These are some of the narrow boundaries within which the humanitarian and peacebuilding efforts of the Church can develop and the delicate balance between prophecy and diplomacy in the Vatican can more easily be understood, if not justified.

It’s not just Gaza. There are other issues on which the voices of Catholics seem to be getting lost amid coverage of the pope’s words, and are thus unable to reach a larger audience. There’s the question of the role of the Patriarch of Moscow in providing theological justification for the Russian invasion of Ukraine. There are the lies that Vance and Donald Trump are telling about Haitian migrants in Ohio, to say nothing of their approach to the larger issue of immigration to the United States overall.

Is there a “treason of theologians,” as the ninety-year-old Italian theologian Severino Dianich wrote recently? Are we being silent in the face of tragedy and in this ever more threatening moment of history? Does the current moment echo that of a century ago, when Julien Benda in his 1927 La Trahison des Clercs criticized French and German intellectuals for abandoning their universal vocation—the promotion of the value of justice and democracy—and getting caught up the political passions of class struggle, nationalism, and racism?

The voices of Catholics seem to be getting lost amid coverage of the pope’s words, and are thus unable to reach a larger audience.
It’s undeniable that there’s a problem with the public voice of theologians. The job of theology professors is to produce and keep alive the critical conscience of a people—a vital component of the experience of faith, but also for people of other or of no faiths. Yet that effort is increasingly politicized and subject to propaganda, given the heightened stakes of two-party electoral politics (which increasingly also seems to infect the Church). And despite Pope Francis’s efforts and personal popularity, the social-justice component of Catholic theology is receiving far less visibility than it used to (and than it should), which influences the public perception of what Catholicism stands for today. Catholic intellectuals of our generation betray their own mission when they fail to challenge the notion that the only response to corruption, scandals, and toxic politicization of institutional religion is to walk away from it.

Theologian David Tracy famously defined theology in its relation to three distinct publics: academy, church, and society. In these last few years, theology has become far less of a subject for public audiences, having been further integrated into the “market” (higher education, publishing, mainstream media, social media, big donors, think tanks). The university has ceded the role of thinkers and scholars—including theologians—to diversity officers, education experts, and branding wizards. In some ways, that has helped liberate theology from the close watch of Church authorities, but it also now makes it more subject to the pressures of donors, customers, and other stakeholders in the “marketplace.” The decisions and whims of funding organizations now pose a bigger worry than the decisions the Holy Office of the Inquisition once did. In an ironic reversal of roles, as John Gray noted in The New Leviathans, “the university campus is the model for an inquisitorial regime that has extended its reach throughout society.”

But it’s not just theologians. Bishops don’t write for the larger public as much as they used to, and when they do, their voices register only when they’re weighing in on culture-war issues. Lay Catholic leaders, meanwhile, are more and more often identified with a particular agenda or institution, and so, like academic theologians, what they say is often assumed to reflect the preferences of the funding institutions and donors supporting them.

There’s something else that might be limiting the voice of Catholics in the public space: the desire to speak out. Is there a vocation? Is it part of the job? Does it help in the work of evangelization? And amid recent controversy over university free-speech policies regarding Israel and Gaza and declarations of institutional “neutrality” on the issue, are Catholics feeling less inclined to go public on hot-button issues?

There is also an ecclesiological problem. The Catholic Church is not in a state of schism, but there is something like a schism in the social-media world of public Catholic figures. Additionally, while the Francis papacy has pushed local churches to assume a more decentralized and less Rome-focused vision of Church governance, Francis doesn’t seem to have been influenced by the synodal vision that he is advocating for when it comes to his own manner of exercising papal primacy. This has created a sort of journalistic ultramontanism, augmented by Francis’s direct and frequent interactions with the press, where the only voice that ends up mattering is his. This problem was especially apparent most recently on the in-flight press conference of September 13, when Francis addressed the upcoming presidential election and suggested a moral equivalence between Donald Trump and Kamala Harris. Whatever happens on November 5 and after, Catholic voices must find a way to speak again to the public—but maybe also to the pope."]]></description>
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<item rdf:about="https://blog.ayjay.org/the-uncanny-valley-of-blogging/">
    <title>the uncanny valley of blogging – The Homebound Symphony</title>
    <dc:date>2024-06-21T19:47:19+00:00</dc:date>
    <link>https://blog.ayjay.org/the-uncanny-valley-of-blogging/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I used to call my blog Snakes & Ladders, because that reflected my belief that culture – culture-as-a-whole – is never simply ascending or declining, but is undergoing in its various locations constant ups and downs. But beneath that point is an image of myself as an observer and critic of this cultural moment. Now I call the blog The Homebound Symphony, [in honor of the Traveling Symphony in Emily St. John Mandel’s novel Station Eleven (https://blog.ayjay.org/the-homebound-symphony/ ), because I have stopped thinking of myself as an observer and critic and started thinking of myself as a preserver and transmitter. Another way to put this: Whereas I once tried to be a public intellectual, I now just want to be a … I dunno,, maybe a convivial conservator.

There’s no money in being a conservator, no prestige either, and almost no attention. I am dramatically less visible now than I was a decade ago, or even five years ago. But for me that’s a feature, not a bug; I have consciously worked to make my audience smaller, chiefly by focusing on what interests me, especially when it interests almost no one else. (I have my number (https://tumblr.austinkleon.com/post/144251991476 ).) That focus warms my heart and gives me peace, so I’m going to keep doing it, even if nobody notices. Looking at the whole public-intellectual game now, I think: I’m way too old for that shit.

This change of focus has also led to a renewed commitment to blogging. If you’re a public intellectual, you may need to write books and essays to make arguments, and to intervene in the Discourse via social media, to change minds. If that’s your thing, then maybe you’d want to use Substack, since it pushes its writers towards (a) hosting comments and (b) engaging with readers via the comment section and Notes. But that is soooooo not my thing; by contrast, a blog is an ideal venue for what I want to do, which is preservation and transmission. It’s a great way to put ideas and images and musical compositions in meaningful relation, including creative tension, with one another. It’s an attention cottage (https://blog.ayjay.org/the-attention-cottage/ ). 

What’s funny about all this is that a blog is probably the least cool way to communicate with people. It doesn’t have old-school cred or state-of-the-art shine; it falls into a kind of uncanny valley. To be a blogger is sort of like being that Japanese guy who makes paintings with Excel (https://www.boredpanda.com/80-year-old-excel-paintings-tatsuo-horiuchi/ ). But that suits me ."]]></description>
<dc:subject>alanjacobs 2024 howwewrite audience writing publicintellectuals conservators blogs blogging stationeleven attention small conservation culture socialmedia disourse emilystjohnmandel communication books mindchanging change</dc:subject>
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<item rdf:about="https://pjvogt.substack.com/p/how-do-i-use-the-internet-now">
    <title>How do I use the internet now? (Is there a sane way to use the internet?) - Search Engine with PJ Vogt (October 2023)</title>
    <dc:date>2024-03-26T22:46:27+00:00</dc:date>
    <link>https://pjvogt.substack.com/p/how-do-i-use-the-internet-now</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, a conversation we recorded a while ago that we’ve been impatient to share.

Ezra Klein joins Search Engine to answer a question that's increasingly confounded us: is there a sane way use the internet, now?

How do I get information about the things I care about without getting sucked into a vortex of opinion, unearned certainty, and yelling?

We make this clear in the episode’s introduction, but one of the pleasures of this show, for me, is that it gives me an excuse to talk to people I admire.

I really like Ezra’s podcast, The Ezra Klein Show. And often when I’m listening, the thought I have is just — how does this person find the time to read and think this much? So it was a treat to demand Ezra answer a series of questions about how he is managing to waste less time on the internet, and what he looks at when he, like anybody, dumbly stares at his phone."

[Available here too:
https://podcasts.apple.com/za/podcast/is-there-a-sane-way-to-use-the-internet/id1614253637?i=1000631989200
https://www.youtube.com/watch?v=NiM5rJO_WYc
https://open.spotify.com/episode/2JeA3ChR0LZ5yz1enxOIaM

See also:
https://overcast.fm/+BBVQR_bJsM
https://robinrendle.com/notes/is-there-a-sane-way-to-use-the-internet/ ]

[Follow-up interview with Ezra Klein (March 2024): How do we survive the media apocalypse?
https://pjvogt.substack.com/p/a-big-announcement-from-search-engine

"We have a new episode for you, an interview with Ezra Klein where he talks about what we can do about this scary moment in media, where so many of the outlets we love are dying or being gutted. It gave me a shot of hope and direction after a bleak few months."

also here:
https://open.spotify.com/episode/2pcYNqD0n9R6UgJMbvJw27
https://podcasts.apple.com/gb/podcast/how-do-we-survive-the-media-apocalypse/id1614253637?i=1000649296199 ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=eegzTvPT6xY">
    <title>An Honest Living: A Memoir of Peculiar Itineraries with Steven Salaita - YouTube</title>
    <dc:date>2024-03-14T18:34:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=eegzTvPT6xY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode we welcome Steven Salaita back to MAKC to discuss his most recent book An Honest Living: A Memoir of Peculiar Itineraries

Book Description:

In the summer of 2014, Steven Salaita was fired from a tenured position in American Indian Studies at the University of Illinois for his unwavering stance on Palestinian human rights and other political controversies. A year later, he landed a job in Lebanon, but that, too, ended badly. With no other recourse, Salaita found himself trading his successful academic career for an hourly salaried job. Told primarily from behind the wheel of a school bus―a vantage point from which Salaita explores social anxiety, suburban architecture, political alienation, racial oppression, working-class solidarity, pro­fessional malfeasance, and the joy of chauffeuring children to and from school―An Honest Living describes the author’s decade of turbulent post-professorial life and his recent return to the lectern.

Steven Salaita was practically born to a life in academia. His father taught physics at an HBCU in southern West Virginia and his earliest memories are of life on campus and the cinder walls of the classroom. It was no surprise that he ended up in the classroom straight after graduate school. Yet three of his university jobs―Virginia Tech, the University of Illinois, and the American University of Beirut [AUB] ―ended in public controversy. Shaken by his sudden notoriety and false claims of antisemitism, Salaita found himself driving a school bus to make ends meet. While some considered this just punishment for his anti-Zionist beliefs, Steven found that driving a bus provided him with not just a means to pay the bills but a path toward freedom of thought.

Now ten years later, with a job at American University at Cairo, Salaita reconciles his past with his future. His restlessness has found a home, yet his return to academe is met with the same condition of fugitivity from whence he was expelled: an occasion for defiance, not conciliation. An Honest Living presents an intimate personal narrative of the author’s decade of professional joys and travails."]]></description>
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    <title>&quot;Anything that comes out of a writer is fiction.&quot; | Writer Benjamín Labatut | Louisiana Channel - YouTube</title>
    <dc:date>2024-02-01T02:45:19+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=E-OFnHwuTBg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Fiction is a human tool we developed to give reality a human shape to understand what is presented to us, and that goes on at all levels. It is part of perception. There is a large part of fiction in perception itself." Meet the award-winning Chilean writer Benjamín Labatut.

It has been said that Benjamín Labatut writes fiction that, from the first page, questions the parameters of reality and what we understand by literature. For instance, in his bestselling novel 'When We Cease to Understand the World' (2020), which weaves a web of associations between the founders of quantum mechanics and the evils of two world wars, where it is hard to distinguish the borders between fiction and reality.

"Anything that comes out of a writer is fiction. In non-fiction, they are really kind of naïve. Fiction is something that is not appreciated for what it is. It is not the making up of a story; it doesn't have to do with imagination. Fiction is a tool, it is a human tool we developed to give reality a human shape to understand what is presented to us, and that goes on at all levels; it is part of perception. There is a large part of fiction in perception itself; it is not just stories. It goes on all the time; we just don't notice that it is going on", says Labatut.

Therefore, Labatut's writing process is very much driven by research: "I don't worry much about the shapes of the stories; it is all about research; I try to find things. To me, finding some other person's phrase is more important than coming up with it myself. It is the part that I enjoy. In that sense, writing has become more akin to walking and picking stuff above the ground." 

"While I am researching it, it will determine many things. I am not just looking for data, I am looking for the shape of the story, and that's got to do with what is available. For example, in certain texts, there are scraps of information, lesser-known characters, and people who left no mark on history. Then I must create fiction around it, but the heart of the story is something that comes out of the research. So, to me, it is more akin to looking at the world than to thinking about it," he says.

What is most important to Labatut as a writer is 'fascination': "Fascination is the key to all of this, and I think that is what writing should aspire to at its best. And the Latin root of the word comes from 'fascinus', which means the male sexual organ. To be aroused is something art does in a very special way. It is an excitement; it is not just entertainment. It should touch you very deeply." 

"You should be moved by what you are investigating. You should be moved by the world and transmit that. That feeling you get when you perceive or bump into something hard to believe or so beautiful that it is hard to put into words. Fascination lies at the root of everything that I try to do. The world is becoming so that it is very hard to feel fascinated. We are dulled down." 

Benjamín Labatut is a Chilean author born in Rotterdam, The Netherlands, 1980. He spent his childhood in The Hague, Buenos Aires, and Lima, before settling in Chile, where he currently lives and works. His first book of short stories, 'Antarctica starts here', won the 2009 Caza de Letras Prize in Mexico, and the Santiago Municipal Prize, in Chile. His second book, 'After the Light', consists of scientific, philosophical, and historical notes on the void, written after a deep personal crisis. His third book, 'When We Cease to Understand the World' has been translated into more than 20 languages. The English edition of the book was shortlisted for the International Booker Prize in 2021. In July 2021, Barack Obama included the book in his last reading list for the summer, which Obama shared on his Twitter account. It was selected for the New York Times Book Review's "10 Best Books of 2021" list.

Benjamín Labatut was interviewed by his Danish translator Peter Adolphsen in connection with the Louisiana Literature festival in August 2022 at the Louisiana Museum of Modern Art in Denmark."

[also here:
https://vimeo.com/837912943
https://channel.louisiana.dk/video/benjam%c3%adn-labatut-fiction-gives-reality-a-human-shape

Goes with another video:
""Writing should give access to the world." | Writer Benjamín Labatut"
https://www.youtube.com/watch?v=ohsQ3WtdWoM ]]]></description>
<dc:subject>2022 benjamínlabatut writing literature fiction nonfiction science howwewrite research wonder fascination reality robertobolaño pascalquignard eliotweinberger williamburroughs wgsebald form stories storytelling citation cv canon information text texts knowledge art entertainment despair inspiration boredom books reading howweread references stealing ideas excitement pace speed style beauty poetry publishing audience audiencesofone relationships discovery self-expression blogs blogging obsessions self identity writers crisis brain howwethink nature jabaker theperegrine spirit soul meaning meaningmaking sensemaking expression makingsense universe thinking philosophy life living</dc:subject>
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    <title>Is AI Going to RUIN Writing For Good? (w/ Corey Robin) - YouTube</title>
    <dc:date>2023-09-07T23:27:26+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=E-A0W29J3zQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, author, professor of political science, & political theorist Corey Robin joins Briahna Joy Gray on Bad Faith to unpack his recent article about how AI is disrupting how writing is taught across the country. The tech/ Chat GPT has gotten so good that it's nearly undetectable, and the temptation to cheat on at home essays is making many teachers consider whether all essay writing should happen in class. But the trade offs are obvious: Should limited class time time be taken up by in class essays? Is it worth asking whether the pedological benefit of at home essays is worth losing dynamic, socratic in class learning. What are we trying to teach kids with long form writing assignments anyway. Is writing obsolete? Should we lean into technological help in writing the way we've all become accustomed to spell check? Didn't Captain Kirk teach us that rigging technology to help you ace a test isn't actually cheating at all?"

[See also:

"The End of the Take-Home Essay? How ChatGPT changed my plans for the fall"
https://www.chronicle.com/article/the-end-of-the-take-home-essay

"How ChatGPT changed my plans for the fall"
https://coreyrobin.com/2023/07/30/how-chatgpt-changed-my-plans-for-the-fall/ ]]]></description>
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    <title>The Yale Review | Elleza Kelley: &quot;Ordinary Allurements&quot;: Christina Sharpe’s reading lessons</title>
    <dc:date>2023-06-13T20:34:36+00:00</dc:date>
    <link>https://yalereview.org/article/elleza-kelley-ordinary-allurements</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Black writing, from W.E.B. Du Bois to John Keene, is full of rebellious paratexts rearing up from the margins and backs of books—epigraphs, footnotes, endnotes, indexes, and appendices that subvert, interject, and critique. These para­texts echo black inhabitations of space: they refuse to be subor­dinated. Epigraphs become musical notation; glossaries invoke spirits; appendices map other worlds. In Édouard Glissant’s 1989 Caribbean Discourse, a single footnote upends the entire forma­tion of the West: “The West is not in the West,” it declares from the subterranean depths of the page. “It is a project, not a place.” Across the smooth surface of the master narratives to which they are keyed, black notes disturb and disarrange.

For writer and professor Christina Sharpe, these eruptive oper­ations tell us what it is to live “life under these brutal regimes.” Her new book, Ordinary Notes, is structured as a series of 248 numbered reflections of varying lengths, collected for the reader like a handful of gems—or, as Gwendolyn Brooks’s Maud Martha describes dan­delions, “jewels for everyday” and “ordinary allurements.” Sharpe gathers many threads across these notes, moving freely among subjects and methods. Archival photographs, contemporary art­works, public memorials, and news clippings intermingle with sto­ries of Sharpe’s childhood and family, creating new arrangements for thinking about black living and dying. Sharpe’s notes are less invested in mounting a singular, unified argument than in offering lessons in attentiveness. They are a vehicle for the preservation and transmission of “beauty’s knowledge.” I am reminded of the image that concludes Brent Hayes Edwards’s essay “Evidence”: Zora Neale Hurston passing into her reader’s care an emptied “brown bag of miscellany” and “the jumble it held.” “You take this, emptied out, strewn and scattered,” Edwards writes. “What do you find in the pieces?” If Sharpe’s previous books, Monstrous Intimacies: Making Post-Slavery Subjects and In the Wake: On Blackness and Being, theo­rized the ongoingness of antiblack violence and its attendant grief, Ordinary Notes wonders what we do with that grief.

Above all, Sharpe asks us to become better readers, moti­vated not by extraction and violence, but by regard and tender­ness. Practices of reading form the book’s infrastructure. Many of Sharpe’s notes document her childhood love of literature, which developed under the care of her mother, Ida Wright Sharpe, to whom Ordinary Notes is dedicated. What begins as a survival tactic—sustaining Sharpe through racial violences, big and small, growing up in Wayne, Pennsylvania and attending a majority-white Catholic school—evolves into a theory of reading that dis­rupts antiblackness, which Sharpe characterized in In the Wake as the “weather,” the “totality of our environments.” “The reading life, the beauty-filled one,” she writes in Ordinary Notes, “was central to the livable internal life my mother tried to carve out for us and to equip us to make for ourselves.” Her mother’s lessons in “the read­ing life” were aesthetic lessons, reaching beyond text: “This atten­tion to a Black aesthetic made me: moved me from the windowsill to the world.” In this way, the book’s notes might function in turn as reading lessons imparted by Sharpe, illuminating the power of narrative to make and unmake worlds.

This reading practice is key to what is perhaps the book’s most significant intervention: its form, which not only generatively extends Sharpe’s claims but also offers (and authorizes) new meth­ods for doing scholarship. Ordinary Notes is a big book full of small gestures. No note is more than a few pages long; many notes are a single sentence, each taking up its own page. This means the book, though imposing in size, is full of white space. Sharpe converts the reader’s own modes of engagement, compelling us to zoom in as if on a poem, loop back as if circling a sculpture, slow down as if studying scripture. In the seemingly excessive margins, we find a place to breathe and rest. Formal errancy has always offered writ­ers a way to conjoin theory and method in the study of black life, which is always more, and other, than academic study. Here, per­haps, as Toni Morrison writes about Faulkner’s Absalom! Absalom!, “the structure is the argument.”

Sharpe invites us to read Ordinary Notes in this longer tradi­tion of black assemblage and assembly. When she writes, “Roy DeCarava’s The Sound I Saw, a book of photographs and text, is filled with everything,” she is telling us something about her own book. We might also consider it kin to recent multigenre compen­dia like Arthur Jafa’s A Series of Utterly Improbable, Yet Extraordinary Renditions, Ariella Aïsha Azoulay’s Potential History: Unlearning Imperialism, Teju Cole’s Blind Spot, and Morrison’s now classic The Black Book, in which word warps and wraps over image. Likewise, Sharpe’s practice of assembly in Ordinary Notes operates by what John Akomfrah calls “affective proximity,” a logic of resonance rather than temporal or thematic sequence.

The book’s loose joints and unfinished edges allow the voices of fellow writers and artists to enter like a chorus. Note 203 takes the form of call and response, reproducing several pages’ worth of replies to a question Sharpe posed on Twitter: “What book or books produced a feeling you wanted or needed to feel?” Citations weave seamlessly throughout the book but are also often treated as a note’s precious center. The book itself is the acknowledgement and the bibliography: K’eguro Macharia, Saidiya Hartman, Jessica Marie Johnson, Zakiyyah Iman Jackson, Keeanga-Yamahtta Taylor, Adrienne Kennedy, Chinua Achebe, and so many more appear by name—scraps of cloth pieced into the quilt of the story. This poly­vocal gesture is reminiscent of Hartman, who writes in the “Note on Method,” which opens her influential book Wayward Lives, Beautiful Experiments, “The italicized phrases and lines are utterances from the chorus. This story is told from inside the circle.” We get the sense that Sharpe is after a similar effect, but instead of the smoothly inlaid italics of Hartman’s prose, Sharpe’s patchworked notes allow for adjacency—a collage of voices, overlapping, exchanging, listening.

The central voice belongs to Sharpe’s mother, from whom she first learned to appreciate beauty as a response to and provisional haven from violence. In one of the book’s most stunning notes, “Note 51: Beauty is a Method,” Sharpe extends Hartman’s proposi­tion in Wayward Lives that beauty “is a way of creating possibility in the space of enclosure, a radical act of subsistence, an embrace of our terribleness, a transfiguration of the given.” Beauty takes Sharpe somewhere that may seem surprising: a scene of quotidian police violence in her hometown. A white woman has called the cops on a black teenager, Chicki Carter, claiming to have seen a rifle in the outline of his rake. But the beauty Sharpe wants to show us is not the police’s invasion of the neighborhood. The beauty is this: “We gathered in our front yards, on the sidewalks, and in the road; we ran after the police cars; and we witnessed and insisted loudly that Chicki had done nothing wrong.” The beauty is care.

In a pivot that is emblematic of Sharpe’s broad sweep and deft movement between scales, this scene of communal resistance leads back to her family home: “Knowing that every day that I left the house, many of the people whom I encountered did not think me precious and showed me so, my mother gave me space to be pre­cious—as in vulnerable, as in cherished.” Her mother is also a vora­cious reader and creator of beautiful things—a purple gingham dress, Christmas ornaments, a carefully arranged garden bursting with flowers and herbs. She instilled in her daughter the value of “Attentiveness whenever possible…even if it is only the perfect arrangement of pins.”"]]></description>
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    <title>the design of time - by Sara Hendren</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Teaching and learning in the Zone of Proximal Development. And: what writers can learn from labor organizers."]]></description>
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    <title>Transcript: Ezra Klein Interviews Tressie McMillan Cottom - The New York Times</title>
    <dc:date>2021-04-29T23:22:50+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[“TRESSIE MCMILLAN COTTOM: Oh, man. I wish I could say that I did train myself to write in so many ways. I think what happens instead is that — first of all, I’m a very curious person. I’m in these spaces anyway. I am an internet person for better or for worse, right? I came of age as a public person and like live journal, right? Like, I have followed the development of these spaces just like any other person, I think, of my generation, though. That’s just kind of where. That’s where we were hanging out.

And when I’m in a space, this predates being a sociologist or an academic. When I’m in a space, I’m very much a one step, in one step removed kind of person. I’m watching the thing I’m participating in, can’t turn that off. It’s just what I am and who I am. And so it makes sense for me that if I’m on Twitter, I’m also thinking about Twitter, right? I’m thinking about, why are all these people here? What’s the audience looking? What’s that about? And so that comes out in the things that I’m interested in. So that’s one thing.

I think training myself to write to that audience — understanding it is one thing, to be fair. Understanding everything as a genre is another thing, and there was a moment when I realized this is just like learning how to write the five paragraph essay, right, as opposed to a long form piece of creative nonfiction. Every medium has a genre, and some of that, cracking some of it really is just fun for me.

It’s like, OK. Let me see if I can do this. I can’t do them all, to be fair. There are definitely some genres, especially ones that lean more visual, because I’m a textual kind of girl. And I just don’t get like visual and editing, but some of it is just fun for me to see if I can remix the genre. First of all, can I capture it? And then can I remix it a little? Can I make an essay you have like the freewheeling feeling of Twitter? Can I surprise an audience that thought they were showing up for like a first person essay with a little bit of empirical thinking? Can I just sort of surprise people? That’s part of the fun for me.”

…

“There was a class of thinkers, a class of writers who came up in that web 2.0 that does feel like, yeah, we lost something there.

There was a humanity there for good or for bad. Humanity is messy, but there was a sense that those ideas were attached to people, and there were things driving those people, there’s a reason they had chosen to be in that space before it all became about chasing an audience in a platform and turning that into influencer and translating that into that — before all that happened, the professionalization of it all. And that’s what I think we’re missing when we become nostalgic for that web 2.0. I think it’s the people in the machine.

Having said that, I am very resistant to nostalgia as a thing because usually what we are nostalgic for is a time that just was not that great for a lot of people. And so what we were usually a really nostalgic for is a time when we didn’t have to think so much about who was missing in the room, who wasn’t at the table. So when I talk to friends, and especially younger people coming up behind us either in the internet or in writing spaces, we’re like, that time was horrible for young queer people.

They talk about looking for little safe pockets of space in web 2.0 world where it was still very OK to be homophobic, for example, in those spaces and our casual language and how we structured that kind of thing. And they love being able to leave that part behind in this new world of whatever the web is now, both a consolidated and a disaggregated new web.

That’s why I’m like resistant to nostalgia. At the same time, I’m like, yeah. I also laugh and go, I really miss having a blog. In some ways, coming back to the newsletter, and Substack was kind part of that. It’s me being nostalgic for having a place where I could put thoughts that didn’t fit into any other discourse or genre, and I wanted a space where I could talk to people who were actually interacting like real people. They weren’t acting like bots, or trolls, or whatever your internet persona is.

So, I mean, I say I’m resistant to nostalgia. I just try not to reproduce, but even I get a little — I’ll always have a soft spot for Blogger, which is coincidentally my first “where I state” space on Blogger.”

…

“One of the things I like to say to people is that we think that broadening access in any realm — we do this with everything, by the way. It’s such an American way to approach the world. We think that broadening access will broaden access on the terms of the people who have benefited from it being narrowed, which is just so counterintuitive.

Broadening access doesn’t mean that everybody has the experience that I, privileged person, had in the discourse. Broadening it means that we are all equally uncomfortable, right? That’s actually what pluralism and plurality is. It isn’t that everybody is going to come in and have the same comforts that privilege and exclusion had extended to a small group of people. It’s that now everybody sits at the table, and nobody knows the exact right thing to say about the other people.

Well, that’s fair. That means we all now have to be thoughtful. We all have to consider, oh, wait a minute. Is that what we say in this room? We all have to reconsider what the norms are, and that was the promise of like expanding the discourse, and that’s exactly what we’ve gotten. And if that means that I’m not sure about letting it rip on a joke, that’s probably a pretty good thing.”

…

“human nature is resistant to learning. I mean, nobody knows that more than people who teach for a living. But for all we valorize learning and education, human nature really trends towards inertia, and every layer of privilege you layer on top of somebody makes that more true. And so what we’re fundamentally, I think, saying to people is — who achieved something where part of the promise of the achievement was that I’ll never have to learn anything new again, right?

This was the promise, right? I’m now the editor. I’m the gatekeeper or whatever, and the whole promise of that was I’ll never have to worry about learning anything new again. And then we come to them and we go, no. You got to relitigate. You got to reconsider what your role is, and now there actually are people who can hold you accountable for that in a way that wasn’t always true.

And I found it to be true in every space I’ve ever been in, every organization. It is true of myself. Nobody likes being reminded that they are not done yet, that there’s still more work for them to do. And that’s, I think, what we’re fundamentally saying to people, and they resist that because that’s human nature. It’s just that some people get to resist it in a way more aggressive fashion than other people.”

…

“Nothing is funny to me than when I realize, we wrote all of this stuff. We did all this stuff. We threw out all these theories of change, and then people believed us. That’s literally what happened. You’ve got young people who said, wait a minute. Gender is a spectrum? OK. I’m a live it like a spectrum. And we’re like, no, but we didn’t mean that.

Really, what fundamentally happened is we hypothesized and imagined all of this stuff, wrote it into the ether, and then we’re surprised that people actually took it up and lived it. That does happen faster, as you point out. We do owe that to the internet. The generations are now like four and a half years long, but it happens faster, and so we feel older faster, and we feel outdated faster.

But I get so inspired by the people who, within a generation, have resisted becoming that old person. And I’m just like, OK. I’m just going to double down, right? I think we’ve got a choice. You can become like the Angela Davis of the world, or you’re like, OK, I hear you. Each new generation comes along, and I hear you. I got to get with it, and I’ve seen Angela do that in real time.

Like a young person will stand up in the audience and go, and we say “sibs” now. And she’s like, I’m with you. Gotcha. Like, you just take it, and you’re supposed to go. And I think we’ve got a choice. You can become that person within your generation who lives in that uncomfortable space, or you can become the person — I won’t name a name — but you can become the person who doesn’t and resists it. I just don’t want them writing about me like that later. So I’m really shooting for the Angela Davis model.”

…

“What a culture needs from its smart people at any given point in time changes. We can have a very different value system about what constitutes smart. What I want to keep in mind, and one of the things I hope that people take away when I say something about the correspondence of how smart you are is just really about your place in the world is because I want people to feel obligated to think about what world they’re creating for somebody else, but first we got to recognize how vulnerable our own identity is.

If you build your whole identity on how smart you are, I think it can make you very small and selfish in thinking about the world for everybody else. And so that’s why I try to pinpoint, like, if you think that I’m good enough, if you think, wow. Tressie’s really sharp, right? Tressie’s really brilliant. What I want you to imagine is how easy it would be for you to not think that and for me to just not exist, right?

I’d still be me. I’d still have my talents and abilities, and that we do that to people every day. We build a world that’s just not allowable or acceptable, and then I also really want to push the idea that we have so embodied the idea of smart as being something that a person is that it makes us really easy to disinvest from the things that make smart actually possible because smart is like a social problem.

We make smart. We make smart with schools. We make smart with our political decisions and choices, right? And if you think nature is just going to take care of it and it’s just going to give you a once in a lifetime genius every go round, then you don’t invest in the things that produce smartness. And a fixed idea of intelligence invites us to disinvest from the social contract of making more smart people. Just make more by expanding your understanding of it.”

…

“But we were having coffee one day with some of those folks, and friend Adam turns to me. And he’s like, the thing is, it’s not about who is disabled. It’s about when are you going to become disabled. We will all be disabled at some point in our life course, and so much middle class consumption, by the way, and our obsession with health and wellness is about that.

We are fundamentally — because we know how horrible we are to other disabled people, so we are terrified of becoming in any way disabled or differently-able, right? So take your bee pollen, and get your magnesium, and — well, you’re going to age. If nothing else, your eyesight is going to go. You’re going to lose some of your mobility, speaking about smart as a fixed idea. Just the way your brain works is going to change. We’re just so vulnerable to nature and time and biology, and we’re so terrified of it, I think, because we know that a lot of what we have built our ideas of who we are on are really far more vulnerable than we think they are.”

…

“So thick description is ultimately about asking as many questions of yourself as you’re asking of other people. So a thin way of engaging with the world is to assume that everybody has already made the decisions that you’ve made prior to the discussion, and all of your questions are going to be reserved for the object that you’re talking about, right, the people you’re talking about, the idea you’re talking about. I think that’s one way to think about it.

We also think about thick description as being really evocative, and that’s true, too. Using language to really try to capture people’s experience of things, that’s also true. Whereas thin description usually tries to flatten differences between experiences because it wants to tell you about sort of a universal experience, right, that I can make you understand your connection to something by pointing out what’s universal in it.

We think that we’re going to lose people when we start talking about the differences, by the way. And I’m not sure that’s true, and I try to show in my work that that’s not true, that you can absolutely seduce people into having a thick, nuanced conversation. It’s just going to take work on your part, right? I think you have to be dead on with craft. I think you have to be brutal about your empirics being accurate. I think you have to consecrate your own belief in yourself as being the universal storyteller.

But I think if you do all of that, people will follow you into a thick, uncomfortable conversation that they did not know they needed to have, but the mediums you talk about, who’s going to do that, right? The economics of that are horrible, and I know that. I get it, but I think what we’re seeing is an unspoken desire for exactly that kind of work, but a media ecosystem and an attention economy that just cannot allow that to happen.

That takes a lot of human beings, a lot of human power, takes a lot of willingness to embrace risk because you’re going to mess it up. You’re going to fail, and you’re going to piss somebody — right? This is just going to happen. There’s a lot of risk involved. And initially, it’s not profitable, but that is one of our struggles, I think, in the public discourse where we are trying to have that kind of conversation that I think people absolutely are attracted to even if that attraction feels like they’re angry about it, but that’s still desire for the conversation. I think they’re attracted to it, but we’ve only figured out the economics for very thin genre.”

…

“We don’t have a culture right now for scale and efficiency that can be productive. That’s for a culture that mostly agrees on who and what it is is mostly functioning the way most people need it to function for a good life. We don’t have that culture. And so I tell people, maximizing efficiency is for very different political body and public discourse than the one we have.

The one we have is trying to grapple with potentially massive social change and social transformation. That is a culture that needs messier, more nuanced places for public discourse. Trying to skip over that to get to the scale and efficiency part is how you become antagonistic to the audience. Even as y’all are sort of in a dance together, I think that thin stuff that is narrowed, asking the least from the audience, is actually fundamentally antagonistic to the idea of having an audience.”

…


“A lot of people woke up to find that the merit culture that they have been operating in has been, for a very long time, an honor culture. See, we were supposed to be too sophisticated for our honor culture of ritual and honor, exchanges of prestige and status and privilege, right? We were supposed to be too sophisticated for that.

And so you work hard and that the status will follow, economic achievement. And when that economic promise starts to collapse but the ritual of status remains, you really just have an honor-based culture where people will defend honor, will determine their honor in relation to other people. They’ll build hierarchies of honor within their own little corner of the world that might be at odds with another corner.

That’s when we talk about the siloing effect of culture. It’s not that people don’t know that people disagree with them. It’s that they’ve built their own little honor culture over here. And if there are no economic incentives to leave it, why would you?”]]></description>
<dc:subject>tressiemcmillancottom 2021 interviews internet nostalgia online howwewrite howwelearn web socialmedia web2.0 writing twitter smartness canon education aging angeladavis categories categorization disability vision thickness learning change silos process economics scale audience success communication status sociology race gender racism history socialchange class identity us uk socialclass hierarchy cancelculture donaldtrump values ideas behavior merit meritocracy livedexperience military veterans highered highereducation gibill policy politics money society trumpism shame fairness unfairness prestige honor arjumandsiddiqi sandydarity deathsofdespair perception whiteness information confirmationbias vulnerability digital storytelling modeling understanding celebrity microcelebrities attractiveness beauty dollyparton sarahsmarsh desire morality objectivity subjectivity bias religion belief socialstatus</dc:subject>
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<item rdf:about="https://twitter.com/zunguzungu/status/1382365982862188547">
    <title>Aaron Bady on Twitter: &quot;In idle moments--when not doing my professional work as an editor of written content--I wonder if the original sin of essay writing in schools is the assumption that no one would ever want to read the things students write, and so </title>
    <dc:date>2021-04-15T05:21:02+00:00</dc:date>
    <link>https://twitter.com/zunguzungu/status/1382365982862188547</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In idle moments–when not doing my professional work as an editor of written content–I wonder if the original sin of essay writing in schools is the assumption that no one would ever want to read the things students write, and so the entire exercise becomes about evaluation

When I edit something someone is writing, we WORK TOGETHER (ideally) to produce a thing to be read by people other than me; when I’d grade papers, an antagonistic relationship between student and teacher always interposed itself, because the paper was ultimately FOR evaluation

(I don’t mean to diminish all the different creative workarounds that people have come up with for this problem, but there it still is, isn’t it)

(Ironically, I think my years of working as a professional editor would have made me a much better English professor, even though those are the very years in which my PhD “went bad” and I became an unemployable pariah (even if there were academic jobs, which there are not)

A good example of what most of the time DOESN’T happen:
@scottsaul4’s class put together a legitimately fun publication analyzing Key and Peele sketches: https://ageofobama.berkeley.edu/key-and-peele/

Some of it is very “student work” but a lot of it is also kind of outstanding and thought-provoking."]]></description>
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<item rdf:about="https://twitter.com/stevesalaita/status/1344744900756180992">
    <title>Steven Salaita on Twitter: &quot;My politics have changed since I left (&quot;left&quot;) academe. You don't really understand the depth of conditioning into imperialism (and into relentless self-importance) until you're free to think beyond the industry's insidious, pe</title>
    <dc:date>2021-01-01T20:53:36+00:00</dc:date>
    <link>https://twitter.com/stevesalaita/status/1344744900756180992</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“My politics have changed since I left (“left”) academe. You don’t really understand the depth of conditioning into imperialism (and into relentless self-importance) until you’re free to think beyond the industry’s insidious, pervasive structure of rewards.

One thing you never learn in academe: it’s okay to shut the fuck up every now and again; nobody in the Global South is actually waiting around for your opinion.

https://twitter.com/jaybeware/status/1344779448369876992
“we’re all addicted to being graded, which is to say degraded” –Fred Moten

https://twitter.com/jwillia2/status/1344761080493572096
The marketing of self is really rampant. I’ve never been into it within the academy. I try hard to share my thinking and writing with the public at large since they drive change and in need of ways to conceptualize the problems we all face. They are my tutors as well.

https://twitter.com/GrosMorne29/status/1344765636627427328
it seems that the self-marketing has gone over the top in the new age of twitter, no? i don’t remember it to be this insistent - even a year ago. maybe it’s a side effect of the Rona?

https://twitter.com/stevesalaita/status/1344783811276648448
It seems like it, yes. I suspect it has to do with the subscriber economy. Everyone’s a little corporation unto themselves.

https://twitter.com/GrosMorne29/status/1344799799938224129
that’s exactly it! (this has me i’m thinking about the patreon model, too!)

https://twitter.com/crawjo_1/status/1344753621225906181Me too. I went from being an academic to becoming a middle school teacher. That leap really underscored how destructive the culture actually is, and how relentlessly it rewards self-importance. I had no desire or ability to market myself, so I “left.” Well, fine.

https://twitter.com/bruce9876/status/1345068407696338946
Exactly. And people have financial motivations on places like Substack to go over the top, the main fin motivation is uniqueness, not accuracy or political effectiveness.

I call the phenomena Taibbism.”]]></description>
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<item rdf:about="https://www.thenewatlantis.com/publications/the-analog-city-and-the-digital-city">
    <title>The Analog City and the Digital City — The New Atlantis</title>
    <dc:date>2020-11-08T23:13:43+00:00</dc:date>
    <link>https://www.thenewatlantis.com/publications/the-analog-city-and-the-digital-city</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One way to understand our moment is to recognize that digital technology is reconfiguring the nature of the self that enters into the political arena, even as it restructures the arena itself. The contrast between those who mainly inhabit the Digital City and those who still primarily inhabit the Analog City becomes increasingly stark. Simple appeals to conventions and solutions grounded in the Analog City now ring hollow. The old virtues and ideals, as well as the institutions they sustained, have lost their purchase on the imagination. They have lost their “self-evident” character. Like the early moderns, our reigning world picture has shattered and we are casting about for new ways of building consensus, new ways of coping with the challenges of pluralism, new ways of ordering society toward the common good. At the moment, however, it appears that digital media tends toward political and epistemic fragmentation, not consensus, and toward the implausibility of any substantive account of the common good. In other words, it may be that things will get worse before they get better.

In a 1982 talk on the cultural and political consequences of computation, Ivan Illich issued a warning that is even more urgent today:

<blockquote>The machine-like behavior of people chained to electronics constitutes a degradation of their well-being and of their dignity which, for most people in the long run, becomes intolerable. Observations of the sickening effect of programmed environments show that people in them become indolent, impotent, narcissistic and apolitical. The political process breaks down, because people cease to be able to govern themselves; they demand to be managed.</blockquote>

We have focused on how digital media transforms the subjective experience of individuals. The political corollary is that it enables and empowers regimes of algorithmic governance, predictive analytics, and social credit. The profound erosion of trust in the Digital City leaves a vacuum, and we look to our tools to fill it. We seem set upon interlocking trajectories: of ever greater swaths of the human experience being computationally managed, and of intractable human subjects increasingly breaking down or revolting against these conditions.

From another vantage point, however, we might see this as a hopeful moment, full of promise and opportunity. Another path also seems possible. Freed from certain unsustainable illusions about the nature of the self and the world, we may now be called back to reckon with reality in a new, more chastened and more responsible manner. It is possible that the Promethean aspirations that characterized the modern self and modern society may now yield to a more sober assessment of the limits within which genuine human flourishing might occur. It is possible, too, that we may learn once again the necessity of virtues, public and private — that we will no longer, as T. S. Eliot put it, be “dreaming of systems so perfect that no one will need to be good.”"]]></description>
<dc:subject>lmsacasas digital newmedia writing howwewrite reading 2020 howweread secondaryorality walterong politics discourse audience abundance scarcity news print text communication neilpostman digitalcity analogcity truth speech digitalmedia socialmedia saintaugustine change liminality factchecking publishing jaydavidbolter reformation scientificrevolution history internet web online smartphones publiclife cities urban urbanism community howwethink thinking nicholascarr 2008 web2.0 facebook twitter algorithms moderation commenting tv television video dialogue criticalthinking affordances technology citizenship censorship values char charlestaylor bufferedself disenchantment meaning meaningmaking magic power objects heresy security purity bots data bigdata automation knowledge systems systemsthinking vulnerability time place now identity sharedtime sharedspace simultaneity realtime telegraph radio presence social belonging ivanillich memory memories language literacy orality oraltradition fables institutions bureaucra</dc:subject>
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<item rdf:about="https://twitter.com/keguro_/status/1214833773029871616">
    <title>k'eguro on Twitter: &quot;(I'll never forget that Canadian Africanist telling a room of Kenyans to write books like the one he had written as though we couldn't possibly have our own interests and methods yes, yes he was)&quot; / Twitter</title>
    <dc:date>2020-01-08T10:37:02+00:00</dc:date>
    <link>https://twitter.com/keguro_/status/1214833773029871616</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["(I’ll never forget that Canadian Africanist telling a room of Kenyans to write books like the one he had written

as though we couldn’t possibly have our own interests and methods

yes, yes he was)


(I would love to see more talk about how African scholars create knowledge and innovate methods

Less talk about how African scholarship does not measure up to X or Y standard)


(Why assume scholarship should look or read a particular way?

Also, who gets applauded for writing in nonconventional ways?

Imagine someone claiming you’re a bad thinker because you don’t write sentences in “the approved way”?)


(I can write many different kind of sentences.

Depends on audience and material and mood and what I had to eat and drink.

My water prose does not sound like my cake prose.)"]]></description>
<dc:subject>kaguromacharia 2020 form writing howwewrite africa kenya knowledge knowledgecreation innovation scholarship academia highered highereducation deschooling unschooling howwethink standards standardization audience mood material prose conventions</dc:subject>
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    <title>Methods Toolkit – Designing Methodologies</title>
    <dc:date>2019-09-25T21:21:05+00:00</dc:date>
    <link>http://www.wordsinspace.net/designingmethods/spring2018/category/methods-toolkit/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>toolkits shannonmattern analysis design methods research syllabus ethnography oralhistory srg onlinetoolkit methodology epistemology critical criticalapproaches closereading howweread reading contentanalysis rhetoric discourse materials objects canon mediamaking histiry visual sound sonic designresearch actor-networktheory theory quantitative qualitative audience interviews irbs ethics focusgroups surveys howto tutorials sensoryethnography experimentation experiments autoethnography observation participation participatory participatoryaction sampling statistics digital digitalethnogreaphy writing howwewrite resources reference bibliographies</dc:subject>
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<item rdf:about="https://www.nytimes.com/2019/08/14/t-magazine/arthur-jafa-in-bloom.html">
    <title>Arthur Jafa in Bloom - The New York Times</title>
    <dc:date>2019-08-14T23:12:50+00:00</dc:date>
    <link>https://www.nytimes.com/2019/08/14/t-magazine/arthur-jafa-in-bloom.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Sought after by Spike Lee, Stanley Kubrick, and Solange Knowles alike, the visual artist is changing representations of blackness in museums and beyond.”

[embedded video: “My Favorite Artwork: Arthur Jafa”
https://www.nytimes.com/video/t-magazine/100000006654997/my-favorite-artwork-arthur-jafa.html

“And the Thomas Whitfield piece certainly exists as a high bar of how I’d like to think about my own work. I mean, I’m declaring it to be art, but I don’t actually think it cares whether it’s art or not. Increasingly, that’s how I want to make work. I want to make work that’s sort of, you know, it’s not even trying to operate inside of like, what anybody thinks of it, positively or negatively.”]]]></description>
<dc:subject>arthurjafa 2019 art artists profiles video blackness artleisure leisurearts artmaking audience purpose thomaswhitfield</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b1d592026218/</dc:identifier>
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</item>
<item rdf:about="https://vimeo.com/338234578">
    <title>Arthur Jafa: Not All Good, Not All Bad on Vimeo</title>
    <dc:date>2019-07-07T01:40:51+00:00</dc:date>
    <link>https://vimeo.com/338234578</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We went to Los Angeles and visited the winner of the prestigious Venice Biennale's 2019 Golden Lion, American artist and filmmaker Arthur Jafa. In this extensive interview, he talks about black identity in connection with his critically acclaimed video ‘Love is the Message, The Message is Death’, which became a worldwide sensation.

“I’m trying to have enough distance from the thing, that I can actually see it clearly. But at the same time, be able to flip the switch and be inside of it.” Jafa describes how he has rewired himself to push towards things that disturb him. He grew up in the Mississippi Delta, one of the poorest regions in America, and admires the fearless and relentless pictures from that region by Danish photographer Jacob Holdt in ‘American Pictures’ (1977): “They exist outside of the formal parameters of art photography. I think they exist outside of journalism. They’re something else.”

Since childhood, Jafa has collected images in books, as if he was window-shopping, “compiling things that you don’t have access to.” The act of compiling and putting things together helps him figure out “what it is you’re actually attracted to.” When he “strung together” ‘Love is the Message, The Message is Death’, it was engendered by the explosion of citizen cellphone-documentation – the point in time where people discovered the power of being able to document. Jafa comments that his “preoccupation with blackness is fundamental philosophical” rather than political, and considers ‘whiteness’ a “pathological construction that’s come about as a result of a lot of complicated things.” In continuation of this, Jafa is against “highs and lows,” and some of the power of the work, he finds, is that it doesn’t make those distinctions. Instead of doing hierarchies, it accepts that opposites don’t have to negate each other, and tries to understand the diversity, differentiation and complexity in the world: “It’s not all good, it’s not all bad.”

Arthur Jafa (b. 1960) is an American Mississippi-born visual artist, film director, and cinematographer. His acclaimed video ‘Love Is the Message, The Message Is Death’ (2016), shows a montage of historical and contemporary film footage to trace Black American experiences throughout history. Jafa has exhibited widely including at the Hirshhorn in Los Angeles, Institute of Contemporary Art in Boston, Tate Liverpool in Liverpool and Serpentine Galleries in London. His work as a cinematographer with directors such as Spike Lee and Stanley Kubrick has been notable, and his work on ‘Daughters of the Dust’ (1991) won the ‘Best Cinematography’ Award at Sundance. In 2019, Jafa was awarded the Golden Lion for best artist at the Venice Biennale for his film ‘The White Album’. Jafa has also worked as a director of photography on several music videos, including for Solange Knowles and Jay-Z. Jafa co-founded TNEG with Malik Sayeed, a “motion picture studio whose goal is to create a black cinema as culturally, socially and economically central to the 21st century as was black music to the 20th century.” He lives and works in Los Angeles. 

Arthur Jafa was interviewed by Marc-Christoph Wagner at his studio in Los Angeles in November 2018. In the video, extracts are shown from ‘Love Is the Message, The Message Is Death’ (2016) by Arthur Jafa. The seven-minute video is set to Kanye West’s Ultralight Beam.

Camera: Rasmus Quistgaard 
Produced by: Marc-Christoph Wagner 
Edited by: Roxanne Bagheshirin Lærkesen 
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2019

Supported by Nordea fonden"]]></description>
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<item rdf:about="https://twitter.com/ZoeSTodd/status/1063889272514609152">
    <title>Dr Fish Philosopher🐟 on Twitter: &quot;1. #AmAnth2018 is taking place in the midst of one of the deadliest fires in California history. If breathing in the smoke of burning trees, homes, cities doesn't convince us that we need radically different ways to en</title>
    <dc:date>2018-11-19T00:11:15+00:00</dc:date>
    <link>https://twitter.com/ZoeSTodd/status/1063889272514609152</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. #AmAnth2018 is taking place in the midst of one of the deadliest fires in California history. If breathing in the smoke of burning trees, homes, cities doesn't convince us that we need radically different ways to engage beyond conference center model...I don't know what will

2. I have deep respect for labour that goes into planning these events. I know folks are doing their best+striving to make spaces for connection. I hope we can build on that spirit+find ways to support relationality while tending to the disasters (thinking with @hystericalblkns )

3. Things I am thinking about after the #RefuseHAU #HAUTalk panel is: how do we ensure those who are most marginalized within anthro (and beyond) are seen, heard, cited while also disrupting the structures that operate to exclude myriad voices. What can we salvage from anthro?

4. This year, with the smoke, #AmAnth2018 really feels like a salvage operation (thinking here with Anna Tsing). What can we take from the existing structures -- what can we reconfigure to make these more capacious spaces at the end of certain worlds?

5. It may very well be that the environment refuses these spaces for us -- makes it that much harder to operate as 'normal'. What ethical imaginations can we mobilize to maintain and foster connection while considering our nonhuman kin literally burning/vaporizing as we meet."

[See also:
https://twitter.com/LysAlcayna/status/1064172084325048320
"Two takeaways from #AmAnth18: ‘the smoke is telling us something’ @ZoeSTodd | ‘anti-capitalism is the only sane position - the alternative is just f*cking ridiculous’ @profdavidharvey"

…

https://twitter.com/anandspandian/status/1063947610216525824
"One utopian vision after smoky #AmAnth2018. Make the megaconference a biennial. Imagine instead, every other year, dozens of simultaneous regional gatherings, each streaming sessions online and holding virtual meetups. Gather with folks in person & tune in elsewhere. Speculating."

https://twitter.com/anandspandian/status/1064166786294317056
"Here's a description of the distributed model we used at @culanth for #displace18 this spring. Registration for $10, less than 1% of typical carbon emissions, and an average panel audience of 125 people. An alternative to the empty conference center room. https://culanth.org/fieldsights/1595-reflections-on-displace18 "

https://twitter.com/OmanReagan/status/1063952375428218880
"Reading this, I also realized I was able to attend more talks at Displacements by tuning in from home (cost: $10), than I was able to attend at #AmAnth2018 by actually flying to San Jose for two days with two days of travel on either end to present my paper (cost: over $900)."

https://twitter.com/nativeinformant/status/1063952575647703040
"I like this, although for those of us at small teaching colleges with little intellectual community, conferences are a welcome (though exhausting and expensive) change."

https://twitter.com/RJstudies/status/1064208726461112320
"I have this problem. There are universities close by who could be more welcoming to those of us not working at research institutions. I am thrilled that this conversation is happening."

https://twitter.com/nha3383/status/1063980370901655552
"Probably the most expensive academic conference I have ever participated/presented in coming from the Global South. My university covered me but what about those scholars who will never get an opportunity because AAA provides no bursaries or lower rates for membership. Ripoff."

…

https://twitter.com/anandspandian/status/1063939720202186752
"I'm trying to imagine how to salvage the promise of connection & kinship without binging so much on carbon & vaporizing life. No simple answer. Building & deepening regional intellectual communities as an alternative? A social foundation for a distributed conference model."

https://twitter.com/ZoeSTodd/status/1063940974391418880
"Yes, the conversation today has given me lots to think about. How do we balance need for meaningful opportunities to engage while also addressing the visceral environmental, economic issues that come any professional organization converging on a city."

https://twitter.com/anandspandian/status/1063940871538671616
"I would also love to see develop a virtual platform for alternative access to the @AmericanAnthro annual meeting, not to substitute, but to supplement. Those who can't afford to attend in person, or can't stomach the carbon burden, shouldn't have to fly this far in a digital era."

https://twitter.com/g_mascha/status/1064082401004056577
"There's an obsession with attending all annual meetings. It's not necessary, exhausting and takes time from regional networking that could emphasize not just presenting but working with each other. Also, AAA could alternate between virtual and in-person (+virtual) meetings."]]]></description>
<dc:subject>zoetodd conferences sustainability climatechange 2018 labor accessibility environment anticapitalism capitalism davidharvey lysalcayna-stevens ‏ anandpandian displacements displacement events regional distributed decentralization economics academia highered culturalanthropology anthropology emissions audience virtual digital annalowenhaupttsing nehavora michaeloman-reagan kristinwilson nausheenanwar #displace18 highereducation education annatsing zero-carbonconferences carbonneutrality carbonemissions travel globalwarming flights airplanes airtravel aviation decarbonization</dc:subject>
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<item rdf:about="https://teachersgoinggradeless.com/2017/12/16/accountability-accountable/">
    <title>It’s Time We Hold Accountability Accountable – Teachers Going Gradeless</title>
    <dc:date>2018-02-22T01:17:19+00:00</dc:date>
    <link>https://teachersgoinggradeless.com/2017/12/16/accountability-accountable/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Author and writing professor John Warner points out how this kind of accountability, standardization, and routinization short-circuits students’ pursuit of forms “defined by the rhetorical situation” and values “rooted in audience needs.”

What we are measuring when we are accountable, then, is something other than the core values of writing. Ironically, the very act of accounting for student progress in writing almost guarantees that we will receive only a poor counterfeit, one emptied of its essence.

Some might say that accountability only makes a modest claim on teaching, that nothing prevents teachers from going beyond its measurable minimum toward higher values of critical thinking, problem solving, and creativity. Many seem to think that scoring high on lower-order assessments still serves as a proxy for higher-order skills.

More often than not, however, the test becomes the target. And as Goodhart’s law (phrased here by Mary Strathern) asserts, “When a measure becomes a target, it ceases to be a good measure.” What we end up aiming at, in other words, is something other than the thing we wanted to improve or demonstrate. When push comes to shove in public schools — and push almost always comes to shove — it’s the test, the measure, the moment of reckoning we attend to.

For most of my career, I’ve seen how a culture of accountability has caused the focus of administrators, teachers, and students to solidify around the narrow prescriptions and algorithmic thinking found on most tests. When that happens, the measure no longer represents anything higher order. Instead, we demonstrate our ability to fill the template, follow the algorithm, jump through the hoop. And unfortunately, as many students find out too late, success on the test does not guarantee that one has developed the skills or dispositions needed in any real field. In fact, students who succeed in this arena may be even more oblivious to the absence of these."]]></description>
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<item rdf:about="https://www.newyorker.com/magazine/2013/01/14/structure">
    <title>Structure | The New Yorker</title>
    <dc:date>2017-11-28T08:32:53+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2013/01/14/structure</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["He wrote Structur. He wrote Alpha. He wrote mini-macros galore. Structur lacked an “e” because, in those days, in the Kedit directory eight letters was the maximum he could use in naming a file. In one form or another, some of these things have come along since, but this was 1984 and the future stopped there. Howard, who died in 2005, was the polar opposite of Bill Gates—in outlook as well as income. Howard thought the computer should be adapted to the individual and not the other way around. One size fits one. The programs he wrote for me were molded like clay to my requirements—an appealing approach to anything called an editor."

[via: "Software written for an audience of one: I love John McPhee's meditation here -- https://www.newyorker.com/magazine/2013/01/14/structure "
https://twitter.com/pomeranian99/status/935221709698949121 ]]]></description>
<dc:subject>customization software johnmcphee howardstrauss 2013 small audience bespoke individualization personalization audiencesofone</dc:subject>
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</item>
<item rdf:about="https://speakerdeck.com/yeseniaperezcruz/building-flexible-design-systems">
    <title>Building Flexible Design Systems // Speaker Deck</title>
    <dc:date>2017-11-02T01:49:12+00:00</dc:date>
    <link>https://speakerdeck.com/yeseniaperezcruz/building-flexible-design-systems</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: "I’ve quoted from this deck more than any other this year. “No hypothetical situations” applies to all kinds of problem sets—not just design. https://twitter.com/yeseniaa/status/925840684715782145"
https://twitter.com/tangentialism/status/925842143540805638

"(Also, one reason I love this framing is that it calls implicitly for close listening and observation to unearth hidden problems)"
https://twitter.com/tangentialism/status/925848643550183424 ]]]></description>
<dc:subject>design webdesign webdev yeseniaperez-cruz listening obsrvation systemsthinking flexibility systems layout scenarios patterns christopheralexander donellameadows audience content modularity customization designsystems</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:18d8142e6dd9/</dc:identifier>
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<item rdf:about="http://myfriendpokey.tumblr.com/post/166408827015/futures-market">
    <title>my friend pokey — futures market</title>
    <dc:date>2017-10-18T04:40:51+00:00</dc:date>
    <link>http://myfriendpokey.tumblr.com/post/166408827015/futures-market</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["(ed. note: stephen died while writing this, may his sinful heart now rest in peace)

I think that every work implies an audience, i think that projected audience will be perpetually dreamlike and strange since it’s drawn not from human consciousness but from a form of same which has been distorted through embodiment in alien material. Refracted by some “medium” and then existing as a transferable, reproducible object and living an object life separable from the human circumstances by which it was produced. And I think that when we evaluate a work part of what we evaluate is this audience and the prospect of belonging to it, the possibility of a community with those assumptions and those values. The saying “give people what they want” always confuses me in this context because surely part of what they want is the possibility of wanting something else, of being a person who wants something else. Advertisements famously sell not just a product but also the prospect of being the kind of person who likes that product. Even the most conservative works pull a bait and switch in this regards in that part of what they suggest is the prospect of being a person who already knows what they want, of having character and qualities that persist in time rather than being a shapeless blob of experiences.

Avant-garde work could be said to be that which prioritises the formation of new audiences, or the possibility of forming new audiences, above any actual qualities which those audiences would have. It draws on the utopian aspect of creating new social structures, new communities, where whatever form they ultimately end up taking the fact that they can be made at all is in some way a celebration of agency and the possibility of new futures. But the other side of things is that even as the appeal of these imaginary communities comes partly from their distance from our real ones, they’re also evaluated on the basis of their feasibility - their power comes not just from a list of bloodless alternities but from possessing a transformative quality, the real possibility of enactment which is used to make demands on the contemporary. Not just a future but one already germinating in the present. And though I like and respect a lot of these works it’s also hard, for this reason, not to feel a little uneasy about them - because the imagery of an imminent, transfigurative break from the present has been so co-opted as a way to conceal the fundamental limitations and eerie inertia of capitalism that I think it’s hard for anything drawing on that tradition to escape lending credibility to it, even when its interests are directly opposed. 20+ years of an increasingly threadbare neoliberal consensus  in the face of problems which grow more and more obvious mean the notion of an unexpected, miraculous shift in the causal order grows more and more central, from the vague sense that someone will invent, like, a moss or something which will stop global warming in the nick of time to the idea that the same clumsy, stupid videogames we’ve been bonking against invisible walls in for decades now will any minute now transmogrify into the effortless freefloating virtual lucid dreams of legend. And in fact videogames provide a constant running example of just how profitably this perception can be managed - - from a medium which from inception built upon a certain futuristic quality coming both from the historically new level of consumer access to computer technology and from decades of science-fiction representations of same, and which leveraged that into a perennial suggestion that the bright new day was always just around the corner - that by playing videogames now you were securing a kind of early-investor bragging rights to the media singularity to come. If there’s anything historically new about videogames it’s the extent to which the very suggestion of potential developments to be had later on was finally recognised as more profitable than any intrinsic qualities of the form itself.

And I think all this raises some problems when we think about avant-garde and experimental videogames, not just because in replicating some of the assumptions of the industry they risk being assimilated by it - you can’t game-design your way out of late capitalism, there are no final aesthetic solutions to economic problems etc - but because by repeating those assumptions they risk being judged by the standard of contribution to this same monolithic vidcon future, and then discarded accordingly when “the future” changes according to stockholder diktats. I mean that when you see these works as yet more expressions of “the medium” it’s harder for them to survive when that status is taken away again, and that at this point it’s difficult to conceive of a future of videogames that doesn’t in some way just flow back into the orthodox one still being sold.

Why does this matter. I think the videogame market will crash again because that’s what markets do, and when it does I believe it’ll be blamed on small engines, on unity and rpgmaker, on asset-flipping and joke simulators and walking games and political games rather than e.g. the incessant boom-bust cycles of capitalism or the fact that the particular interactive media singularity that videogames have invested so much image, money and energy into identifying themselves with looks more and more dated and less likely to happen. I think there’ll be more gamergate bullshit from people who invested in the stupid, stupid videogame dream and got told by youtube millionaires that it was being undermined from within by sjw fifth columnists making pug dating games. I think that just as places like YouTube have shown a willingness to quietly cut down on who’s able to make money through their service places like Steam will do the same thing, particularly after already raising the prospect of exponentially increasing the cost of using the store for small developers already. I think middlebrow columnists at the Atlantic will cash checks saying well, a lot of those games weren’t pushing the medium forward anyway, and that the whole thing will end up being recast as a morality tale about an overcrowded, overdiverse market, and that a lot of valuable work people are doing now will be just wiped from the record in the same way as a lot of pre-2007 indie games were, or flash games, or interactive CD-ROMs, or whatever the fuck.

I think that when this happens experimental games or avant garde games or alternative games will be seen less as possible alternatives to the mainstream tradition than as offshoots of it which got pruned, and I’m not sure how much help they will really be to anyone trying to figure out ways to make these things without getting pulled into the endless churning blood rotor of existing videogame culture.

I’ve written before that the game scenes which interest and excite me most are things like FNAF fangames, Undertale fangames, Unity horror games, RPG Maker games, hyperspecific utility pieces like the Prosperity Path orbs, less for any particular aesthetic or design qualities than for them being videogames which manage to escape some of the awful binary of Producer/Consumer and the ideas of “importance” which evolve later to help justify that perverse dynamic. Like what does it mean to experience a game if it’s just part of a big stack of almost interchangeable things and anyway you’re only absently going through it when searching for more stuff to steal for your own interchangeable thing. Which is healthier and more interesting than “art”. But I think part of it too is the sense of having a specific audience to bounce against, even if it’s just of people looking to take your Secret Of Mana midis, and the way that the concreteness of that audience helps defuse the kind of creeping tendency towards cultural speculation that comes with the belief in a big medium-wide payout somewhere down the line that’d justify the time and energies of everyone involved. I don’t think it’s enough to say people should make an effort to criticise games for what they are as opposed to what they might be, or whatever, insofar as that’s even possible. I think being able to appreciate what they are is dependent on recognizing that they have an audience which is similarly settled, similarly “just there”. And I think working towards constructing that kind of space would mean, yes, a sort of concession of “the future” to the stockholders of industry, renouncing the right to eventually reap that dread crop. But in the process being able to better engage with the present and all the disparite forces and strands within it who have similarly been lopped off that grand narrative, or were never part of it to begin with, and navigate all the ambiguities and potentials of that space. I think the future of videogames is the same kind of desperate, self-willed dream as those years worth of Twitter shares, for a company which has never actually been profitable, or the horrible locked-down image of infinity that sees new Rocket Racoon movies coming out every year til 2099, I think those dreams are ones that emerge and grow stronger as the actual basis for them either materially or affectively grows ever more decrepit, I think however overwhelming they get they can only really be strangled in the present.

As they say… no futur-what! what are you doing in my house! no-aieee!! (manuscript abruptly cuts off)"]]></description>
<dc:subject>via:tealtan videogames capitalism avantgarde audience audiences potential invention utopia games gaming media neoliberalism 2017 possibility alternative art future markets economics alternities transformation change fandom agency moss transcontextualism transcontextualization</dc:subject>
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<item rdf:about="https://vimeo.com/172646692">
    <title>William Deresiewicz: The New Age of Creativity on Vimeo</title>
    <dc:date>2017-08-25T05:58:39+00:00</dc:date>
    <link>https://vimeo.com/172646692</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>williamderesiewicz creativity 2016 art internet amateurism business entrepreneurship democratization longtail youtube slow feedback uniqueness media immediacy food craft crafts design socialmedia digitization digital economics academia labor multitasking interdisciplinary multidisciplinary crossdisciplinary audience creation specialization history genius individualism rebelliousness youth religion gigeconomy freelancing self-employment music amazon newspapers funding marketing amateurs</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=raN4S2B4-vo">
    <title>18F Design Presents — Language: Your Most Important and Least Valued Asset - YouTube</title>
    <dc:date>2017-08-04T04:53:05+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=raN4S2B4-vo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Have you ever felt like differences in language were holding your project back? Perhaps you have tried to standardize language across parts of your team only to find you have opened a huge can of worms?

The experiences we make for our users are made of language choices. We also depend on language to collaborate with the people we work with. Yet language is most often only tended to when you talk about things like content and copy.

Controlling your vocabulary is one of the murkiest messes you can take on, but it also might be one of the most impactful ways you could impact your organization’s ability to reach its goals.

In this online event, we ask information architect Abby Covert to share some strategies and tactics that could help us to pay closer attention to language choices we make."

[via: https://twitter.com/nicoleslaw/status/893280169439264769 ]]]></description>
<dc:subject>language content design 18f contentstrategy 2017 informationarchitecture abbycovert information webdev webdesign communication vocabulary misinformation clarity welcome hospitality audience sfsh mentalmodels context culturallyresponsivedesign tone nouns verbs wordchoice duplicity controlledvocabulary</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://hazlitt.net/longreads/snarling-girl">
    <title>The Snarling Girl | Hazlitt</title>
    <dc:date>2017-04-09T19:36:06+00:00</dc:date>
    <link>http://hazlitt.net/longreads/snarling-girl</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Oh really, she says. Now I matter? Wrong, motherfucker: I mattered before. (Also: Nope, can’t help you write a book, best of luck.)

She’s a little trigger-happy on the misanthropic rage, this snarling girl. She is often accused of “not living up to her potential.” She is neither inspired by nor impressed with prep school. The college admissions race leaves her cold. Her overbearing mother berates her about crappy grades and lack of ambition. (O-ho, the snarling girl says, you want to see lack of ambition? I’ll show you lack of ambition!) Where she is expected to go right, she makes a habit of veering left. She is not popular, not likely to succeed. Her salvation arrives (surely you saw this coming) in the form of books, movies, music. She obsessively follows the trail of breadcrumbs they leave behind. Here is a neat kind of power: she can be her own curator. She can find her way from one sustaining voice to another, sniffing out what’s true, what’s real. In her notebooks she copies out passages from novels, essays, poems, and songs. She Sharpies the especially resonant bits on her bedroom wall. This is how she learns to trust herself, no easy feat. These are epigraphs to the as yet unwritten book of her life, rehearsals for the senior page she is keen to assemble. These stories and lines and lyrics are companionship, proof that the universe is much, much bigger than her radioactive family and rich bitch west L.A. and Hebrew school and Zionist summer camp. Behold: She is not crazy! She is not alone! She is not a freak! Or, rather: she is crazy, she is alone, she is a freak, and she’ll keep glorious company with all of these other crazy, lonely, amazing freaks.

Look at her notebooks, all in a row. They live in my study, above shelves stacked with my books, galleys, audiobooks, foreign editions, literary journals, anthologies, Literary Death Match Champion medal, and piles of newspapers and magazines in which I’m celebrated as this amazing thing: a writer. A novelist. Legit. But witness, please, no coincidence, the notebooks live above that stuff. Spiral-bound, leather-bound, fabric-bound, black, pink, green, floral. This Notebook Belongs To: Elisa Albert, neatly printed in the earliest, 1992. Fake it ’til you make it, girl! The notebooks have seniority. Here is how she began to forge a system of belief and belonging, to say nothing of a career. Am I aggrandizing her? Probably. I am just so goddamn proud of her."

…

"Everything worthwhile is a sort of secret, not to be bought or sold, just rooted out painstakingly in whatever darkness you call home.

Here is what we know for sure: there is no end to want. Want is a vast universe within other vast universes. There is always more, and more again. There are prizes and grants and fellowships and lists and reviews and recognitions that elude us, mysterious invitations to take up residence at some castle in Italy. One can make a life out of focusing on what one does not have, but that’s no way to live. A seat at the table is plenty. (But is it a good seat? At which end of the table??? Alongside whom!?) A seat at the table means we are free to do our work, the end. Work! What a fantastic privilege."

…

"Some ambition is banal: Rich spouse. Thigh gap. Gold-buckle shoes. Quilted Chanel. Penthouse. Windowed office. Tony address. Notoriety. Ten thousand followers. A hundred thousand followers. Bestseller list. Editor-in-Chief. Face on billboard. A million dollars. A million followers. There are ways of working toward these things, clear examples of how it can be done. Programs, degrees, seminars, diets, schemes, connections, conferences. Hands to shake, ladders to climb. If you are smart, if you are savvy, who’s to stop you? Godspeed and good luck. I hope you get what you want, and when you do, I hope you aren’t disappointed.

Remember the famous curse? May you get absolutely everything you want.

Here’s what impresses me: Sangfroid. Good health. The ability to float softly with an iron core through Ashtanga primary series. Eye contact. Self-possession. Loyalty. Boundaries. Good posture. Moderation. Restraint. Laugh lines. Gardening. Activism. Originality. Kindness. Self-awareness. Simple food, prepared with love. Style. Hope. Lust. Grace. Aging. Humility. Nurturance. Learning from mistakes. Moving on. Letting go. Forms of practice, in other words. Constant, ongoing work. No endpoint in sight. Not goal-oriented, not gendered. Idiosyncratic and pretty much impossible to monetize.

I mean: What kind of person are you? What kind of craft have you honed? What is my experience of looking into your eyes, being around you? Are you at home in your body? Can you sit still? Do you make me laugh? Can you give and receive affection? Do you know yourself? How sophisticated is your sense of humor, how finely tuned your understanding of life’s absurdities? How thoughtfully do you interact with others? How honest are you with yourself? How do you deal with your various addictive tendencies? How do you face your darkness? How broad and deep is your perspective? How willing are you to be quiet? How do you care for yourself? How do you treat people you deem unimportant?

So you’re a CEO. So you made a million dollars. So your name is in the paper. So your face is in a magazine. So your song is on the radio. So your book is number one. You probably worked really hard; I salute you. So you got what you wanted and now you want something else. I mean, good, good, good, great, great, great. But if you have ever spent any time around seriously ambitious people, you know that they are very often some of the unhappiest crazies alive, forever rooting around for more, having a hard time with basics like breathing and eating and sleeping, forever trying to cover some hysterical imagined nakedness.

I get that my foremothers and sisters fought long and hard so that my relationship to ambition could be so … careless. I get that some foremothers and sisters might read me as ungrateful because I don’t want to fight their battles, because I don’t want to claw my way anywhere. My apologies, foremothers: I don’t want to fight. Oh, is there still sexism in the world? Sigh. Huh. Well. Knock me over with a feather. Now: how do I transplant the peonies to a sunnier spot so they yield more flowers next year or the year after? How do I conquer chapter three of this new novel? I’ve rewritten it and rewritten it for months. I need asana practice, and then I need to sit in meditation for a while. Then some laundry. And the vacuum cleaner needs a new filter. Then respond to some emails from an expectant woman for whom I’m serving as doula. And it’s actually my anniversary, so I’m gonna write my spouse a love letter. Then pick up the young’un from school. And I need to figure out what I’m making for dinner. Something with lentils, probably, and butter. Then text my friends a stupid photo and talk smack with them for a while.

Taking care of myself and my loved ones feels like meaningful work to me, see? I care about care. And I don’t care if I’m socialized to feel this way, because in point of fact I do feel this way. So! I am unavailable for striving today. I’m suuuuuper busy.

Yes, oppression is systemic, I get it, I feel it, I live it, I struggle, I do. Women are not equal, we’re not fairly represented, the pie charts are clear as day: nothing’s fair, nothing at all, it’s maddening, it’s saddening, it’s not at all gladdening. We all suffer private and public indignities (micro-aggressions, if you prefer) big and small. It’s one thing to pause and grapple with unfairness, but if we set up camp there, we can’t get anything done, can’t get to the root of the problem. So sure, great, go on and on about how women should help other women! Rah rah, put it on a T-shirt, sell it on Etsy. Great marketing, but what’s actually being accomplished? Who, specifically, is being helped? A collection of egos shouting ME ME ME is not artistically or intellectually productive or interesting.

“Real” work is often invisible, and maybe sort of sacred as such. The hollering and clamoring and status anxiety and PR two inches from our collective eyeballs all day? Not so much. So tell the gatekeepers to shove it, don’t play by their rules, and get back to work on whatever it is you hold dear. Nothing’s ever been fair. Nothing will ever be fair. But there is ever so much work to be done. Pretty please can I go back to my silly sweet secret sacred novel now? Bye. Take care."

…

"Here’s what bothers me about conventional ambition, the assumption that we all aspire to the top, the winner’s circle, the biggest brightest bestest, the blah blah blah, and that we will run around and around and around our little hamster wheels to get there: most of these goals are standardized. Cartoonish. Cliché. Beware anything standardized, that’s what I would teach my daughter. Health care, ambition, education, diet, culture: name it, and you will suffer endlessly from any attempt to go about it the same way as some projected Everyone Else. You cannot be standardized. You are a unique flower, daughter. Maybe the Ivy League will be wonderful for you; maybe it will crush your soul. If the former, I will mortgage the house to pay your way; if the latter, give that shit the finger and help me move these peonies, will you? You are not defined by such things, either way. Anyway, let us discuss what we want to whip up for dinner and take turns playing DJ while doing so.

“She can, though every face should scowl / And every windy quarter howl / Or every bellows burst, be happy still.” That was Yeats.

I mean, fuck ambition, that’s where this is going. I don’t buy the idea that acting like the oppressor is a liberation, personal ambition being, in essence, see above, patriarchal. And yeah, about recognition. What about when genius and/or hard work isn’t recognized? Because often it isn’t, and what do we make of that? And what happens when the striving becomes its own end? What’s been accomplished in such cases? You can get pretty far on striving alone, god knows. The striving might get recognized, but what relationship does striving have to mastery? And what’s the cost of the striving? And what if we confuse striving or incidental recognition with mastery? What then!? Then, Jesus, we are so very lost. And we’ll have to acknowledge, yes of course sure, that we were born at the right time in the right place and we’ve never felt bad about working toward what we want, but want is tricky, so beware that particular sand trap. Right, and okay, be ambitious, whatever that looks like for you, but don’t confuse your own worth with anyone else’s definition of success. And don’t think that if you happen to impress people you must be very impressive indeed. And don’t imagine that if you play by someone else’s rules you can win. Anyway, there is no winning. Anyway, the game is suspect. Anyway, write your own rules! Anyway, WHO HAS TIME FOR GAMES!?

“The highway is full of big cars / going nowhere fast / and folks is smoking anything that’ll burn / Some people wrap their lives around a cocktail glass / And you sit wondering where you’re going to turn.” Maya Angelou."

…

"Last thought: I wish I had gotten some other lessons from my mother. More about what to make for dinner and how to move the peonies and just how tender and trustworthy love can be, for starters. But we get what we get, so I suppose I appreciate her gift (such as it is) of Don’t Fuck With Me. Especially because, have I mentioned? I’m busy channeling it, hard at work. (Hashtag blessed. Hashtag grateful. Like? Like???)"]]></description>
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<item rdf:about="https://ablersite.org/2017/01/06/first-book/">
    <title>first book! | Abler.</title>
    <dc:date>2017-01-08T08:10:33+00:00</dc:date>
    <link>https://ablersite.org/2017/01/06/first-book/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Friends, I’m so happy to say that my first book is under contract with Riverhead/Penguin! I’m just thrilled—I can’t even tell you.

The book is about the unexpected places where disability is at the heart of design, from everyday household objects to architecture, street and city planning, pointing to larger systems design questions at the end. It grows in scale from wearables and products to environments and ecologies, building momentum to ask some compelling and hard questions: Where else might the experience of disability be a site of creativity and invention? And what design opportunities are missed because those experiences are overlooked? I’ll be citing the work of so many scholars I admire, looping together histories—little-known origin stories of everyday things—with more contemporary advances in design for human difference. I’m thinking of it as a kind of travel writing—deeply reported throughout, taking the reader with me to understand the stories of people and cultures behind all our designed objects and environments. I’m deep into it already, and it’s the most excited I’ve ever been about a project.

I’m lucky that Olin College is a place where I could say to my dean: I want to write a book, but I want it to be a trade book for the general reader, and he said immediately—fantastic, do it. I wanted to write a trade book for the same reasons that I’ve written in the mode of journalist before: it matters to me that the radical, complex, and exciting ideas in disability studies reach people outside academia, and that the non-fiction reader see the designed world anew, re-enchanted with the universality of disability in its very fibers and structures. I want the reader to locate all bodies in that built world, regardless of capacity—to see all of us on a human continuum of abilities and needs, holding shared stakes in the designed future. Olin is a college without departments or traditional tenure, so I’m free to pursue this project as my research with the full support of my institution.

This whole web site will look different so soon; I’m working on finishing the three-part site that started with aplusa’s birth. More soon!"]]></description>
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<item rdf:about="https://www.theguardian.com/books/2017/jan/06/john-berger-remembered-by-geoff-dyer-olivia-laing-and-ali-smith">
    <title>John Berger remembered – by Geoff Dyer, Olivia Laing, Ali Smith and Simon McBurney | Books | The Guardian</title>
    <dc:date>2017-01-07T04:58:55+00:00</dc:date>
    <link>https://www.theguardian.com/books/2017/jan/06/john-berger-remembered-by-geoff-dyer-olivia-laing-and-ali-smith</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ali Smith

I heard John Berger speaking at the end of 2015 in London at the British Library. Someone in the audience talked about A Seventh Man, his 1975 book about mass migrancy in which he says: “To try to understand the experience of another it is necessary to dismantle the world as seen from one’s own place within it and to reassemble it as seen from his.”

The questioner asked what Berger thought about the huge movement of people across the world. He put his head in his hands and sat and thought; he didn’t say anything at all for what felt like a long time, a thinking space that cancelled any notion of soundbite. When he answered, what he spoke about ostensibly seemed off on a tangent. He said: “I have been thinking about the storyteller’s responsibility to be hospitable.”

As he went on, it became clear how revolutionary, hopeful and astute his thinking was. The act of hospitality, he suggested, is ancient and contemporary and at the core of every story we’ve ever told or listened to about ourselves – deny it, and you deny all human worth. He talked about the art act’s deep relationship with this, and with inclusion. Then he gave us a definition of fascism: one set of human beings believing it has the right to cordon off and decide about another set of human beings.

A few minutes with Berger and a better world, a better outcome, wasn’t fantasy or imaginary, it was impetus – possible, feasible, urgent and clear. It wasn’t that another world was possible; it was that this world, if we looked differently, and responded differently, was differently possible.

His readers are the inheritors, across all the decades of his work, of a legacy that will always reapprehend the possibilities. We inherit his routing of the “power-shit” of everyday corporate hierarchy and consumerism, his determined communality, his ethos of unselfishness in a solipsistic world, his procreative questioning of the given shape of things, his articulate compassion, the relief of that articulacy. We inherit writing that won’t ever stop giving. A reader coming anywhere near his work encounters life-force, thought-force – and the force, too, of the love all through it.

It’s not just hard, it’s impossible, to think about what he’s given us over the years in any past tense. Everything about this great thinker, one of the great art writers, the greatest responders, is vital – and response and responsibility in Berger’s work always make for a fusion of thought and art as a force for the understanding, the seeing more clearly and the making better of the world we’re all citizens of. But John Berger gone? In the dark times, what’ll we do without him? Try to live up to him, to pay what Simone Weil called (as he notes in his essay about her) “creative attention”. The full Weil quote goes: “Love for our neighbour, being made of creative attention, is analogous to genius.”

Berger’s genius is its own fertile continuum – radical, brilliant, gentle, uncompromising – in the paying of an attention that shines with the fierce intelligence, the loving clarity of the visionary he was, is, and always will be.

***

Geoff Dyer

There is a long and distinguished tradition of aspiring writers meeting the writer they most revere only to discover that he or she has feet of clay. Sometimes it doesn’t stop at the feet – it can be legs, chest and head too – so that the disillusionment taints one’s feelings about the work, even about the trade itself. I count it one of my life’s blessings that the first great writer I ever met – the writer I admired above all others – turned out to be an exemplary human being. Nothing that has happened in the 30-odd years since then has diminished my love of the books or of the man who wrote them.

It was 1984. John Berger, who had radically altered and enlarged my ideas of what a book could be, was in London for the publication of And Our Faces, My Heart, Brief as Photos. I interviewed him for Marxism Today. He was 58, the age I am now. The interview went well but he seemed relieved when it was over – because, he said, now we could go to a pub and talk properly.

It was the highpoint of my life. My contemporaries had jobs, careers – some even owned houses – but I was in a pub with John Berger. He urged me to send him things I’d written – not the interview, he didn’t care about that, he wanted to read my own stuff. He wrote back enthusiastically. He was always encouraging. A relationship cannot be sustained on the basis of reverence and we soon settled into being friends.

The success and acclaim he enjoyed as a writer allowed him to be free of petty vanities, to concentrate on what he was always so impatient to achieve: relationships of equality. That’s why he was such a willing collaborator – and such a good friend to so many people, from all walks of life, from all over the world. There was no limit to his generosity, to his capacity to give. This did more than keep him young; it combined with a kind of negative pessimism to enable him to withstand the setbacks dished out by history. In an essay on Leopardi he proposed “that we are not living in a world in which it is possible to construct something approaching heaven-on-earth, but, on the contrary, are living in a world whose nature is far closer to that of hell; what difference would this make to any single one of our political or moral choices? We would be obliged to accept the same obligations and participate in the same struggle as we are already engaged in; perhaps even our sense of solidarity with the exploited and suffering would be more single-minded. All that would have changed would be the enormity of our hopes and finally the bitterness of our disappointments.”

While his work was influential and admired, its range – in both subject matter and form – makes it difficult to assess adequately. Ways of Seeing is his equivalent of Keith Jarrett’s Köln Concert: a bravura performance that sometimes ends up as a substitute for or distraction from the larger body of work to which it serves as an introduction. In 1969 he put forward Art and Revolution “as the best example I have achieved of what I consider to be the critical method”, but it is in the numerous shorter pieces that he was at his best as a writer on art. (These diverse pieces have been assembled by Tom Overton in Portraits to form a chronological history of art.)

No one has ever matched Berger’s ability to help us look at paintings or photographs “more seeingly”, as Rilke put it in a letter about Cézanne. Think of the essay “Turner and the Barber’s Shop” in which he invites us to consider some of the late paintings in light of things the young boy saw in his dad’s barber shop: “water, froth, steam, gleaming metal, clouded mirrors, white bowls or basins in which soapy liquid is agitated by the barber’s brush and detritus deposited”.

Berger brought immense erudition to his writing but, as with DH Lawrence, everything had to be verified by appeal to his senses. He did not need a university education – he once spoke scathingly of a thinker who, when he wanted to find something out, took down a book from a shelf – but he was reliant, to the end, on his art school discipline of drawing. If he looked long and hard enough at anything it would either yield its secrets or, failing that, enable him to articulate why the withheld mystery constituted its essence. This holds true not just for the writings on art but also the documentary studies (of a country doctor in A Fortunate Man and of migrant labour in A Seventh Man), the novels, the peasant trilogy Into Their Labours, and the numerous books that refuse categorisation. Whatever their form or subject the books are jam-packed with observations so precise and delicate that they double as ideas – and vice versa. “The moment at which a piece of music begins provides a clue to the nature of all art,” he writes in “The Moment of Cubism”. In Here Is Where We Meet he imagines “travelling alone between Kalisz and Kielce a hundred and fifty years ago. Between the two names there would always have been a third – the name of your horse.”

The last time we met was a few days before Christmas 2015, in London. There were five of us: my wife and I, John (then 89), the writer Nella Bielski (in her late 70s) and the painter Yvonne Barlow (91), who had been his girlfriend when they were still teenagers. Jokingly, I asked, “So, what was John like when he was 17?” “He was exactly like he is now,” she replied, as though it were yesterday. “He was always so kind.” All that interested him about his own life, he once wrote, were the things he had in common with other people. He was a brilliant writer and thinker; but it was his lifelong kindness that she emphasised.

The film Walk Me Home which he co- wrote and acted in was, in his opinion, “a balls-up” but in it Berger utters a line that I think of constantly – and quote from memory – now: “When I die I want to be buried in land that no one owns.” In land, that is, that belongs to us all.

***

Olivia Laing

The only time I saw John Berger speak was at the 2015 British Library event. He clambered on to the stage, short, stocky, shy, his extraordinary hewn face topped with snowy curls. After each question he paused for a long time, tugging on his hair and writhing in his seat, physically wrestling with the demands of speech. It struck me then how rare it is to see a writer on stage actually thinking, and how glib and polished most speakers are. For Berger, thought was work, as taxing and rewarding as physical labour, a bringing of something real into the world. You have to strive and sweat; the act is urgent but might also fail.

He talked that evening about the need for hospitality. It was such a Bergerish notion. Hospitality: the friendly and generous reception and entertainment of guests, visitors or strangers, a word that shares its origin with hospital, a place to treat sick or injured people. This impetus towards kindness and care for the ill and strange, the vulnerable and dispossessed is everywhere in Berger’s work, the sprawling orchard of words he planted and tended over the decades.

In 1972 he won the Booker prize, and in his acceptance speech explained that he would be donating half his winnings to the Black Panthers. His closing words were “clarity is more important than money”. Few people have possessed such clarity, nor yoked it to such persistently generous political ends. Art he saw as a communal and vital possession, to be written about with sensual exactness.

His essays on painting are packed with unforgettable images, the diligent, inspired seeing of an artist who’d given himself over to written language. Vermeer’s rooms, “which the light fills like water in a tank”. Goya, whose cross-hatched tones gave “a human body the filthy implication of fur”. Bonnard’s “dissolving colours, making his subjects unattainable, nostalgic”. Pollock’s “great walls of silver, pink, new gold, pale blue nebulae seen through dense skeins of swift dark or light lines”. Art criticism is rarely this plain, this fruitful, or this adamant that what happens on a canvas has a bearing on our human lives.

Capitalism, he wrote in Ways of Seeing, “survives by forcing the majority to define their own interests as narrowly as possible”. It was narrowness he set himself against, the toxic impulse to wall in or wall off. Be kin to the strange, be open to difference, cross-pollinate freely. He put his faith in the people, the whole host of us.

Host: there’s another curious word, lurking at the root of both hospitality and hospital. It means both the person who offers hospitality, and the group, the flock, the horde. It has two origins: the Latin for stranger or enemy, and also for guest. It was Berger’s gift, I think, to see that this kind of perception or judgment is always a choice, and to make a case for kindness: for being humane, whatever the cost.

***

Simon McBurney

No one I have ever met listened like John. He leaned forward. His very blue eyes scanning yours. Then glancing away for away for a moment as his ear turned towards you. To be the object of this fierce attention was… to feel heard. And being heard, at once you had a place in the world. You belonged. You were situated. Sited.

John’s writing desk in his house in the mountains in France faced the wall. Above it drawings by his son Yves and his granddaughter Melina. A CD of Glenn Gould lay beside one of Tom Waits. His pen (he only wrote in ink) was fat and comfortable. The window to his left looked out onto the garden. A vegetable patch gave way to apple trees which in turn bordered a field where cows, except in winter, would graze.

We would watch them as each evening they were called to milk. Bells sounding, arses covered in shit. He listened to them in the same way. With the same attention. He was never not listening.

In 1992, never having met, I watched him watching The Street of Crocodiles (a play created from the writings of Bruno Shultz) from a point of vantage above the audience. His body so concentrated as if he himself were creating the piece before him. Afterwards he suggested we eat. Days later he was in my kitchen discussing the show and the magnetic knife rack beside my ancient gas stove.

His short story The Three Lives of Lucie Cabrol is the final entry in a collection entitled Pig Earth, the first of the epic trilogy Into Their Labours, which chronicles peasant life, and migration into the cities, in the 20th century. I asked him if he would allow me to make Lucie Cabrol into a piece of theatre.

He invited me to visit him in the Haut Savoie and picked us up at the airport. “Lucie was not her real name,” shouted John as he drove Tim Hatley, my designer, and I into the mountains. “I will show you where she lived and the site of her death.”

We drank his coffee, saw the memorials to the Maquis, walked the precipitous slopes. Laughed. There was always laughter with John. We heard how he had first heard the story of this woman, a mythic figure in the all the local villages. “To live here was always an act of resistance. She was tiny, the unlikeliest of survivors. But never accepted defeat. Even in the face of her own murder.”

For him resisting was part of existing. “... defiant resistance in the face of likely defeat. The poor, the ill, animals, the prisoner, especially the political prisoner, the migrant, the peasant, the Palestinian: he saw none of them as failures,” as Anthony Barnett writes.

John Berger was my friend. Seeing people’s responses to his death over the last few days, many many people would claim him as theirs too. John had that quality of engagement. “The opposite of love is not hate, but separation,” he wrote.

His words joined things together. With certainty, clarity and, always, tenderness. The personal and the political, the poetic and the prosaic, the natural with the man made. And also the writer and the reader. They too were joined, bound together. Thus people felt, correctly, he was attached to them. And they to him. He was theirs. He listened to them. Even now, in the most deafening roar of these dark and absurd times, he makes me feel that it is possible to be heard. That we must be heard.

One consolation in the face of his absence, is that his writing will remain for me a place of refuge. A site where “language has acknowledged the experience which demanded which cried out...” Where words promise “that which has been experienced cannot disappear as if it had never been.”

“Can you hear me in the dark?”

In 1999, in the abandoned Aldwych Underground station we created, together, for Artangel, A Vertical Line. A meditation on the origins of art. The last movement was in a deep tunnel imagining the discovery of the Chauvet cave, the site of the worlds oldest prehistoric paintings.

“Can you hear me in the dark?” John shouts. And the piece begins...

Yes, John, we can still hear you in the dark.

The last time he fetched me from the airport, aged 84, he was holding two crash helmets. Laughing. We’re on the bike. Minutes later John and I were weaving through the Geneva traffic and hitting the motorway towards the mountains. Over his shoulder I glanced at the speedometer as it climbed towards 160kph. If we die, I thought, at least it will be quick. Then I closed my eyes and pushed myself into his back."]]></description>
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<item rdf:about="http://austinkleon.com/2016/06/28/just-dont-lose-the-magic/">
    <title>Just don’t lose the magic</title>
    <dc:date>2016-06-29T20:31:37+00:00</dc:date>
    <link>http://austinkleon.com/2016/06/28/just-dont-lose-the-magic/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“We cannot have a meaningful revolution without humor.”
—bell hooks

In a terrific piece about his writing education, George Saunders talks about getting into the MFA program at Syracuse and hanging out with his new mentor, Tobias Wolff:

<blockquote>At a party, I go up to Toby and assure him that I am no longer writing the silly humorous crap I applied to the program with, i.e., the stuff that had gotten me into the program in the first place. Now I am writing more seriously, more realistically, nothing made up, nothing silly, everything directly from life, no exaggeration or humor—you know: “real writing.”

Toby looks worried. But quickly recovers.

“Well, good!” he says. “Just don’t lose the magic.”

I have no idea what he’s talking about. Why would I do that? That would be dumb.

I go forward and lose all of the magic, for the rest of my time in grad school and for several years thereafter…</blockquote>

He later sums it up:

<blockquote>[S]omehow, under the pressure of suddenly being surrounded by good writers, I went timid and all the energy disappeared from my work–I’ve lost the magic indeed, have somehow become a plodding, timid, bad realist.</blockquote>

You see this pattern over and over with many creative people: they have this little bit of magic, a spark of something that comes naturally to them, and it’s often messy and weird and a little bit off, and that’s why they catch our attention in the first place. The odd magic is what we love about them.

Then, something happens. They decide it’s time, now, to be serious.

The wild painter whose Instagram you love goes to grad school and all of the sudden her posts get boring. A brilliant illustrator decides to write a book, a real book, one without any pictures in it, and it comes out and bores you to tears. Etc.

(Preston Sturges sends up this impulse in his great movie about a comedy director who decides he wants to make a serious film, Sullivan’s Travel’s.)

It happened to me: before I went to college, I loved poetry, drawing, and art with a sense of humor. Then, after I got to college, I decided, It’s time, now, to be serious. I started to believe in the following misguided equations:

1. fiction > poetry
2. words > pictures
3. tragedy > comedy

Eventually, I got so miserable that I threw those equations out the window, bought a sketchbook, and started reading comics again. When I graduated college, I started making my weird, occasionally funny, blackout poems. Slowly, a little bit of the magic came back.

But whenever that impulse returns, that impulse to come on now be serious, I lose the magic again. It happened most recently getting ready for my upcoming art show. That stupid voice started saying: This is a gallery show. This is Art. I need to be serious.

Cue the choke.

A few years ago, Bill Murray gave a speech to a bunch of baseball players and he ended it with this perfect bit of Zen:

<blockquote>If you can stay light, and stay loose, and stay relaxed, you can play at the very highest level—as a baseball player or a human being.</blockquote>

I keep this goofy picture of him in my studio:

[image]

It’s up there to remind me: Stay at it, but stay light. Don’t be afraid to do what comes naturally. Fight the urge to be serious. Don’t let it destroy the very thing that makes you you.

Like Tobias Wolff said, “Just don’t lose the magic.”"]]></description>
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<item rdf:about="https://www.criterion.com/current/posts/3968-art-of-a-dog">
    <title>Art of a Dog - From the Current - The Criterion Collection</title>
    <dc:date>2016-03-13T22:03:07+00:00</dc:date>
    <link>https://www.criterion.com/current/posts/3968-art-of-a-dog</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Consider the story of Lolabelle, the rat terrier cast by Laurie Anderson—her human companion—in Anderson’s stirring, tender film Heart of a Dog. In extraordinary footage, Anderson reveals her four-legged friend’s remarkable ability to both appreciate and create richly textured musical scores. As we witness Lolabelle’s aptitude for piano—her command of the keyboard, her innate sense of rhythm and her strategic deployment of the pause—we behold the creative potential in every pooch. For Anderson and her fellow artists, dogs represent a vast, untapped audience for creative endeavors.

Anderson is a pioneer in the emerging field of creativity for canines. She has cannily identified a massive wet-nosed population of potential art enthusiasts: dogs live in 44 percent of U.S. homes, which means that there are upwards of 50 million pooches hungry for culture. In 2010, Anderson performed her first dog concert, with several hundred pups in attendance, on the steps of the Sydney Opera House. Anderson has staged several such performances since, including one early this year in New York’s Times Square, conducted in honor of Heart of a Dog. Despite the January evening’s arctic temperature, the canine community was out in force. Dogs clad in sweaters and puffer coats gathered around Anderson as she delivered a violin concert in haunting frequencies that both the canines and their humans enjoyed. In a rousing finale, Anderson called for the dogs to lift their voices in a chorus of barks: From the tiniest Pom to the most formidable Bernese, the assembled spectators created their own sweet music.

It was a remarkable evening, the kind that renews an art lover’s faith in creativity and connection. And it prompted the sort of uncomplicated joy that the art world desperately needs right now.

In these early decades of the twenty-first century, you might imagine that art aficionados would be ecstatic. After all, we are in contact with more creativity than ever: there are art fairs opening every other week on every continent; biennials, triennials, and quinquennials occurring the globe over; images of artworks streaming across our Instagram and Facebook feeds.

And yet, something vital is missing. Somewhere in the incessant flow of pictures we’ve lost the spark that great art gives us—the aha! that shifts our vision, expands our worldview, and enlivens our senses. The profound experiences we crave remain out of reach.

But what to do?

Turns out that one answer is right under our noses—it’s in our lap right now, napping. Our beloved pooches, the ones who protect and obey us and vibrate with excitement when they see us, can liberate us from our suffering.

I can attest to this myself, as my own gallery-going experience has been transformed by Rocky, a spirited Morkie whom I met several years ago in a SoHo shelter. To my surprise, Rocky panted with pleasure each time I suggested a Chelsea gallery crawl, even as I remained wary of the dealers’ overhyped wares. I wondered: What was Rocky’s secret? As we spent more and more time together, it became clear that Rocky had something to teach me—to teach all of us—about finding joy in today’s art world. Among his many skills, I noticed a singular capacity to remain in the moment and to see each artwork with fresh eyes.

Rocky’s fearlessness, his capacity to remain curious, and, most importantly, his indifference to the pronouncements of New York Times reviews, were the inspiration for a talk I gave in February to a group of art world insiders gathered in a gallery in the Brooklyn neighborhood of Bushwick. The lecture, titled Five Things My Dog Taught Me About Art, not only considered the dog’s capacity to teach us about human ingenuity but also served as the launch event for a radical new exhibition I’m organizing called dOGUMENTA. The premise of dOGUMENTA is this: If canines like Rocky and Lolabelle can teach us so much about human creativity, what if they had a show of their own? How would artists respond to this massive new audience?

Now in development, dOGUMENTA (I) NYC will be the world’s first exhibition of art for dogs. It’s a labor of love, dedicated to my beloved Rocky and canine companions the world over. This will be a show not of or by dogs, but for them. It offers an unprecedented opportunity for the creative community to engage with an entirely new species of art lover, and to consider its concerns, interests, and worldview. Anderson’s explorations in Heart of a Dog and her performances are the first dispatches from the vanguard. I am eager to see how other artists will respond to this mandate.

It’s safe to say that dOGUMENTA is a revolutionary step forward for human creativity, and it is long overdue. After all that dogs have given us, isn’t it time we gave something back?"]]></description>
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<item rdf:about="http://fusion.net/story/251095/lonely-web-the-dress-viral-social-media-profit/">
    <title>How 'The Dress' exposes viral media's shaky future | Fusion</title>
    <dc:date>2016-01-07T05:22:24+00:00</dc:date>
    <link>http://fusion.net/story/251095/lonely-web-the-dress-viral-social-media-profit/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sometimes when I’m feeling numbed by the cascading viral trends and hot takes in my feeds, I’ll load up a random number generator and use it to search YouTube for videos without names, ones nobody has ever watched before. The sensation is like flipping through broadcasts of alien surveillance footage of humanity. I click indiscriminately from one shot to the next: A man explains how he traded his bicycle for a used video camera—click. A child dances in front of the TV as EDM plays—click. A girl stands in her kitchen alone and growls: “That’s how you make BROWNIES”—click.

There’s something pleasingly candid about the videos. They hearken back to an older era of the internet, when nobody knew what the hell they were doing. When unsettling weirdness and danger lurked just a few clicks away. Before a combination of centralized services created a predictable, sanitized web. In my day, kids had to walk uphill both ways to get their content.

That old, strange internet never really went away. It’s just hidden in plain sight, on our social media platforms.

Most content on the web is accessed through a handful of platforms. Those companies make money off the information users post, and so they encourage everyone to post as much as possible, free of charge.

Yet this presents a problem: There’s too much stuff. Even the most avid user, eyes glazed over from scrolling past thousands of baby photos and clickbait articles and ads, can’t possibly see everything that gets posted.

This puts these companies in a bind. They can’t tell people to post less frequently ($$$) but they also can’t let their sites be overwhelmed by screeching noise because users will get frustrated and jump ship ($$$). So they filter content, each in their own ways. Facebook’s newsfeed, for example, uses an algorithm that boosts content based on a series of mysterious factors—are people engaging with the post? Saying “congrats”? Did they give us any $$$? Google offers search results tailored to what it deems relevant to the user. Twitter is experimenting with alternatives to chronological order. It all works pretty well. Our feeds are relatively bearable, if not boring.

And yet, beneath the controlled epidural layer, that filtered-out stuff still exists.

This is the Lonely Web. It lives in the murky space between the mainstream and the deep webs. The content is public and indexed by search engines, but broadcast to a tiny audience, algorithmically filtered out, and/or difficult to find using traditional search techniques.

How large is the Lonely Web? Based on one study from 2009 that shows that 53% of videos on YouTube haven’t even passed the 500-view mark, it’s safe to estimate: It is very, very large.

It includes but is not limited to: videos on YouTube that have never been viewed; Twitter accounts with hundreds of tweets and no followers; spam bots; blurry concert videos with blasted-out sound; Change.org petitions for lost causes; apps that nobody will ever download; and anonymous posts on 4chan that suddenly disappear, extinguishing like distant stars made of burning trash.

There are even brands on the Lonely Web. A Kazakstan outpost of fast food chain Hardee’s, for example, has only 160 Twitter followers. For a while the account was just tweeting random, inexplicable codes, like a fast food numbers station.

The content feels more honest than much of the formulaic, prepackaged mainstream web. It seems to be the result of platforms aggressively telling people their voices matter and deserve to be heard, without making apparent the extent to which their broadcast signals are diminished. The Lonely Web is littered with desperate messages in bottles, washed far ashore in a riptide of irrelevant content.

There are tools for exploring the Lonely Web, if one is especially lazy: Sites like 0views and Petit YouTube collect unwatched, “uninteresting” videos; Sad Tweets finds tweets that were ignored; Forgotify digs through Spotify to find songs that have never been listened to; Hapax Phaenomena searches for “historically unique images” on Google Image Search; and /r/deepintoyoutube, which was created by a 15-year-old high school student named Dustin (favorite video: motivational lizard) curates obscure, bizarre videos.

…

One of my favorite techniques comes from /r/imgxxxx and involves searching the default file formats for digital cameras plus four random numbers. This dredges up videos so unwanted that they were never named. In some cases, not even the person who filmed the videos seems to have watched them.

Can such a massive amount of unrelated content have a unified aesthetic? Kind of, sort of. It’s best described by what it isn’t. Most sites have “best practices”—encouraged or implied—and most of what’s on the Lonely Web violates them. It is weird and of shoddy quality, amateurish, with impossible-to-search titles. Some of it is charming and candid and unpolished. A lot of it is incomprehensible garbage. It varies in length—either too short or too long—and eschews cohesive narratives.

I get the nagging impression that some of it wasn’t meant to be seen. Since they end up being unnervingly candid windows into people’s lives, browsing through too much of it at once can feel invasive and emotionally exhausting.

But for precisely all these reasons, unlike a lot of mainstream content, the Lonely Web feels, well, human.

👥👥👥

Despite its apparent worthlessness, some content on the Lonely Web winds up being incredibly lucrative. A company called Ditto, for example, searches through people’s public photos looking for references to brands, selling that information to corporations as valuable demographic data."]]></description>
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    <title>The year of the splinter site » Nieman Journalism Lab</title>
    <dc:date>2015-12-23T00:31:27+00:00</dc:date>
    <link>http://www.niemanlab.org/2015/12/the-year-of-the-splinter-site/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Journalism shouldn’t live or die by the number of eyeballs or the number of shares it attracts. Focusing myopically on scale and continuing to optimize for the largest possible audience compels us to the lowest common denominator of editorial quality.”

…

"2016 will be the year of the splinter site.

To continue pushing forward and shape their future, media companies need to be constantly looking for new opportunities, new approaches, and new platforms. It’s partly how we’ll crack new markets.

A splinter site is an editorially independent venture, a media product built to stand on its own and designed for a specific audience. They will start modest and many will fail. Some may take on a life of their own, becoming sustainable in their own right, while others may be folded back into its parent. The splinter site is a way of increasing journalistic surface area. And despite the name, the word “site” is being used rather loosely here — a splinter site doesn’t necessarily mean it has to live on a website or be an entirely sectioned-off space. Some of these “splinter sites” will be entirely distributed, exist only in apps or social products.

News organizations will shift their focus away from trying to adapt the same content for different platforms. Instead, they’ll put their minds to creating entirely new editorial experiences — content designed for specific audiences, delivered through specific channels.

We’ve already seen a handful of media companies pursue this strategy to varying extents. The New York Times revealed a glossy new Cooking site and app. BuzzFeed expanded from entertainment and lifestyle coverage into serious journalism, longform and investigative reporting, releasing their news app this past July. We saw Vice launch Broadly, their female-centric channel, covering the multiplicity of women’s experiences through original reporting and documentary film.

We also see this splinter site approach in the portfolio of sites owned by Vox Media — Eater for food and restaurants, Racked for shopping and retail, Curbed for real estate, Vox for general news, Polygon for gaming, SB Nation for sports (which is itself a collection of individual blogs), The Verge for tech, culture and science, and Recode for tech. The Awl network, too, is a collection of sister sites — eponymous The Awl, Splitsider, The Billfold, and The Hairpin — each with their own unique tone, audience and sensibility.

As readers and distribution mechanisms continue to get more and more fragmented, the less it makes sense to contort and reshape one editorial approach for different groups. We’ve seen the seeds of specificity in the launch of new verticals and channels spun off from existing media companies, but 2016 will be the year news organizations fully embrace this construct.
Splinter sites serve an underlying trend: Publishing is converging on specificity. So much of content online today has been roped into this rat race for growth, competition for mass media metrics like clicks, pageviews, and shares. This has led us to a sterile, centralized web. By focusing on a particular, specific lens for content, journalists can create and deliver more meaningful stories. Journalism shouldn’t live or die by the number of eyeballs or the number of shares it attracts. Focusing myopically on scale and continuing to optimize for the largest possible audience compels us to the lowest common denominator of editorial quality.

But a splinter site is an opportunity to start from scratch. It frees a news organization from the weight and legacy of an existing name, and gives you the opportunity to think outside your CMS.

When you’re working within an existing brand, there’s a set of associations and preconceived notions you sometimes have to work against when trying to develop new audiences. You can be set up to fail because you’re fighting a deep-rooted notion that your publication — say, my idea of what The Washington Post is as a thing — is not for me.

But what about about sites that are built from the ground up for a specific type of reader? This invites a different type of relationship, one that’s more emotionally resonant and compelling, laying the groundwork for developing depth and habit with an audience. Consider BuzzFeed’s Cocoa Butter, a distributed project that “focuses on making fun stuff for and about brown folks.” Cocoa Butter exists in Twitter, Facebook, and Instagram accounts, and is a station within Facebook Notify.

Splinter sites are a means of identifying new opportunities and adjacent problems with the potential to impact journalism in a big way. They can help inform future efforts and give better clarity about entering new markets.

In 2015, we saw a continuation of testing, experimentation and iteration in developing novel approaches to journalism. But next year, we’ll see more bold moves — new, edgy, experimental splinter sites from news organizations that that break the mold of our expectations and the status quo. They’ll help to chart territory that’s not just down the block from where we are as an industry today, but rather, will survey the broader landscape and see what’s up in an entirely new city."]]></description>
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<item rdf:about="http://www.newyorker.com/books/page-turner/my-writing-education-a-timeline">
    <title>My Writing Education: A Time Line - The New Yorker</title>
    <dc:date>2015-10-31T18:32:52+00:00</dc:date>
    <link>http://www.newyorker.com/books/page-turner/my-writing-education-a-timeline</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One day I walk up to campus. I stand outside the door of Doug’s office, ogling his nameplate, thinking: “Man, he sometimes sits in there, the guy who wrote Leaving the Land.” At this point in my life, I’ve never actually set eyes on a person who has published a book. It is somehow mind-blowing, this notion that the people who write books also, you know, *live*: go to the store and walk around campus and sit in a particular office and so on. Doug shows up and invites me in. We chat awhile, as if we are peers, as if I am a real writer too. I suddenly feel like a real writer. I’m talking to a guy who’s been in People magazine. And he’s asking me about my process. Heck, I *must be* a real writer."

…

"For me, a light goes on: we are supposed to be—are required to be—interesting. We’re not only *allowed* to think about audience, we’d *better*. What we’re doing in writing is not all that different from what we’ve been doing all our lives, i.e., using our personalities as a way of coping with life. Writing is about charm, about finding and accessing and honing ones’ particular charms. To say that “a light goes on” is not quite right—it’s more like: a fixture gets installed. Only many years later (see below) will the light go on."

…

"Doug gets an unkind review. We are worried. Will one of us dopily bring it up in workshop? We don’t. Doug does. Right off the bat. He wants to talk about it, because he feels there might be something in it for us. The talk he gives us is beautiful, honest, courageous, totally generous. He shows us where the reviewer was wrong—but also where the reviewer might have gotten it right. Doug talks about the importance of being able to extract the useful bits from even a hurtful review: this is important, because it will make the next book better. He talks about the fact that it was hard for him to get up this morning after that review and write, but that he did it anyway. He’s in it for the long haul, we can see. He’s a fighter, and that’s what we must become too: we have to learn to honor our craft by refusing to be beaten, by remaining open, by treating every single thing that happens to us, good or bad, as one more lesson on the longer path.

We liked Doug before this. Now we love him.

Toby has the grad students over to watch A Night at the Opera. Mostly I watch Toby, with his family. He clearly adores them, takes visible pleasure in them, dotes on them. I have always thought great writers had to be dysfunctional and difficult, incapable of truly loving anything, too insane and unpredictable and tortured to cherish anyone, or honor them, or find them beloved.

Wow, I think, huh."

…

"I notice that Doug has an incredible natural enthusiasm for anything we happen to get right. Even a single good line is worthy of praise. When he comes across a beautiful story in a magazine, he shares it with us. If someone else experiences a success, he celebrates it. He can find, in even the most dismal student story, something to praise. Often, hearing him talk about a story you didn’t like, you start to like it too—you see, as he is seeing, the seed of something good within it. He accepts you and your work just as he finds it, and is willing to work with you wherever you are. This has the effect of emboldening you, and making you more courageous in your work, and less defeatist about it."

…

"End of our first semester. We flock to hear Toby read at the Syracuse Stage. He has a terrible flu. He reads not his own work but Chekhov’s “About Love” trilogy. The snow falls softly, visible behind us through a huge window. It’s a beautiful, deeply enjoyable, reading. Suddenly we get Chekhov: Chekhov is funny. It is possible to be funny and profound at the same time. The story is not some ossified, cerebral thing: it is entertainment, active entertainment, of the highest variety. All of those things I’ve been learning about in class, those bone-chilling abstractions theme, plot, and symbol are de-abstracted by hearing Toby read Chekhov aloud: they are simply tools with which to make your audience feel more deeply—methods of creating higher-order meaning. The stories and Toby’s reading of them convey a notion new to me, or one which, in the somber cathedral of academia, I’d forgotten: literature is a form of fondness-for-life. It is love for life taking verbal form."

…

"Toby is a generous reader and a Zen-like teacher. The virtues I feel being modeled—in his in-class comments and demeanor, in his notes, and during our after-workshop meetings—are subtle and profound. A story’s positive virtues are not different from the positive virtues of its writer. A story should be honest, direct, loving, restrained. It can, by being worked and reworked, come to have more power than its length should allow. A story can be a compressed bundle of energy, and, in fact, the more it is thoughtfully compressed, the more power it will have.

His brilliant story “The Other Miller” appears in The Atlantic. I read it, love it. I can’t believe I know the person who wrote it, and that he knows me. I walk over to the Hall of Languages and there he is, the guy who wrote that story. What’s he doing? Talking to a student? Photocopying a story for next day’s class? I don’t remember. But there he is: both writer and citizen. I don’t know why this makes such an impression on me–maybe because I somehow have the idea that a writer walks around in a trance, being rude, moved to misbehavior by the power of his own words. But here is the author of this great story, walking around, being nice. It makes me think of the Flaubert quote, “live like a bourgeoisie and think like a demigod.” At the time, I am not sure what a bourgeoisie is, exactly, or a demigod, but I understand this to mean: “live like a normal person, write like a maniac.” Toby manifests as an example of suppressed power, or, rather: *directed* power. No silliness necessary, no dramatics, all of his considerable personal power directed, at the appropriate time, to a worthy goal."

…

"What Doug does for me in this meeting is respect me, by declining to hyperbolize my crap thesis. I don’t remember what he said about it, but what he did not say was, you know: “Amazing, you did a great job, this is publishable, you rocked our world with this! Loved the elephant.” There’s this theory that self-esteem has to do with getting confirmation from the outside world that our perceptions are fundamentally accurate. What Doug does at this meeting is increase my self-esteem by confirming that my perception of the work I’d been doing is fundamentally accurate. The work I’ve been doing is bad. Or, worse: it’s blah. This is uplifting–liberating, even—to have my unspoken opinion of my work confirmed. I don’t have to pretend bad is good. This frees me to leave it behind and move on and try to do something better. The main thing I feel: respected. Doug conveys a sense that I am a good-enough writer and person to take this not-great news in stride and move on. One bad set of pages isn’t the end of the world."

…

"On a visit to Syracuse, I hear Toby saying goodbye to one of his sons. “Goodbye, dear,” he says.

I never forget this powerful man calling his son “dear.”

All kinds of windows fly open in my mind. It is powerful to call your son “dear,” it is powerful to feel that the world is dear, it is powerful to always strive to see everything as dear. Toby is a powerful man: in his physicality, in his experiences, in his charisma. But all that power has culminated in gentleness. It is as if that is the point of power: to allow one to access the higher registers of gentleness."

…

"I am teaching at Syracuse myself now. Toby, Arthur Flowers, and I are reading that year’s admissions materials. Toby reads every page of every story in every application, even the ones we are almost certainly rejecting, and never fails to find a nice moment, even when it occurs on the last page of the last story of a doomed application. “Remember that beautiful description of a sailboat on around page 29 of the third piece?” he’ll say. And Arthur and I will say: “Uh, yeah … that was … a really cool sailboat.” Toby has a kind of photographic memory re stories, and such a love for the form that goodness, no matter where it’s found or what it’s surrounded by, seems to excite his enthusiasm. Again, that same lesson: good teaching is grounded in generosity of spirit."

…

"One night I’m sitting on the darkened front porch of our new house. A couple walks by. They don’t see me sitting there in the shadows.

“Oh, Toby,” the woman says. “Such a wonderful man.”

Note to self, I think: Live in such a way that, when neighbors walk by your house months after you’re gone, they can’t help but blurt out something affectionate."

…

"I do a reading at the university where Doug now teaches. During the after-reading party, I notice one of the grad writers sort of hovering, looking like she wants to say something to me. Finally, as I’m leaving, she comes forward and says she wants to tell me about something that happened to her. What happened is horrible and violent and recent and it’s clear she’s still in shock from it. I don’t know how to respond. As the details mount, I find myself looking to Doug, sort of like: Can you get me out of this? What I see Doug doing gets inside my head and heart and has stayed there ever since, as a lesson and an admonition: what Doug is doing, is staring at his student with complete attention, affection, focus, love—whatever you want to call it. He is, with his attention, making a place for her to tell her story—giving her permission to tell it, blessing her telling of it. What do I do? I do what I have done so many times and so profitably during my writing apprenticeship: I do my best to emulate Doug. I turn to her and try to put aside my discomfort and do my best to listen as intently as Doug is listening. I remember this moment as an object lesson in what I take to be Doug’s ethos: be kind, pay attention, err on the side of generosity."

…

"Toby comes back to do a reading at Syracuse. He reads “Bullet in the Brain” to a standing-room-only crowd. Afterwards, there is a stunned, appreciative silence—a little like that moment after fireworks just before the yelling starts. I look at Paula. There are tears in her eyes. Mine too. These, we later agree, are tears of gratitude. How lucky we are, we feel, that such a person exists in this world, and that we had the good fortune to cross paths with him, and be his students. Knowing him has helped us grow into better versions of ourselves: more dignified, less selfish. This, of course, is what a ‘role model’ is: someone who, by gracefully embodying positive virtues, causes you to aspire to them yourself."

…

"Why do we love our writing teachers so much? Why, years later, do we think of them with such gratitude? I think it’s because they come along when we need them most, when we are young and vulnerable and are tentatively approaching this craft that our culture doesn’t have much respect for, but which we are beginning to love. They have so much power. They could mock us, disregard us, use us to prop themselves up. But our teachers, if they are good, instead do something almost holy, which we never forget: they take us seriously. They accept us as new members of the guild. They tolerate the under-wonderful stories we write, the dopy things we say, our shaky-legged aesthetic theories, our posturing, because they have been there themselves.

We say: I think I might be a writer.

They say: Good for you. Proceed."]]></description>
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<item rdf:about="http://www.odysseyworks.org/blog/2015/9/5/christine-jones-on-the">
    <title>Christine Jones on the notion of the gift, reciprocity, and how being a parent influences her work — Odyssey Works</title>
    <dc:date>2015-09-08T23:05:18+00:00</dc:date>
    <link>http://www.odysseyworks.org/blog/2015/9/5/christine-jones-on-the</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["OW: WHY CREATE EXPERIENCES?

CJ: As a parent I am aware of creating a world where Santa Claus and the Tooth Fairy exist for my kids. When they die it's our job to make other kinds of magic. I love what Charlie Todd of Improv Everywhere says. He said he wanted to live in a world where anything can happen at any moment. His work makes our world just such a world...I think everyone has a desire to be surprised, delighted, moved, and transported. If we don't do this for each other, no one else will. Our parents will make magic for us when we are young, when we are older, we have to make it for ourselves and each other."

OW: WHAT ARE YOU TRYING TO DO WITH YOUR WORK?

CJ: This probably sounds horribly pretentious, but lately I have been thinking of myself as an artist who uses Intimacy the way a painter uses paint. My intention with all of my work is to enhance a feeling of connection and presence that makes people feel seen, and sometimes, especially with Theatre for One, loved. It is always amazing to me how simple acts of kindness and generosity are so deeply appreciated. We very rarely slow down enough to feel truly with other people. I am trying to create fruitful circumstances for a gift exchange between audience and performer. Whether it be a big Broadway show, or an immersive dinner theatre experience, or Theatre for One, I am hoping to create a space and relationships within the space that allow the audience to feel that they are receiving a beautiful experience and in return they are giving the performers or creators the gift of their full presence and attention."]]></description>
<dc:subject>audiencesofone 2015 christinejones art performance theater reciprocity presence care parenting interactivity immersivity immersive experiencedesign magic intimacy audience setdesign wonder discovery visibility gifts interviews odysseyworks wanderlust sextantworks relationships davidwheeler generosity theatreforone</dc:subject>
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<item rdf:about="http://www.hightechhigh.org/unboxed/issue13/rigor_reconsidered/">
    <title>UnBoxed: online [ Current Issue ]</title>
    <dc:date>2015-08-30T01:51:38+00:00</dc:date>
    <link>http://www.hightechhigh.org/unboxed/issue13/rigor_reconsidered/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his keynote address at Deeper Learning 2015, Luis Del Rosario offers a case illustration of deeper learning—self-directed, driven by interests and passions, facilitated by expert mentors, and transformative. His learning proceeds stitch by stitch, mentor by mentor, venue by venue. His course of study turns traditional structures and subject matter inside out, calling into question conventional notions of rigor. 

School as “a place where you were just forced to go,” and where the curriculum consisted of “numbers, facts, and memorizing answers,” didn’t work for Luis. What did work for him was a place where educators asked, “What is your passion?” and, as a matter of course, helped him pursue that passion in the world beyond school. What did work were the training in innovation and entrepreneurship, the internship with a costume designer, the long hours he spent perfecting his craft, the talks with his advisor, the college courses, the 3 a.m. bus rides to New York, and the conversations with experts in the field.

This is where rigor resides—not in complexity of prescribed content, or persistence in meaningless tasks, but rather in the moment-to-moment decisions students and teachers make, and the dispositions and relationships they develop, as they pursue their interests and passions in the world. Luis and others like him challenge us to develop a new set of rules for rigor: 

No rigor without engagement 
No rigor without ownership 
No rigor without exemplars 
No rigor without audiences 
No rigor without purpose 
No rigor without dreams 
No rigor without courage 
AND 
No rigor without fun

When we learn—really learn—we transform the content, the self, and the social relations of teaching and learning. We develop internal standards and align these with the world in the interplay of passion, mentoring, inquiry, and creation. A rigorous enterprise, yes, but also a joyous one, and venerable—happiness in the pursuit of excellence, as Aristotle might say. Or, as Luis would say, “think big and always keep going—that’s the purpose of an education.”"

[via: http://willrichardson.com/post/126543142740/on-rigor ]]]></description>
<dc:subject>luisdelrosario 2015 robriordin education rigor engagement ownership audience courage fun pedagogy schools</dc:subject>
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<item rdf:about="http://blog.valerieaurora.org/2015/06/23/ban-boring-mike-based-qa-sessions-and-use-index-cards-instead/">
    <title>Ban boring mike-based Q&amp;A sessions and use index cards instead | Valerie Aurora's blog</title>
    <dc:date>2015-07-12T21:33:22+00:00</dc:date>
    <link>http://blog.valerieaurora.org/2015/06/23/ban-boring-mike-based-qa-sessions-and-use-index-cards-instead/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you’ve ever been to a conference, you know the problem: A brilliant and engaging talk is coming to a close, and already a line of fanatic wild-eyed people (okay, mostly men) is forming at the audience microphone. Just by looking at them you know they will inevitably start their questions with, “This is more of a comment than a question, but…” Actually, you are grateful for the ones who are that self-aware, because most of them seem to genuinely believe that their barely disguised dominance play or naked self-promotion is an actual question that the rest of the audience would like to hear the answer to. So you scooch down lower in your seat and open your Twitter client so you can complain about how awful Q&A sessions inevitably are.

Fortunately, there is a way to prevent this situation entirely! Here is the formula:

1. Throw away the audience microphones.
2. Buy a pack of index cards.
3. Hand out the cards to the audience before or during your talk.
4. Ask people to write their questions on the cards and pass them to the end of the row.
5. Collect the cards at the end of the talk.
6. Flip through the cards and answer only good (or funny) questions.
7. Optional: have an accomplice collect and screen the questions for you during the talk.

Better yet, if you are a conference organizer, buy enough index cards for every one of your talks and tell your speakers and volunteers to use them.

Why is the typical line-at-the-mike style of audience question so productive of bad questions? To start with, it gives the advantage to people who aren’t afraid to put themselves forward first and rush to the mike first. This means most or all of the questions are from people with relatively little self-doubt and a high opinion of themselves. Another draw for the self-centered overconfident type is the chance to be the center of attention while asking the question using the audience microphone. Then there is the lack of built-in limit on the time the purported question-asker is speaking. Finally, there is no way to screen the question for quality until the question has been fully asked (sometimes taking minutes). The end result is a system that practically invites self-centered, overconfident, boring, long-winded people to dominate it. (And you wonder why women almost never ask questions at your conference?)

By contrast, writing questions on index cards appeals more to quiet, thoughtful, self-effacing folks who are considerate of those around them. It allows you to screen the questions for quality. It limits the length of the question. It encourages actual genuine requests for clarification on the subject of your talk.

Get rid of line-at-the-mike style Q&A sessions. Replace them with index cards. Your conference attendees will thank you."]]></description>
<dc:subject>q&amp;a conferences commenting microphones audience indexcards events valerieaurora 2015</dc:subject>
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<item rdf:about="http://blogs.scientificamerican.com/frontiers-for-young-minds/don-t-explain-so-much-at-once-and-other-advice-from-young-science-readers/">
    <title>Don't Explain So Much at Once, and Other Advice from Young Science Readers - Frontiers for Young Minds - Scientific American Blog Network</title>
    <dc:date>2015-06-04T00:44:11+00:00</dc:date>
    <link>http://blogs.scientificamerican.com/frontiers-for-young-minds/don-t-explain-so-much-at-once-and-other-advice-from-young-science-readers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Though scientists are often motivated to explain their research to the public, many find themselves floundering with how best to communicate what they do for those with little or no experience in their field of study. Like any skill, translating science for novice readers—especially kids and teens—is developed through practice and feedback. For many scientists these kinds of opportunities can be infrequent enough to make learning from them difficult.

The authors who have written for Frontiers for Young Minds knew going in that they will be helping to create a valuable science resource by translating their work directly for young readers. But many of them have found that having direct access their target audience as reviewers yielded feedback that was not only helpful, but occasionally surprisingly blunt in regards to their communication skills.

Thanks to their frank honesty, the FYM Young Reviewers of our first ~45 manuscripts have revealed many of the pitfalls that scientists face when trying to explain their own work to a novice audience. While we are in the process of compiling this feedback into a how-to guide to help our future authors learn from the experiences of those in the past, I wanted to allow some of the most notable comments from our Young Reviewers to shine in their own right.

Below I have selected eight pieces of feedback that highlight some of the most common pitfalls. I think of this as an important starting place. But as soon as these pitfalls are addressed, I am certain that our Young Reviewers will find more ways for scientists to improve their communication skills.

Explaining your motivation

For any researcher, the justification for their research might seem obvious or intuitive. Assuming your reader automatically understands the motivation behind your research as well is a great way to invite them to disengage or disregard the work as trivial.

“The writers of the article did not make it clear why such an expensive and involved research project was done to begin with ...  It seemed like a fruitless task.” —Reviewer, Age 14

Forgetting the basics

Scientists can often forget what a “basic” understanding of their field looks like, and assume something to be a middle-school level of familiarity with a subject when it is actually more representative of an undergraduate major in their second year.

“It would be helpful if they told us how they took the measurement of brains without actually having to remove the brain.” —Reviewer, Age 9

“The point is not clearly expressed. I didn’t understand the main scientific question because there were so many details at the beginning. Maybe state what the main question is earlier in the manuscript.” —Reviewer, Age 10

Interest and reading level of your audience

Years of practice have led researchers to write about their work as dispassionately as possible. Unfortunately this bleeds over into when these researchers write for young audiences. Add the extra limitation of a ~2000-word maximum and the effect becomes even more profound. Authors will fall into the habit of creating dense and nested sentence structures in the interest of saving space. Instead of choosing structures and vocabulary most suited to learning, many will choose the structure that allows them to introduce as many new terms and concepts as possible in the limited space. This leaves the young readers struggling to engage with something that is not only new content, but has all of the excitement of a DVD player instruction manual.

“This seems important, but the way it is written is so boring I can’t even get to the end. Could the authors maybe sound excited about what they are doing?” —Reviewer, Age 12

“(After reading the first two paragraphs) This paper is very long and there are too many words that kids are not going to understand.” —Reviewer, Age 12

“Moving on, some long and confusing Latin words appear. The problem with these Latin words is that they distract from the text, with it becoming less interesting.” —Reviewer, Age 15

Including figures for the authors instead of the readers

Researchers think of figures as ways to visualize data instead of tools for displaying meaning, visualizing difficult concepts, or presenting connections between important pieces of information. Depending on the age group, figures should entice the reader, teach the reader, or foster deeper understanding of key ideas.

“I wish that the pictures were easier to understand just by looking at them. When it takes me a long time just to figure out what they mean, it feels like homework.” —Reviewer, Age 9

“This article is fun. Now, let’s talk about what I don’t really get … I just don’t understand figure 2. I think nobody in the third grade knows what power spectra are.” —Reviewer, Age 8"]]></description>
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<item rdf:about="https://medium.com/message/i-love-your-ideas-can-you-tell-me-more-about-them-2c03c3b8d1b5">
    <title>Aren’t libraries already doing that? — The Message — Medium</title>
    <dc:date>2015-05-05T21:11:14+00:00</dc:date>
    <link>https://medium.com/message/i-love-your-ideas-can-you-tell-me-more-about-them-2c03c3b8d1b5</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My questions about the current big plan to “give” ebooks to low income kids

Yesterday’s announcement was exciting. The White House in collaboration with the Digital Public Library of America, The Institute for Museum and Library Services, and New York Public Library will work together with the rest of nation’s libraries to give low income kids better access to digital reading material and get them excited about reading. But are the project’s offered solutions really addressing the real problems and needs of the communities it is trying to reach?"

…

"What is missing from current e-reader book lending apps? Is the new app going to be available on all platforms? Will it work for people who are print-disabled? Who is offering tech support? Will people need to register to use the app? Will they need an email address to do that? Will their reading lists be tracked? Will the app’s privacy policy be in line with state patron privacy laws? Will the app also help people find print books since surveys are still indicating that print is what many Millennials prefer.

The Target Audience

Providing access to physical resources like print books is straightforward. Giving access to shared technologically-mediated resources is significantly more complex. How do we provide democratic access to content through libraries and schools but still reach the target demographic and provide digital equity?

How does providing digital content via apps serve the hardest to serve when, according to NPR’s All Things Considered “nearly 40 percent of households that earned less than $25,000 a year didn’t have a computer” and less than half had internet access? Even DPLA’s Executive Director Dan Cohen admits we’re still barely at majority smartphone adoption in low-income families. Will lending tablets — tangentially mentioned as part of this project — be enough to span this gap? Apple has said they’re donating $100 million worth of devices, but we don’t know if those are going to libraries as well as schools.

Will the app be for all children but just marketed towards low-income children? How do we get this program’s target audience to the library in the first place when transportation is often cited as a major impediment for low-income people to access their libraries? How will this program work with existing library ebook programs, or existing wifi hotspot lending programs (how are those going anyhow)? FirstBook has impressive statistics backing up its print book program. Is there any research that indicates that the lack of a good reading app and tablet computers is what is inhibiting the reading progress and literacy of low-income children? How will this program be assessed to ensure that it’s meeting its stated goals?

The Publishers

Publisher anxiety about offering up free digital content is understandable and yet the largest dollar amounts promoted in this program are for content supposedly being donated. What does it mean to “donate” ebooks?

Do publishers get tax writeoffs for the donations of thousands of digital copies of their titles to this non-profit project? What about overlap with titles libraries have already purchased? Will the project work with publishers to help make library patron access to ebooks in general a more pleasant and straightforward process? Does “unlimited access” really mean no Digital Rights Management or other technological limitations on accessing the donated content? Who will own these titles and what are the licensing terms? Will the content remain available to libraries and readers after the three year program period has ended?

Is anyone curating this collection to ensure that it’s balanced and appropriate for the target audience? We’re told that “Librarians will work with publishers to create recommendation and suggestion lists.” How is this different from what libraries are already doing?

The Libraries

We like to be part of these projects. Yet sometimes it seems that people are trading on the good name of libraries without actually providing material support to our infrastructure needs.

What do people feel isn’t working with libraries’ existing ebook lending programs? According to Paste Magazine, libraries in some communities are “promising to place library cards into the hands of young readers.” Aren’t they already doing this? Why, if this project “leverage(s) the extensive resources of the nation’s 16,500 public libraries to help kids develop a love of reading and discovery” is there no money in this wide-ranging project for the libraries themselves, besides money for broadband?

Who is going to teach digital literacy skills and help people use the app? Is it appropriate to have librarians volunteering for this via DPLA? Why are librarians being managed by DPLA instead of their existing professional organizations? Is there going to be an associated advocacy effort to ensure that school libraries continue to employ trained librarians, since this is one of the biggest threats to youth literacy?

The Ebooks

Ebooks are not as much of a monolithic entity as the name implies. Just saying “ebooks” does not give much information about what is being proposed.

Will these ebooks be in open formats or accessible at all outside of the program app? What about the free ebook/reading projects that have gone before, and still exist?"

…

"Many of the patrons who email us may have never interacted with an ebook or a library before. The library to them is not just the content but also the people they interact with and the interfaces they have to navigate. Setting your sights on low-income readers is an admirable goal; those people will need help, even with the best-designed apps and the simplest tablets. Plan for it, it’s a part of the project that won’t scale well.

The hardest to serve are often the hardest to serve specifically because they can’t be reached simply with apps and goodwill and a pure heart. If that was all it took, our work would be done already. Libraries have been working at easing the literacy divide, the digital divide, and the empowerment divide for decades if not centuries. No one wants to increase literacy and love of reading more than the public librarians of the world. So I’m excited, but also cautious. We’ve seen a lot of well-meaning projects come and go.

Kids have access to thousands of free books and ebooks from their public libraries right now in the United States. Think of what we could do if we worked together to invest in ebooks and our existing infrastructure instead of building yet another app and hoping that this time the things we promised would come true."]]></description>
<dc:subject>ebooks dpla libraries accessibility access books applications smartphones internet privacy equity digitaldivide reading howweread audience ereaders 2015 infrastructure</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:331adbaa2a14/</dc:identifier>
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<item rdf:about="https://vimeo.com/122363654">
    <title>FutureEverything 2015: Alexis Lloyd &amp; Matt Boggie on Vimeo</title>
    <dc:date>2015-03-24T20:07:07+00:00</dc:date>
    <link>https://vimeo.com/122363654</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From New York Times R&D Labs, Alexis Lloyd and Matt Boggie talk about our possible media futures, following the early days of the web - where growth was propelled forward by those making their own spaces online - to the present, where social platforms are starting to close down, tightening the possibilities whilst our dependency on them is increasing. Explaining how internet users are in fact participatory creators, not just consumers, Alexis and Matt ask where playing with news media can allow for a new means of expression and commentary by audiences."]]></description>
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<item rdf:about="http://blog.ayjay.org/uncategorized/changes/">
    <title>Changes | Snakes and Ladders</title>
    <dc:date>2015-01-15T09:00:27+00:00</dc:date>
    <link>http://blog.ayjay.org/uncategorized/changes/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["These two environments, Twitter and Tumblr, have something important in common, which they share with most social media sites: they invite you to measure people’s response to you. For many people this probably means nothing, but on me it has always had an effect. Over the years I developed a sense of how many RTs a tweet was likely to earn, how many reblogs or likes a Tumblr post would receive – and I couldn’t help checking to see if my guesses were right. I never really cared anything about numbers of followers, and for a long time I think I covertly prided myself on that; but eventually I came to understand that I wanted my followers, however many there happened to be, to notice what I was saying and to acknowledge my wit or wisdom in the currency of RTs and faves. And over time I believe that desire shaped what I said, what I thought – what I noticed. I think it dulled my brain. I think it distracted me from the pursuit of more difficult, challenging ideas that don’t readily fit into the molds of social media."]]></description>
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<item rdf:about="http://www.theguardian.com/technology/2014/dec/31/web-concepts-need-understand-2015-guide-netiquette">
    <title>Context collapse, performance piety and civil inattention – the web concepts you need to understand in 2015 | Technology | The Guardian</title>
    <dc:date>2015-01-04T08:08:27+00:00</dc:date>
    <link>http://www.theguardian.com/technology/2014/dec/31/web-concepts-need-understand-2015-guide-netiquette</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Civil inattention
In the 1950s, sociologist Erving Goffman described what happened to humans who live in cities. “When in a public place, one is supposed to keep one’s nose out of other people’s activity and go about one’s own business,” he wrote in The Presentation of Self in Everyday Life. “It is only when a woman drops a package, or when a fellow motorist gets stalled in the middle of the road, or when a baby left alone in a carriage begins to scream, that middle-class people feel it is all right to break down momentarily the walls which effectively insulate them.” Dara Ó Briain picked up this idea in a standup routine in which he dared people to get into a lift last, and then, instead of facing the door, turn and face the other occupants. It would be truly chilling.

Civil inattention happens all the time in everyday life, unless you’re the kind of a weirdo who joins in other people’s conversations on the train. But we haven’t got the grip of it in the “public squares” of the internet, like social media platforms and comment sections. No one knows who is really talking to whom, and – surprise! – a conversation between anything from two to 2,000 people can feel disorienting and cacophonous. There have been various attempts to combat it – Twitter’s “at sign”, Facebook’s name-tagging, threaded comments – but nothing has yet replicated the streamlined simplicity of real life, where we all just know there is NO TALKING AT THE URINAL.

Conservative neutrality
We live in a world ruled by algorithms: that’s how Netflix knows what you want to watch, how Amazon knows what you want to read and how the Waitrose website knows what biscuits to put in the “before you go” Gauntlet of Treats before you’re allowed to check out. The suggestion is that these algorithms are apolitical and objective, unlike humans, with their petty biases and ingrained prejudices. Unfortunately, as the early computer proverb had it, “garbage in, garbage out”. Any algorithm created in a society where many people are sexist, racist or homophobic won’t magically be free of those things.

Google’s autocomplete is a classic example: try typing “Women are ...” or “Asians are ...” and recoil from the glimpse into our collective subconscious. Christian Rudder’s book Dataclysm discusses how autocomplete might reaffirm prejudices, not merely reflect them: “It’s the site acting not as Big Brother, but as Older Brother, giving you mental cigarettes.” Remember this the next time a tech company plaintively insists that it doesn’t want to take a political stance: on the net, “neutral” often means “reinforces the status quo”.

Context collapse
The problem of communicating online is that, no matter what your intended audience is, your actual audience is everyone. The researchers Danah Boyd and Alice Marwick put it like this: “We may understand that the Twitter or Facebook audience is potentially limitless, but we often act as if it were bounded.”

So, that tasteless joke your best Facebook friend will definitely get? Not so funny when it ends up on a BuzzFeed round-up of The Year’s Biggest Bigots and you get fired. That dating profile where you described yourself as “like Casanova, only with a degree in computing”? Not so winsome when it lands you on Shit I’ve Seen On Tinder and no one believes that you were being sarcastic. On a more serious level, context collapse is behind some “trolling” prosecutions: is it really the role of the state to prosecute people for saying offensive, unpleasant things about news stories in front of other people who have freely chosen to be their friends on Facebook? I don’t think so.

What is happening here is that we are turning everyone into politicians (the horror). We are demanding that everyone should speak the same way, present the same face, in all situations, on pain of being called a hypocrite. But real life doesn’t work like this: you don’t talk the same way to your boss as you do to your boyfriend. (Unless your boss is your boyfriend, in which case I probably don’t need to give you any stern talks on the difficulties of negotiating tricky social situations.) To boil this down, 2015 needs to be the year we reclaim “being two-faced” and “talking behind people’s backs”. These are good things.

Performative piety
What’s Kony up to these days? Did anyone bring back our girls? Yes, surprisingly enough, the crimes of guerrilla groups in Uganda and Nigeria have not been avenged by hashtag activism. The internet is great for what feminists once called “consciousness raising” – after all, it’s a medium in which attention is a currency – but it is largely useless when it comes to the hard, unglamorous work of Actually Sorting Shit Out.

The internet encourages us all into performative piety. People spend time online not just chatting or arguing, but also playing the part of the person they want others to see them as. Anyone who has run a news organisation will tell you that some stories are shared like crazy on social media, but barely read. Leader columns in newspapers used to show the same pattern: research showed that people liked to read a paper with a leader column in it – they just didn’t actually want to read the column.

So, next time you’re online and everyone else seems to be acting like a cross between Mother Teresa and Angelina Jolie, relax. They might leave comments saying “WHAT ABOUT SYRIA?” but they have, in fact, clicked on a piece about a milk carton that looks like a penis. As ever, actions speak louder than words."]]></description>
<dc:subject>contextcollapse 2014 internet socialmedia communication conservativeneutrality algorithms alicemarwick kony performativepiety activism performance presentationofself online socialnetworking privacy audience via:chromacolaure civics urban urbanism twitter facebook civilinattention attention discourse ervinggoffman daraóbriain silence inattention kathysierra helenlewis serialpodcast</dc:subject>
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    <title>On Not Silencing Students: A Pedagogical How-to | Keep Learning</title>
    <dc:date>2014-12-01T05:57:12+00:00</dc:date>
    <link>http://learning.instructure.com/2014/11/on-not-silencing-students-a-pedagogical-how-to/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why do students submit writing to their teachers? Many writing-intensive courses at all levels of education center on student-created, teacher-graded writing assignments. Such a system streamlines the production process, letting students know what tools they should use to create and submit their work, and letting them write to a familiar audience. After all, if students write to a teacher every year, they should be good at guessing what teachers expect by the time they get to college. By always writing to a teacher for a grade, students implicitly learn that writing exists for the benefit of that audience, and that readers assess the quality of writing…and do nothing else in response. All their work creating words falls silent after we issue a grade.

Compare that scenario with the small-scale writing goals of students outside the classroom: They send text messages to coordinate activities with friends, craft Facebook updates to garner likes and tweets to garner retweets or followers, or post yaks to get upvotes or attention. When students write content on social platforms, no matter how public their voices become, their writing is purposeful. Outside the classroom, students write to do things. Inside the classroom, students write to get a grade. What I’ll call the “purpose disparity” immediately renders classroom writing less meaningful and less real to our students. To reverse that imbalance, we need to see student writing in a different context.

Student writing should be made public whenever possible. Students should write in real situations, for real audiences, with real intended actions. Real writing situations exist all around us, but we rarely bring them into the fold of our classes. If we want writing to matter, we need to show students the situations in which it actually does — and our desks are not those situations. In a recent post on Keep Learning, Rolin Moe hints at this sort of shift, suggesting that instead of “turning in an assignment to Dropbox or an LMS, students can use a document share service or host them on a personal web space, creating a place of digital ownership and digital identity.” Moe identified several benefits of this approach, mostly from the perspective of student-centered learning: “The structure [of the writing] can fit the need of the student rather than the student twisting and bending to attempt to match the structure.” We can go another step further if we think specifically about composition pedagogy. Student writing should fit the need of the audience, not just the student that Moe is justifiably concerned about.

I challenge writing teachers to examine their assignments. If the assignment ends with “turn in your work”, ask why that’s the ultimate goal. Why are students writing to you? Why are you the final judge of success? More importantly, who else is a more-appropriate audience for the thinking your students are doing? If those questions elicit a dearth of ready answers, this could be an opportunity for some community building. You (or your students) aren’t the only one thinking about the issues inside your classroom. You probably already have a personal learning network (commonly called a PLN — learn more from Alison Seaman and Michelle Kassorla) built around your field or the issue at hand. Employ that community, either as an audience or as a resource. If appropriate, have students engage the community. If not (say, if you have an elementary classroom and a network of R1 researchers), then find out how the work being done with the issue manifests in daily life. Or, if there is no community, make one. I’m not sure how many secondary students would want to discuss the intricacies of King Lear in their free time, but if students at different schools, in different contexts, can access one another’s perspectives on the work, you might find that a complex network — what Henry Jenkins calls a “participatory culture” — can form from the combination of viewpoints. Suddenly, students would write to other students, rather than a teacher. Set some general goals, then set them free.

Bringing together geographically separated students brings to mind the Generative Literature Project currently underway from Hybrid Pedagogy Publishing. With this project, a handful of teachers across the globe have brought their students together to create their own tale of the murder of a fictional school’s president. The nature of the distributed work requires them to keep in mind dual audiences—their collaborators and the eventual readers—and the work students do has value because it connects with, or is used by, the work other students are doing. The Generative Literature Project has been a substantial undertaking, but it works as a broader implementation of a relatively simple principle: Make students’ writing matter.

Assessment, the elephant in this particular room, deserves to be addressed. When students write for someone other than the teacher, they have to be aware of the needs of the audience. They also need to be aware of the stakes involved and potential consequences of their work. Learning to write may be hard work, but learning to write for specific circumstances and to specific ends becomes a more complex and valuable experience. In real-world writing situations, students should be able to see the effect their writing has on people. That effect could be simply to draw attention and get page hits, or it could be to make authorities change positions, address issues, or make statements. Maybe students could convince others to hold a view or take action. In short, students could use our assignments to make changes to the world around them. Their voices would be heard, and their writing would be purposeful."]]></description>
<dc:subject>writing teaching howwewrite purpose assessment meaning 2014 chrisfriend audience teachingwriting pedagogy publishing lms identity communication</dc:subject>
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</item>
<item rdf:about="http://thisisdedicated.org/post/82720574392/every-successful-creative-person-creates-with-an">
    <title>Dedicated — Every successful creative person creates with an...</title>
    <dc:date>2014-11-23T21:10:24+00:00</dc:date>
    <link>http://thisisdedicated.org/post/82720574392/every-successful-creative-person-creates-with-an</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Every successful creative person creates with an audience of one in mind. That’s the secret of artistic unity. Anybody can achieve it, if he or she will make something with only one person in mind.” —Kurt Vonnegut]]></description>
<dc:subject>kurtvonnegut audiencesofone audience vonnegut</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:08a14098da87/</dc:identifier>
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<item rdf:about="http://artmuseumteaching.com/2014/09/25/we-dont-need-new-models-we-need-a-new-mindset/">
    <title>We Don’t Need New Models, We Need a New Mindset | Art Museum Teaching</title>
    <dc:date>2014-09-26T07:09:28+00:00</dc:date>
    <link>http://artmuseumteaching.com/2014/09/25/we-dont-need-new-models-we-need-a-new-mindset/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The old models we’re using aren’t matching up with the deeply complex challenges we’re faced with right now.

Income/Revenue
Old model: Ticket sales + government + foundation + corporate + wealthy patrons + small donors + endowment income = Balanced budget
New challenge: To generate new sources of sustained revenue and capital

Audience development
Old model: Sell subscriptions and market shows
New challenge: To engage new and more diverse groups of people in meaningful arts experiences

Governance
Old model: Give/get boards focused on fiduciary oversight and maintaining stability
New challenge: To cultivate boards that are partners in change

Evaluation
Old model: More ticket sales, more revenue, bigger budget, nice building = Success!
New challenge: To evaluate the success of our organizations based on the value they create in people’s lives

Leadership development
Old model: Attend leadership conferences and seminars, build your network, wait for your boss to finally leave/retire/die. (Alternatively, change jobs every year.)
New challenge: To develop a generation of new leaders equipped with the tools they’ll need to tackle the wickedly complex challenges the future has in store

Artistic development
Old model: MFA programs, residencies, commissions, occasionally a grant, get a day job
New challenge: To support artists in making a living and a life

Strategic planning
Old model: Decide where you want to be in 5 years. Outline the steps to get there in a long document no one will read.
New challenge: To plan for the future in a way that allows us to stay close to our core values and make incremental improvement while also making room for experimentation, failure, and rapidly changing conditions.

Funding allocation
Old model: The money goes to whoever the funder says it to goes to. Usually bigger organizations run by white people in major cities.
Our challenge today: To distribute funds in a way that is equitable, geographically diverse, and creates the most value

Note: I decided I was too ignorant in the areas of creative placemaking, advocacy and arts education to weigh in. I’ll leave that to my colleagues.

Here’s my main argument

Over 60 years in the field, we’ve developed standard practices, or models, in all these different areas. They worked for a while. Now they don’t. This has given us a false notion that we need new models in each area. This is wrong.

Models, best practices, recipes, and blueprints work only when your challenge has a knowable, replicable solution. Sure, there are some challenges that fit this mold. I’d argue that having a great website, designing an effective ad, doing a successful crowd funding campaign, and producing a complicated show are all challenges where best practices, models, and experts are really valuable. You might not know the solution, but someone does, and you can find it out.

But what happens when there actually isn’t a knowable solution to your challenge? When there is no expert, no model to call upon? When the only way forward is through experimentation and failure?

I’d argue that every one of the big challenges I name above falls into the realm of complexity, where the search for replicable models is fruitless. There isn’t going to be a new model for generating revenue that the field can galvanize around that will work for every or even most arts organizations. Nor is there going to be a long lasting model for community engagement that can be replicated by organizations across the country. For the deeply complex challenges we face today, there simply isn’t a knowable solution or model that can reliably help us tackle them. These kinds of challenges require a new way of working.

We don’t need new models, we need a new theory of practice

Instead of new models, I’d argue that we need a new theory of practice, one that champions a different set of priorities in how we do our work.

Our old models imply a vision of success that’s rooted in growth, stability, and excellence. They drive us towards efficiency and competition by perpetuating an atmosphere of scarcity. They are not as creative as we are.

What if a new vision of success in our field could prioritize resilience, flexibility, and intimacy? What if we could be enablers, not producers? What if we could harness the abundance of creative potential around us?

This new vision of success doesn’t demand consensus around a new set of standards, best practices, or “examples for imitation,” it demands a new way of thinking and acting that empowers us to shift and change our routines all the time, as needed.

A proposed theory of practice for the future

Here is my call to the field: a proposed set of practices that align with the world as it is today, not as it was before:

• Let’s get clear about the challenges we’re facing and if they’re complex, treat them as such
• Let’s ask hard questions, listen, do research, and stay vulnerable to what we learn.
• Let’s question our assumptions and let go of what’s no longer working.
• Let’s embrace ambiguity and conflict as a crucial part of change
• Let’s bring together people with different experiences and lean into difference
• Let’s experiment our way forward and fail often
• Let’s recognize the system in which we’re operating.
• Let’s rigorously reflect and continuously learn

In conclusion

When I set out to write this post, I wanted to question the premise that a conversation about “broken models” could even be useful in a time when expertise, excellence and replicability are the values of the past. I wanted to propose that we move past the very notion of models – let’s jettison the word itself from our vocabulary.

In the end, I guess you could call what I’ve proposed a kind of “new model.” But I’d rather think of it as a new mindset."]]></description>
<dc:subject>change museums museumeducation 2014 complexity organizations models paradigmshifts theory karinamangu-ward practice bestpractices experience difference funding strategicplanning corevalues values experimentation failure art arteducation leadership evaluation purpose governance audience income revenue</dc:subject>
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</item>
<item rdf:about="https://vimeo.com/63525054">
    <title>Ethan Marcotte - The Map Is Not The Territory on Vimeo</title>
    <dc:date>2014-08-29T23:57:48+00:00</dc:date>
    <link>https://vimeo.com/63525054</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When we create for the web, we participate in a kind of public art. We code, we design, we build for an audience, and our work feels successful when—if—it’s met with their delight. We shape digital experiences that provide a service, or that create joy, or that simply connect readers with words written half a world away. But in this session we?ll instead look at some ways in which our audience reshapes the way we think about our medium, and see where they might be leading us—and the web—next."

[See also: http://en.wikipedia.org/wiki/Progressive_enhancement ]]]></description>
<dc:subject>ethanmarcotte cartography history design responsivedesign 2012 technology progressivenenhancement smartphoneonly accessibility webdesign webdev web internet online audience maps mapping responsivewebdesign</dc:subject>
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</item>
<item rdf:about="http://www.recessactivities.org/">
    <title>Recess</title>
    <dc:date>2014-08-21T08:32:20+00:00</dc:date>
    <link>http://www.recessactivities.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Recess is a nonprofit artists’ workspace open to the public.  At once a studio and exhibition space, Recess initiates lasting connections between artists and audiences, presenting ambitious projects that embrace experimentation and focus on process.

Our signature program, Session, invites artists to use our storefront space to realize long-term projects that take advantage of our built-in public audience.

Expanding upon Session’s goal to define contemporary art in collaboration with an active audience, Recess hosts performances and event series, a critical writing program, online programs, and enjoys meaningful partnerships with likeminded institutions."

…

"Mission

Recess’s mission is to support the rigorous process of the contemporary artist by creating a space for productive activity that initiates a partnership with the public.

Our model combines studio and exhibition platforms, offering artists flexible space in which to generate new work.  With agency to determine the visibility of their project and the parameters of its presentation, Recess artists realize ambitious goals in dialogue with an inquisitive audience.

Free and open to the public, Recess offers critical exposure for the artists we support while fostering an approachable environment that promotes valuable visual and intellectual interactions.

History

Recess was formed in May of 2009 to align with evolving conditions of creative practice and its public reception.  When searching for an ideal location, we were acutely aware that emerging artists cannot afford to live or work in proximity to exhibition communities.  Securing a platform to gain visibility and develop their creative goals and professional career is often an insurmountable task.
On site in Soho, we began challenging the established arts community to embrace changing modes of artistic production that were taking advantage of an active public. Recess eagerly stepped into the liminal space between polished gallery and private studio to take on ambitious projects that don’t “fit” squarely within the boundaries of these customary contexts.

In February of 2011, we received a wonderful invitation to collaborate with Charlotte Kidd and Dustin Yellin of Kidd Yellin Studios in Red Hook.  Kidd Yellin offered Recess a project room in their dynamic art space to serve as second site for Session.  With access to Kidd Yellin’s gallery, studios and vibrant artists community, Session artists began working to further Recess’ mission in this neighborhood.  Recess’s final project at Kidd Yellin Studios concluded in December, 2011.

In summer of 2012, Recess began collaborating with Dustin Yellin by opening an additional space for Session at Pioneer Works, Center for Art & Innovation, the new arts space at 159 Pioneer Street in Red Hook, one of Brooklyn’s prominent arts destinations."]]></description>
<dc:subject>stuidos art openstudioproject openstudio audience recess nyc collaboration lcproject studios glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://friezeprojectsny.org/talks/kenneth-goldsmith/">
    <title>Kenneth Goldsmith - Talks | Frieze Projects NY</title>
    <dc:date>2014-08-13T03:29:56+00:00</dc:date>
    <link>http://friezeprojectsny.org/talks/kenneth-goldsmith/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Direct link to .mp3: http://friezeprojectsny.org/uploads/files/talks/Kenneth_Goldsmith.mp3 ]

"‘I Look to Theory Only When I Realize That Somebody Has Dedicated Their Entire Life to a Question I Have Only Fleetingly Considered’

A keynote lecture by the poet Kenneth Goldsmith, whose writing has been described as ‘some of the most exhaustive and beautiful collage work yet produced in poetry’ (Publishers Weekly). Goldsmith is the author of eleven books of poetry and founding editor of the online archive UbuWeb. In 2013, he was named as the inaugural Poet Laureate of MoMA."]]></description>
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<item rdf:about="http://www.amazon.com/Not-Nothing-Selected-Writings-1954-1994/dp/1938221044/">
    <title>Not Nothing: Selected Writings by Ray Johnson 1954-1994: Elizabeth Zuba, Kevin Killian, Ray Johnson: 9781938221040: Amazon.com: Books</title>
    <dc:date>2014-08-11T17:20:37+00:00</dc:date>
    <link>http://www.amazon.com/Not-Nothing-Selected-Writings-1954-1994/dp/1938221044/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When Ray Johnson famously committed suicide by swimming out to sea in 1995, he left behind a conflicted legacy. Johnson was a pioneer of Pop, Conceptual and Mail art, yet the artist refuted all of these terms. He was an increasingly reclusive figure who, to paraphrase writer William S. Wilson, "made art that was not about social comment but of sociability," exploring new interfaces between his work and its audiences (and collaborators). His methods were temporal as much as they were spatial - lacking finality, Johnson's practice embraced contingency and process over a finished product. These strategies resist the exhibition form, and one can see how the intimacy and transportability of the book might offer the perfect platform for his often diaristic work. This year Siglio Press has brought together over 200 selected letters and writings - most of them unpublished - for Not Nothing: Selected Writings by Ray Johnson, 1954-1994 and re-published The Paper Snake by Ray Johnson, an artist's book from 1965. Designed by Dick Higgins and envisaged as an experimental solution to compiling and exhibiting Johnson's works, The Paper Snake offers a selection of elliptical poetry, drawings, collages and rubbings. With introductory essays, and designed with an attuned sensitivity to the original material, the two new publications will introduce a new generation to the restless work of Ray Johnson.(George Vasey Kaleidescope Magazine 2014-06-12)

[Above passage references The Paper Snake: http://www.amazon.com/Ray-Johnson-The-Paper-Snake/dp/1938221036/ ]

Not Nothing is a display of ashes. It is made for looking but, because of its reformulation of the social into a tangible maze, I prefer to torch and snort it. An experimental privacy manifesto invading my nasal passages. The documents it contains corrode things out of things-items more perverse than the baloney out of the sandwich, chomping out the meat upon which our artistic economy sustains itself. A cauterized performance of the direct mail campaign that weighs against our rabidly luxe social field. Corresponding fishing hole gradually dried up. No more nose bleeds. (Trisha Low BOMB 2014-06-01)"

[NY Times: http://www.nytimes.com/2014/08/11/books/not-nothing-tries-to-capture-the-artist-ray-johnson.html ]

[See also: 
http://kaleidoscope-press.com/2014/06/readray-johnsons-bookspublished-by-siglio-press/
http://sigliopress.com/book/not-nothing/
http://sigliopress.com/book/the-paper-snake/ ]]]></description>
<dc:subject>rayjohnson books art glvo sociability social georgevasey socialcommentary unfinished collaboration audience audiences audiencesofone mailart process cv popart conceptualart correspondence</dc:subject>
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