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    <title>McMansion Hell, Fandoms, Retinol and Modern Opera | Middlebrow Podcast - YouTube</title>
    <dc:date>2026-05-13T06:55:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Yt15iNgvNsw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kate Wagner is the architecture critic at The Nation and the creator of the internet's favorite architecture criticism blog, McMansion Hell. We dive into finding beauty in all buildings, criticism as a practice, modern opera, retinol, fandoms and more. Read McMansion Hell here: https://mcmansionhell.com 

00:00 - Intro 
00:23 - Retinol 
2:30 - Anime Face 
2:58 - Defining McMansion 
05:47 - 80s Architecture 
07:05 - Revival of Old Tastes 
20:51 - Agrarian High School 
21:13 - Autodidact Gang 
22:25 - Challenges of Architecture 
26:39 - McMansions Abroad 
31:04 - Politics of a McMansion 
34:45 - Emerging Movements 
38:26 - Edgar Wright’s Running Man 
41:04 - DSA Baby Boom 
41:35 - Modern Opera 
45:18 - The Ring Cycle 
47:07 - Receptiveness in a Critic’s Heart 
49:21 - Fandoms 
50:33 - Faith in the Public 
53:48 - All Buildings Are Interesting 
55:03 - The Goal of Criticism 
01:00:38 - Fascist Architecture"]]></description>
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<item rdf:about="https://cosmosmalick.net/2026/04/02/learning-on-the-job.html">
    <title>Learning on the Job | Cosmos Malick</title>
    <dc:date>2026-04-05T07:41:52+00:00</dc:date>
    <link>https://cosmosmalick.net/2026/04/02/learning-on-the-job.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Malick learned filmmaking by trial-and-error, one mistake at a time. He wrote and rewrote. Often after a day of shooting on The Thin Red Line (1998) he would return to his cabin or trailer to write new dialogue that he would give to the actors the next morning. He learned fast; he iterated, again and again. He still does.

He experiments constantly with narrative strategies, with lighting, with composition, with the rhythms of editing. His style of filmmaking has become increasingly sophisticated, but it is, fundamentally, handmade: he became a tactical bricoleur. He improvises, he tries the untried. He always surprises us, and probably surprises himself.

It’s difficult for someone who graduated from Harvard to be an outsider artist, but in many ways Malick is. His connections to the big Hollywood studios have always been tentative and distant; he approaches them when necessary but whenever possible goes his own way. He is one of the great American originals."]]></description>
<dc:subject>terrencemalick alanjacobs film filmmaking autodidactism autodidacts howwelearn education 2026 paulschrader davidlynch americanfilminstituteconservatory</dc:subject>
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<item rdf:about="https://cosmosmalick.net/">
    <title>Cosmos Malick</title>
    <dc:date>2026-04-05T07:40:30+00:00</dc:date>
    <link>https://cosmosmalick.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The late great cultural critic and novelist Albert Murray used to speak of the intellectual world he had created — through decades of reading and listening and viewing and talking and arguing — as Cosmos Murray. Murray was one of the great American originals, a well-educated man but also one who made his own way in the world, never content merely to redeploy what he had learned from others but rather always seeking a new synthesis of his own.

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

So stay tuned. 

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

[bibliography:
https://cosmosmalick.net/a-malick-bibliography/ ]]]></description>
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    <title>IGNORED Wong Kar-Wai Cinematographer Changed Everything About His Films // Christopher Doyle - YouTube</title>
    <dc:date>2026-03-23T04:06:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=XDsUzPHJ7cE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Most video essays on Wong Kar-wai focus on the director, but overlook the cinematographer who shaped the visual language of his most iconic films. Christopher Doyle was not just behind the camera on Days of Being Wild, Chungking Express, Fallen Angels, and In the Mood for Love; he helped define the emotional and spatial identity that audiences associate with Wong Kar-wai’s work. This video breaks down how Doyle’s unconventional life, improvisational filmmaking process, and instinct-driven approach to cinematography shaped some of the most visually distinct films ever made. It also explores his photography and collage work, revealing how his ideas about perception, movement, and collaboration extend beyond cinema. From Hong Kong’s interiors and fragmented spaces to the role of color, intuition, and experimentation, this is a deep dive into the artist who transformed how these films look and feel, and why his absence changes them entirely."]]></description>
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    <title>Introducing Logan Kuan Rao, a 21-Year Old Chinese Independent Watchmaker | SJX Watches</title>
    <dc:date>2025-05-18T04:54:32+00:00</dc:date>
    <link>https://watchesbysjx.com/2017/09/introducing-logan-kuan-rao-a-21-year-old-chinese-independent-watchmaker.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And his hand-made Orca wristwatch."

...

"On his way to completing an undergraduate degree in materials science at Imperial College London, Logan Kuan Rao has already finished his wristwatch prototype, several months before graduation. Named the Orca after the design of the movement, the watch was made almost entirely from scratch with traditional methods, save for the case, which was 3D printed in sterling silver.

Born in the city of Shantou in the coastal city of Guangdong, Rao’s path to independent watchmaking began with a childhood interest in the subject that later led him to become a moderator on a Chinese watch forum. While at university in London Rao set up a workshop to produce his first wristwatch, completing the first prototype in 2016. Now the second prototype has been finished – though the final product is still two years away – bringing Rao’s vision closer to reality.

[image: "An early Orca prototype (top), and the most recent"]

As with many other self taught watchmakers, George Daniels seminal Watchmaking was foundational, according to Rao, with trial and error as well as his engineering background providing the rest of his horological education. The culmination of that education is the Orca, a hand-wound wristwatch with a 50-hour power reserve.

With both of his parents architects, Rao’s goal with the Orca was to design a watch that would be as timeless as a well designed building. The result is a simple design ith intriguing details.

[image: "The robustly shaped keyless works, still undecorated"]

Inspired by the orca, the movement has the wheel train bridge shaped like the killer whale, with the Cotes de Geneve representing the ocean’s waves and the perlage the foam. The orca bridge is made of sterling silver, while the main plate and remaining bridges are in German silver.

[image: "Logan Kuan Rao Orca watch 4"]

Notably, much of the movement was hand-made with traditional techniques, without the aid of CNC machines. The jewels, hairspring, mainspring, wheels and shock absorbers were obtained from a watch manufacturer in northern China whose owner Rao is well acquainted with.

[image: "Logan Kuan Rao Orca watch 11"]

All of the components are decorated with traditional techniques, including polished, bevelled edges for the bridges, countersinks for the jewels and screws, and black polishing for certain steel parts. Pictured here is the second prototype, the finished product is expected to be significantly more refined.

[image: "Logan Kuan Rao Orca watch 2"]

[image: "Logan Kuan Rao Orca watch 5"]

[image: "Logan Kuan Rao Orca watch 3"]

The bridges and base plate were made with the techniques explained in the Daniels book: the holes were positioned by a depthing tool and then drilled, before the entire part was sawn out and then filed into shape.

[image: "The black polished click spring"]

[image: "The depthing tool used to position the holes in the plates"]

The lack of visible jewels was a design choice. Rao explains that the jewels are set deeply and the smallest diameter possible, leaving them almost invisible, so as not to detract from the overall shape of the bridges and orca.

[image: "The first Orca prototype"]

More unusual is the case, which is 37mm in diameter and 7.8mm high. It’s 3D printed sterling silver, a process inspired by his time as a student at Imperial College. After the raw case has been printed, Rao tempers it and then polishes it by hand. The case is made up of two pieces, a case middle with an integrated bezel and the case back, creating a seamless and simple style that was Rao’s objective with its design.

[image: "Logan Kuan Rao Orca watch 8"]

The dial is German silver with the hour markers being first shallowly engraved and then filled with black lacquer, while the hands are blued steel, and hand-made naturally.

[image: "Logan Kuan Rao Orca watch 7"]

With his recent graduation, Rao has moved his workshop back to Kunming, with plans to set up a larger facility in the manufacturing hub of Guangzhou in two years. The Orca is still a work in progress – only two prototypes have been completed to date – and Rao expects the first commercially available piece to be ready in 2019 or so. Planned as a limited edition of nine pieces, the Orca will be priced at approximately US$19,000.

Logan Kuan Rao can be reached via email [chlogan@qq.com]."]]></description>
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<item rdf:about="https://wristcheck.com/us/discover/wristchat/meet-engineer-turned-watchmaker-logan-kuan-rao-making-waves-in-the-high-end-chinese-indie-scene">
    <title>Meet Engineer-Turned-Watchmaker Logan Kuan Rao | Wristcheck</title>
    <dc:date>2025-05-18T04:50:31+00:00</dc:date>
    <link>https://wristcheck.com/us/discover/wristchat/meet-engineer-turned-watchmaker-logan-kuan-rao-making-waves-in-the-high-end-chinese-indie-scene</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The young Chinese watchmaker - now based out of Guangzhou - chats with Wristcheck about the past and future of his eponymous independent brand"

...

"It isn’t often that interviews with an up-and-coming indie watchmaker veer into a conversation about ‘The Ship of Theseus’ thought experiment, yet that’s precisely what I find myself discussing with Logan Kuan Rao.

A young Chinese watchmaker whose love of horology stems from the discipline’s traditional underpinnings (more than its modern spectacle) Rao is not the pervasive presence in modern watch culture many of his Western counterparts seem intent on becoming.

By all accounts, he occupies a modest footprint on social media; and you certainly won’t catch him at the tradeshows yucking it up with luxury watch influencers, nor the kind of super-dealers who can make or break the debut of most owner-operated independents.

That all lends credence to the reputation Rao has - among a particularly learned subset of our community - for being singularly focused on the essence of watchmaking.

Curious and intellectually gifted, Rao began his journey into watches as a moderator of the biggest enthusiasts’ forum on the Chinese internet. In 2016, whilst studying materials science at Imperial College London, he completed his first prototype wristwatch known simply as the ‘Orca’.

[image: "In 2016, while studying materials science at Imperial College London, he completed his first prototype wristwatch, known simply as the "Orca""]

An elegant two-handed design, this watch draws on Rao’s robust passion for architecture (both his parents work in that field), keyless pocket watch movements and his own background in engineering. Crucially, the vast majority of the Orca’s internal components - including the large, distinctively whale-shaped sterling silver bridge - are all handmade.

Rather than deploying modern manufacturing techniques as a gimmick, Rao prefers to leverage these computer-aided processes only where they make sense (e.g. initially, the Orca’s two-part case is 3D printed).

With his new workshop in the southern Chinese metropolis of Guangzhou up-and-running, we took the opportunity to speak with Rao about the latest batch of Orcas; other exciting projects he’s currently working on; and the wisdom he has accrued as a self-taught watchmaker over the past 7 years.

Excerpts from the interview:

Initially, what gave you the motivation to craft your own prototype wristwatch at the age of 20? How did you manage to balance this challenge with full-time study at university?

I had a strong fascination for modern wristwatches at first. After acquiring a few, I found myself drawn to pocket watches and vintage. As time went on, and my understanding of horology deepened, I gradually settled on a path many might consider unconventional. I realized that buying timepieces which genuinely resonated with my less common tastes - and importantly, within my budget - was becoming more and more challenging.

So, in a burst of self-assuredness, I ventured onto the path of self-taught watchmaking. During all of the breaks I had throughout my university years, I immersed myself in watchmaking. It’s certainly true that I didn’t have the time for it during the semester; but even so, I always kept my eye on resources like eBay: so I could buy books, tools and watchmaking equipment during moments when I wasn’t busy.

[image]

Did your background as an engineering student prove useful in the context of learning about and reproducing traditional watchmaking techniques?

A background in materials science equipped me with a certain amount of theoretical knowledge that is essential for watchmaking. It also eased the learning curve associated with self-teaching: beyond formulae, what I was studying at university allowed me to channel my efforts into techniques and skills one needs to operate precision machining equipment.

What engineering teaches you is how to efficiently glean insights from literature and online resources. Whenever faced with failure, the engineer’s mindset has given me the ability to confidently analyse the problem and develop numerous methods of improvement.

We think that mantra of improvement is especially apparent in the ‘Orca’ - one of your flagship watches which made its debut in 2016. Briefly, could you walk us through the major differences between the prototype and most up-to-date Orca iteration?

At its most simplistic, the crafting of a timepiece necessitates production of numerous constituent components. When I embark upon making the first component, I’m operating at a specific skill level; and with each subsequent component, my experience, tools, and methodology all undergo enhancement. By the time I’ve finished the final component, I begin to feel dissatisfied with my first - and end up remaking it.

Much like the philosophical paradox that is ‘The Ship of Theseus’, this iterative process pushes forward the Orca’s evolution. The versions I’ve delivered to clients showcase notable deviations from the prototype, though overall: I’d say the design language and foundational concepts remain unchanged.

[image: "Caseback of the Orca"]

What is the backstory to the distinctive aquatic motif running through the Orca’s movement and design? Does this derive from Swiss watchmaking, or is there some personal connection to the ocean that has influenced the Orca?

By way of background: I’d previously served as a moderator on one of the most prominent watch forums in China; and continue to engage regularly with fellow enthusiasts online. During my time as a mod, it was intriguing to observe that many forumites translated the traditional finish known as ‘Geneva Stripes’ into ‘Geneva Waves’ <“日内瓦波纹”>.

From this, I got the idea to turn movement bridges into the image of an orca: capturing its leaping posture above the ocean’s surface using real waves. In so doing, my aspiration is to go beyond the conventional perception of watch movement finishing (in which techniques like Geneva striping are regarded as an act of pure decorative artistry).

My own vision revolves around the harmonious fusion of aesthetics and symbolism; so that these finishing techniques shall be endowed with a distinctive narrative.

[image: "Now discarded, here are three orca bridges in their respective bevelling stages (just machined, just carved, just polished)"]

Tell us more about the process of setting up your own watchmaking studio. As somebody who is wholly self-taught, what are the big challenges of putting together and then managing such a space?

At first my workshop was situated in Kunming (Yunnan, China) - in a vacant space that my parents rented to me. I’ve now moved the operation to Guangzhou.

In and of itself, the setting up of a watchmaking studio doesn’t present a lot of insurmountable difficulties. But what it does demand is an unquenchable thirst for knowledge and a mindset of resiliency that welcomes the prospect of errors.

Independent watchmaking is by no means a conventional occupation: you’re often confronted by issues too niche to have readily apparent solutions. For instance: how do you purchase and operate equipment? How do you manage tool modification and maintenance? Definitive solutions to such intricate dilemmas are elusive.

Consequently, a willingness to embrace failure and accommodate the unforeseen are integral aspects of the journey.

[image]

Besides the Orca - which is a design you’re very well-known for - what can you tell us about the ‘Iceberg’ watch that uses your novel ‘equal push’ escapement?

The ‘equal push’ embodies my endeavour to improve existing traditional escapement systems. Rather than an idealised mathematical problem, escapements are beset by real-world engineering challenges. As such, my exploration of the ‘equal push’ remains a work in progress.

Shifting to other horological facets, my latest upcoming creation is called the Wuwei <无为>: a watch which embodies the philosophical concept of the same name rooted in Taoism. In today’s watch industry, there is an excessive emphasis on intricate finishing, ‘world-first’ mechanisms and unheard of materials. With the Wuwei, I seek to convey that even without these deliberate intricacies, a watch movement can still hold beauty.

My aim is to do this by accentuating the depth of view in the Wuwei movement: focusing specifically on the contours and harmonious proportion of its plates and bridges. 

[image: "Logan Kuan Rao’s latest upcoming creation is called the Wuwei <无为>, a watch which embodies the philosophical concept of the same name rooted in Taoism"]

You’ve spoken beforehand on social media about the importance of adopting an attitude of “anti-specialization”. In your view, why is it so important for up-and-coming independent watchmakers to try their hand at all aspects of production?

I’d like to start by emphasizing that collaborative specialization stands as the most efficient, cost-effective way of manufacturing a product in the 21st century. This involves dedicated individuals working on components separately; before then assembling together. This approach is employed in the production of most goods in our modern society. Conversely, independent craftsmanship is not driven by the pursuit of utmost economic gain - one could even argue that it’s completely inefficient!

However, by embracing anti-specialization, independent watchmaking offers a unique proposition. The watchmaker is granted an unparalleled degree of control over the production process, allowing a holistic and deeper comprehension of design principles. Additionally, there are also the [well-documented] romantic and artisanal aspects to consider.

[image: "The Iceberg movement"]

For the period between 2023-2024, our understanding is that you intend to make a strict quantity of 20 watches? How did you decide on this particular figure?

It’s a rough estimate based on the level of efficiency that I was able to achieve whilst making the Orca: approximately 20 watches over a two-year period, averaging about 10 watches annually.

I note that this rate falls slightly below my total capacity: as I’ve intentionally set aside some time to be dedicated to the development of new designs.

As a collector of historic watch movements from different European brands, are there any individuals or specific mechanical calibres that have influenced your own horological style?

Not dissimilar to how writers learn through the literature of their peers, or composers find inspiration in the work of fellow musicians; a watchmaker may derive immense satisfaction from immersing themselves in masterpieces crafted by their counterparts. As such, my collection includes pieces which not only spark creativity but that also resonate with me.

Nowadays even though I exclusively wear watches of my own making, I’ve found that I do maintain the hobby of collecting historic pocketwatch and wristwatch movements. Swiss movements aren’t actually all that numerous - accounting for less than half of my collection. Overall, I have a greater fondness for French pocket watch movements, as they possess a larger variety and (in my view) more charm.

As for horological heroes: mine are Jean-Antoine Lépine and Abraham-Louis Breguet. Despite being masters of mechanical engineering, they perceived watches to be art objects more than timing instruments. I find myself exhibiting similar thinking.

In light of your continued engagement online and in the forums, how would you say the tastes of indie watch collectors in Greater China have changed in the past 5-6 years?

I’d say that the character of independent watch collectors is as diverse as independent watchmakers themselves - each collector being absolutely unique. More than nationality, the variance you get between each individual feels significant.

Broadly speaking however, it appears to me that collectors of independents in China tend to maintain a relatively discrete profile. There are a number of people who possess extensive and diverse watch collections ; yet they choose not to exhibit this on the internet.

Editor's note: Logan has provided all the visuals, including the hero image, for this story"]]></description>
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<item rdf:about="https://www.lkrwatches.com/">
    <title>LKR - Logan Kuan Rao</title>
    <dc:date>2025-05-18T04:47:30+00:00</dc:date>
    <link>https://www.lkrwatches.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Logan Kuan Rao has been passionate about antique pocket watches and wristwatches since his student days. Unsatisfied with merely purchasing timepieces, he began teaching himself watchmaking while studying Materials Science and Engineering at Imperial College London. He later pursued Product Design at the Royal College of Art.

Now based in Guangzhou, he operates his own independent watchmaking studio—a one-person workshop where he single-handedly oversees the entire process, from design and prototyping to manufacturing, quality control, finishing, and assembly. His approach to watchmaking diverges from industry conventions, embracing a unique and unconventional methodology."

[See also:
https://www.instagram.com/logan_kuan_rao/ ]]]></description>
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    <title>An Undiscovered Gem of Chinese Watchmaking - YouTube</title>
    <dc:date>2025-05-17T18:49:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=z5kRdkKgiyo</link>
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<item rdf:about="https://monochrome-watches.com/just-because-logan-kuan-rao-double-detent-escapement-prototype-unique-piece-chinese-indepenent-watchmaker/">
    <title>Just Because: Logan Kuan Rao Doubles Down On The Detent Escapement</title>
    <dc:date>2025-05-15T17:34:02+00:00</dc:date>
    <link>https://monochrome-watches.com/just-because-logan-kuan-rao-double-detent-escapement-prototype-unique-piece-chinese-indepenent-watchmaker/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["However magical and desirable it may look, this one is literally unobtainable..."]]></description>
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<item rdf:about="https://www.the-hinternet.com/p/here-come-the-allodidacts">
    <title>Here Come the Allodidacts - by William Deresiewicz</title>
    <dc:date>2025-03-10T00:55:21+00:00</dc:date>
    <link>https://www.the-hinternet.com/p/here-come-the-allodidacts</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Deep Reading with Ena Alvarado, Franklin Eccher, Brian Hamilton, Benjamin Laufer, Gabriella Okigbo, and Caroline Young"

...

"So there it is. Not long after I returned from this blessed experience, which felt like it added five years to my life, I had a phone call with a recent Deep Springs student who is interested in founding an alternative educational institution of his own. In paraphrasing back to me what I was telling him about the Center, he used the words “adult education” — as a neutral description, but the phrase flashed out at me. Because of course it’s also used by universities to designate a kind of off-brand version of their product, lesser courses for lesser students (less equipped, less bright), whereas what we’re doing is the opposite: something better, for students who are better, something more genuinely intellectual, existential, humanistic than is offered now not just to college but to doctoral students, for individuals who are more serious about all of those things.

The death of the humanities, at least in the academy, is real. On a recent episode of Eminent Americans, Daniel Oppenheimer’s podcast, Julianne Werlin, an assistant professor of English at Duke, reported that enrollments in her department have dropped by three quarters over the last twenty years. Shakespeare now gets 12-15 students. Her survey in the history of tragedy had five this year. The course in the Romantics used to be a lecture that attracted 60-70. Now, “it’s not clear you can run a class in Romantic poetry at a place like Duke.” Colleges and universities are not going away, as some insist, but their humanities departments might.

So it’s no surprise that founding alternative educational institutions is something that a lot of people are doing these days. I've started to construct a mental map of this expanding terrain. In one region is the new flock of microcolleges created on the Deep Springs model, including Outer Coast, in Sitka, Alaska (which Frank helped launch). In another are short-course programs like The Catherine Project, the Brooklyn Institute, the Zephyr Institute, and others. Over here are the reading groups recently started by public figures like Yascha Mounk, Ted Gioia, and Matthew Crawford. Over there are the salons and speakers’ series run by various little magazines and independent bookstores.

All this is pretty great —the nucleus, one hopes, of a new humanistic infrastructure— but there’s a problem, and it’s been nagging at me for a while. At this point, all of these initiatives are parasitic on the academy. Nearly everyone who has taught, is slated to teach, or is on our growing list of those who might teach at the Matthew Strother Center has an advanced degree. The same is surely true of all the other programs I just enumerated. If the academic humanities really do collapse, or even only if the most committed readers continue to abandon them in disgust, how will this nascent ecosystem replenish itself? Can it expand to the point where it becomes self-sustaining, a community of autodidacts —or rather, allodidacts— standing hand-in-hand?

I look at all the ferment happening outside of mainstream institutions elsewhere in the culture (on Substack, for instance), and I think, it might —it just, goddammit, might."]]></description>
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<item rdf:about="https://torontolife.com/memoir/nancy-dutra-high-school-drop-out-libraries-self-taught/">
    <title>“I dropped out of high school due to ADHD and depression. Public libraries saved my life—and now I’m getting my master’s degree” - Toronto Life</title>
    <dc:date>2024-07-19T18:28:51+00:00</dc:date>
    <link>https://torontolife.com/memoir/nancy-dutra-high-school-drop-out-libraries-self-taught/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nancy Dutra found refuge in local libraries, self-teaching her way to a GED, a bachelor’s degree and now graduate school"
]]></description>
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    <title>research as leisure activity - by Celine Nguyen</title>
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    <link>https://www.personalcanon.com/p/research-as-leisure-activity</link>
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<item rdf:about="https://www.nytimes.com/2024/01/18/fashion/watches-logan-kuan-rao-china.html">
    <title>He Makes Watches by Hand in China - The New York Times</title>
    <dc:date>2024-01-19T17:52:52+00:00</dc:date>
    <link>https://www.nytimes.com/2024/01/18/fashion/watches-logan-kuan-rao-china.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It is hard to get parts and materials in China, but Logan Kuan Rao has persevered.

...

When it comes to watchmaking, Logan Kuan Rao is motivated by a Chinese proverb that, loosely translated, says your character is shaped by your environment.

And by another, much less philosophical phrase: Made in China.

Both have been on his mind recently as Mr. Rao, an independent watchmaker based in China’s southern port city of Guangzhou, completed the first piece of his second design, called the Wuwei. It took time, but he has worked out how to use limited resources to make the watch, a 37.5-millimeter time-only mechanical piece, almost entirely by hand.

“Wuwei is a Taoist philosophical concept, not strictly defined, that means nondoing,” he said. “I’m only focusing on the design of the movement, the atmosphere, the shape, the parts in the movement. It’s a way of honoring the mechanical design.”

Mr. Rao, 27, hopes to complete another one or two Wuweis in the next few months. And now that he has honed the process, he intends to deliver 10 a year.

The past decade has been something of a horological journey, Mr. Rao said.

“I started learning watchmaking about 10 years ago in high school, when I was in a Chinese watchmakers’ forum, and I started collecting cheap Chinese-made watches,” he said. “Then, I started to collect vintage watches, and I developed a very niche taste. But the watches were too expensive. So, I decided to try to make one for myself.”

That led him to YouTube videos and books such as “The Watch Repairer’s Manual” by Henry B. Fried, first published in 1949, and “Watchmaking,” by George Daniels, initially published in 1981.

By 2017, he had introduced two prototypes of the Orca, his first timepiece, a 37.5-millimeter time-only model with a 42-hour power reserve.

The Orca’s design made a bit of a splash in the watch world, with the movement part called the wheel train bridge shaped to match the whale’s silhouette. It is visible on the case back, which was finished with the striped and textured engraving pattern traditionally called Côtes de Genève, a design that resembles ocean waves.

He made many of the Orca’s parts but ordered others, including the movement, from a watch manufacturer in the northern Chinese city of Tianjin.

“When I designed the Orca, I wanted to utilize the movement, to create a picture of the Orca jumping out of the water,” Mr. Rao said. “I wanted to give some meaning of the pure decorative things. But now I don’t need to give those things any meaning. So, I got rid of them and focused on the mechanics.”

His change of focus came while he was a student in London. (He earned a bachelor’s degree in materials science in 2018 from Imperial College and then attended the Royal College of Art for nine months in 2018 and 2019.)

During his studies, he went to the London Metropolitan Archives to see the records left by Mr. Daniels, who died in 2011. The English watchmaker is considered by many to be one of the greatest horologists of the 20th century — and Mr. Rao was inspired by the simplicity of his designs.

At the time, he already was working on the Wuwei, but he still hadn’t perfected his first creation. “In 2017, I promised that I would deliver the Orca by 2019,” he said, “but two years went by quickly, and it took me until 2021 to create the first one.” (He completed its limited edition of nine pieces late last year.)

Mr. Rao said he underestimated the difficulty of meeting his own timetable but used that knowledge in building the Wuwei. He made all its parts except for the shock absorber; the rubies, which reduce friction; the hair spring, which helps control accuracy; and the main spring, which coils when the watch is wound and, as it unwinds, provides the energy to run the time-keeping process. “I even grind the glass myself,” he said.

But living and working in China has meant limited access to watchmaking parts and tools. For example, he said, there is no supplier of calibers and movements.

“In Switzerland, if you want to put a watch together, it’s like Lego bricks,” he said. “You put a piece from one company here and another one there. But in China, it’s like carving wood or stone from scratch. I don’t have access to suppliers who are willing to send small orders.”

This led him to find creative ways to utilize the machines he had access to.

“For example, I have a precision lathe that is used to manufacture some cylindrical parts on radar antennas,” he said. “The size and precision requirements are similar to a watch case, so I use it to make my watch case and crown. Another pantograph milling machine was originally used to create injection molds; now I use it to rough-machine movement plates and fabricate jigs and fixtures.”

The Orca, made in 18-karat white gold, is priced at 125,000 Chinese renminbi, or $17,580; the Wuwei, in 18-karat yellow gold, is 245,000 renminbi. Mr. Rao sells through Instagram, WeChat, email and his workshop in Guangzhou.

Zepo Yang, a watch collector in Shanghai, had bought the first Wuwei and received it in November.

He said Mr. Rao’s creation had a particular appeal. “He designs and then makes the watch from scratch, and he’s completely self-taught, which is all part of the attraction,” Mr. Yang said. “I think Logan’s watches are destined to be appreciated by only a select few. Today’s independent watchmaking puts too much emphasis on the decorative finishing in the movement. I like the rawness of Logan’s work.”

That rawness is at the heart of what Mr. Rao is doing now — a true riff on “Made in China,” he said.

“It makes no sense to import parts from Switzerland and then export my watch to other countries,” he added. “I’m not the middleman. I’m the whole process.”"

[archived:
https://archive.is/ANWdy

see also:
https://monochrome-watches.com/interview-independent-watchmaker-chinese-china-logan-kuan-rao-orca-iceberg-wuwei-equal-push-escapement/

https://www.instagram.com/logan_kuan_rao/ ]]]></description>
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<item rdf:about="https://podcasts.apple.com/us/podcast/nota-al-calce-171-ni-dios-ni-amo-ft-jorell-a-mel%C3%A9ndez-badillo/id1373561170?i=1000632567226">
    <title>Plan de Contingencia: Nota al Calce 171: &quot;Ni dios ni amo&quot; ft Jorell A. Meléndez Badillo on Apple Podcasts</title>
    <dc:date>2023-10-27T21:32:12+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/nota-al-calce-171-ni-dios-ni-amo-ft-jorell-a-mel%C3%A9ndez-badillo/id1373561170?i=1000632567226</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En la historia de Puerto Rico el anarquismo ha sido un tema marginal a pesar de su importancia en la formación del movimiento obrero. Junto al profesor y sociólogo Gary Gutiérrez, nos sentamos con el profesor Jorell Meléndez Badillo, estudioso del anarquismo, para conversar sobre sus orígenes y su desarrollo en Puerto Rico.

Plan de Contingencia es un podcast producido en Puerto Rico por Esteban Gómez y Guarionex Padilla donde discutimos temas de actualidad nacional e internacional."

[Also here:

https://open.spotify.com/episode/3OuBhdyuQwTUxPP8eGaqra

https://podcasters.spotify.com/pod/show/plan-de-contingencia/episodes/Nota-al-Calce-171-Ni-dios-ni-amo-ft-Jorell-A--Melndez-Badillo-e2b19gd ]]]></description>
<dc:subject>via:javierarbona anarchism history plandecontingencia labor workers work organizing estebangómez garygutiérez jorellmeléndezbadillo puertorico palestine israel media socialmedia counternarrative solidarity colonialism colonization endtimes messias protestantism evangelicalchristians deathcults christianity religion catholicism liberation antisemitism zionism occupation settlers settlements settlercolonialism iraq authority authoritarianism josephproudhoun canons marxism socialism order trotsky collectivism hierarchy horizontality power noamchomsky leninism stalinism maoism mikhailbakunin class state mutualaid internationalism praxis malatesta libertarianism capitalism anticapitalism society economics individualism neoliberalism alexandriaocasio-cortez argentina anarcho-capitalism eurocentrism decolonization ideology javiermilei rousseau zapatistas ezln indigeneity indigenous spain españa latinamerica racialcapitalism france us uruguay cuba haiti dominicanrepublic revolution unions luisacapetillo m</dc:subject>
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<item rdf:about="https://monochrome-watches.com/interview-independent-watchmaker-chinese-china-logan-kuan-rao-orca-iceberg-wuwei-equal-push-escapement/">
    <title>Discovering The Work Of Chinese Indie Watchmaker Logan Kuan Rao</title>
    <dc:date>2023-09-28T17:47:31+00:00</dc:date>
    <link>https://monochrome-watches.com/interview-independent-watchmaker-chinese-china-logan-kuan-rao-orca-iceberg-wuwei-equal-push-escapement/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Coming from the Middle Kingdom, Logan Kuan Rao's watches are alomost entirely made by hand."

[See also:
https://www.instagram.com/logan_kuan_rao/

https://www.nytimes.com/2024/01/18/fashion/watches-logan-kuan-rao-china.html
https://archive.is/ANWdy ]
]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=LxWZnVgfpcs">
    <title>No Data Plan: A Conversation with Miko Revereza - YouTube</title>
    <dc:date>2023-09-18T04:00:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=LxWZnVgfpcs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Join Miko Revereza to discuss his film No Data Plan. Since moving to Los Angeles from Manila with his family, Revereza has lived in the United States illegally for over twenty-five years. Filmed on a cross-country train ride from Los Angeles to New York, No Data Plan is an experimental, diary-like documentary that was named among the best films of 2019 by Hyperallergic and BFI Sight and Sound. Revereza narrates the history of his family and reflects on his own anxiety during the current administration’s immigration crackdown as he films the claustrophobic interior of the train, the wide-open American landscape flowing by, and the people he meets along the way."

[high school in Fremont:
https://en.wikipedia.org/wiki/American_High_School_(California) ]]]></description>
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    <title>Imagina a un anarquista - YouTube</title>
    <dc:date>2023-08-10T06:53:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=5Llg4BoDBVU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El anarquismo es un universo ideológico complejo y en Chile ha tenido una larga tradición, que ha estado ligada, más que a la violencia, a la solidaridad, al feminismo y al desarrollo cultural. Este capítulo es sobre anarquismo y, más precisamente, anarquismos. Sobre su historia en Chile y su presente. Participa el historiador Eduardo Godoy, autor del libro Llamaradas de rebelión: breve historia del anarquismo en Chile, 1890-2000 (Eleuterio, 2020); el músico y diseñador Joaquín Contreras, vocalista de la banda Marcel Duchamp; y Slavia Maggio, parte de Editorial Eleuterio, sello dedicado a la difusión del pensamiento ácrata."]]></description>
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<item rdf:about="https://stanfordmag.org/contents/out-of-the-ordinary">
    <title>Out of the Ordinary: For one longshoreman, ideas were everything. (on Eric Hoffer) | STANFORD magazine</title>
    <dc:date>2022-12-30T22:52:26+00:00</dc:date>
    <link>https://stanfordmag.org/contents/out-of-the-ordinary</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["He never attended school. Hoffer was born in the Bronx in 1902 to working-class German immigrants. He learned to read German and English before age 5, but his mother died when he was 7, and shortly afterward he went blind—presumably for psychological reasons. Unaccountably, he regained vision eight years later. From then on, Hoffer devoured every book he could get his hands on, starting with Dostoyevsky’s The Idiot. After his father died in 1920, he moved to California.

Wherever he went as a migrant worker, he would take a room “halfway between the books (library) and the girls (brothels),” as James T. Baker reports in Eric Hoffer (Twayne, 1982). Hoffer called his library cards his “credit cards” and accumulated dozens up and down the state. He would copy favorite book passages on index cards, storing many of them in an old card-catalog drawer that now sits in the archives."

...

"In the late 1930s, Hoffer started keeping diaries. At Hoover, the transcriptions of Notebooks 1 through 52 fill 1,200 typewritten pages and offer a window on his preoccupations. From Notebook 2: “Is there a specific situation which stimulates an interest in politics and another situation which stirs interest in economic problems? The question is: Given a person who has neither political nor economic rights, what would he crave first?”

Rejected from service in World War II for medical reasons, Hoffer settled permanently in San Francisco in 1941 and became a longshoreman. In his tiny McAllister Street apartment, on a board laid across two chairs, he wrote his best-known book, The True Believer (Harper & Row, 1951), a study of mass movements and the psychology of those who join them. The Hoover collection includes his first penciled outline as well as the full text handwritten in ink.

Some of Hoffer’s thoughts seem eerily apt these days. “A mass movement attracts and holds a following not because it can satisfy the desire for self-advancement, but because it can satisfy the passion for self-renunciation,” he wrote. “Faith in a holy cause is to a considerable extent a substitute for the lost faith in ourselves. . . . When our individual interests and prospects do not seem worth living for, we are in desperate need of something apart from us to live for.” Quoting Pascal, he adds that for a doctrine to attract the true believer, it must be “contrary to nature, to common sense and to pleasure.”"]]></description>
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<item rdf:about="https://www.hoover.org/research/longshoreman-philosopher">
    <title>The Longshoreman Philosopher | Hoover Institution The Longshoreman Philosopher</title>
    <dc:date>2022-12-30T22:49:54+00:00</dc:date>
    <link>https://www.hoover.org/research/longshoreman-philosopher</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Eric Hoffer’s papers in the Hoover Archives run to many thousands of pages and include journals that have never been published. Hoover media fellow Tom Bethell examines the trove."

...

"The year of his birth, usually given as 1902, was almost certainly 1898 (Lili Osborne accepts this as the more likely date). Hoffer’s parents came to the United States from Alsace, and Hoffer himself spoke with a German accent throughout his life. He never left the United States except for a few hours’ excursion at the Mexican border. Perhaps the most pro-American public philosopher of his day, Hoffer never had a passport and his birth certificate has not been located.

Nothing about his early life has been independently verifiable. His own recollections are the sole source of all that we know. His parents left no documentary trace; he had no brothers or sisters; he attended no school; and the German immigrant Martha Bauer, his surrogate mother after Elsa Hoffer’s early death, returned to Germany around 1920." 

...

"Other than the Social Security application, there is no known official record of Hoffer’s existence before he moved to San Francisco in 1941. A remarkable feature of Hoffer’s life is that (accepting the 1898 birth date as correct) he was already 53 years old when The True Believer catapulted him into the public eye."]]></description>
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    <title>Self-taught Designer Marguerita Mergentime Literally Brought Modernism to the Table in America – Eye on Design</title>
    <dc:date>2022-06-04T17:54:23+00:00</dc:date>
    <link>https://eyeondesign.aiga.org/self-taught-designer-marguerita-mergentime-literally-brought-modernism-to-the-table-in-america/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["People once flocked to see her typographic textiles and bought her work by the armload—so why don’t you know who she is?"]]></description>
<dc:subject>margueritamergentime design modernism 2022 madeleinemorley typography graphicdesign textiles autodidacts autodidactism</dc:subject>
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<item rdf:about="https://www.maggisimpkins.com/">
    <title>Maggi Simpkins</title>
    <dc:date>2022-02-15T19:52:24+00:00</dc:date>
    <link>https://www.maggisimpkins.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Maggi Simpkins is a multi-disciplinary artist and woman.

For the past decade, Maggi has created distinctive, dramatic, commissioned pieces that leverage fine metals and precious gemstones. With an emphasis on storytelling, she is best known for her narrative-driven engagement rings and future family heirlooms. In order to infuse the spirit of the individual, she sits with her clients extracting their stories and capturing the unique romance of each person. Every single item is a personal, hands-on, front row seat experience. Her love for fine jewelry stems from the idea that each piece of jewelry holds the story of the wearer. She believes that when jewelry is passed down it helps keep stories and memories alive- and that those stories are ultimately what gives each piece it’s inherent value. 

Maggi Simpkins was born in Portland, Oregon where she grew up in an artistic home. She has no traditional training in fine art or jewelry- and instead describes her connection to creation simply as a lifestyle- one she learned early on from her parents. Her creative process is 100% intuitive. Whether it’s a piece of jewelry, apparel, an object, interior or landscape design, everything she creates begins with a simple sketch in her sketchbook. 

Maggi currently designs from her studio in Los Angeles."

[via
https://www.hodinkee.com/articles/jewelry-designer-maggi-simpkins-finds-power-in-her-grandmothers-cartier-tank ]]]></description>
<dc:subject>maggisimpkins art design craft jewelry creativity autodidacts training bespoke stories objects storytelling autodidactism</dc:subject>
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    <title>A Guide to Getting an Education Without Going to College</title>
    <dc:date>2020-08-18T00:48:47+00:00</dc:date>
    <link>https://www.vice.com/en_us/article/pkyv4n/guide-to-getting-education-without-college</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sharpen your pencils and get ready to teach yourself everything you want to know, minus the exorbitant tuition fees."]]></description>
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    <title>David Epstein on the Genius of the Self-Taught Musician | Literary Hub</title>
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<item rdf:about="https://www.e-flux.com/architecture/superhumanity/68717/spaces-of-the-learning-self/">
    <title>Spaces of the Learning Self - e-flux Architecture - e-flux</title>
    <dc:date>2019-11-28T20:38:52+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/superhumanity/68717/spaces-of-the-learning-self/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the 2015 UNESCO-sponsored policy paper entitled “The Futures of Learning,” notions such as “active learner,” “metacognitive development” and “participatory learning” are abound. The most important, however, seems to be the “personalization” and “customization” of learning, or even “learner-designed learning.” As if copy-pasted from Van der Ryn’s 1969 tract, the advice reads as follows: “With personalized learning, individuals approach problems in their own way, grasp ideas at their own pace, and respond differently to multiple forms of feedback.” Neuroscience research is cited to the effect that instead of preparing “lessons” (so old school), the task of a instructor should be “designing project-based forms of learning.” This proposition rests on the assumption that learners improve better on “core subject matter” and benefit from emphasis on “depth over breadth” when learning in a personalized environment. “Instructional design” is presumed to become the central agency of such infinitely customized collaborative pedagogy. The key instructional designer, however, is going to be the learner herself, equipped with networked hand-held devices: “Future learning processes will inevitably take place in environments in which learners select their own modes of learning and bring personal technologies into education,” thereby dissolving not only any difference between formal and informal learning, but also between inner and outer, psychic and physical spatialities of learning.

This exit from the old systems and architectures of both education and class and enter into mobile learning capsules, however they may be defined, has been a political project and designer’s dream since at least the 1960s. Yet considering Didier Eribon’s self-critical account of class flight into self-organized learning, Ruth Lakofski’s appreciation of the bag lady’s mode of spatializing her “exploring soul,” or Sim Van der Ryn’s proposals for an education revolution based on radical individualism, the vista of “pedagogy 2.0” and lifelong personalization (read: commodification) as is promoted today is truly disheartening. That said, the self still waits to be designed. Improved enclosures for enhanced learning experiences will be proposed, with no end in sight. The paradox of programmed autodidactism and the responsibilization of the neoliberal subject to watchfully manage their own lifelong learning curriculum will stimulate the knowledge industry of instructional design schemes. It might thus be convenient to recall what Ivan Illich, author of the influential 1971 Deschooling Society, self-critically wrote in retrospect when he called for “the reversal of those trends that make of education a pressing need rather than a gift of gratuitous leisure.” Drug-like addiction to education, Illich bemoaned, would make “the world into a universal classroom, a global schoolhouse.” Something surely to be avoided, at all cost."]]></description>
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    <link>http://scratchingthesurface.fm/post/177011550585/88-dan-hill</link>
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<item rdf:about="https://www.bbc.co.uk/programmes/b098n8z9">
    <title>BBC Radio 4 - Pick a Sky and Name It</title>
    <dc:date>2018-07-04T18:51:33+00:00</dc:date>
    <link>https://www.bbc.co.uk/programmes/b098n8z9</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How did Momtaza Mehri go from net savvy 6th former to successful millennial poet?

A house belonging to her grandmother is the closest poet Momtaza Mehri has ever come to having a permanent home. Aside from summer months in London, Momtaza's family picked its way across the Middle East.

"Then I just realise, I'm having this typical Somali experience where we're literally going to the places that would be considered the bad 'hoods."

Across a sea, another gulf, was the country her parents no longer called home.

Talking with her mother, Momtaza revisits the childhood experiences that shaped her outlook and her coming of age as a millennial poet.

Poetry extracts are taken from:
I believe in the transformative power of cocoa butter and breakfast cereal in the afternoon
Manifesto for those carrying dusk under their eyes
The Sag
Shan
Wink Wink
November 1997

"The internet just switched up the entire game," Momtaza says.

Producer: Tamsin Hughes
A Testbed production for BBC Radio 4."]]></description>
<dc:subject>momtazamehri poets poetry poems howwelearn online internet web blogging autodidacts somalidiaspora tamsinhughes 2018 interviews radio profiles somalia middleeast london experience childhood dubai mogadishu civilwar tumblr publishing howwewrite freedom autodidactism</dc:subject>
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<item rdf:about="https://www.juxtapoz.com/news/film/red-bull-arts-new-york-produces-rammellzee-it-s-not-who-but-what-examining-the-groundbreaking-artist/">
    <title>Juxtapoz Magazine - Red Bull Arts New York Produces “RAMMELLZEE: It’s Not Who But What,” Examining the Groundbreaking Artist</title>
    <dc:date>2018-06-03T03:41:07+00:00</dc:date>
    <link>https://www.juxtapoz.com/news/film/red-bull-arts-new-york-produces-rammellzee-it-s-not-who-but-what-examining-the-groundbreaking-artist/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Elaborating on the ornate and abstract visual language of wild style graffiti, Rammellzee decided to create his own Alphabet, arming the letter for assault against the tyranny of our information age. A visionary, polymath and autodidact, Rammellzee infused urban vernacular with a complex and hermeneutic meta-structure that was informed equally by the illuminated manuscripts of the Middle Ages, the history of military strategy and design, radical politics and semiotics.

A persistent and formidable figure in New York’s Downtown scene since he moved from his childhood home in the Rockaways and relocated to a studio in Tribeca in the late ’70s, Rammellzee garnered a legion of followers (notably including A-One, Toxic and Kool Koor) to his school of Gothic Futurism and stormed public consciousness with his performances in films like Charlie Ahearn’s Wild Style and Jim Jarmusch’s Stranger Than Paradise. His most famous collaboration, however, was with his one-time friend and life-long nemesis Jean-Michel Basquiat, who immortalized him in his masterwork Hollywood Africans and produced Rammellzee’s signature single “Beat Bop,” releasing it on his own label, Tar Town Records. To this day, it is considered one of the foundational records of hip hop. After enjoying much success in the art world in the ’80s, Rammellzee would turn his back on the gallery system and spend the rest of his life producing the Afrofuturist masterpiece The Battle Station, in his studio loft.

Guided by his treatise on “Ikonoklastik Panzerism,” the first manifesto he wrote while still a teen, Rammellzee was at once the high priest of hip hop and a profoundly Conceptual artist. In his expansive cosmology, born of b-boy dynamics, the wordplay of rap and the social trespass of graffiti, Rammellzee inhabited multiple personae in an ongoing performance art where identity and even gender became fluid and hybrid. Over the past two decades of his life, increasingly focused on his studio practice, he created a mind-blowing universe of Garbage Gods, Letter Racers, Monster Models and his surrogate form, the vengeful deity of Gasolier. Though his art, working with toxic materials, and lifestyle brought about an early death in 2010, his ideas and art remain a legacy we’ll be trying to figure out for generations to come. —Carlo McCormick"

[video on YouTube: https://www.youtube.com/watch?v=PjAfVHSeIvY ]

[See also:

"The Spectacular Personal Mythology of Rammellzee"
https://www.newyorker.com/magazine/2018/05/28/the-spectacular-personal-mythology-of-rammellzee

"The Rammellzee universe"
https://boingboing.net/2018/05/23/the-rammellzee-universe.html

"Art Excavated From Battle Station Earth" (2012)
https://www.nytimes.com/2012/02/26/arts/design/rammellzees-work-and-reputation-re-emerge.html

http://redbullartsnewyork.com/exhibition/rammellzee-racing-thunder/press/
https://en.wikipedia.org/wiki/Rammellzee ]]]></description>
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<item rdf:about="https://45minuteradiohour.libsyn.com/52-john-michael-greer-in-the-polymath-druidry-storytelling-the-history-of-the-occult">
    <title>OCCULTURE: 52. John Michael Greer in “The Polymath” // Druidry, Storytelling &amp; the History of the Occult</title>
    <dc:date>2018-02-26T04:38:42+00:00</dc:date>
    <link>https://45minuteradiohour.libsyn.com/52-john-michael-greer-in-the-polymath-druidry-storytelling-the-history-of-the-occult</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The best beard in occultism, John Michael Greer, is in the house. We’re talking “The Occult Book”, a collection of 100 of the most important stories and anecdotes from the history of the occult in western society. We also touch on the subject of storytelling as well as some other recent material from John, including his book “The Coelbren Alphabet: The Forgotten Oracle of the Welsh Bards” and his translation of a neat little number called “Academy of the Sword”."

…

"What you contemplate [too much] you imitate." [Uses the example of atheists contemplating religious fundamentalists and how the atheists begin acting like them.] "People always become what they hate. That’s why it's not  good idea to wallow in hate."]]></description>
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<item rdf:about="http://www.selftaughtmovie.com/">
    <title>Self-Taught</title>
    <dc:date>2018-02-23T18:44:37+00:00</dc:date>
    <link>http://www.selftaughtmovie.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What happens to those kids who didn’t go to school or experienced non-traditional educations once they become adults? Are they “successful” in life? Can they get into college if they choose to follow that route? How do they make a living, get jobs or start their own businesses? And how do they define success for themselves?

Self-Taught will follow a number of adult self-directed learners as they go about their lives. We will immerse ourselves in their daily activities to see how they make a living, and how they feel about it. The questions guiding this film will explore how these individuals measure their success, and if they feel their non-traditional education helped or hindered them as adults.
Throughout the film, we’ll also hear from experts with extensive experience in child development, psychology, brain science and education and delve into what it means to be a self-directed learner, and we’ll examine the differences between extrinsic and intrinsic motivation and how that guides our choices through life."]]></description>
<dc:subject>self-directed self-directedlearning unschooling learning howwelearn documentary film towatch jeremystuart motivation life living deschooling education autodidacts autodidactism</dc:subject>
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<item rdf:about="http://www.intellectualtakeout.org/blog/education-used-happen-outside-school">
    <title>Education Used to Happen Outside of School | Intellectual Takeout</title>
    <dc:date>2017-05-30T01:24:29+00:00</dc:date>
    <link>http://www.intellectualtakeout.org/blog/education-used-happen-outside-school</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Prior to passage of America's first compulsory schooling statute, in Massachusetts in 1852, it was generally accepted that education was a broad societal good and that there could be many ways to be educated: at home, through one's church, with a tutor, in a class, on your own as an autodidact, as an apprentice in the community--and often all of the above.

Even that first compulsory schooling statute only mandated school attendance for 12 weeks of the year for 8-14 year olds--hardly the childhood behemoth it has become. 

Acknowledging that schooling is only a singular model of education opens up enormous possibilities for learning. Looking to successful education models of the past and present, we can imagine what the varied and vibrant future of education could be.

In earlier generations, individuals and groups often created dynamic learning communities all on their own, without coercion. The esteemed thinker, Noam Chomsky, references the rich and varied ways in which people learned prior to the onslaught of mass schooling. He states:

"I grew up in the Depression. My family was a little, I'll say employed working class, but a lot of them never went to school in the first grade, but [were familiar with] very high culture. The plays of Shakespeare in the park, the WPA performances, concerts, and it's just part of life. The union had worker education programs and cultural programs. And high culture was just part of life. Actually, if you're interested, there's a detailed scholarly study of working class people in England in the 19th century and what they were reading, and it's pretty fabulous. It turns out that they didn't go to school, mostly. But they had quite a high level of culture. They were reading contemporary literature and classics. In fact, the author concludes finally that they were probably more educated than aristocrats."

The scholarly study that Chomsky alludes to is Jonathan Rose's book, The Intellectual Life of the British Working Class. In the preface, Rose writes that "the roots of that autodidact culture go back as far as the late middle ages. It surged again in the nineteenth century... Thereafter, the working-class movement for self-education swiftly declined, for a number of converging reasons." 

A main reason was the rise of compulsory schooling mandates in Europe and in the U.S., and the corresponding shift in education provided by individuals, families, and local community groups to the obligation of the state. Since then, schooling and education have become inextricably linked, with mixed results.

For example, the literacy rate in Massachusetts in 1850, just prior to passage of that first compulsory schooling statue, was 97 percent.[i] According to the National Center for Education Statistics, the Massachusetts adult literacy rate in 2003 was only 90%. Nationwide, the literacy rate today stands at 86 percent.

Like cars are to transportation, schooling is a ubiquitous and popular mode of education. But it is not the only one. There are many ways to learn, to be educated, particularly as technology and information become increasingly accessible.

The power of technology and the Internet to propel learning without schooling is documented in extensive research by Dr. Sugata Mitra and his colleagues. In one study of their "hole in the wall" experiments, Mitra presents compelling findings on how children from disadvantaged backgrounds in 17 urban slum and rural areas across India used publicly available computers to gain literacy and computing skills on their own, without any adult interference or instruction.

The children, ranging in age from six to 14 years, acquired these skills at rates comparable to children in control groups who were taught in formal, teacher-directed classroom settings. Mitra and his colleagues define this self-education as “minimally-invasive education,” or MIE.

In further studies, Mitra and his colleagues revealed that these same poor, formerly illiterate children also taught themselves English and learned to read simply by having access to computers and the Internet in safe, public spaces within their villages. Mitra's powerful, award-winning 2013 Ted Talk about his "hole in the wall" experiments and findings is definitely worth a watch.

By disentangling schooling from education—to truly de-school our mindset about learning--we can create enormous potential for education innovation. Schooling is one mode of education; but there are so many others to explore and invent."]]></description>
<dc:subject>informallearning learning education unschooling deschooling schools kerrymcdonald homeschool sugatamitra literacy jonathanrose autodidacts self-directed self-directedlearning schooling history autodidactism</dc:subject>
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<item rdf:about="https://www.wired.com/2016/07/meet-moxie-marlinspike-anarchist-bringing-encryption-us/">
    <title>Meet Moxie Marlinspike, the Anarchist Bringing Encryption to All of Us | WIRED</title>
    <dc:date>2016-08-03T21:02:46+00:00</dc:date>
    <link>https://www.wired.com/2016/07/meet-moxie-marlinspike-anarchist-bringing-encryption-us/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Marlinspike isn’t particularly interested in a debate, either; his mind was made up long ago, during years as an anarchist living on the fringes of society. “From very early in my life I’ve had this idea that the cops can do whatever they want, that they’re not on your team,” Marlinspike told me. “That they’re an armed, racist gang.”

Marlinspike views encryption as a preventative measure against a slide toward Orwellian fascism that makes protest and civil disobedience impossible, a threat he traces as far back as J. Edgar Hoover’s FBI wiretapping and blackmailing of Martin Luther King Jr. “Moxie is compelled by the troublemakers of history and their stories,” says Tyler Rein­hard, a designer who worked on Signal. “He sees encryption tools not as taking on the state directly but making sure that there’s still room for people to have those stories.”

ASK MARLINSPIKE TO tell his own story, and—no surprise for a privacy zealot—he’ll often answer with diversions, mono­syllables, and guarded smiles. But anyone who’s crossed paths with him seems to have an outsize anecdote: how he once biked across San Francisco carrying a 40-foot-tall sailboat mast. The time he decided to teach himself to pilot a hot-air balloon, bought a used one from Craigslist, and spent a month on crutches after crashing it in the desert. One friend swears he’s seen Marlinspike play high-stakes rock-paper-scissors dozens of times—with bets of hundreds of dollars or many hours of his time on the line—and has never seen him lose.

But before Marlinspike was a subcultural contender for “most interesting man in the world,” he was a kid growing up with a different and far less interesting name on his birth certificate, somewhere in a region of central Georgia that he describes as “one big strip mall.” His parents—who called him Moxie as a nickname—separated early on. He lived mostly with his mother, a secretary and paralegal at a string of companies. Any other family details, like his real name, are among the personal subjects he prefers not to comment on.

Marlinspike hated the curiosity-killing drudgery of school. But he had the idea to try programming videogames on an Apple II in the school library. The computer had a Basic interpreter but no hard drive or even a floppy disk to save his code. Instead, he’d retype simple programs again and again from scratch with every reboot, copying in commands from manuals to make shapes fill the screen. Browsing the computer section of a local bookstore, the preteen Marlin­spike found a copy of 2600 magazine, the catechism of the ’90s hacker scene. After his mother bought a cheap desk­top computer with a modem, he used it to trawl bulletin board services, root friends’ computers to make messages appear on their screens, and run a “war-dialer” program overnight, reaching out to distant servers at random.

To a bored middle schooler, it was all a revelation. “You look around and things don’t feel right, but you’ve never been anywhere else and you don’t know what you’re missing,” Marlin­spike says. “The Internet felt like a secret world hidden within this one.”

By his teens, Marlinspike was working after school for a German software company, writing developer tools. After graduating high school—barely—he headed to Silicon Valley in 1999. “I thought it would be like a William Gibson novel,” he says. “Instead it was just office parks and highways.” Jobless and homeless, he spent his first nights in San Francisco sleeping in Alamo Square Park beside his desktop computer.

Eventually, Marlinspike found a programming job at BEA-owned Web­Logic. But almost as soon as he’d broken in to the tech industry, he wanted out, bored by the routine of spending 40 hours a week in front of a keyboard. “I thought, ‘I’m supposed to do this every day for the rest of my life?’” he recalls. “I got interested in experimenting with a way to live that didn’t involve working.”

For the next few years, Marlinspike settled into a Bay Area scene that was, if not cyberpunk, at least punk. He started squatting in abandoned buildings with friends, eventually moving into an old postal service warehouse. He began bumming rides to political protests around the country and uploading free audio books to the web of himself reading anarchist theorists like Emma Goldman.

He took up hitchhiking, then he upgraded his wanderlust to hopping freight trains. And in 2003 he spontaneously decided to learn to sail. He spent a few hundred dollars—all the money he had—on a beat-up 27-foot Catalina and rashly set out alone from San Francisco’s harbor for Mexico, teaching himself by trial and error along the way. The next year, Marlin­spike filmed his own DIY sailing documentary, called Hold Fast. It follows his journey with three friends as they navigate a rehabilitated, leaky sloop called the Pestilence from Florida to the Bahamas, finally ditching the boat in the Dominican Republic.

Even today, Marlinspike describes those reckless adven­tures in the itinerant underground as a kind of peak in his life. “Looking back, I and everyone I knew was looking for that secret world hidden in this one,” he says, repeating the same phrase he’d used to describe the early Internet. “I think we were already there.”

If anything can explain Marlinspike’s impulse for privacy, it may be that time spent off society’s grid: a set of experi­ences that have driven him to protect a less observed way of life. “I think he likes the idea that there is an unknown,” says Trevor Perrin, a security engineer who helped Marlinspike design Signal’s core protocol. “That the world is not a completely surveilled thing.”"

…

"Beneath its ultrasimple interface, Moxie Marlinspike’s crypto protocol hides a Rube Goldberg machine of automated moving parts. Here’s how it works.

1. When Alice installs an app that uses Marlinspike’s protocol, it generates pairs of numeric sequences known as keys. With each pair, one sequence, known as a public key, will be sent to the app’s server and shared with her contacts. The other, called a private key, is stored on Alice’s phone and is never shared with anyone. The first pair of keys serves as an identity for Alice and never changes. Subsequent pairs will be generated with each message or voice call, and these temporary keys won’t be saved.

2. When Alice contacts her friend Bob, the app combines their public and private keys—both their identity keys and the temporary ones generated for a new message or voice call—to create a secret shared key. The shared key is then used to encrypt and decrypt their messages or calls.

3. The secret shared key changes with each message or call, and old shared keys aren’t stored. That means an eavesdropper who is recording their messages can’t decrypt their older communications even if that spy hacks one of their devices. (Alice and Bob should also periodically delete their message history.)

4. To make sure she’s communicating with Bob and not an impostor, Alice can check Bob’s fingerprint, a shortened version of his public identity key. If that key changes, either because someone is impersonating Bob in a so-called man-in-the-middle attack or simply because he ­reinstalled the app, Alice’s app will display a warning."]]></description>
<dc:subject>moxiemarlinspike encryption privacy security 2016 2600 surveillance whatsapp signal messaging anarchists anarchism openwhispersystems tylerreinhard emmagoldman unschooling education learning autodidacts internet web online work economics life living lawenforcement autodidactism</dc:subject>
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<item rdf:about="https://vimeo.com/12008559">
    <title>Emile Norman - By His Own Design on Vimeo</title>
    <dc:date>2016-07-20T17:41:44+00:00</dc:date>
    <link>https://vimeo.com/12008559</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["EMILE NORMAN – BY HIS OWN DESIGN is a portrait of the self-taught California artist, Emile Norman, who, for 91 years, worked with the same passion for life, art, nature, and freedom that inspired him through seven decades of a changing art scene and turbulent times for a gay man in America."

[See also: https://en.wikipedia.org/wiki/Emile_Norman ]]]></description>
<dc:subject>emilenorman design art documentary sanfrancisco autodidacts artists film autodidactism</dc:subject>
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<item rdf:about="http://creativemornings.com/talks/jen-delos-reyes">
    <title>Jen Delos Reyes | Rethinking Arts Education | CreativeMornings/PDX</title>
    <dc:date>2015-01-10T04:41:42+00:00</dc:date>
    <link>http://creativemornings.com/talks/jen-delos-reyes</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video on YouTube: https://www.youtube.com/watch?v=vXWB7A1_zWA ]

"On the complex terrain of arts education today and expanded ways of valuing knowledge.

What should an arts education look like today? Can education change the role of artists and designers in society? How does teaching change when it is done with compassion? How does one navigate and resist the often emotionally toxic world of academia? With the rising cost of education what can we do differently?

Bibliography:

Streetwork: The Exploding School by Anthony Fyson and Colin Ward

Teaching to Transgress by bell hooks

Teaching Community: A Pedagogy of Hope by bell hooks

Education Automation: Comprehensive Learning for Emergent Humanity by Buckminster Fuller

Talking Schools by Colin Ward

Learning By Heart: Teachings to Free the Creative Spirit by Sister Corita Kent and Jan Steward

The Open Class Room by Herbert Kohl

Deschooling Society by Ivan Illich

Why Art Can’t Be Taught by James Elkins

Education and Experience by John Dewey

Freedom and Beyond by John Holt

Notes for An Art School edited by Manifesta 6

Black Mountain: An Exploration in Community by Martin Duberman

Teaching as a Subversive Activity by Neil Postman and Charles Weingartner

We Make the Road By Walking by Myles Horton and Paulo Friere

Education for Socially Engaged Art by Pablo Helguera

Rasberry: How to Start Your Own School and Make a Book by Sally Rasberry and Robert Greenway

This Book is About Schools edited by Satu Repo

Art School: (Propositions for the 21st Century) edited by Steven Henry Madoff"]]></description>
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<item rdf:about="http://abscond.org/2014/09/09/berg.html">
    <title>On BERG's hibernation</title>
    <dc:date>2014-09-10T04:08:51+00:00</dc:date>
    <link>http://abscond.org/2014/09/09/berg.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today BERG Cloud (Formerly BERG, formerly Schulze and Webb) announced it was shutting shop. I spent about 2 years all together working for or with BERG, so I wanted to share some thoughts on my time there. All of this is purely from my point of view, is not official, and I am certain the others would have differing opinions.

I never went to university, but after working with BERG on Mag+ my interest in interaction design grew. I nearly applied for the Copenhagen Institute of Interaction Design but when BERG offered me a full time position, my recurring theme of choosing experience over formal education got the better of me. And it was not a mistake.

To describe a company as a family is incredibly cheesy, but of everywhere I’ve worked it applies most to BERG. My favourite times were definitely on Scrutton Street, when the 13 (or there about) of us were squeezed into an office far too small for us. We had an airport express that anyone could play tunes on, and only one conversation could really happen at once. Of course there were times we would rub each other the wrong way, but one thing that never wavered was the immense respect I had for everyone.

This enabled us to work in a way I’ve never seen anywhere else, and what I half-jokingly dubbed ‘emotion driven development’. If Kanban is the more fluid state of a trusted and able team compared to scrum, then what we had was a step beyond that. We trusted in our own, and importantly each others, strong opinions and (this sounds cheesy again) feelings to drive us forward. This is probably a fragile and unscalable way of working, but without it, I think much of the work would be very different, and BERG wouldn’t have attracted the attention it did. We worked in a different way, and the work was often different because of it.

BERG had an interesting cult following. It certainly punched way above its weight in the design world for such a small company. It was able to create work that turned the heads of both the industry and mass audiences alike. One thing I was always impressed with was how easily new aesthetics were created, something that others spend entire careers developing was almost effortless to my colleagues. Making Future Magic (a project I had nothing to do with) perhaps most exemplifies this.

I am now focusing on working in the public sector, and I went into much detail as to why, but I will always miss my time at BERG. For me it will always feel like my university time; a time to spend learning and experimenting on what we found interesting with very few constraints.

For a group of people who were professionals on thinking about “what’s next”, I think we’re a bit knocked back as we truly don’t know what’s next. It’s an interesting (and scary in a very high up Maslow’s hierarchy kind of way) time. BERG was a major part of East London’s tech culture, and its demise is another blow to it. I imagine there are plenty of people wondering where their friends are going next. I know I am."

[See also: http://morning.computer/2014/09/for-berg-my-london-launchpad/ ]]]></description>
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<item rdf:about="http://www.poetryfoundation.org/bio/denise-levertov">
    <title>Denise Levertov : The Poetry Foundation</title>
    <dc:date>2014-07-30T19:02:32+00:00</dc:date>
    <link>http://www.poetryfoundation.org/bio/denise-levertov</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Because Levertov never received a formal education, her earliest literary influences can be traced to her home life in Ilford, England, a suburb of London. Levertov and her older sister, Olga, were educated by their Welsh mother, Beatrice Adelaide Spooner-Jones, until the age of thirteen. The girls further received sporadic religious training from their father, Paul Philip Levertoff, a Russian Jew who converted to Christianity and subsequently moved to England and became an Anglican minister. In the Dictionary of Literary Biography, Carolyn Matalene explained that "the education [Levertov] did receive seems, like Robert Browning's, made to order. Her mother read aloud to the family the great works of nineteenth-century fiction, and she read poetry, especially the lyrics of Tennyson. . . . Her father, a prolific writer in Hebrew, Russian, German, and English, used to buy secondhand books by the lot to obtain particular volumes. Levertov grew up surrounded by books and people talking about them in many languages." It has been said that many of Levertov's readers favor her lack of formal education because they see it as an impetus to verse that is consistently clear, precise, and accessible. According to Earnshaw, "Levertov seems never to have had to shake loose from an academic style of extreme ellipses and literary allusion, the self-conscious obscurity that the Provencal poets called 'closed.'"

Levertov had confidence in her poetic abilities from the beginning, and several well-respected literary figures believed in her talents as well. Gould recorded Levertov's "temerity" at the age of twelve when she sent several of her poems directly to T. S. Eliot: "She received a two-page typewritten letter from him, offering her 'excellent advice.' . . . His letter gave her renewed impetus for making poems and sending them out." Other early supporters included critic Herbert Read, editor Charles Wrey Gardiner, and author Kenneth Rexroth. When Levertov had her first poem published in Poetry Quarterly in 1940, Rexroth professed: "In no time at all Herbert Read, Tambimutti, Charles Wrey Gardiner, and incidentally myself, were all in excited correspondence about her. She was the baby of the new Romanticism. Her poetry had about it a wistful Schwarmerei unlike anything in English except perhaps Matthew Arnold's 'Dover Beach.' It could be compared to the earliest poems of Rilke or some of the more melancholy songs of Brahms.""

…

"Levertov's American poetic voice was, in one sense, indebted to the simple, concrete language and imagery, and also the immediacy, characteristic of Williams Carlos Williams's art. Accordingly, Ralph J. Mills Jr. remarked in his essay in Poets in Progress that Levertov's verse "is frequently a tour through the familiar and the mundane until their unfamiliarity and otherworldliness suddenly strike us. . . . The quotidian reality we ignore or try to escape, . . . Levertov revels in, carves and hammers into lyric poems of precise beauty." In turn, Midwest Quarterly reviewer Julian Gitzen explained that Levertov's "attention to physical details [permitted her] to develop a considerable range of poetic subject, for, like Williams, she [was] often inspired by the humble, the commonplace, or the small, and she [composed] remarkably perceptive poems about a single flower, a man walking two dogs in the rain, and even sunlight glittering on rubbish in a street." 

In another sense, Levertov's verse exhibited the influence of the Black Mountain poets, such as Robert Duncan, Charles Olson, and Robert Creeley, whom Levertov met through her husband. Cid Corman was among the first to publish Levertov's poetry in the United States in Origin in the 1950s. Unlike her early formalized verse, Levertov now gave homage to the projectivist verse of the Black Mountain era, whereby the poet "projects" through content rather than through strict meter or form. Although Levertov was assuredly influenced by several renowned American writers of the time, Matalene believed Levertov's "development as a poet [had] certainly proceeded more according to her own themes, her own sense of place, and her own sensitivities to the music of poetry than to poetic manifestos." Indeed, Matalene explained that when Levertov became a New Directions author in 1959, this came to be because editor James Laughlin had detected in Levertov's work her own unique voice."]]></description>
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<item rdf:about="https://www.academia.edu/7380841/_Fleeting_pockets_of_anarchy_Streetwork._The_exploding_school">
    <title>&quot;Fleeting pockets of anarchy&quot; Streetwork. The exploding school. | Catherine Burke - Academia.edu</title>
    <dc:date>2014-07-28T22:43:31+00:00</dc:date>
    <link>https://www.academia.edu/7380841/_Fleeting_pockets_of_anarchy_Streetwork._The_exploding_school</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Colin Ward (1924–2010) was an anarchist and educator who, together with Anthony Fyson, was employed as education officer for the Town and Country Planning Association in the UK during the 1970s. He is best known for his two books about childhood, The Child in the City (1978) and The Child in the Country (1988). The book he co-authored with Fyson, Streetwork. The Exploding School (1973), is discussed in this article as illustrating in practical and theoretical terms Ward’s appreciation of the school as a potential site for extraordinary radical change in relations between pupils and teachers and schools and their localities. The article explores the book alongside the Bulletin of Environmental Education, which Ward edited throughout the 1970s. It argues that the literary and visual images employed in the book and the bulletins contributed to the powerful positive representation of the school as a site of potential radical social change. Finally, it suggests that “fleeting pockets of anarchy” continue to exist in the lives of children through social networking and virtual environments that continue to offer pedagogical possibilities for the imaginative pedagogue."

…

"Paul Goodman’s work had particular relevance to the development of ideas expressed in Streetwork. Through his fiction, Goodman developed the idea of the “exploding school” which realised the city as an educator. Playing with the notion of the school trip as traditionally envisaged, he created an image of city streets as host to a multitude of small peripatetic groups of young scholars and their adult shepherds. This image was powerfully expressed in Goodman’s 1942 novel, TheGrand Piano; or, The Almanac of Alienation.

Ward quotes extensively from this novel in Streetwork because the imagery and vocabulary so clearly articulate a view of the city and the school that is playfully subversive yet imaginable. In a dialogue between a street urchin and a professor, Goodman has the elder explain:

<blockquote>this city is the only one you’ll ever have and you’ve got to make the best of it. On the other hand, if you want to make the best of it, you’ve got to be able to criticize it and change it and circumvent it . . . Instead of bringing imitation bits of the city into a school building, let’s go at our own pace and get out among the real things. What I envisage is gangs of half a dozen starting at nine or ten years old, roving the Empire City (NY) with a shepherd empowered to protect them, and accumulating experiences tempered to their powers . . . In order to acquire and preserve a habit of freedom, a kid must learn to circumvent it and sabotage it at any needful point as occasion arises . . . if you persist in honest service, you will soon be engaging in sabotage.</blockquote>

Inspired by such envisaged possibilities, Ward came to his own view of anarchism, childhood and education. Sabotage was a function of the transformational nature of education when inculcated by the essential elements of critical pedagogy. In this sense, anarchism was not some future utopian state arrived at through a once-and-for-all, transformative act of revolution; it was rather a present-tense thing, always-already “there” as a thread of social life, subversive by its very nature – one of inhabiting pockets of resistance, questioning, obstructing; its existence traceable through attentive analysis of its myriad ways and forms.

Colin Ward was a classic autodidact who sought connections between fields of knowledge around which academic fences are too often constructed. At the heart of his many enthusiasms was an interest in the meaning and making of space and place, as sites for creativity and learning."

…

"Fleeting pockets of anarchy and spaces of educational opportunity

The historian of childhood John Gillis has borrowed the notion of the “islanding of children” from Helgar and Hartmut Zeiher as a metaphor to describe how contemporary children relate, or do not relate, to the urban environments that they experience in growing up. Gillis quotes the geographer David Harvey, who has noted that children could even be seen to inhabit islands within islands, while “the internal spatial ordering of the island strictly regulates and controls the possibility of social change and history”. This could so easily be describing the modern school. According to Gillis, “archipelagoes of children provide a reassuring image of stasis for mainlands of adults anxious about change”.

Since the publication of  Streetwork, the islanding of childhood has increased, not diminished. Children move – or, more accurately, are moved – from place to place, travelling for the most part sealed within cars. This prevents them encountering the relationships between time and space that Ward believed essential for them to be able to embark on the creation of those fleeting pockets of anarchy that were educational, at least in the urban environment. Meanwhile, the idea of environmental education has lost the urban edge realised fleetingly by Ward and Fyson during the1970s. Environmental education has become closely associated with nature and the values associated with natural elements and forces

If the curriculum of the school has become an island, we might in a sense begin to see the laptop or iPad as the latest islanding, or at least fragmenting, device. Ward and Fyson understood the importance of marginal in-between spaces in social life,where they believed creative flourishing was more likely to occur than in the sanctioned institution central spaces reflecting and representing state authority. This was, they thought, inevitable and linked to play, part of what it was to be a child. The teacher’s job was to manage that flourishing as well as possible, by responding to the opportunities continually offered in the marginal spaces between subjects in the curriculum and between school and village, city or town. They believed that such spaces offered educational opportunities that, if enabled to flourish through the suggested pedagogy of Streetwork and the implications of the exploding school, might enrich lives and environments across the generations. It was in the overlooked or apparently uninteresting spaces of the urban environment that teachers, with encouragement, might find a rich curriculum. Today, we might observe such “fleeting pockets of anarchy” in the in-between spaces of social media, which offer as yet unimagined opportunities and challenges for educational planners to expand the parameters of school and continue to define environmental education as radical social and urban practice."]]></description>
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<item rdf:about="http://www.tagesanzeiger.ch/ausland/europa/More-punk-less-hell/story/10069405">
    <title>More punk, less hell! - News Ausland: Europa - tagesanzeiger.ch</title>
    <dc:date>2014-06-22T07:38:09+00:00</dc:date>
    <link>http://www.tagesanzeiger.ch/ausland/europa/More-punk-less-hell/story/10069405</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nothing in Gnarr’s youth pointed to good fortune or success. He was the late progeny of a bitter couple: His father was a policeman and Stalinist: «Pravda» came in the mail and the current head of state and party of the Soviet Union hung on the wall, albeit the wall of the broom closet. Gnarr’s mother was a conservative.

As a communist, his father never received a promotion. His endless monologues at the dinner table awakened in his son a deep aversion to politics. Gnarr also had other problems. At school, he struggled from the start and doctors declared him mentally retarded. He was short, skinny and had ADHD and migraines. He learned to write only when he was 14 and he was 16 before he could recite the months correctly. By that age, he had already made two suicide attempts and a tour of homes for troubled youths behind him.

Everyone, including himself, thought he was stupid. So when he was 13, he made three decisions: he became a punk, he became the class clown («better a clown than a dummy») and he gave up on learning at school. From then on, he read privately. And read he did, extensively: on anarchism, Bruce Lee, Tao Te Ching, Monty Python and surrealism.

Gnarr became a psychiatric nurse, taxi driver, bassist in the punk band Runny Nose, a father at 20 and at some point realized that he hated music, but liked to talk to the crowd between the songs. The impromptu speeches got longer and longer. Eventually, the side gig became his profession. Gnarr started a career as a comedian – telephone gags on the radio, stand-up, columns, sketches, TV shows.

Being a comedian was not a normal profession in Iceland. In the early days, kids at school asked his sons if he was mentally disturbed. As people became accustomed, he became famous. («Although being famous in Iceland, with 300,000 inhabitants, means very little,» as he says. «You buy a bottle of milk and presto, you’re famous».) Later, during the campaign, his competitors reminded people of his gags: such as the parody in which Gnarr portrays Hitler imagining the schmaltzy CD ‹No Regrets›. Or his success as a bald-headed, egotistical, yet touchingly awkward Stalinist on a TV show. The characters, they implied, illuminate the man.

And Gnarr shone in the roles. Professionally, he manifested a certain preference for bold hairdos and ridiculous clothes, such as a one-piece bathing suit. His conversion to Catholicism was still fresh in people’s memory as well. For months he had tried the patience of Reykjavik’s newspaper readers with enthusiastic columns praising the Pope and the church hierarchy before ultimately deciding to remain an agnostic.

On the other hand, he was a father of five, the author of a book, a comedian and an established TV star; a calm man with a wild smile – still a bit chaotic, but with a smart wife. And he had a long road behind him."

…

"And then came the video [https://www.youtube.com/watch?v=xxBW4mPzv6E ], perhaps the cheeriest in the history of politics. A reworded version of Tina Turner’s ‹Simply the Best› sung by the candidates, the song included a brief, rousing speech by Gnarr that began with the words: «Fellow citizens, it is time to look into your hearts and decide. Do you want a bright future with the Best Party? Or a Reykjavik in ruins?»

The video was «not a major deal», as Proppe said later. «We’re pros when it comes to music videos.» And yet it’s the most delightful political video ever made: watching it will put you in a good mood for two hours. It excited people and attracted them. Two weeks before the election, the Best Party was polling at 38%.

That was the moment when Gnarr thought of quitting. He was exhausted and not himself. The politicians irritated him: before and after the debates, they made small talk, but in between they attacked him. He realized that although he had no idea about the issues, he had begun to act as if he did. It scared him.

After days of depression, he was lying in the bathtub when two ideas came to him. The first: «The Best Party was an idea. It had grown up, so I had to follow it. Even against my own interests. It was bigger than me. I had become a player in my own play. My freedom was gone. I was trapped. But also curious.» The second thought that persuaded him was a joke.

The final debate took place the next day. Gnarr went to the lectern and said: «We at the Best Party have always said that we would keep going as long as we were having fun. Everything has now become very serious. I hereby withdraw my candidacy for the office of mayor and the Best Party from the elections». A protracted hush fell over the room. The audience sat in silence, the other politicians looked at each other. And then Gnarr said: «Joooooke!»"

…

"One of the projects of the Best Party was to change the political culture. What was lacking was common decency. Gnarr says: «In the beginning I thought that the people who yelled at me in parliament were actually angry, but they’re not. As soon as the cameras are off, they want to have a beer with you». Proppe: «There are two languages: one for the public and one for behind the scenes. You can’t do that in any other workplace.» Örn: «Let me put it this way, I didn’t find any friends among the politicians. With friends, I talk about hobbies. But the politicians’ hobby is politics».

«It’s a bit disingenuous,» comments journalist Karl Blöndal, second-in-command at the conservative paper Morgunblaðið. «They see politics as theater, but then they are shocked by the theater in politics.»

In the political battles, the Best Party employed a concept from the Tao Te Ching – ‹wu wei›: never fight back, but let the attack miss its mark. And express your respect for your opponent."

…

"An assessment of four years of anarchist rule yields a rather surprising conclusion: the punks put the city’s financial house in order. They can also look back on some very successful speeches, a few dozen kilometers of bike paths, a zoning plan, a new school organization (that no one complains about any more) and a relaxed, booming city – tourism is growing by 20% a year (and some say that is the new bubble). In speeches, president Grímsson no longer praises Icelanders’ killer instinct, but their creativity. Real estate prices are again on the rise and the Range Rovers are back too. In polls last October, the Best Party hit its high-water mark of 38%. Shortly thereafter, Gnarr announced he would retire and dissolve the Best Party. His reason: «I’m a comedian, not a politician.» He added: «I was a cab driver for four years, a really good one even, and I quit doing that as well.»

«My question was always: ‹How do we fuck the system?›» says Örn. «And the answer was, we show that non-politicians can do the job as well. But quitting with a certain election victory within reach, that’s truly fucking the system!»

Others will keep going: they have founded the Bright Future party. Proppe has since become a member of the national parliament and Björn Blöndal, the prince of darkness, now moves in political circles like a fish in water. «It’s a lot of fun when you’ve learned how you can make a difference and you slowly get good at it. Politics is a craft.» Blöndal led the ticket for the Bright Future party in the Reykjavik elections. He and Dagur Eggertson vied to succeed Gnarr. For long stretches the polls were inconclusive, but in the end the Social Democrats won handily. Without Gnarr at the helm, Bright Future halved its result to take 15%. Eggertson now heads a four-party coalition that also includes the Pirates and the Left-Greens."

[alt link: http://mobile2.tagesanzeiger.ch/articles/10069405 ]]]></description>
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    <title>Interview with Alan Kay - Google+</title>
    <dc:date>2014-06-20T20:43:53+00:00</dc:date>
    <link>https://plus.google.com/events/c67c9rk920s1rd3invjtd4assf4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[notes to come later]

[direct link to YouTube video: https://www.youtube.com/watch?v=TY-hBgYLJqc ]]]></description>
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<item rdf:about="http://time.com/39577/facebook-oculus-vr-inside-story/">
    <title>Oculus Rift’s $2 Billion Purchase - TIME</title>
    <dc:date>2014-03-28T03:52:59+00:00</dc:date>
    <link>http://time.com/39577/facebook-oculus-vr-inside-story/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Palmer Luckey—the name suits him—grew up in Long Beach, Calif., the son of a housewife and a car salesman. He was a natural-born tinkerer. “Self-taught!” is how he describes himself. “Explore the world around you, take things apart, put ’em back together. You can learn a lot if you do nothing but spend your entire life in your garage working on projects or in your room reading on the Internet.” As a teenager one of Luckey’s hobbies was taking apart old video-game consoles and reassembling them inside portable cases. Another one was virtual reality.

It was an odd hobby for a person Luckey’s age because the received wisdom at the time was that VR was a failed technology. Everybody has an idea of what VR is, or what it’s supposed to be: a simulated, three-dimensional, interactive world that surrounds you completely. It’s been a staple of science-fiction classics—-Neuromancer, Snow Crash, Tron, Star Trek, The Matrix—and a core component of our collective pop-cultural vision of the future for decades.

But apart from niche applications like designing cars and surveying oil fields, VR never made it to market. As Luckey puts it, “the idea existed, the will existed, the people existed, the demand existed—and the technology did not.” It baffled engineers, frustrated consumers and ate up billions of dollars of R&D money. Like flying cars and robot butlers, VR is one of those revolutions that went from wow to lame without ever actually materializing in between. Nintendo tried its hand at it in 1995 with the Virtual Boy game console and lost millions. The list of virtual-reality products that launched and then died of neglect is long."]]></description>
<dc:subject>oculusrift facebook 2014 palmerluckey autodidacts unschooling learning tinkering lcproject openstudioproject johncarmack gaming videogames vr virtualreality autodidactism</dc:subject>
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<item rdf:about="http://ordinary-gentlemen.com/blog/2013/10/31/why-i-didnt-go-to-grad-school-the-second-time">
    <title>Why I didn’t go to grad school the second time. | Ordinary Times</title>
    <dc:date>2014-01-03T23:14:01+00:00</dc:date>
    <link>http://ordinary-gentlemen.com/blog/2013/10/31/why-i-didnt-go-to-grad-school-the-second-time</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""And then I experienced a moment of clarity. Within my head I heard a dialog with two distinct voices:

“What are you going to do after you finish your Ph.D? Do you want to teach?” said the calm voice.

“Maybe. I don’t know,” said the angry voice.

“Well what do you know you want to do after you get your doctorate?”

“After I get my doctorate I want to build a big boat.”

“Will getting your doctorate help you on your way to building your boat?”

“It might. If I get my Ph.D I might be able to sell more DVDs or a book and get more money.”

“Do you need to get more money to build your boat?”

“No.”

“Is there some reason you can’t start building your boat right now?”

“No.”

“Then why do you want to get a Ph.D?”

“Because I want to show them.”

“Show them what? What do you want to show them?”

“I want to show them that I’m right and they’re wrong.”

And just like that, I stopped think about going back to school and started thinking about what I needed to do to build my boat.

And then I built Mon Tiki.

—

Who are them? Who knows. My parents? Teachers? The bloggers who would delete my trenchant comments instead of responding to them? All of them? Does it matter? Probably not.

I don’t know what the good reasons are for going to grad school, but I’m pretty sure “to show them” isn’t one of them; not for me at least, not where I am in my life. There are more interesting and important things for me to do.

That doesn’t mean I’m completely over it.

My USCG Master Captain’s license and Mon Tiki’s CIO are only meaningful certifications I’ve ever received, and I’ve got to tell you, after a lifetime of being an uncredentialled outsider, it’s nice to be on the inside of something, to have a stamp from Authority that says “QUALIFIED”, and I still think it would be nice to get my creative work similarly endorsed.

In fact, just a few weeks ago I applied for an internship with a Brand Name media company. The pay was ridiculously low, less even than what I paid my unskilled laborers on Mon Tiki. But I wasn’t doing it for the money (which is not to say we couldn’t use the money. Building Mon Tiki has left us drained.) But more than the money, I thought it would be nice to have my writing appear under the aegis of a Brand Name media company. I thought would be nice, just for once, to be a part of an organization. I thought it would be nice, just for once, to not have to explain Who I Am as a preamble to what I think.

So just like when I thought I needed to wrap my films in a Ph.D, I asked some important people I know to sign on as references. And they did and wished me good luck. Affirmation!

And unlike the Ph.D thing, I didn’t bail. I went after the job full tilt, all in, do or die. Interview and everything.

And you know what happened?

They didn’t hire me.

They said that the spirit of the internship was educational, and that giving a 47 year-old man with an established career (albeit in another field) would be taking away from a younger person who could really use the break.

Whether that was a dodge because I wasn’t the best candidate, or their were concerns about my age, or it was the simple truth I don’t know. I have no reason to think it wasn’t, but whatever. That’s not the point.

The point, if I have one, is that if you’re considering going to grad school, or your considering writing for free, or your considering taking an internship at a Brand Name media company, or your considering building a big boat, you probably have more agency than you realize. You will probably do okay if your priorities doing what you want to do, if you can actually manage to figure out what that is. This might not be easy, but I think it’s easier than the other options."]]></description>
<dc:subject>education davidryan via:kio learning doing glvo edg srg gradschool unschooling deschooling autodidacts credentials academia making 2013 selfeducation autodidactism</dc:subject>
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<item rdf:about="https://vimeo.com/56703253">
    <title>Matt Hern &quot;Possibility in the Face of Probability&quot;</title>
    <dc:date>2013-11-20T15:09:03+00:00</dc:date>
    <link>https://vimeo.com/56703253</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[References Daniel Grego in Milwaukee: http://transcenterforyouth.org/grego.html ]]]></description>
<dc:subject>matthern unschooling deschooling ivanillich danielgrego publischools education youth learning life living urbanism compulsory compulsoryschooling variety diversity history prussia power statepower anarchism 2005 schools schooling schooliness deschoolingsociety centralization napoleon williamgodwin industrialization horacemann tolstoy yasnayapolyana children criminalization schooltoprisonpipeline teaching humans inquiry inquiry-basedlearning experience pedagogy howweteach revelation relationships autodidacts self-directedlearning self-education freedom politics practice colonialism epistemology colonization standardization globalization decentralization local localism wendellberry selfdetermination privilege privateschools whiteprivilege independentschools homeschool openstudioproject pedagogicalfreedom lifestylism universalism democracy monoculture lcproject jonholt gracellewellyn knowledge self-determination autodidactism</dc:subject>
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<item rdf:about="https://vanschneider.squarespace.com/being-self-taught">
    <title>Being self-taught — vanSchneider Blog</title>
    <dc:date>2013-01-29T19:57:08+00:00</dc:date>
    <link>https://vanschneider.squarespace.com/being-self-taught</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. It's about the process. Just do it and start with the first thing that comes to your mind. There is absolutely nothing you can do wrong.

2. Don't listen to other people who're telling you what's right and what's wrong. Those people will always try to keep you small and hold you back. Don't listen to them. People always told me that I'm naive  — and yeah, maybe I was. But I always was optimistic and I knew that I'm doing the right thing. 

3. Surround yourself with people who motivate you and always making you feel good about what you're doing. These personalities are rare - so if you found them, keep them.

4. Help other people. Even if you're at the very beginning of something, use your knowledge to help others. Why? Try it, magical things will happen, I promise.

5. Always surround yourself with people who're "better" than you. That's what Donny Osmond said and I think it's partly true. But try to replace "better" with "crazier" or "different".

6. Break the rules. That's actually one of the most important things at being self-taught. Be a rebel, break the rules and don't be afraid of anything. What if you fail? Get up, try again. If you don't like it? Don't do it, do something else. It's that simple.

7. Stop complaining. I know, that's fcking hard and I'm not really good with this either. But complaining is always the easy route and nothing actually happen when you do it, except you're surrounding yourself with a lot of negative energy."]]></description>
<dc:subject>via:ableparris autodidacts autodidactism self-teaching self-directedlearning education learning unschooling deschooling life design tobiasvanschneider complaining complaints rules breakingrules self-taught donnyosmond georgesteinbrenner helping interestedness curiosity people relationships doing making rightandwrong process autodidacticism interested</dc:subject>
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</item>
<item rdf:about="http://www.kiostark.com/archives/dont-go-back-to-school/massive-open-online-classes-are-getting-it-wrong/">
    <title>Kio Stark » Massive Open Online Classes are getting it wrong.</title>
    <dc:date>2012-12-31T04:14:06+00:00</dc:date>
    <link>http://www.kiostark.com/archives/dont-go-back-to-school/massive-open-online-classes-are-getting-it-wrong/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What MOOCs should be working toward is more radical—detaching learning from the linear processes of school. That’s not the goal of the designers of MOOCs, but it absolutely should be.

What would this detached model of learning with access to the resources of school look like? It looks like the forms of independent learning I’ve been researching and writing about for Don’t Go Back to School. People getting the resources to learn what they want to learn, in contexts in which that knowledge or skill is necessary to the learner, or something they are passionate to learn."

"MOOCs have other challenges besides ditching linear formats. The most important condition for independent learning reported in my research is learning in the context of a community. MOOC designers make only a token effort to incorporate the social aspect of learning, with giant discussion forums that produce crowds, not learning communities."]]></description>
<dc:subject>udacity mitx coursera learningcommunities communitites autodidactism autodidacts independentlearning education cv tcsnmy community self-directedlearning deschooling unschooling linearity linearthinking learning mooc moocs 2012 kiostark autodidacticism linear</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d94b4bcca558/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:linearity"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidacticism"/>
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</item>
<item rdf:about="http://doriantaylor.com/generation-liminal">
    <title>Generation Liminal — Dorian Taylor</title>
    <dc:date>2012-12-01T06:59:48+00:00</dc:date>
    <link>http://doriantaylor.com/generation-liminal</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I'm pretty con­fi­dent that the span from 1995 to 2000 minted more auto­di­dacts than have ever ex­isted be­fore or since. The ones that benifited the most were the ones that weren't heav­ily in­vested into other things—like teenagers and early-20-some­things. I got to be part of the dot-bomb, but not be ru­ined by it. Even if you weren't part of it your­self, you'd know some­body who was. Just being near that kind of en­ergy was enough to ir­rev­o­ca­bly change a per­son. …

And that's really why I and people like me fall into the generational interstices. We lack the despondency emblematic of Generation X, and the ostensible helplessness of the Millennials. We got to experience our own agency first-hand.

The early 90's must have sucked if you were a young adult. The late 90's must have sucked if you were a kid. My cohort dodged both of those bullets, and I am eternally grateful for it."]]></description>
<dc:subject>interstitialgenerations interstitialspaces generations sweetspot millenials invention making autodidacts generationx geny genx 2012 doriantaylor interstitial generationy millennials autodidactism inbetween inbetweenness betweenness between</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bf532bd88a5d/</dc:identifier>
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</item>
<item rdf:about="http://www.guardian.co.uk/books/2012/nov/24/nassim-taleb-antifragile-finance-interview">
    <title>Nassim Taleb: my rules for life | Books | The Observer</title>
    <dc:date>2012-11-24T19:52:54+00:00</dc:date>
    <link>http://www.guardian.co.uk/books/2012/nov/24/nassim-taleb-antifragile-finance-interview</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Modern life is akin to a chronic stress injury, he says. And the way to combat it is to embrace randomness in all its forms: live true to your principles, don't sell your soul and watch out for the carbohydrates."

"You have to pull back and let the system destroy itself, and then come back. That's Seneca's recommendation. He's the one who says that the sage should let the republic destroy itself."

"The "arguments" are that size, in Taleb's view, matters. Bigger means more complex, means more prone to failure. Or, as he puts it, "fragile". "

""Antifragile" is when something is actually strengthened by the knocks."

"In Taleb's view, small is beautiful."

"[He] claims that a janitor also has that kind of independence. "He can say what he thinks. He doesn't have to fit his ethics to his job. It's not about money.""

"He's also largely an autodidact."

"Between 2004 and 2008 were the worst years of my life. Everybody thought I was an idiot. And I knew that. But at the same time…"]]></description>
<dc:subject>math teaching fasting diet paleodiet living life seneca classics war thomasfriedman honor vindication deschooling autonomy unschooling anarchism chaos randomness principles honesty freedom academia banking money ethics socialmisfits cv independence blackswans failure probability antifragility antifragile small fragility autodidacts 2012 books nassimtaleb autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bb30e48858fa/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nassimtaleb"/>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/Casey_Neistat">
    <title>Casey Neistat - Wikipedia</title>
    <dc:date>2012-11-03T05:02:31+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Casey_Neistat</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Neistat was born and raised in New London Connecticut.[1] He dropped out[2] of Ledyard High School in the 10th grade at age 15 and did not return to school or graduate. At age 17 Neistat had a son, Owen. From age 17 until 20 he lived in a trailer park with his son and son's mother, it was during this time Neistat was on welfare, a detail cited by Neistat when delivering his own biography.

In 2001 Neistat moved to New York City.

Prior to moving to New York City Neistat worked as a dishwasher[3] and short order cook in Mystic Connecticut. His first job in New York City was as a bike messenger.

In mid 2001 Neistat and his brother Van began working with the artist Tom Sachs, ultimately making a series of films[4] about the artists sculptures and installations. This was the earliest work done by the brothers as a collective."]]></description>
<dc:subject>caseyneistat tomsachs nyc deschooling unschooling autodidacts autodidactism filmmaking film dropouts autodidacticism</dc:subject>
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</item>
<item rdf:about="http://bengrey.com/blog/2012/10/we-need-to-think-very-very-seriously-about-this/">
    <title>We need to think very, very seriously about this - The Edge of Tomorrow - Standing on the verge of a technologically educational revolution.</title>
    <dc:date>2012-11-03T04:34:12+00:00</dc:date>
    <link>http://bengrey.com/blog/2012/10/we-need-to-think-very-very-seriously-about-this/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. Why don’t we give kids more credit for their natural capacity to learn?

2. What if we’re the ones getting in the way?

3. Can we finally put to rest the silly digital immigrant/digital native nonsense?

4. Why does there remain such a fascination with teaching kids very specific technology skills in our schools today?

It’s intriguing to compare the new approach OLPC is taking with the tablets to the approach they took in Peru. Reading through the reflections on the failure in Peru brings to the surface two immediate observations. The hardware/software wasn’t ready for the task. And the adults continued getting in the way. The second point, to me, is the most salient. Read through each section of Patzer’s observations, and you see how often the breakdown happens in the way the adults try to move the students through a pre-determined way to learn with the device."

[via: http://blog.genyes.org/index.php/2012/11/02/given-tablets-but-no-teachers-ethiopian-children-teach-themselves/ ]]]></description>
<dc:subject>holeinthewall perception teaching neoteny belesshelpful technology autodidacts 1:1 ipads littleboxes ethiopia olpc learning 2012 deschooling unschooling bengrey 1to1 ipad autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dadda61b16c0/</dc:identifier>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/Tehching_Hsieh">
    <title>Tehching Hsieh - Wikipedia</title>
    <dc:date>2012-11-01T06:02:55+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Tehching_Hsieh</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[I did not know this:

"Tehching Hsieh dropped out from high school and started creating art in the form of paintings; he went on to create several performance pieces after finishing his three years of compulsory military service in Taiwan."]]></description>
<dc:subject>performanceart artists autodidacts autodidactism art dropouts tehchinghsieh autodidacticism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d61431e5942d/</dc:identifier>
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</item>
<item rdf:about="http://dvice.com/archives/2012/10/ethiopian-kids.php">
    <title>Ethiopian kids hack OLPCs in 5 months with zero instruction | DVICE</title>
    <dc:date>2012-10-31T06:32:31+00:00</dc:date>
    <link>http://dvice.com/archives/2012/10/ethiopian-kids.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Just to give you a sense of what these villages in Ethiopia are like, the kids (and most of the adults) there have never seen a word. No books, no newspapers, no street signs, no labels on packaged foods or goods. Nothing. And these villages aren't unique in that respect; there are many of them in Africa where the literacy rate is close to zero. So you might think that if you're going to give out fancy tablet computers, it would be helpful to have someone along to show these people how to use them, right?

But that's not what OLPC did."

"Within five days, they were using 47 apps per child per day. Within two weeks, they were singing ABC songs [in English] in the village. And within five months, they had hacked Android. Some idiot in our organization or in the Media Lab had disabled the camera! And they figured out it had a camera, and they hacked Android."

[See also: http://www.technologyreview.com/news/506466/given-tablets-but-no-teachers-ethiopian-children-teach-themselves/ ]]]></description>
<dc:subject>motorolazoom motoroloa android learning 2012 autodidacts autodidactism curiosity literacy deschooling unschooling education computers holeinthewall ethiopia africa olpc autodidacticism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:251a004c87b6/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:holeinthewall"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:olpc"/>
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</item>
<item rdf:about="http://www.patfarenga.com/pat-farengas-blog/2012/10/3/young-children-as-research-scientists.html">
    <title>patfarenga.com - Young Children as Research Scientists</title>
    <dc:date>2012-10-05T12:21:32+00:00</dc:date>
    <link>http://www.patfarenga.com/pat-farengas-blog/2012/10/3/young-children-as-research-scientists.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["…current research that clearly supports John Holt’s ideas about how children learn…

Scientific Thinking in Young Children: Theoretical Advances, Empirical Research, and Policy Implications, Science 28, September 2012: Vol. 337 no. 6102 pp. 1623-1627

By Alison Gopnik

ABSTRACT: New theoretical ideas and empirical research show that very young children’s learning and thinking are strikingly similar to much learning and thinking in science. Preschoolers test hypotheses against data and make causal inferences; they learn from statistics and informal experimentation, and from watching and listening to others. The mathematical framework of probabilistic models and Bayesian inference can describe this learning in precise ways. These discoveries have implications for early childhood education and policy. In particular, they suggest both that early childhood experience is extremely important and that the trend toward more structured and academic early childhood programs is misguided."]]></description>
<dc:subject>lcrpoject howwelearn scientificthinking homeschool autodidacts autodidactism 2012 scientificmethod research education learning unschooling patfarenga johnholt alisongopnik autodidacticism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:edee13fff819/</dc:identifier>
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</item>
<item rdf:about="http://www.dailykos.com/story/2012/08/25/1123973/-A-Blue-Collar-Girl-in-a-White-Collar-World">
    <title>Daily Kos: A Blue-Collar Girl in a White-Collar World</title>
    <dc:date>2012-08-31T23:32:01+00:00</dc:date>
    <link>http://www.dailykos.com/story/2012/08/25/1123973/-A-Blue-Collar-Girl-in-a-White-Collar-World</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["no matter the exposure to people, places & knowledge, I wasn't willing to give up total ownership of my learning process. It was a tough sell to the people around me, who could not divorce the concept of “learning” from “teacher” & “classroom”. But part of being an autodidact is embracing how you learn best…"

"As I began to interact more and more with these mid-to-late-twenties/early-thirty somethings, I noticed something startling -- the majority of them were in the very same situation that I was. We were all working blue-collar (or more menial white-collar) jobs, trying to launch some kind of artistic or otherwise higher paying career. In the case of my co-workers, who were virtually all college graduates, I (the youngest among them) was their boss."

"the choices I’d made didn’t feel so baseless. It was like I'd gotten the jump on life. While going to college had definitely broadened the intellectual/artistic horizons of many of my peers, practically speaking, I’d come out ahead."]]></description>
<dc:subject>higheredbubble highereducation highered whitecollar bluecollar howwelearn lifeskills colleges glvo edg srg universities careers autodidactism autodidacts life work 2012 emmazale education learning unschooling autodidacticism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d626617db3c9/</dc:identifier>
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</item>
<item rdf:about="http://www.believermag.com/issues/200910/?read=interview_varda">
    <title>The Believer - Interview with Agnès Varda</title>
    <dc:date>2012-08-01T23:50:52+00:00</dc:date>
    <link>http://www.believermag.com/issues/200910/?read=interview_varda</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sometimes I say, If I had seen some masterpieces, maybe I wouldn’t have dared start. I started very—not innocent, but naïve in a way. So that’s a big freedom, you know? I didn’t go to school. I didn’t go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom. I see all these students, and I admire them—they’re trying to learn something, they go to school, they do film school, they go on shoots, they help. I’m sure they learn a lot, and some of them, it makes them aware of what they wish to do. I was—that’s the way I was—autodidact."]]></description>
<dc:subject>via:litherland interviews 2012 learning autodidacts autodidactism deschooling unschooling education filmmaking film autodidacticism agnèsvarda</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:23c8066c63e1/</dc:identifier>
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</item>
<item rdf:about="http://www.olpcnews.com/people/negroponte/nicholas_negroponte_talks_aboub_learning_by_yourselves.html">
    <title>Nicholas Negroponte Talks About Learning by Yourselves - OLPC News</title>
    <dc:date>2012-03-05T09:05:29+00:00</dc:date>
    <link>http://www.olpcnews.com/people/negroponte/nicholas_negroponte_talks_aboub_learning_by_yourselves.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Having heard plenty of talk of the first three points in the past I was most interested in hearing what Negroponte had in mind with regard to the "New Constructionism". Unfortunately most of what was said doesn't really strike me as new at all.

The one thing which was quite interesting is the aspect of "Learning to Read by Yourself" which very much ties in with Negroponte's much discussed helicopter deployments which saw its first pre-pilots being launched earlier this year.

He shared that the first 30 tablets with several thousand books on them had been distributed. Not too many other details were revealed and while Negroponte mentioned that "they read themselves" it's not quite clear for example what language these books are in. What is really exciting however is that he mentions a rigorous evaluation of these efforts and working with critics which I believe should make for some interesting results and discussions down the road."]]></description>
<dc:subject>education learning deschooling unschooling learningbyyourselves readbyyourself tablets newconstructionism constructionism connectivity nocostconnectivity newconstructivism 2012 autodidacts autodidactism reading literacy holeinthewall sugatamitra nicholasnegroponte olpc autodidacticism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2dbad43bc984/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidactism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:holeinthewall"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sugatamitra"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nicholasnegroponte"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:olpc"/>
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</item>
<item rdf:about="http://twitter.com/ThisMoiThisMoi/status/166560501709537282">
    <title>Twitter / @ThisMoiThisMoi: Right after I dropped out ...</title>
    <dc:date>2012-02-20T00:21:27+00:00</dc:date>
    <link>http://twitter.com/ThisMoiThisMoi/status/166560501709537282</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Right after I dropped out of high school I worked at a video store where we got free rentals. Truffaut's were my first ones...

and like any self-respecting "artsy" high school drop out I immediately became obsessed with Antoine Doinel."

[That second half is from here: http://twitter.com/ThisMoiThisMoi/status/166561097753694208 ]
]]></description>
<dc:subject>self-directedlearning autodidactism autodidacts learning 2012 antoinedoinel film dropouts kartinarichardson autodidacticism françoistruffaut</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:696feaf76211/</dc:identifier>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.parallel-school.com/2010/02/students-as-designers-norman-potter.html">
    <title>PARALLEL SCHOOL: Students as Designers (Norman Potter)</title>
    <dc:date>2012-01-23T06:13:50+00:00</dc:date>
    <link>http://www.parallel-school.com/2010/02/students-as-designers-norman-potter.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Wayback: https://web.archive.org/web/20100419063957/http://www.parallel-school.com:80/2010/02/students-as-designers-norman-potter.html ]

"Parallel school of art is a virtual and international school where those who want to self-educate themselves can share what they are doing and thinking about, as well as their interests and projects.

Parallel school wants to generate and spread work emulation through the development of self-initiated projects such as publications, meetings, lectures, workshops, etc.

Parallel school would like to bring together the knowledge, experiences and energy from students all over the world.

Parallel School is an umbrella that is free to use by anyone interested in doing so."
]]></description>
<dc:subject>workshops networkedlearning sharing lcproject projectbasedlearning via:litherland parallelschool design learning autodidacts autodidactism self-education education autodidacticism pbl</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:aecd0852151a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sharing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:projectbasedlearning"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self-education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidacticism"/>
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</item>
<item rdf:about="http://www.niemanlab.org/2012/01/matthew-battles-it-doesnt-take-cupertino-to-make-textbooks-interactive/">
    <title>Matthew Battles: It doesn’t take Cupertino to make textbooks interactive » Nieman Journalism Lab</title>
    <dc:date>2012-01-21T06:46:16+00:00</dc:date>
    <link>http://www.niemanlab.org/2012/01/matthew-battles-it-doesnt-take-cupertino-to-make-textbooks-interactive/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Schiller made a sentimental play to this constituency, opening his presentation with a series of excerpted interviews in which teachers sang the sad litany of challenges they face: cratering budgets, overcrowded classrooms, unprepared, disengaged students. The argument that Apple — founded by dropouts and autodidacts — is fundamentally motivated to change this set of conditions is as ludicrous as the notion that the company could ever hope actually to do any such thing…

We can never count Apple out — the company’s visions have an implacable way of turning into givens — but the future is undoubtedly more complex. There will still be overcrowded classrooms, overworked teachers, and shrinking budgets in an education world animated by Apple. But I prefer to think of teachers and students finding ways to hack knowledge and make their own beautiful stories to envisioning ranks of studens spellbound by magical tablets."]]></description>
<dc:subject>ibooksauthor ibooks technology schooliness rubrics standardization autodidacts pearson timcarmody matthewbattles publishing tablets knwoledgebowl knowledge interactive textbooks books schools learning storytelling teaching education 2012 ipad apple autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9201ed240c97/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:knwoledgebowl"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interactive"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:apple"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidactism"/>
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</item>
<item rdf:about="http://www.youtube.com/watch?v=wqVrlUKltII">
    <title>TEDxLondon - Dougald Hine - YouTube</title>
    <dc:date>2012-01-16T00:27:47+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=wqVrlUKltII</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dougald is a writer, speaker and creator of organisations, projects and events. His work is driven by a desire to understand how we change things, and how things change, with or without us. This has taken him cross country through a range of fields, from social theory to the tech industry, literary criticism, the future of institutions and the skills of improvisation. He seeks to make connections between people, between ideas and between worlds. His projects include the web startup School of Everything, the urban innovation agency Space Makers, and most recently The University Project, which is seeking new ways to fulfil the promise of higher education."
]]></description>
<dc:subject>teaching autodidacts self-directedlearning purpose highereducation highered networkedlearning socialnetworks socialnetworking sharing lcproject spacemakers commoditization schoolofeverything learning deschooling unschooling 2011 via:steelemaley universities colleges education theuniversityproject dougaldhine adaptivereuse autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:394d35dfb7de/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:highereducation"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:networkedlearning"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adaptivereuse"/>
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</item>
<item rdf:about="http://www.nytimes.com/2011/12/06/science/george-dyson-looking-backward-to-put-new-technology-in-focus.html?pagewanted=all">
    <title>George Dyson - Looking Backward to Put New Technology in Focus - NYTimes.com</title>
    <dc:date>2011-12-06T05:54:04+00:00</dc:date>
    <link>http://www.nytimes.com/2011/12/06/science/george-dyson-looking-backward-to-put-new-technology-in-focus.html?pagewanted=all</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You left the cocoon of Princeton when you were 16. Why?

I was a rebellious adolescent. It was the ’60s. Everyone was rebellious. I hated high school. When they wouldn’t let me graduate early because I hadn’t taken gym, I quit altogether and went off to BC. It was a time when a lot of kids ran away from home. My father didn’t stop me…Being there was so liberating — getting my own food, making my own living…I did this for about 20 years.

And today you make your living as a historian of science and technology. How does a high school dropout get to do that?

Hey, this is America. You can do what you want! I love this idea that someone who didn’t finish high school can write books that get taken seriously. History is one of the only fields where contributions by amateurs are taken seriously, providing you follow the rules and document your sources. In history, it’s what you write, not what your credentials are."
]]></description>
<dc:subject>georgedyson autodidactism autodidacts 2011 interviews dropouts unschooling education history historyofscience adolescence technology historyoftechnology amateurism credentials autodidacticism amateurs</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:efc4d8f23ec0/</dc:identifier>
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<item rdf:about="http://www.kickstarter.com/projects/1528125592/dont-go-back-to-school-a-handbook-for-learning-any">
    <title>Don't Go Back to School: A handbook for learning anything by Kio Stark — Kickstarter</title>
    <dc:date>2011-11-11T20:17:13+00:00</dc:date>
    <link>http://www.kickstarter.com/projects/1528125592/dont-go-back-to-school-a-handbook-for-learning-any</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Don’t Go Back to School  is a handbook for independent learning that shows you how to learn almost anything without school. If you’re thinking about going back to school or about the possibility of self-taught learning, read this book first! Don’t Go Back to School will help you figure out if you can do it on your own—and it’ll show you how. It might just save you a gazillion dollars in tuition fees, and spare you the yoke of student loans for years to come."]]></description>
<dc:subject>kiostark unschooling deschooling learning books kickstarter 2011 danielsinker corydoctorow quinnnorton selfeducated self-directedlearning autodidactism autodidacts brepettis skillshare dropouts education cv autodidacticism</dc:subject>
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<item rdf:about="http://jontangerine.com/log/2011/09/we-who-are-web-designers">
    <title>We, Who Are Web Designers — Jon Tan 陳</title>
    <dc:date>2011-09-21T02:27:09+00:00</dc:date>
    <link>http://jontangerine.com/log/2011/09/we-who-are-web-designers</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’m self-actualised, without the stamp of approval from any guild, curriculum authority, or academic institution. I’m web taught. Colleague taught. Empirically taught. Tempered by over fifteen years of failed experiments on late nights with misbehaving browsers. I learnt how to create venues because none existed. I learnt what music to play for the people I wanted at the event, and how to keep them entertained when they arrived. I empathised, failed, re-empathised, and did it again. I make sites that work. That’s my certificate. That’s my validation."]]></description>
<dc:subject>posteducation education learning unschooling deschooling certification pln authority curriculum curriculumisdead problemsolving 2011 design webdesign webdev empathy learningbydoing web making makers make do autodidacts jontan autodidactism</dc:subject>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/Audrey_Tang">
    <title>Audrey Tang - Wikipedia</title>
    <dc:date>2011-08-29T09:27:09+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Audrey_Tang</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Audrey Tang (born April 18, 1981; formerly known as Autrijus Tang) is a Taiwanese free software programmer, who has been described as one of the "ten greats of Taiwanese computing."[1]

Tang showed an early interest in computers, beginning to learn Perl at age 12.[2] Two years later, Tang dropped out of high school, unable to adapt to student life.[1] By the year 2000, at the age of 19, Tang had already held positions in software companies, and worked in California's Silicon Valley as an entrepreneur.[2] In late 2005, she changed both her English and Chinese names from male to female ones and began to live her life as a woman, citing a need to "reconcile [her] outward appearance with [her] self-image".[3] Taiwan's Eastern Television reports that she has an IQ of 180.[1] She is a vocal proponent for autodidacticism[4] and individualist anarchism."]]></description>
<dc:subject>audreytang womenincomputing women computing compsci computerscience autodidacts deschooling unschooling dropouts via:robinsloan programming gender autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3582dd1aa1e4/</dc:identifier>
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</item>
<item rdf:about="http://vimeo.com/2345342">
    <title>AL UNISONO on Vimeo</title>
    <dc:date>2011-08-14T08:28:15+00:00</dc:date>
    <link>http://vimeo.com/2345342</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Documental sobre los inicios de Javiera Mena y Gepe. Dirigido por Rosario Gonzalez y Pablo Muñoz
2007"

[Subtitles because el chileno is so hard to understand?]
]]></description>
<dc:subject>chile music via:javierarbona javieramena gepe alunisono pablomuñoz rosariogonzalez documental vacenica sebastiánsantieri 2007 autodidacts unschooling srg edg glvo autodidactism</dc:subject>
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</item>
<item rdf:about="http://worstprofessorever.com/2011/06/03/pulling-the-plug-on-humanities-and-higher-ed/">
    <title>Amanda Krauss -- Pulling the Plug - Worst Professor Ever</title>
    <dc:date>2011-08-12T07:24:55+00:00</dc:date>
    <link>http://worstprofessorever.com/2011/06/03/pulling-the-plug-on-humanities-and-higher-ed/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Only when the humanities can earn their own keep will they be respected in modern America…will only happen when you convince majority of people to be interested, of their own volition, rather than begging/guilting them into giving you money to translate your obscure French poem on vague grounds of “caring about culture.”…either figure something out, or shut up & accept that the humanities are an inherently elite activity that will rely on feudal patronage. Just like they always have. (If you think of Maslow’s hierarchy, it’s obvious why leisure class, which generally has money, sex, food, & security taken care of, has been in charge of learning.)

You have no idea how much it pains me to say this, but speaking from experience I now believe that private industry is doing a better job of communicating, persuading, innovating, of everything university has stopped doing. I do not take this as indicator of how well capitalism works…[but] of how badly universities have failed…"
]]></description>
<dc:subject>education change academia criticism higheredbubble highereducation capitalism 2011 amandakrauss humanities relevance money gradschool autodidacts unschooling deschooling importance via:ayjay irrelevance autodidactism</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:importance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:ayjay"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:irrelevance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidactism"/>
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</item>
<item rdf:about="http://www.downes.ca/post/56021?author=Stephen%20Downes">
    <title>Access :: Future — Practical Advice on How to Learn and What to Learn an e-book by Stephen Downes ~ Stephen's Web</title>
    <dc:date>2011-08-11T06:23:53+00:00</dc:date>
    <link>http://www.downes.ca/post/56021?author=Stephen%20Downes</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anya Kamenetz responds to my review saying "I've never read anything you've written (& yes, I've read plenty of your writing) that would be particularly useful, comprehensible or interesting to a bright 19 year old like Weezie, much less a 64 year old trying to earn a community college degree, like Melvin Doran, the LearnerWeb participant." Given all the practical advice I've offered in this space over the years, this seems a bit unfair. <br />
Still, recognizing that it would be helpful were my advice offered in one place, I offer a compilation of my popular & useful work:

Access :: Future Practical Advice on How to Learn and What to Learn an e-book by Stephen Downes http://www.downes.ca/files/AccessFuture.pdf

This is just one book. I also have a ton of other material on really practical hands-on stuff…which I'll compile & post some time in the future. & maybe I'll release the 'open education' book, the 'connectivism' book, etc. in the weeks ahead, if there's any demand for it."]]></description>
<dc:subject>stephendownes education learning autodidacts online ebooks toread unschooling deschooling 2011 anyakamenetz connectivism howto diy edupunk autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b06cca99b5d1/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ebooks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toread"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anyakamenetz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:connectivism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:diy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:edupunk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidactism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://halfanhour.blogspot.com/2011/08/review-edupunks-guide-by-anya-kamenetz.html">
    <title>Half an Hour: Review: The Edupunks' Guide, by Anya Kamenetz</title>
    <dc:date>2011-08-10T06:49:55+00:00</dc:date>
    <link>http://halfanhour.blogspot.com/2011/08/review-edupunks-guide-by-anya-kamenetz.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have now had the chance to read The Edupunks' Guide and can now form some opinions based on what I've seen. And if I were forced to summarize my critique in a nutshell, it would be this. Edupunk, as described by the putative subculture, is the idea of 'learning by doing it yourself'. The Edupunks' Guide, however, describes 'do-it-yourself learning'. The failure to appreciate the difference is a significant weakness of the booklet."]]></description>
<dc:subject>education learning diy edupunk diyu anyakamenetz stephendownes subculture 2011 onlinelearning autodidacts autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fa7e17386562/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:diy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:edupunk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:diyu"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anyakamenetz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stephendownes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:subculture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:onlinelearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidacts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidactism"/>
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</item>
<item rdf:about="http://chronicle.com/article/We-Cant-Teach-Students-to/128400/">
    <title>We Can't Teach Students to Love Reading - The Chronicle Review - The Chronicle of Higher Education [Too much to quote]</title>
    <dc:date>2011-08-01T06:02:41+00:00</dc:date>
    <link>http://chronicle.com/article/We-Cant-Teach-Students-to/128400/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I don't think of the distinction btwn readers & nonreaders—better, those who love reading & those who don't so much—in terms of class, which may be a function of my being a teacher of literature rather than a sociologist, but may also be a function of my knowledge that readers can be found at all social stations…much of the anxiety about American reading habits…arises from frustration at not being able to sustain a permanent expansion of "the reading class" beyond what may be its natural limits…

American universities are largely populated by people who don't fit either category [readers & extreme readers]—often really smart people for whom the prospect of several hours attending to words on pages (pages of a single text) is not attractive…

All this is to say that the idea that many teachers hold today, that one of the purposes of education is to teach students to love reading—or at least to appreciate & enjoy whole books—is largely alien to the history of education."]]></description>
<dc:subject>teaching reading learning attention alanjacobs nicholascarr books academia extremereaders autodidacts concentration joyofreading unschooling deschooling allsorts allkindsofminds 2011 clayshirky stevenpinker staugustine virgil cicero georgesteiner annblair studying children sirfrancisbacon francisbacon infooverload filterfailure text texts mariccasaubon peternorvig jonathanrose homer dante shakespeare attentiveness kindle hyperattention saintaugustine augustine autodidactism augustineofhippo</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:075132db2437/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alanjacobs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nicholascarr"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:concentration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joyofreading"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:allsorts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:allkindsofminds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clayshirky"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stevenpinker"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:staugustine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:virgil"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cicero"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:georgesteiner"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:annblair"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:studying"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sirfrancisbacon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:francisbacon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:infooverload"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filterfailure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:text"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:texts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mariccasaubon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:peternorvig"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jonathanrose"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:homer"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dante"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shakespeare"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attentiveness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kindle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hyperattention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:saintaugustine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:augustine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidactism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:augustineofhippo"/>
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</item>
<item rdf:about="http://www.diygradschool.com/2010/08/how-i-got-my-d.html">
    <title>&quot;How I Got my DIY Degree&quot; from May/June 1998, Utne Reader [Just a clip, mostly from the beginning, better to read the whole thing, including strategies.]</title>
    <dc:date>2011-07-28T22:40:38+00:00</dc:date>
    <link>http://www.diygradschool.com/2010/08/how-i-got-my-d.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["…one summer day 3 years ago, I visited…a little bookstore in Portland…asked the owner what her favorite books were. "That one!" she said w/out hesitation, pointing to The Teeneage Liberation Handbook…by Grace Llewellyn…

When I returned to Oberlin that fall, I realized that there were no courses covering the things I most wanted to learn. No sex classes…friendship classes…classes on how to build an organization, raise money, navigate a bureaucracy, create a database, buy a house, love a child, spot a scam, ask the right questions, talk someone out of suicide, or figure out what's important. Those are the things that enhance or mess up people's lives, not whether they know economic theory or can analyze literature.

So I quit…& enrolled …at the University of Planet Earth, the world's oldest & largest educational institution. It has billions of professors, tens of millions of books, and unlimited course offerings. Tuition is free, & everybody designs his or her own major."]]></description>
<dc:subject>williamupskiwimsatt unschooling deschooling gracellewellyn 1998 education autodidacts learning life dropouts howto diy self-education self-directedlearning self-directed autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d52a26cbdd12/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:williamupskiwimsatt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gracellewellyn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1998"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:life"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dropouts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:diy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self-education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self-directedlearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self-directed"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidactism"/>
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</item>
<item rdf:about="http://www.venuszine.com/articles/you/7325/Girl_of_the_Month_Kartina_Richardson">
    <title>Venus Zine: Venus Girl of the Month: Kartina Richardson</title>
    <dc:date>2011-07-11T05:00:41+00:00</dc:date>
    <link>http://www.venuszine.com/articles/you/7325/Girl_of_the_Month_Kartina_Richardson</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Wayback link: https://web.archive.org/web/20100729201452/http://www.venuszine.com:80/articles/you/7325/Girl_of_the_Month_Kartina_Richardson ]

"I left film school for a number of reasons…frustrated by what seemed to be a fear among my peers—to be serious, thoughtful, or experimental…film department, in my experience, didn't approach making movies in a way that I believed in…

I started writing plays in school because I found that the theater department was more open to the artistic or unusual. It is also a solitary activity, whereas making a film is collaborative…

"The best advice I can give to any young lass who wants to do anything in film is to watch movies nonstop like it's your job. I mean, like, five movies a day if you have the time. In fact, make the time, dammit! Pick a director and watch all their films in chronological order. Keep a notebook and jot down your thoughts. You’ll absorb the rhythm of great filmmaking and though you may not think it’ll make a difference, it absolutely will."]]></description>
<dc:subject>kartinarichardson film theater plays classideas learning autodidacts toshare autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dab7cd2db164/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kartinarichardson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theater"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plays"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidacts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toshare"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidactism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://maineunschoolingnetwork.blogspot.com/">
    <title>Maine Unschooling Network</title>
    <dc:date>2011-07-09T05:40:16+00:00</dc:date>
    <link>http://maineunschoolingnetwork.blogspot.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to Maine Unschooling Network, a secular community of whole-life learners, autodidacts and radical unschoolers of all ages, questioning and living free of institutional education."]]></description>
<dc:subject>unschooling maine lcproject deschooling education learning sipportgroups blogs autodidacts homeschool autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d6a8eb4d73bc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sipportgroups"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blogs"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:homeschool"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidactism"/>
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</item>
<item rdf:about="http://www.guardian.co.uk/artanddesign/2011/jun/19/peter-zumthor-serpentine-gallery-pavilion">
    <title>Peter Zumthor: In pursuit of perfection | Art and design | The Observer</title>
    <dc:date>2011-06-19T18:32:29+00:00</dc:date>
    <link>http://www.guardian.co.uk/artanddesign/2011/jun/19/peter-zumthor-serpentine-gallery-pavilion</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["His interest in craft owes much to the route he took into architecture. "The first 10 years of my professional life had only to do with running away from my father," he says. "He was a wonderful cabinet-maker and me being the eldest son I had to take over his shop, his profession and so on and so on. I tried to escape by going to art school and then going on to industrial design and then interior design. This was going step by step towards architecture." He never qualified, although the Swiss authorities much later awarded him the title of architect, "because they loved my work"."]]></description>
<dc:subject>architecture architects self-taught design peterzumthor outsiders art generalists autodidacts outsider autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f1c41fcc9bb6/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self-taught"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
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