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    <title>The Slow Line: Art Through Train Travel and Public Transit Spaces</title>
    <dc:date>2026-06-04T08:01:13+00:00</dc:date>
    <link>https://summer-university.udk-berlin.de/?id=653</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["#artisticpractice #publicspace

A site-based class turning trains, stations, and movement into artistic material. Through fieldwork, theory, and public encounters, participants create works for a final exhibition at railway stations

The Slow Line invites participants to explore how artistic practice can expand beyond institutional frameworks into public space, mobility, and actual travel experience. Set in and around railway stations in Berlin and Brandenburg, the class turns travel, waiting, and the rhythms of movement into inspiration for artistic practices. It culminates in a public exhibition at stations and light-based interventions in a historic tower, visible to commuters and passing trains.

The theme ENOUGH acts as critique and invitation: enough of institutional hierarchies, closed selection systems, and sterile white cubes. Instead, we shift the focus toward artistic work that grows from travel experience and direct engagement with the public realm. Participants develop site-responsive works on platforms, trains, and inside dormant railway structures, addressing the social, poetic, and ecological dimensions of travel.

Train journeys function as both method and metaphor: slow, collective movement as an alternative to acceleration, and as a gesture toward sustainability in times of climate urgency. The train becomes a mobile classroom in which perception sharpens, conversations unfold, and artistic ideas emerge organically, meeting railway employees and other creatives working in a relevant context.

The course combines theory, fieldwork, and experimentation. Readings - including Schivelbusch’s The Railway Journey and Bachelard’s Poetics of Space - frame discussions on perception, infrastructure, and spatial transformation. Guided visits to unique railway sites, supported by Deutsche Bahn and local railway communities, provide access to spaces rarely open to the public. These encounters form the foundation for individual artistic responses through photography, sound, video, writing, installation, interdisciplinary formats and more.

The workshop fosters autonomous production through exchange among participants from diverse backgrounds. The final exhibition offers a portfolio-strengthening opportunity rooted not in institutional mediation but in a hands on public exhibition practice.

Schedule

Days 1–4 – Introduction; theory inputs; first station observations; fieldwalks; train travel and train-based fieldwork; railway site visits; material collection; concept sketches; peer feedback; meetings with creatives working in the railway context and with railway employees.

Day 5 – Pause / individual planning.

Days 6–10 – Production phase; individual and group work; exhibition setup and light intervention; public exhibitions; closing reflections.
 
Prior application requirements

Short statement (max. 1 page) on your interest in mobility, public space, or site-specific work; Brief note on what you hope to explore during the class; CV.

Knowledge requirements

No prior railway or public art knowledge needed

Basic familiarity with artistic or creative research methods helpful

Openness to working process oriented, outdoors and in transit is essential

Equipment requirements

Computer (laptop) for editing, writing, and documentation

Any tools relevant to your own artistic practice, depending on what you plan to work with during the course (e.g., sketching materials, sound-recording devices, camera, video equipment, drawing tablets, etc.)

Natalia Irina Roman is an artist, curator, and researcher whose work investigates how mobility infrastructures - especially railways - shape perception, public space, and collective experience. She has developed an innovative teaching method that turns train journeys into artistic practices through observational travel, multi-sensory fieldwork in motion, and site-responsive production on trains, platforms, and in dormant railway architectures. She has been teaching at Bauhaus University Weimar and Berlin University of Arts.

Her Fulbright Fellowship in New York City deepened her research into interlocking towers and transit thresholds, informing ongoing collaborations in Berlin and Brandenburg with railway organisations and local communities. These partnerships open restricted infrastructures - signal towers, lock sheds, service areas - for artistic and curatorial experimentation. Roman designs teaching formats in these contexts, including classes conducted on trains and workshops situated in active stations. Her railway-related projects and past classes can be viewed under www.instagram.com/sitespecificideas.

She currently leads an international Creative Europe cooperation project, an artist in residency on trains across Europe, she has created public artworks supported by the Hauptstadtkulturfonds, and has worked in cultural education since 2017. Roman also serves on juries for public art and interdisciplinary cultural programmes, advocating for accessible, transparent and context-sensitive evaluation practices.

www.nataliairinaroman.eu "]]></description>
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    <title>How car-loving American cities fell so far behind their global peers on public transit | US news | The Guardian</title>
    <dc:date>2026-05-07T20:04:49+00:00</dc:date>
    <link>https://www.theguardian.com/environment/2026/may/06/american-cities-cars-public-transportation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With most major European cities well-served by trains and buses, bringing US transit up to par would cost $4.6tn"]]></description>
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    <title>In Love with Trains | Tony Judt | The New York Review of Books</title>
    <dc:date>2026-03-19T07:01:07+00:00</dc:date>
    <link>https://www.nybooks.com/articles/2010/03/11/in-love-with-trains/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"Bring Back the Rails!"
https://www.nybooks.com/articles/2011/01/13/bring-back-rails/
https://archive.is/B21jx ]

"According to the literary theorist René Girard, we come to yearn for and eventually love those who are loved by others. I cannot confirm this from personal experience—I have a history of frustrated longings for objects and women who were palpably unavailable to me but of no particular interest to anyone else. But there is one sphere of my life in which, implausibly, Girard’s theory of mimetic desire could be perfectly adapted to my experience: if by “mimetic” we mean mutuality and symmetry, rather than mimicry and contestation, I can vouch for the credibility of his proposition. I love trains, and they have always loved me back.

What does it mean to be loved by a train? Love, it seems to me, is that condition in which one is most contentedly oneself. If this sounds paradoxical, remember Rilke’s admonition: love consists in leaving the loved one space to be themselves while providing the security within which that self may flourish. As a child, I always felt uneasy and a little constrained around people, my family in particular. Solitude was bliss, but not easily obtained. Being always felt stressful—wherever I was there was something to do, someone to please, a duty to be completed, a role inadequately fulfilled: something amiss. Becoming, on the other hand, was relief. I was never so happy as when I was going somewhere on my own, and the longer it took to get there, the better. Walking was pleasurable, cycling enjoyable, bus journeys fun. But the train was very heaven.

I never bothered to explain this to parents or friends, and was thus constrained to feign objectives: places I wanted to visit, people I wanted to see, things I needed to do. Lies, all of it. In those days a child could safely travel on public transport alone from seven years old or so, and I took solitary tube trips around London from a very young age. If I had a goal it was to cover the whole network, from terminus to terminus, an aspiration I came very close to achieving. What did I do when I reached the end of a line, Edgware as it might be, or Ongar? I stepped out, studied the station rather closely, glanced around me, bought a dessicated London Transport sandwich and a Tizer…and took the next tube back.

The technology, architecture, and working practices of a railway system fascinated me from the outset—I can describe even today the peculiarities of the separate London Underground lines and their station layouts, the heritage of different private companies in their early years. But I was never a “trainspotter.” Even when I graduated to solitary travel on the extensive network of British Railways’ Southern Region I never joined the enthusiastic bands of anorak-clad preteenage boys at the end of platforms, assiduously noting down the numbers of the passing trains. This seemed to me the most asinine of static pursuits—the point of a train was to get on it.

The Southern Region in those days offered rich pickings for the lone traveler. I would park my bike in the luggage wagon at Norbiton Station on the Waterloo line, ride the suburban electric train out into rural Hampshire, descend at some little country halt on the slopes of the Downs, cycle leisurely eastward until I reached the westerly edge of the old London to Brighton Railway, then hop the local into Victoria as far as Clapham Junction. There I had the luxuriant choice of some nineteen platforms—this was, after all, the largest rail junction in the world—and would entertain myself with the choices from which to select my train back home. The whole exercise would last a long summer day; when I got home, tired and contented, my parents would inquire politely as to where I had been and I would dutifully invent some worthy purpose to obviate further discussion. My train trips were private and I wanted to keep them that way.

In the Fifties, train travel was cheap—especially for twelve-year-old boys. I paid for my pleasures from weekly pocket money and still had pennies left over for snacks. The most expensive trip I ever took got me nearly to Dover—Folkestone Central, actually—from where I could look longingly across at the well-remembered rapides of the French national network. More typically, I would save spare cash for the Movietone News Theatre at Waterloo Station: London’s largest terminus and a cornucopia of engines, timetables, newsstands, announcements, and smells. In later years, I would occasionally miss the last regular train home and sit for hours into the night in Waterloo’s drafty waiting halls, listening to the shunting of diesels and the loading of mail, sustained by a single cup of British Rail cocoa and the romance of solitude. God knows what my parents thought I was doing, adrift in London at 2 AM. If they had known, they might have been even more worried.

I was a little too young to capture the thrills of the steam age. The British rail network switched all too soon into diesels (but not electric, a strategic mistake for which it is still paying) and although the great long-distance expresses still swept through Clapham Junction in my early school years, pulled by magnificent late-generation steam engines, most of the trains I took were thoroughly “modern.” Nevertheless, thanks to the chronic underinvestment of Britain’s nationalized railways, much of the rolling stock dated from interwar years and some of it was pre-1914 vintage. There were separate closed compartments (including one in each four-car unit set aside for “Ladies”), no toilets, and windows held up by leather straps with holes into which a hook in the door was inserted. The seats, even in second- and third-class, were upholstered in a vaguely tartan fabric that irritated the naked thighs of shorts-clad schoolboys but that was comfortingly warm in the damp, chilly winters of those years.

That I should have experienced trains as solitude is of course a paradox. They are, in the French phrase, transports en commun: designed from the early-nineteenth-century outset to provide collective travel for persons unable to afford private transportation or, over the years, for the better-heeled who could be attracted to luxurious shared accommodations at a higher price. The railways effectively invented social classes in their modern form, by naming and classifying different levels of comfort, facility, and service: as any early illustration can reveal, trains were for many decades crowded and uncomfortable except for those fortunate enough to travel first-class. But by my time second-class was more than acceptable to the respectable middling sort; and in England such persons keep themselves to themselves. In those blissful days before mobile phones, when it was still unacceptable to play a transistor radio in a public place (and the authority of the train conductor sufficed to repress rebellious spirits), the train was a fine and silent place.

In later years, as Britain’s rail system fell into decline, train travel at home lost some of its appeal. The privatization of the companies, the commercial exploitation of the stations, and the diminished commitment of the staff all contributed to my disenchantment—and the experience of travel by train in the US was hardly calculated to restore one’s memories or enthusiasms. Meanwhile the publicly owned state railways of continental Europe entered a halcyon era of investment and technical innovation, while largely preserving the distinctive qualities inherited from earlier networks and systems.

Thus to travel in Switzerland is to understand the ways in which efficiency and tradition can seamlessly blend to social advantage. Paris’s Gare de l’Est or Milano Centrale, no less than Zurich’s Hauptbahnhof and Budapest’s Keleti Pályaudvar, stand as monuments to nineteenth-century town planning and functional architecture: compare the long-term prospects of New York’s inglorious Pennsylvania Station—or virtually any modern airport. At their best—from St. Pancras to Berlin’s remarkable new central station—railway stations are the very incarnation of modern life, which is why they last so long and still perform so very well the tasks for which they were first designed. As I think back on it—toutes proportions gardées— Waterloo did for me what country churches and Baroque cathedrals did for so many poets and artists: it inspired me. And why not? Were not the great glass-and-metal Victorian stations the cathedrals of the age?

I had long planned to write about trains. I suppose in a way I have already done so, at least in part. If there is something distinctive about my version of contemporary European history in Postwar, it is—I believe—the subliminal emphasis on space: a sense of regions, distances, differences, and contrasts within the limited frame of one small subcontinent. I think I came to that sense of space by staring aimlessly out of train windows and inspecting rather more closely the contrasting sights and sounds of the stations where I alighted. My Europe is measured in train time. The easiest way for me to “think” Austria or Belgium is by meandering around the Westbahnhof or the Gare du Midi and reflecting on the experience, not to mention the distances between. This is certainly not the only way to come to grips with a society and a culture, but it works for me.

Perhaps the most dispiriting consequence of my present disease—more depressing even than its practical, daily manifestations—is the awareness that I shall never again ride the rails. This knowledge weighs on me like a leaden blanket, pressing me ever deeper into that gloom-laden sense of an ending that marks the truly terminal disease: the understanding that some things will never be. This absence is more than just the loss of a pleasure, the deprivation of freedom, much less the exclusion of new experiences. Remembering Rilke, it constitutes the very loss of myself—or at least, that better part of myself that most readily found contentment and peace. No more Waterloo, no more rural country halts, no more solitude: no more becoming, just interminable being."

[archived:
https://archive.is/OM330 ]]]></description>
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    <title>Stop Building Now! | Reinier de Graaf</title>
    <dc:date>2026-03-17T16:32:08+00:00</dc:date>
    <link>https://thebaffler.com/latest/stop-building-now-de-graaf</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Rising home prices are not the result of scarcity"

...

"Back to the question posed at the beginning of this: Do we need new buildings? The assumption that building more homes automatically leads to more affordable homes is increasingly being proven false. Rising house prices are not the result of scarcity. In Western Europe, where the housing crisis is high on the political agenda, most countries have had stable populations and housing stocks for more than twenty years. In countries where the population has grown, the housing stock has grown proportionally, and in some cases even outstripped population growth. In the UK, the massive increase in housing costs has even coincided with a growth in the amount of surplus housing. The UK also belies the explanation that the rise in housing costs is the result of reduced social housing stock: despite the mass sell-off of council housing since the 1980s, the percentage of socially rented dwellings is still nearly double the EU average.

Rising house prices in the UK are not the result of under-supply, but of policies that have actively encouraged prices to rise. Until the 1980s, private rents in the UK had been capped and regulated by law. Thatcher’s government changed all that. To attract capital, the rental market was deregulated, causing rents to rise and boost property values as a whole. In 2023, the real estate sector accounted for more than 13 percent of the UK’s total gross value added, two-thirds of that coming from housing. Housing-based wealth is meanwhile central to the UK economy, described by some as the country’s closest thing to a national industry.

The trend has come to apply in most European countries. Real estate is the prime business of virtually every major city in Europe. In the race between value and price, the population is both the greatest beneficiary and the greatest victim. The rise in value of one property is annulled by an even sharper rise in price of the next. And that is for those lucky enough to own property. The “richer” the city, the smaller the living space those on a median income can afford, if they can afford to live there at all . . .

Building more homes in the hope of driving down prices is proving a logic in reverse. We are building more than ever, and yet more homes do not lead to more affordable homes. It is time to recognize that we face not a housing crisis but an affordability crisis. Mistaking one for the other consistently forces us into a vicious cycle: to tackle the crisis, we build new homes; these too prove unaffordable, leading us to build yet more in turn.

More than a means to provide shelter, construction serves as a lucrative means of investment. It would be naive to expect the private parties who make their money from building our homes to go against their own interests by reducing prices. But does the same need to apply to architects? Too often architecture serves as a fig leaf for financial returns. Don’t be fooled: speculative developers do not hire architects because they are so fond of their work, but because their involvement helps them secure the necessary approvals for large development quantums. Who could argue with culture?

No longer should architects allow their work to be abused in this way. Let’s refuse to play ball and see what happens; abstain from planning and designing new buildings until the conditions have fundamentally changed. There are plenty of alternatives. The days when projects started from a tabula rasa are long gone. Few proposed building sites have no existing buildings, or existing structures of some sort. We could start by opposing their demolition and spending our creative energies inventing new ways in which existing environments could have a second (third, fourth or fifth) lease of life. Let’s not waste our time on new buildings until we run out of existing ones. The present wave of construction has nothing to do with housing the masses. Stop building, and the dirty secret will expose itself."]]></description>
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<item rdf:about="https://gzgp0.r.sp1-brevo.net/mk/mr/sh/SMJz09SDriOHWoRqa4UPgneJXNA9/v2UWX6XjDUaf">
    <title>The politics of the World Cup</title>
    <dc:date>2026-03-13T05:25:17+00:00</dc:date>
    <link>https://gzgp0.r.sp1-brevo.net/mk/mr/sh/SMJz09SDriOHWoRqa4UPgneJXNA9/v2UWX6XjDUaf</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.equator.org/courses/world-cup-2026 ]

"We're thrilled to announce Equator Seminars – a new series of online courses taught by some of the world’s leading thinkers, writers and artists.

Each Seminar runs for four weeks, with one hour of live, interactive Zoom teaching each week, giving you the chance to learn directly from exceptional minds and engage with ideas that matter.

In the first Seminar, running every Saturday from 4 April to 25 April (noon to 1 PM EST), the bestselling football writer David Goldblatt will examine the politics and cultural issues shaping this summer’s FIFA Men’s World Cup.

Spread over three countries (predominantly the US) and featuring a record 48 teams, this will surely be the most extravagant and fraught World Cup in history. President Donald Trump has his fingers all over it. One moment he wants to withhold games from Democrat-controlled cities; the next he threatens to invade co-host Mexico. After the US-Israeli bombing of Tehran, the Iranian team has decided to boycott the tournament. Rather than defend the sport’s dignity, Gianni Infantino, the FIFA president, has awarded Trump a bespoke “Peace Prize".

What are we to make of the authoritarian shadows hanging over the Beautiful Game? Is this tournament an exception – like the Berlin Olympics – or symbolic of football’s rightward drift? (The previous edition was held in Qatar, and the next will be in Saudi Arabia.) Goldblatt will address these and other questions in his Seminar, even as he celebrates the players who make the game beautiful. 

Reserve your spot today on the Equator web site.

By way of preview, we asked Goldblatt to select four books that have shaped his sensibility as a football writer.

1. Eduardo Galeano, Football in Sun and Shadow (1995)

Unfolding in 40 chapters, some lasting a few pages, other as short as a single paragraph, this book offers a kind of magic realist account of the history of football. Reading it was a transformational experience for me; it expanded my conception of what football writing can be. The British tradition of sports journalism, which I was raised on, was generally narrative in form and restrained in tone. Galeano was the opposite: he moved between any number of genres, had a strong voice, and was not embarrassed of analysing, even celebrating, the political and indeed mythological aspects of the sport.

I recall a lovely piece in which he describes watching a match in Montevideo with upper-class supporters of Nacional, which is the archenemy of his team, Peñarol. When Nacional scores a beautiful goal, he is surprised to find himself delighted and applauding. That’s when he realises that he is above all a “beggar for good soccer”. “When good soccer happens,” Galeano writes, “I give thanks for the miracle and I don’t give a damn which team or country performs it.”

As much as I love beautiful goals, I am more of a beggar for other people's meanings. What never ceases to amaze me about soccer is the way it provides a public theatre, analogue, and extended metaphor for society – and serves as a canvas on which society can express itself.

2. Bill Buford, Among the Thugs (1990)

In this extended work of off-the-cuff anthropology and participant observation, Granta’s founding editor draws an unmatched portrait of English football hooliganism. He travels to games with him; gets drunk in pubs with them; observes them brawl and generally make a nuisance of themselves. I have never been one for crowds, but Buford taught me how to read them and appreciate them, how to understand machismo and aggression as a kind of performance. As he observes, football firms have figured out that, if dozens of people start misbehaving simultaneously, then it’s hard to stop the ensuing chaos, and no individual is likely to be caught. In that sense, there is a ritual element to hooliganism.

There is much social disorder and violence in the book, yes, but also great comedy. In one hysterical scene, at the Milan airport I think, he describes a group of Manchester United fans – they must have gone over for a Champions League match – trying to brute their way onto a flight, even though none of them have tickets, or passports for that matter. Ultimately, they make such a ruckus that the airline staff relent and let them onboard.

3. Harry Pearson, The Far Corner (1994)

Most football writing, understandably, is about grand professional spectacles: the World Cup, the Champions League, El Classico and so forth. In The Far Corner, Harry Pearson approaches the sport from the other direction, taking a tour through football in northeast England – a region where the cliché holds true: it really is a “hotbed” of the sport. Over the past 150 years, it has produced a disproportionate number of English national players. It has storied clubs like Newcastle, Sunderland and Middlesbrough (which have admittedly fallen down the pecking order in recent decades). Perhaps most importantly, at least as far as Pearson is concerned, it has a very, very robust and deep amateur grassroots system.

He writes about this regional game with a sharp eye, infectious wit and warm humour. He grasps the bonds that tie a community to their local team, even one that plays in a nonprofessional league and uses the local park as its home stadium. Reading him, you understand why hundreds of people can show up on a rainy Sunday to watch Blyth Spartans chase a ball in the muck. His is a wise and deeply empathetic book. 

4. Simon Kuper, Football Against the Enemy (1994)

A young man’s travel book. Kuper roams all over: Italy, Netherlands, Serbia and – for me, most memorably – South Africa, where he meets Nelson Mandela. Everywhere he finds the sport enmeshed, often in complicated ways, with politics. As I followed him around the globe, the scales fell from my eyes. “Wow,” I remember thinking. “Where should I go next?”

Reserve your spot today for David Goldblatt's Seminar on politics and the World Cup."]]></description>
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    <title>Inside the New Nomos Worldtimer (Factory Access!) - YouTube</title>
    <dc:date>2025-10-14T02:33:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=wsVk-yvmTZU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The NEW Nomos Worldtimer is here — and I didn’t just get to see it, I went inside the Nomos factory in Glashütte to watch where these watches are born.

In this video:
 • A full hands-on look at the new Nomos Worldtimers
 • Behind-the-scenes of the Nomos Glashütte factory
 • My honest thoughts on how this release stacks up against other worldtimers

Nomos doesn’t often give this kind of access, so I’m excited to share this tour and review with you."]]></description>
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    <title>Join Jorge in Glashutte for a DEEP Look at NOMOS! Feat. ‪@BrittPearceWatches‬ &amp; ‪@benswatchesvideos‬ - YouTube</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Join Jorge in Germany in the Town of Glashutte for the 6th Nomos Forum!

Accidental food vlog!"]]></description>
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<item rdf:about="https://andrewsamtoy.substack.com/p/ten-ways-to-live-like-a-local-anywhere">
    <title>The simplest, hardest way to &quot;live like a local&quot;</title>
    <dc:date>2025-09-30T18:21:34+00:00</dc:date>
    <link>https://andrewsamtoy.substack.com/p/ten-ways-to-live-like-a-local-anywhere</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Recently, people have sent me messages asking for travel insight about specific cities I have either lived in or been to. Often, these messages ask me if I have any advice about how the sender can “live like a local.” The wording and intent are always the same: the sender wants to avoid “touristy” things and, instead, experience the destination as a long-term resident would.

The thing is, nobody ever actually wants to “live like a local” when they are traveling. Instead, they want to live like a romanticized, idealized version of a local that they have in their head, which generally means that they want advice on how to have a luxurious, personal experience that makes them feel like they are in a dream culture while they are away from their normal lives for a few precious days. In addition, they generally don’t want to be reminded of their utter foreign-ness; really, they want to be separated from other foreigners.

But for anyone who really wants to “live like a local,” the real anwser to these requests is simple, but not easy. Here are ten universal tips for how to actually live like a local no matter where you go.

[image: "Local transportation, Kerala, India"]

1. Get a Visa that allows you to work, preferably with a route to citizenship.

If you want to understand local life, you will need to work, which means you will first need to get a visa that allows you to work legally.* One wonderful result: this will also allow you to stay in a place longer than a typical tourist. This visa could be a skilled worker visa, temporary worker visa, training or research visas, remote worker visas - you get the idea. Besides work, this visa will generally allow you to open a bank account, sign a lease for an apartment or house, pay taxes, and maybe even get a driver’s license. By hook or by crook, then, you need to get a visa that allows you to stay and make a living.

[image: "Stamford Raffles Statue, Singapore. He was a migrant worker."]

2. Use the Visa to get at least one job.

In most of the places I have gone, locals have at least one job, and, sometimes, two or three. Some of them are simply making money to survive; some are pursuing their passions; others are working multiple side hustles (backyard chickens for eggs, taking in sewing, etc.) to just make a few extra cents, knowing that a diversified income stream might help in hard times. To really live like a local, you need to do the same - get a job, no matter what that job might be (as long as it’s local - remote working for a “distributed” company doesn’t count). Having at least one source of income will also help you better understand things like local taxes, payment systems, work culture, bargaining, and the financial pressures that locals face. Plus, you get to make money! Whatever the job, working a local job is the second step to really living like a local.

[image]

3. Work really, really hard.

In London, people hustle two jobs just to be able to afford a closet-sized room; floor space that extends beyond the foot of their bed is often a sign of a connection to organized crime (or oil money). In New York, banks are under pressure to cap their junior worker office hours to something like 70 hours a week; in China, and indeed in much of Asia, 70 hours a week sitting at a desk sounds like a cute vacation compared to the drudgery of their low-paid factory jobs. In Cairo and Chicago, Lusaka and Luanda, Boston and Bangkok, people keep their noses to proverbial (and sometimes literal) grindstones.

You get the idea. Locals often work extremely hard to survive wherever they are living. If you want to live like a local, you will have to as well. The third step, then: hustle as hard as you do back at home to make a living.

[image: "I met this guy at 11 p.m. in Kochi, India. He was selling vegetables in a market. He also had a day job in a shop, and was a lead actor in a local television show - his moustache helped him land a role as a gullible police chief."]

4. Learn the language

Learning the local language is non-negotiable. It’s not enough to have a few key words or phrases poorly memorized from a guidebook - you’ll need to be able to plead with a parking officer to not give you a ticket, ask the butcher how spicy the sausages are, understand what the bus driver is telling you to do with your shopping bags when the bus is crowded, and be a part of the inside jokes at work. Even if your job is to speak your native tongue, you need to learn to communicate in a different one; learning the local language is critical to going to a new place and “living like a local.”

[image]

5. Know where to shop

Harrod’s, Liberty, Selfridges - I don’t have the numbers, but I would bet that these stores aren’t profitable because London residents shop at them. Instead, their broadest customer base is likely tourists who want to walk out of their storied doors with ostentatious shopping bags that show others that they have shopped somewhere fancy. I’d bet the same applies to the Hermes and Louis Vuitton stores in Paris, or the Prada and Zegna stores in Milan; the clerks won’t be speaking English or Mandarin by accident.

When people want to live like a local, they want to be told to go to the fancy shops, because they often imagine that locals - at least in Europe - have extravagant lifestyles. But. The bulk of Londoners won’t get onions at Fortnum and Mason, and the majority of actual Parisians aren’t walking around with Birkin bags. Instead, for food, they will go to Tesco or Carrefour; for clothes, they probably shop at H&M or Mango. Perfume? Sephora, or maybe just whatever is available at the local pharmacy. Other daily needs? Sigh…probably Amazon.

The lesson: if you really want to live like a local, avoid luxury shopping binges; they won’t serve you. Instead, follow the crowds and go mass-market. It’s what the locals do.

[image: "Bangkok. The most wonderfully friendly and delicious fruit stand I have ever been to."]

6. Get stuff.

I don't mean, have things that you collect – I mean, accumulate, accumulate, accumulate. We live in an age of material abundance, and people everywhere, whether we're talking about California or Crete or Cambodia, accumulate lots of stuff, and don't get rid of it. If you want to really live like a local, forget about traveling light, or minimizing your footprint. When you find those local stores, go into debt supporting them.

7. In your free time, don’t go out. Instead, drink at home while binge-watching Netflix.

The vast majority of people, no matter where they are, spend a huge amount of their free time at home, staring at screens, regardless of whether they are with their families or alone. They don’t read books; they don’t go to exhibitions; they don’t join clubs. They look at their screens, often watching videos made by people who live completely different lives thousands of miles away.

If you really want to live like a local, try as much as possible to do the same – don't go out to the theatre, don't go to museums, don't go on tours to learn anything. Opportunity to engage with real people? Skip it. Chance to build a community, however temporary? Pass. Instead, buy a couple of bottles at the grocery store around the corner, take them home, and focus on a screen.

(Like the one you’re looking at right now.)

[image]

8. Walk down the street staring at your phone.

Similar to six: none of this “seeing the world around you” or “interacting with other people” malarky. No matter where you are, no matter what the culture is, hordes of people now walk down the street staring at the their phones, ignoring everyone and everything around them. You might be in the most beautiful, vibrant, interesting place in the world, and you can bet that people are not paying attention to it because of social media. If you want to live like a local, do the same. You get bonus points if you also have noise-cancelling headphones on so that sound and sight - the two most important senses for perceiving danger - are mostly taken away from you.

[image]

9. Rage against bureaucracy and an inefficient government.

Local and national governments everywhere seem to be run by complete morons, people who should not be trusted with their own credit cards, much less a sizeable budget or real power over others. You’ll soon start seeing problems with potholes, trash collection, public transportation, construction corruption - the list goes on and on. It’s important to know exactly what the problems are with wherever you are so that you can move on to step ten…

[image]

10. Leave.

Of the fifty people I was closest to from high school in San Diego, California, I know of four who stayed in the 619 area code. When I lived in LA, my closest friends planned to go to Portland, Chicago, Boston, and New York for more sophisticated culture or more interesting work, forgetting that half of the people in California are refugees from these colder cities. In Barcelona, people talked openly about going to Berlin or London (or, secretly, Madrid), where there was more opportunity; people in Berlin and London dream of moving to Barcelona for the weather and lifestyle. In Cleveland, people wanted to live two hours south, in Columbus, which they believed (accurately) was safer and more prosperous; when I visited Columbus, people talked longingly of moving to Cleveland, which they believed (accurately) was way more fun and interesting. People in Budapest couldn’t believe I was from California; why didn’t I stay there, in such a beautiful place? And people in Scotland regularly ask why I left America, while Americans think I am a genius to get out and establish a life in a place that isn’t batshit crazy.

No matter where people are, it seems that they want to leave, that the grass is always greener. So, if you want to really be like a local, ignore the good things about where you live. Don’t love where you are and don’t appreciate what you have. Instead, covet whatever it is that people have elsewhere, and do whatever you can to go somewhere else for at least a while - and possibly forever, if you can get the right visa.

That’s it. If you really want to live like a local someplace you are traveling, it’s a simple path, but not always easy. Thoughts? Pop them below. "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=WIenAw1_-F4">
    <title>Two Ways To Film The Same Scene (#2) - YouTube</title>
    <dc:date>2025-08-02T20:54:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=WIenAw1_-F4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["SOURCES

Vila, Xavier, and Alice Kuzniar. “Witnessing Narration in ‘Wings of Desire.’” Film Criticism, vol. 16, no. 3, 1992, pp. 53–65. JSTOR, http://www.jstor.org/stable/44075970

Fusco, Coco, and WIM WENDERS. “Angels, History and Poetic Fantasy: AN INTERVIEW WITH WIM WENDERS.” Cinéaste, vol. 16, no. 4, 1988, pp. 14–17. JSTOR, http://www.jstor.org/stable/41687585

Ehrlich, Linda C. “Meditations on Wim Wenders’s ‘Wings of Desire.’” Literature/Film Quarterly, vol. 19, no. 4, 1991, pp. 242–46. JSTOR, http://www.jstor.org/stable/43796511

Casarino, Cesare. “Fragments on ‘Wings of Desire’ (Or, Fragmentary Representation as Historical Necessity).” Social Text, no. 24, 1990, pp. 167–81. JSTOR, https://doi.org/10.2307/827833

Caldwell, David, and Paul W. Rea. “Handke’s and Wenders’s Wings of Desire: Transcending Postmodernism.” The German Quarterly, vol. 64, no. 1, 1991, pp. 46–54. JSTOR, https://doi.org/10.2307/407304

Michael Sexson, "The Storyteller and Wim Wenders' Wings of Desire"
https://thecresset.org/FilmArchive/1993/Sexson_March%201993.html

"Theatres of Architectural Imagination" Edited by Lisa Landrum, Sam Ridgway"
https://www.routledge.com/Theatres-of-Architectural-Imagination/Landrum-Ridgway/p/book/9781032286112

Stuart Jeffries, "The Storm Blowing from Paradise: Walter Benjamin and Klee's Angelus Novus"
https://www.versobooks.com/blogs/news/2791-the-storm-blowing-from-paradise-walter-benjamin-and-klee-s-angelus-novus

Walter Benjamin's Nine Theses On The Philosophy Of History
https://www.sfu.ca/~andrewf/CONCEPT2.html

Ebert's review of City Of Angels
https://www.rogerebert.com/reviews/city-of-angels-1998

MUSIC (via Epidemic Sound)

The Road Less Travelled - Christoffer Moe Ditlevsen
The Seeds We Sow - David Celeste"]]></description>
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    <title>Citizenship as a Service</title>
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    <title>Rick Steves' The Story of Fascism in Europe - YouTube</title>
    <dc:date>2025-04-13T02:59:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=JU1IVW6uqM0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Rick Steves' Europe © 2018 | In this one-hour special, Rick travels back a century to learn how fascism rose and then fell in Europe — taking millions of people with it. We'll trace fascism's history from its roots in the turbulent aftermath of World War I, when masses of angry people rose up, to the rise of charismatic leaders who manipulated that anger, the totalitarian societies they built, and the brutal measures they used to enforce their ideology. We'll see the horrific consequences: genocide and total war. And we'll be inspired by the stories of those who resisted. Along the way, we'll visit poignant sights throughout Europe relating to fascism, and talk with Europeans whose families lived through those times. Our goal: to learn from the hard lessons of 20th-century Europe, and to recognize that ideology in the 21st century."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Fqol-1nTp_U">
    <title>Honorary Golden Bear for Tilda Swinton | Acceptance Speech | Berlinale 2025 - YouTube</title>
    <dc:date>2025-02-15T01:03:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Fqol-1nTp_U</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"Tilda Swinton decries ‘internationally enabled mass murder’ at Berlin film festival
Actor speaks out against ‘the unacceptable complacency of our greed-addicted governments’ as she picks up a Golden Bear award for lifetime achievement"
https://www.theguardian.com/film/2025/feb/14/tilda-swinton-berlin-film-festival

"Tilda Swinton Calls Out ‘War Criminals’ During Award Speech on Political Extremism
Swinton seemed to reference controversial claims from President Donald Trump to turn Gaza into "the riviera of the Middle East""
https://www.rollingstone.com/tv-movies/tv-movie-news/tilda-swinton-war-criminals-award-speech-1235267264/

"Tilda Swinton Gets Political While Accepting Berlinale Golden Bear: ‘Mass Murder Is Currently Terrorizing More Than One Part of Our World’"
https://variety.com/2025/film/festivals/tilda-swinton-mass-murder-terrorizing-world-berlinale-1236306786/

"Tilda Swinton rails against the inhumane on Berlinale's opening night"
https://www.reuters.com/lifestyle/tilda-swinton-rails-against-inhumane-berlinales-opening-night-2025-02-13/ ]]]></description>
<dc:subject>tildaswinton humanism palestine israel warcrimes 2025 repression war warfare human rights solidarity film filmmaking cinema archives culture humanity internationalism berlin extremism middleast donaldtrump benjaminnetanyahu</dc:subject>
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    <title>Visita a la manufactura de Nomos Glashütte - YouTube</title>
    <dc:date>2025-01-14T20:15:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=dRuSJO-RKQM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El artículo completo está aquí: https://horasyminutos.com/2018/09/03/en-la-manufactura-de-nomos-glashutte/

Una visita a la manufactura de Nomos Glashütte, con cuatro instalaciones: Berlinerblau en Berlín, La sede central en Glashütte, el departamento de producción en Schlottwitz (a las afueras de Glashütte) y Chronometrie, donde se hace toda la investigación y desarrollo y se ensamblan los relojes."]]></description>
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<item rdf:about="https://onethingnewsletter.substack.com/p/overtourism-destinations">
    <title>🟧 Overtourism destinations - One Thing</title>
    <dc:date>2024-08-29T21:01:07+00:00</dc:date>
    <link>https://onethingnewsletter.substack.com/p/overtourism-destinations</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kyle Chayka: At last count, three of my friends have been traveling in the Dolomites in the past month, per Instagram evidence. By NYT standards, that’s enough for a trend piece. A year ago, I had never heard mention of them as a millennial destination. Now I’m familiar enough with the spiky peaks and Scotland-esque green valleys that I can identify them on sight. Of course, the Italian alps have always been compelling to travelers and perhaps hut-to-hut hiking is a pastime appealing to thirtysomethings in my demographic. But the sudden fad is interesting to observe. Different places seem to become fashionable every year, at different points in the year, the same way there’s always a new hot clothing brand (Dolomites = Loewe, in this case). As in fashion, classics get revived for a new season. Just observe TikTok’s obsession with the French Riviera in 2023.

Overtourism is everywhere. Pick a popular place, and you can probably find an article about it. This month, NYT reported that it’s ruining Barcelona, sparking protests with locals shooting squirt guns at tourists. It’s plaguing Kyoto, where residents are harassing tour guides. Santorini in Greece is having the “worst season ever” per CNN because cruise ships of visitors abandon the city by nightfall and don’t spend enough money: It’s both too crowded and economically unfeasible. Venice, the original overtourism victim, has a new fee for visitors as if it were an amusement park ride. Icelandic geography is getting trampled. Lisbon restaurants are offering lower prices to actual Portuguese.

In Barcelona, the deputy mayor said this of tourism: “We have to understand that the demand is unstoppable. The only thing we can do is control the supply.” A fascinating statement: There is no end of people wanting to visit Barcelona, so they must stop some percentage of people from being able to visit Barcelona. The city government does this by raising tourism taxes and banning Airbnbs, theoretically limiting tourists to the available number of officially licensed hotels and rooms. Barcelona had Google Maps remove a public bus route running to Parc Güell so that tourists wouldn’t destroy its usefulness for locals. (If the tourists can’t see it on their phones, does it even exist for them?)

This all leads me to wonder: Is there any way to truly prevent a place that is remotely appealing from being overrun? A destination must resist fashionability. Overinvesting on an ephemeral surge of tourism makes it even less economically sustainable, because when the surge passes, the excess revenue runs out and jobs disappear. It’s possible to stay off the touristic grid but only so long as some TikToker doesn’t blow up your spot. Like an obscure Japanese ryokan or a rural Aman resort, a destination could also be so expensive as to be inaccessible. (No one is that mad if the tourists are all extremely wealthy.) The ultimate resistance to tourism might be ugliness. If your city is unappealing enough, no one will want to go there. But then it might conversely become appealing for that very fact? See ‘90s Berlin. Tourism has become value arbitrage: Invest in an undiscovered place early so you don’t have to go there when it’s overrun.

One solution as a traveler is to intentionally visit a place during its off-season. Everywhere has one, it just might not be as perfectly appealing as Marseilles in July. But geography isn’t a ripening fruit that’s only good at one moment. The world is large and almost any corner of it holds something interesting. One memorable experience of our trip through Provence for me was stopping at a generic highway rest area (aire de service) to charge our glitchy electric car and walking inside to successfully order an espresso to go from the cafe’s grumpy staff in my terrible French. I had as much fun there as at some of the wineries. I’m not likely to intentionally plan a tour of international rest areas, as opposed to the Dolomites, but I might actually really enjoy that. It would be so generic as to be unique."]]></description>
<dc:subject>kylechayka tourism travel greece iceland portugal france frenchriviera barcelona santorini spain españa airbnb housing inequality sustainability japan aman berlin marseilles geography dolomites alps nature kyoto fads venice socialmedia trends overtourism</dc:subject>
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<item rdf:about="https://aeon.co/essays/how-decolonisation-created-the-multipolar-world">
    <title>How decolonisation created the multipolar world | Aeon Essays</title>
    <dc:date>2024-07-06T21:54:27+00:00</dc:date>
    <link>https://aeon.co/essays/how-decolonisation-created-the-multipolar-world</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anticolonial modernity was founded upon the fight for liberation from communists, capitalists and imperialists alike"
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<item rdf:about="https://comment.org/the-architecture-of-prayer/">
    <title>The Architecture of Prayer - Comment Magazine church architecture</title>
    <dc:date>2024-05-25T19:27:06+00:00</dc:date>
    <link>https://comment.org/the-architecture-of-prayer/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An interview with architect Amanda Iglesias."

...

"AI: Architecture is a difficult but rewarding career. My advice to young persons is to pursue formation into a person of confidence and conviction. Read broadly. Take every available art history class. Maintain a sketchbook. Spend time with art. Develop “eyes to see.” Wherever you travel, consider yourself a pilgrim and not a tourist. Walk slowly. Learn how architecture is different from buildings, in the same way poetry is different from writing, cuisine is different from food. If you are already in college, take classes in every subject. If you are in high school, consider a liberal arts degree before a master’s in architecture. If you’ve already graduated college with a different degree, it’s still not too late! (This was my path.) Regardless of your season, invest in godly friendships. To be an architect is a lifelong pursuit, one that requires a slow and attentive attitude, and this is cultivated best through a healthy blend of solitude and camaraderie. Finally, ask yourself, What kind of person do I want to become? To adapt a famed C.S. Lewis quote: “The world does not need more Christian [architects]. What it needs is more Christians [designing] good [buildings].”"]]></description>
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    <title>[Unlocked] Bonus Episode - Distraction and Denial - YouTube</title>
    <dc:date>2024-04-17T04:31:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fzFC37c2ViY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The brothers discuss the latest developments in and around Palestine, including European denial and complicity, the role of the ICJ and other systems of accountability in international politics, the possible expansion of the conflict, and whether dogs wag tails or tails wag dogs.

Date of recording: Apr 13, 2024."

[also here:
https://directory.libsyn.com/episode/index/id/30856873
https://sites.libsyn.com/495388/preview-distraction-and-denial]]></description>
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    <link>https://www.newyorker.com/science/elements/the-magic-of-bird-brains</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Crows are smart enough to pick up trash. Why won’t they?"]]></description>
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    <title>Visiting One Of The Most Underestimated Brands In Watchmaking - YouTube</title>
    <dc:date>2024-02-02T18:34:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=YNVeKBHIWiY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this video, we head to Glashütte, Germany to visit NOMOS Glashütte, one of the most underestimated brands in modern watchmaking. After seeing how NOMOS produces its impressive collection of in-house calibers, we head to Berlin to see the NOMOS design studio. What do you guys think of NOMOS? 

0:00 - Intro 
1:32 - Component Production 
5:36 - Quality Control 
7:07 - Finishing 
8:11 - Pre-Assembly 
9:49 - Swing System 
13:41 - Caliber Assembly 
15:29 - Final Assembly 
17:05 - NOMOS Design Studio In Berlin"]]></description>
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<dc:source>https://pinboard.in/</dc:source>
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    <title>Making Watches for People ‘Who Can Read and Write’ - The New York Times</title>
    <dc:date>2023-10-10T04:33:11+00:00</dc:date>
    <link>https://www.nytimes.com/2017/11/17/fashion/watches-nomos-germany.html</link>
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<item rdf:about="https://www.youtube.com/watch?v=fS5pDb_wmsg">
    <title>Cities After… The WORK FROM HOME Reset: Office Work and the Looming Real Estate Crisis - YouTube</title>
    <dc:date>2023-07-05T21:07:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fS5pDb_wmsg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[S3.5E01] The WORK FROM HOME Reset: Office Work and the Looming Real Estate Crisis

Cities After… with Prof. Miguel Robles-Durán. A radical exploration into the capitalist contradictions of our urban world, and the many anti-capitalist futures to come.

In this first episode with Politics In Motion, Prof. Robles-Durán attempts a retake/update to a previous podcast series he did last year, titled Office Spaces as Homes; This new broadcast is a response to new doom predictions of a collapse of the commercial real-estate bubble and about the active reluctance of many employees to go back to the office.

In the wake of the pandemic, one mode of labor exploitation has gained a remarkable worldwide popularity: Work From Home. In heavily urbanized and service-oriented regions, this prevailing trend has been inciting rampant anxiety among the ranks of municipal officials, urban economists, and the real-estate industry alike. Indeed, as vacancy rates continue to soar beyond the 90th percentile in some regions. In an absurd contradiction to all the vacant spaces, the plight of the homeless has reached dire proportions, leaving a dire need for truly affordable housing. In this compelling episode, Prof. Robles-Durán plunges into the depths of the capitalist undercurrents and some social counter-currents behind this crisis, delving into the ominous consequences and complex future outcome.

Prof. Miguel Robles-Duran’s Cities After… is co-produced by Politics in Motion. Politics In Motion is a nonprofit organization founded in May 2023 by Prof. David Harvey and Prof. Miguel Robles-Durán, along with Dr. Chris Caruso, instructional technologist, and noted writer and art curator Laura Raicovich. Our anti-capitalist media platform offers piercing insights and thought-provoking analyses on political, social, spatial, cultural, environmental and economic issues through a range of engaging mediums, including YouTube streams, podcasts, and live events."]]></description>
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    <title>Beamer, Dressman, Bodybag</title>
    <dc:date>2023-06-04T21:01:59+00:00</dc:date>
    <link>https://europeanreviewofbooks.com/beamer-dressman-bodybag/en</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the unexpected joys of Denglisch, Berlinglish & global Englisch"

[via: https://www.robinsloan.com/newsletters/lit-up-like-a-sparkler/ ]]]></description>
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<item rdf:about="https://www.rogerebert.com/interviews/Cyril-Sch%C3%A4ublin-unrest-interview-2022">
    <title>Fight the Power: Cyril Schäublin on Unrest | Interviews | Roger Ebert</title>
    <dc:date>2023-02-24T18:41:36+00:00</dc:date>
    <link>https://www.rogerebert.com/interviews/Cyril-Sch%C3%A4ublin-unrest-interview-2022</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The idea of decentralizing these famous figures comes through in the filmmaking both narratively (Kropotkin and Josephine both say they are not protagonists in dialogue) and in the actual framing of individual scenes where use wide shots that literally decenter the characters. “Unrest” has this almost Altman- or Haneke-like voyeuristic perspective.

It’s also just the way I like to make films and the way that I like to watch [them]. It goes a long way back that I came up with this way of creating an image so that when you watch the movie, you are aware that you’re watching a movie. It’s transparent that it’s a made up thing. Maybe this could sound Brechtian, but it’s not really. And also to give liberty [to the audience] of what to choose from this big tableau image, and what to do with it—but also to give the people who appear in the film, which are all non-professional actors, space to just do what they what they do and not be too [restrictive to them].

Kind of the exact opposite of Kubrick. He would keep one particular shot over and over again until he got what he eventually wanted.

He worked with actors, and I work with people. It’s very fragile, and delicate. I have to work a lot with them and tell them "don’t act" or "don’t play." But then they are suddenly just doing it. It’s like a situationist approach.

And of course, situationists have a connection to the anarchist movement, as well. It sounds like your natural aesthetic instinct tied well into this particular story where you, as you say, have this big name in “Unrest”—Peter Kropotkin. He’s not in a huge amount of the movie, he doesn’t have that many lines, he’s not a central character, and it’s certainly not a biopic.

The guy who acts as Kropotkin (Alexei Evstratov) is a very avid Kropotkin guy. I mean, he’s really into him. And he said to me at the end, "I didn’t say that much!" But he told me the way we were doing the film, and how the film was organized, and how we talked to each other, he felt [it took a] mutual aid approach. That was really interesting for me.

Could you elaborate on what he meant by that?

Finding out together how to [tell this story]. Just simple gestures. I mean, we were cooking for each other. There’s a lot of help involved now in filmmaking: people made his hair, his beard. They helped him with the clothes, the microphone. It was very important for me to have a gentle, open feeling between people, and that we could talk in the breaks.

It’s unusual, because I think filmmaking is one of those places where there’s a presumption that it has to be run in a quite clear, hierarchical manner, but it sounds like you were able to be more collaborative.

A lot of people came to me because this was the first big film that I made. The first film we made for 60,000 francs—only friends acted in it and it was very low budget. With this film, we had much more. So we had people who worked professionally for 30 years come to us and say, "Oh my God, this was the kindest set we’ve ever seen. How do you do it? What’s happening?" It was funny. Everybody thought it was really nice. For me, it was really tough, because it’s always tough to make a film as a directing person. Just really intense. But it was nice. Good feelings.

It sounds like even if it was difficult for you, you made it a good environment for other folks. Earlier, you mentioned cadence, the sense of rhythm of working life. And obviously this is a ubiquitous motif in "Unrest," where you have ticking clocks, stopwatches, the winding of the camera. For my part, it seemed to reflect the mechanical nature of industrial society, but also this sense of social progression. Could you talk a bit more about what these ideas mean to you?

I think it was something that fascinated me with watchmaking. Because it’s a very simple machine, you know, that creates two events, the tick and the tock [from] which you can count and compare to other events. And it’s crazy how we integrated this machine, or industrial time, into our bodies. We have a feeling [that] ten minutes have passed by. We really think it’s 4:30. We believe it’s true. It’s so concrete. And I think this is interesting, because it’s such a construction. It’s so made up. With this film, I really try to show the construction of this machine. The four different time [zones the watchmakers had to keep track of] were real, but it’s absurd from an outsider’s point of view. I think if that is a construction, other capitalist mythologies are also constructions. And I think it’s important not to forget that, that we live in a made [world] and not an ultimate finished truth or anything.

That’s one of the things I find really interesting about the film. As you say, narratively, it’s not about Kropotkin or any of the characters in particular. But it is thematically about Kropotkin’s ideas. Kropotkin, contra Karl Marx or Adam Smith or even some other anarchists, believed in the abolition of any kind of wage labor whatsoever—that there was no way to meaningfully compensate somebody’s labor, to quantify it in such a way that you can pay them a wage. In "Unrest," the exact opposite is happening. You have this constant refrain about wages being paid for particular amounts of time and for particular amounts of work. The incongruity of that notion is really laid bare.

Yeah, of course. There’s an interesting thing that we did that in the end didn’t [make it] into the film. But one of the first demands of the anarchist union in this town was that they wanted to be paid for the time when they were not allowed to work. They were like, "We want to get money for the Sundays that you don’t let us work because of your religious conviction. Or Christmas." This demand completely shows this whole thing is crazy, no? Who can say when you work and for what, when, and how?

Another aspect that came up quite a bit in “Unrest” was this idea about photography and portraiture. Throughout the movie, the authorities are trying to document the town through photos, and the police are constantly trying to move anarchists out of the shot as if they’re not part of the town, or they’re not important enough to record. The local amateur photographer is perfectly happy to photograph them, but the official authorities exclude them. Meanwhile, the anarchists are trading photos of famous revolutionary figures as if they were baseball cards.

Yeah, they really did [trade and sell] pictures of martyrs. They were selling pretty well, I guess. First, I thought this idea of who can create objective reality, or say this is true, this is our village, this is how we organize society in the beginning of the nation state, is interesting. With photography, that was funny and strange to me. Who can say, "We’ll take a picture of this town, this is how it looks"? And then they print postcards and there are no women on it, only men, or no people at all. This made sense to me to show. And of course, this idea of the anarchists to create a parallel public space, or to kind of hack into these new technologies. It was this attempt to create an anarchist identity, or an anarchist community, with technological means—with photography, there was a clear strategy, and of course with the telegraph. There’s this bit in the movie [that came about when] Florian Eitel found out that many of the factory directors and owners were subscribing to anarchist newspapers, because they were much better connected internationally than the normal press."

...

"So some of the people in the film actually are watchmakers themselves?

Quite a few. Yeah. The main actor, Josephine (Clara Gostynski), is an architect. And she really likes Kropotkin, as well, and Simone Weil, and she spent a lot of time with one of the other actors who explained to her the mechanics. As an architect, she really could build on that.

The nationalist versus anarchist perspective in “Unrest” is most obvious when they’re running the two lotteries in parallel, one managed by the industrialist and the other by the anarchist community as a fundraiser. Later, when they’re voting, there’s a nice illustration of something that Errico Malatesta talks about, which is essentially that you have this direct marriage between capital in the state which necessarily excludes certain people (usually the powerless, the poor) from participating in governance. With all these ideas in mind, we’re in a moment where we’re seeing a revitalization of the labor movement across the globe. Unions across the United States, strikes in the UK and Europe, all in response to extreme societal precarity. Where do you see this film fitting into the current discourse about nationalism versus internationalism, workers and the state?

Big question. I wonder if internationalism is still a word that will affect us because nations are a concept that I don’t think will prevail. I don’t think it will make sense, really. But I think this is not for us or for the film to explain. I think this is just obvious. And I think our close surroundings will become much stronger—our experience of neighborhoods and direct mutual aid. And I think with cyberspace, the concept of nation and what you should have in common with all these people will fade at one point, I’m sure. There’s a lot of open question marks. [laughs]

I think also what’s really important is how we organize information. I think that is the main thing for me right now, maybe also with this film. Like [the question the workers face] in the movie, do you want to reenact a medieval battlefield? Or do you want to reenact the Paris Commune? This is a question we’re also [facing] right now. What information do we take and reproduce and turn into reality?"]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=LsduxQWxQM4">
    <title>Beautiful times: Berlinerblau, NOMOS’ in-house creative agency - YouTube</title>
    <dc:date>2022-08-16T23:13:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=LsduxQWxQM4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What was the design process behind our latest watch models? And how does the form surrounding the fine interior of a NOMOS timepiece take shape, anyway? Berlinerblau, NOMOS’ in-house creative agency, is responsible for branding and design—and the meeting point for internationally renowned product designers. You can find out what they consider important when it comes to designing a NOMOS watch here."]]></description>
<dc:subject>nomos watches design 2015 berlin graphicdesign judithborowski berlinerblau</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.hodinkee.com/articles/inside-nomos-glashutte">
    <title>Inside The Manufacture: A Visit To NOMOS Glashütte, From Design To Production (VIDEO) - HODINKEE</title>
    <dc:date>2022-08-16T19:16:24+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/inside-nomos-glashutte</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We go inside the German manufacture to get the full story of how the Neomatik came to life."

[video here too:
https://www.youtube.com/watch?v=8ktdZ_2Dl20 ]]]></description>
<dc:subject>nomos watches documentaries history 2016 carabarrett watchmaking manufacturing design berlin germany research glashütte berlinerblau</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=BtHqrP4SrCY">
    <title>German Watchmaking: Nomos Glashütte. A Portrait of Company And Brand. - YouTube</title>
    <dc:date>2022-08-16T19:01:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=BtHqrP4SrCY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This episode is a portrait of the German watch manufacturer Nomos Glashütte, located in the very town in Saxonia. German watchmaking has quite some tradition here and is quality wise up to the level of Swiss watchmaking. The Company Nomos has a distinctive design, supported by in house calibers and its own design agency."]]></description>
<dc:subject>nomos germany history watches watchmaking 2021 1990 glashütte design graphicdesign berlin advertising marketing 2003 2005 judithborowski rolandschwertner susannegünther uweahrendt bauhuas politics tolerance openness populism saxonia saxony casebackwatches berlinerblau</dc:subject>
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<item rdf:about="https://futuress.org/magazine/when-a-stone-says-no/">
    <title>When a Stone Says No</title>
    <dc:date>2022-05-01T02:51:40+00:00</dc:date>
    <link>https://futuress.org/magazine/when-a-stone-says-no/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Following willful stones and the creative potential of refusal against cultural colonialism."

...

“In this way, [Sara] Ahmed points out that willfulness has been predominantly understood not as a virtue (a lot of will as determination) but rather, as a negative expression of will (an excess of will as disobedience); the rhetoric is that if you defy authority, you must be corrected. The difference between will and willfulness thus has to do with where power is located; it is “a way of ordering human experience, [a] way of distributing moral worth,” Ahmed indicates—whatever gets in the way of the norm must be eliminated.”

...

“Willfulness is not a possibility that stems from a choice but a resort to turn to after & precisely because the possibility of choice did not exist in the first place. It’s a reaction to not having been able to choose, only being able to say “no” to that which is being imposed.”

...

“This mechanism of power can be understood as cultural colonialism, a process by which the universal imposition of a type of cultural expression, with its set of operations and values, negates others through their appropriation and reinterpretation, while emptying them of their original meaning so that they can respond to the new, over-imposed narrative.”

...

“researcher Cherry-Ann Davis explains that decontextualization is a politics of display and a necessary maneuver to hide the many violations that occurred to obtain an “artifact” whilst turning it into a blank canvas ready to assimilate new meaning and relevance.”

...

“However, the stone as Grandmother Kueka was not in itself sufficient for the request to be granted; it had to be framed within the parameters of legality defined by the nation-state, based on the assumption of separability between humans and nonhumans and thus articulated in the language of property. In this framework, the stone is defined by whom it belongs to, not in terms of continuity and relationality (what the stone *is with*). In other words, what for the Pemón *is*, for the categories under which the State operates *is not*.”

...

“Her [Marisol de la Cadena’s] intent with *not only* is to slow down our practice of knowing and “to challenge what we know, the ways we know it, and even suggest the impossibility of our knowing—without such impossibility canceling the emergence” of being. In that sense, *not only* is also a willful practice because it refuses the negation of being and attends to that which is beyond the limits of modern knowledge and perception. And so, Kueka is a stone-person, is in continuity with her people, is a Grandmother, is a stone but *not only*.”]]></description>
<dc:subject>francalópezbarbera stones morethanhuman multispecies animism indigeneity indigenous venezuela majasöderberg småland permanence stillness relationallity children will willfulness resistance colonialism imperialism appropriation reinterpretation germany determination saraahmed brothersgrimm grimm wolfgangkrakervonschwarzenfeld states ownership property continuity knowing notknowing knowledge law pemón legality decontextualization politics display meaning relevance imposition choice authority defiance berlin rafaelcaldera repatriation marisoldelacadena arturoescobar being perception unschooling deschooling futuress</dc:subject>
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<item rdf:about="https://www.theatlantic.com/ideas/archive/2020/04/pandemic-shows-what-cities-have-surrendered-cars/610423/">
    <title>The Pandemic Shows What Cities Have Surrendered to Cars - The Atlantic</title>
    <dc:date>2020-05-02T22:02:59+00:00</dc:date>
    <link>https://www.theatlantic.com/ideas/archive/2020/04/pandemic-shows-what-cities-have-surrendered-cars/610423/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The message is clear: The storage of empty vehicles is more important than the neighborhood’s fundamental mode of transport. Which is why some of the tensions that have flared during the coronavirus crisis—over runners using the sidewalk, or pedestrians using the bike lane—are particularly tragic. These confrontations are often ascribed to some personality flaw of the runner or pedestrian herself—she’s rude or entitled—rather than seen as an indictment of the misguided system that pits two people on a narrow sidewalk against each other in the first place. No one yells at a parked car, and the driver who scuttles by in the road gets a free pass, even as his driving imposes noise, pollution, and elevated climate risk upon those around him.

We often take the allocation of urban space as a given; hard concrete, we might assume, merely reinforces the normal order of things. But cities have more space available for pedestrians and cyclists and various forms of micromobility than we might think. That much becomes clear—at least in New York and other northern cities—every winter. The tire tracings one sees at intersections during snowstorms show that drivers use only a portion of the space given to them. At key points—a.k.a. “neckdowns”—vehicular lanes can be narrowed and curbs extended so that pedestrians can cross faster. (The unlovely portmanteau sneckdown describes the hemming in of car lanes by snow banks after winter storms.)  Wide lanes, typically intended as a safety mechanism, simply encourage drivers to step on the gas. Unsurprisingly, the dearth of drivers in Los Angeles and New York City at the moment has led to increases in speeding. Because so few people are driving, the number of motor-vehicle crashes has dropped during the lockdown—saving California alone $40 million a day, according to one study—but it could fall still lower if drivers stopped using the pandemic as a license to step on the gas.

The current crisis gives us the impetus to rethink and recalibrate, at least temporarily, the allocation of urban space. Cities including Oakland and Berlin are redrawing lines, or reclassifying through streets as public spaces. One of the most ambitious plans, Milan’s Strade Aperte (“Open Roads”), brings wider sidewalks, temporary cycling lanes, and lower speed limits to some 22 miles of city streets. The region around Paris has gone even further, announcing plans for a 650-kilometer bike network. When successful, interventions that take space back from cars have a habit of sticking.

New York, in contrast, has largely stuck to the status quo. Mayor Bill de Blasio briefly opened up space along 1.5 miles of roadways before calling off his own experiment. Many steps that cities have taken to improve conditions for pedestrians have been decidedly modest—for instance, some local governments have automated their pedestrian-crossing buttons, so people don’t have to touch a potentially contaminated surface. It’s nice, but raises the question: Isn’t the larger problem the idea that the pedestrian has to ask permission to cross in the first place?

An old adage in transportation planning says that the strongest predictor of your trip today is the trip you took yesterday. Like a lot of human behavior, the way we get around is largely habitual—as much for societies as individuals. “In general,” notes a Danish study about how to change people’s commuting behavior, “people reserve deliberation and conscious decision-making for novel situations and for when new problems arise in old situations.”

Which is exactly where we find ourselves now. When the lockdown eases, pedestrians will still need to give one another a wider berth than they did before the pandemic, and they deserve to be accommodated somehow. Before all the cars come back, we can start working on the gaps in everyday livability that have been exposed by the coronavirus—and today’s livability is tomorrow’s resilience."]]></description>
<dc:subject>cars cities covid-19 coronavirus poandemic pandemics urban urbanism mobility pedestrians bikes biking parking design urbandesign policy urbanplanning nyc berlin tomvanderbilt micromobility publictransit spaces climatechange pollution safety noise</dc:subject>
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<item rdf:about="https://www.wnycstudios.org/podcasts/tnyradiohour/segments/worldwide-metoo-protest-began-chile">
    <title>A Worldwide #MeToo Protest that Began in Chile | The New Yorker Radio Hour | WNYC Studios</title>
    <dc:date>2019-12-13T23:55:27+00:00</dc:date>
    <link>https://www.wnycstudios.org/podcasts/tnyradiohour/segments/worldwide-metoo-protest-began-chile</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Three weeks ago, members of a Chilean feminist collective called Las Tesis put on blindfolds and party dresses and took to the streets. The festive atmosphere put their purpose in stark relief: the song they sang was “Un Violador En Tu Camino” (“A Rapist in Your Path”). It’s a sharp indictment of the Chilean police, against whom a hundred charges of sexual violence have been lodged since the beginning of the anti-government protests in October. The lyrics also target the patriarchy in general. The song might have remained a local phenomenon, but someone put it on Twitter, and, in the span of a few days, it became the anthem of women protesting sexism and violence throughout Latin America. A few days later, the protest was replicated in Paris and Berlin, and, shortly thereafter, in Istanbul, where it was shut down by police. The New Yorker’s Camila Osorio was recently in Chile and recounts the exciting story of the creation of a global movement."]]></description>
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<item rdf:about="http://www.rocagallery.com/when-access-to-knowledge-becomes-a-weapon">
    <title>When Access to Knowledge Becomes a Weapon | Roca Gallery</title>
    <dc:date>2019-09-09T22:37:16+00:00</dc:date>
    <link>http://www.rocagallery.com/when-access-to-knowledge-becomes-a-weapon</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Education in general, including architecture education, has been a point of heated discussion for over a decade. The role of the university, now a commodified environment thanks to the objectification of knowledge, has changed from a place for discussion and learning to a place where knowledge and even empathy have acquired a material value. As described by the media activist Franco ‘Bifo’ Berardi, “the privatization of the education system and the assault of the media on human intelligence are lessening the critical ability of the social brain.” Students incur lifetime debts in order to obtain an accreditation that will supposedly get them a job and open the doors to a certain quality of life. Sadly, this is mostly a mirage, with social disparities and cultural anxieties a constant in daily life. Ivan Illich wrote about this already in 1971, pointing out that “School is both the largest and the most anonymous employer of all.

Indeed, the school is the best example of a new kind of enterprise, succeeding the guild, the factory, and the corporation.”

Faced with this reality, many unconventional experiments emerging all over the world are subverting this status quo by adopting approaches that aim to recover the spirit of the “schools under trees,” a reference to the old notion that the shade provided by a few trees was enough to shelter a classroom. It was also Ivan Illich who wrote about the revolutionary potential of deschooling, and it is possible to see this potential in the many attempts to challenge and propose alternative education models for what a school should be.

Perhaps the most interesting of these initiatives are those that have no intention of becoming an institution or university. Test Unit in Glasgow is a summer school and events program exploring cross-disciplinary approaches to city development by introducing concepts like play, memory, cooperation, and care as inspirations for new learning methodologies. The absence of hierarchy is at the center of this program, enabling a process of learning by doing that is horizontal and multilateral, and in which both tutors and students learn from each other."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=AFIxi7BiScI">
    <title>Inequality - how wealth becomes power (1/2) | (Poverty Richness Documentary) DW Documentary - YouTube</title>
    <dc:date>2019-01-09T09:19:01+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=AFIxi7BiScI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Germany is one of the world’s richest countries, but inequality is on the rise. The wealthy are pulling ahead, while the poor are falling behind. 

For the middle classes, work is no longer a means of advancement. Instead, they are struggling to maintain their position and status. Young people today have less disposable income than previous generations. This documentary explores the question of inequality in Germany, providing both background analysis and statistics. The filmmakers interview leading researchers and experts on the topic. And they accompany Christoph Gröner, one of Germany’s biggest real estate developers, as he goes about his work. "If you have great wealth, you can’t fritter it away through consumption. If you throw money out the window, it comes back in through the front door,” Gröner says. The real estate developer builds multi-family residential units in cities across Germany, sells condominium apartments, and is involved in planning projects that span entire districts.  "Entrepreneurs are more powerful than politicians, because we’re more independent,” Gröner concludes. Leading researchers and experts on the topic of inequality also weigh in, including Nobel-prize winning economist Joseph Stiglitz, economist Thomas Piketty, and Brooke Harrington, who carried out extensive field research among investors from the ranks of the international financial elite. Branko Milanović, a former lead economist at the World Bank, says that globalization is playing a role in rising inequality. The losers of globalization are the lower-middle class of affluent countries like Germany. "These people are earning the same today as 20 years ago," Milanović notes. "Just like a century ago, humankind is standing at a crossroads. Will affluent countries allow rising equality to tear apart the fabric of society? Or will they resist this trend?”"

[Part 2: https://www.youtube.com/watch?v=cYP_wMJsgyg

"Christoph Gröner is one of the richest people in Germany. The son of two teachers, he has worked his way to the top. He believes that many children in Germany grow up without a fair chance and wants to step in. But can this really ease inequality?

Christoph Gröner does everything he can to drum up donations and convince the wealthy auction guests to raise their bids. The more the luxury watch for sale fetches, the more money there will be to pay for a new football field, or some extra tutoring, at a children's home. Christoph Gröner is one of the richest people in Germany - his company is now worth one billion euros, he tells us. For seven months, he let our cameras follow him - into board meetings, onto construction sites, through his daily life, and in his charity work. He knows that someone like him is an absolute exception in Germany. His parents were both teachers, and he still worked his way to the top. He believes that many children in Germany grow up without a fair chance. "What we see here is total failure across the board,” he says. "It starts with parents who just don’t get it and can’t do anything right. And then there’s an education policy that has opened the gates wide to the chaos we are experiencing today." Chistoph Gröner wants to step in where state institutions have failed. But can that really ease inequality?
 
In Germany, getting ahead depends more on where you come from than in most other industrialized countries, and social mobility is normally quite restricted. Those on top stay on top. The same goes for those at the bottom. A new study shows that Germany’s rich and poor both increasingly stay amongst themselves, without ever intermingling with other social strata. Even the middle class is buckling under the mounting pressure of an unsecure future. "Land of Inequality" searches for answers as to why. We talk to families, an underpaid nurse, as well as leading researchers and analysts such as economic Nobel Prize laureate Joseph Stiglitz, sociologist Jutta Allmendinger or the economist Raj Chetty, who conducted a Stanford investigation into how the middle class is now arming itself to improve their children’s outlooks."]]]></description>
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</item>
<item rdf:about="https://www.dezeen.com/2019/01/08/bauhaus-bus-wohnmaschine-spinning-triangles-savvy-contemporary/">
    <title>Bauhaus bus embarks on world tour to explore the school's global legacy</title>
    <dc:date>2019-01-08T22:28:23+00:00</dc:date>
    <link>https://www.dezeen.com/2019/01/08/bauhaus-bus-wohnmaschine-spinning-triangles-savvy-contemporary/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A bus that looks like the Bauhaus school in Dessau will travel around the world this year, aiming to "unlearn" the influential school's Eurocentric attitudes.

Called Wohnmaschine, which means "living house", the small-scale Bauhaus bus will travel between four cities in 2019, the school's centenary year.

Designed by Berlin-based architect Van Bo Le-Mentzel, the 15-square-metre mobile building is created in the image of the iconic workshop wing of the Bauhaus school building in Dessau – a building conceived by founding director Walter Gropius and built in 1919, to embody the school's core principles and values.

It features the same gridded glass walls that wrap around the building, as well as the famous lettering down one side.

Inside is an apartment-like space, containing an area to host exhibitions and workshops, plus a reading room filled with books charting the Bauhaus' history and legacy.

The project, called Spinning Triangles, begins in Dessau. From there the bus will travel to Berlin, where the Bauhaus-Archiv is located, before travelling overseas to Kinshasa, in the Democratic Republic of the Congo, and Hong Kong.

Over the 10-month tour, design collective Savvy Contemporary will host a series of symposiums and workshops that attempt to challenge and "unlearn" colonial attitudes towards modernity, to develop a more global interpretation of the school's teachings.

"This school will not be developed by the geopolitical west, but through the accelerated movement between deeply interwoven places," said Savvy Contemporary.

"Design has power. It creates our environments, our interactions, our being in the world," added the organisation. "For too long, practices and narratives from the global south have been kept at the periphery of the design discourse, been ignored altogether, or appropriated."

Open to the public, the installation is beginning with four workshops in Dessau between 4 and 22 January, exploring the relationship between colonialism and modernity.

"We will face the relations of coloniality and design as well as its various visibilities and invisibilities," explained Savvy Contemporary.

The Wohnmaschine will travel to Berlin between 24 and 27 January to coincide with the opening festival 100 Years Bauhaus, before making its way to Kinshasa for workshops between 4 and 12 April.

Here, hired actors will play out the roles of various colonies, to discuss how everyday environments can be used to create a "collective future". The intention is to develop an inclusive modernist manifesto, devoid of Eurocentric views.

Five representatives from the workshops in Kinshasa will travel back to Berlin to share their research with 40 students at Savvy Contemporary's headquarters between 22 July and 18 August. The aim is to show that "it may not be the south that needs development but the north".

"Words and actions aim to challenge and transform Bauhaus traditions and narratives of modernity and modernism," said the organisers.

Finally, the school will move to Hong Kong's Para Site art space, where it will discuss its research further.

The Bauhaus school in Dessau was only in operation from 1919 until 1923, when it was forced to close by the rising Nazi Party. It later moved to Berlin under the steer of third and final director Ludwig Mies van der Rohe, where it occupied a converted factory building.

Today the school operates as a centre for design, research and education, and part of it functions as a hotel. A museum is set open on the campus this year, as the building becomes the centre for the 100 Years Bauhaus festival.

The Bauhaus is the most influential art and design school in history. To mark the centenary of the school's founding, we've created a series of articles exploring the school's key figures and projects."]]></description>
<dc:subject>bauhaus unlearning mobile mobility nomads nomadism learning education buses 2019 art design vanbole-mentzel wohnmaschine berlin kinshasa drc democraticrepublicofthecongo collective collectivism schools research architecture miesvanderrohe</dc:subject>
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</item>
<item rdf:about="https://www.making-futures.com/">
    <title>Making Futures</title>
    <dc:date>2018-12-27T03:45:44+00:00</dc:date>
    <link>https://www.making-futures.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Making Futures Bauhaus+ is an action research project that addresses questions of architecture as a collective form and architecture as a resource. Departing from these two perspectives, it operates as an experimental research unit that advances future paths for architectural practice and education. It was initiated in 2018 as a cooperation between raumlabor and the Berlin University of the Arts on the occasion of the Bauhaus’ centenary.

Architecture as a collective form brings together the cultural, the social, the economic and the political. It traverses diverse entities and scales: objects, bodies, buildings, cities; the human and the planetary. It invites us to reflect our built environment beyond obsolete dichotomies such as public and private, living and working, urban and rural.

Primarily driven by fast-paced growth and innovation imperatives, the construction industry is the largest waste producer. There is an unbalance between the energy it consumes and its capacity to repurpose it. Exploring architecture as a resource involves looking at longer-lasting dynamics, such as recuperation and maintenance in the production and reproduction of space.

Leading up to a Summer Academy in September 2019, Making Futures Bauhaus+ devises a public learning program that continuously explores future modes of architectural and urban practice.   Spanning over a year and a half,  a Plug-In at Floating University Berlin (April-September 2018) and three mobile workshops in Istanbul (September 2018), Palermo (October 2018) and Thüringen (March 2019) constitute the project as an open, reflexive and practice driven format. The Summer Academy in Berlin will explore forms of productive cooperation, exchange, solidarity and living.

Making Futures works towards building up alliances and making transversal connections with people across, disciplines, institutions and territories that transcend the boundaries of the academic world and go beyond the borders of Europe. This is unpinned by the belief that social change cannot be limited to a dispersed few but must instead manifest as part of a wider, synergized system. Making Futures is definitely a pluralistic endeavour, there is not one future, but many.

Team
Markus Bader, Artistic Director
Christof Mayer, Artistic Director
Rosario Talevi, Associate Researcher and Project Coordinator
Anna Kokalanova, Associate Researcher
Jöran Mandik, Programme Assistant
Sophia Sundqvist, Programme Assistant
Sabine Hanel, Administration

Contact
Fachgebiet Entwerfen und Gebäudeplanung
studio raumproduktion
institut für architektur und städtebau
universität der künste

hardenbergstr 33, 10623 berlin, deutschland
030/ 31852297

talktous@making-futures.com

making-futures.com
raumlabor.net
udk-berlin.de

facebook + instagram

#makingfuturesbauhaus"]]></description>
<dc:subject>architecture design lcproject openstudioproject markusbader christofmayer rosariotalevi annakokalanova jöranmandik sophiasundqvist sabinehanel künste berlin makingfutures bauhaus collective education urban rural</dc:subject>
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<item rdf:about="https://www.instagram.com/p/BrQdN_3l5f2/">
    <title>Elise Hunchuck en Instagram: “An account of Iceland, an account of Berlin: hardness of water is the amount of calcium and magnesium in the water and is measured in units…”</title>
    <dc:date>2018-12-14T21:35:59+00:00</dc:date>
    <link>https://www.instagram.com/p/BrQdN_3l5f2/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An account of Iceland, an account of Berlin: hardness of water is the amount of calcium and magnesium in the water and is measured in units of German hardness [°1dH, where 1dH = (Calcium (mg / l) x2, 497 + Magnesium (mg / l) x4, 116) / 17.9]. The scale runs from 0 and 4°dh (very soft) to 8 to 12° dh (hard) to very hard at greater than 30°dh. The water here in Berlin ranges from 14 to 25 °dH (pretty hard to hard). It is the reason that many people complain about calcified deposits anywhere water flows – from sinks to toilets to showers to espresso machines to our skin and to our hair. You might not notice it as first, but after a while, the deposits make their mark, changing composition and appearance everywhere they’re left. After spending a few weeks out of the country, and some time in Iceland, where the water’s hardness is less than 2, and in the Reykjavik area it is particularly soft between 0.2 and 0.6°dh, I noticed the difference in my skin and, especially, my hair. I washed it and let it dry, on its own, and it finally responded, unencumbered (for the first time in almost two years) by the minerals – that particular heaviness – of Berlin. 

A small thing, you might think, until you recall, for example, as Heather Davis so eloquently wrote, “we become the outside through our breath, our food, and our porous skin. We are composed of what surrounds us. We have come into existence with and because of so many others, from carbon to microbes to dogs. And all these creatures and rocks and air molecules and water all exist together, with each other, for each other. To be a human means to be the land and water and air of our surroundings. We are the outside. We are our environment.” So, in a way, one could say I was, for awhile, becoming Iceland. And now, slowly but surely, coming back to Berlin."]]></description>
<dc:subject>berlin iceland water hardness 2018 elisehunchuck chemistry reykjavík</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://peer-to-peer-web.com/">
    <title>Peer-to-Peer Web</title>
    <dc:date>2018-10-21T23:30:30+00:00</dc:date>
    <link>https://peer-to-peer-web.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As incumbent tech platforms face growing scrutiny over their global influence, it is clear that we must envision decentralized, user-owned alternatives to counter the status quo. But how do we build those alternatives? What do their implementations look like, and how do we address their technical and ethical challenges in the face of increasing user adoption?

Peer-to-Peer Web is for those new to the decentralized web, who are curious in exploring the possibilities that lie beyond a centralized internet controlled by platform monopolies. Through a series of presentations and workshops, we examine the social, political, ethical and economic potentials and challenges of the peer-to-peer movement.

Built and published with Enoki
yo@peer-to-peer-web.com "

…

"It would be inaccurate to say Peer-to-Peer Web is winding down, it’s just time for new things. A year has passed since we began hosting a series of relaxed and informative hangouts for anyone interested in the evolving web.

We leave behind an archive containing hours of talks given by participants at hangouts in Los Angeles, New York City, and Berlin. They range in topic, but have in common a hopeful speculation of possible futures, online, offline, and that liminal space inbetween.

Of course, without the community that grew around these afternoons the last year wouldn’t have been as meaningful; thank you to the hundreds of participants across every city, not only for attending, but for actively contributing towards the ongoing discourse of the distributed web.

This leaves us with the question: what’s next?

Jon-Kyle (Los Angeles) will be active at Whyspace, a non-place for questioning. In this time of solutionism, when there is a technological answer for everything, remember to ask questions. The first event will be at MozFest in London on October 24th.

Louis from (Berlin) has announced a new project at broadcast.sh called “db, a user-owned peer-to-peer broadcasting platform”. Through a growing library of radio shows, DJ sets, interviews, lectures and recorded panels, db shapes itself as an experiment into the independent funding of creative communities and their work using p2p infrastructure.

You can read further about the project at broadcast.sh, and subscribe to the platform’s newsletter for ongoing updates at TinyLetter."]]></description>
<dc:subject>p2p beakerbrowser dat networks losangeles nyc berlin jon-kylem web online internet inbetween liminality p2ppublishing decentralizedweb p2pweb distributed dweb inbetweenness betweenness between liminal</dc:subject>
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</item>
<item rdf:about="http://agoracollective.org/">
    <title>Agora Collective - Center for Collaborative Practices</title>
    <dc:date>2018-05-02T03:34:05+00:00</dc:date>
    <link>http://agoracollective.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Agora Collective - Berlin-based Center for Contemporary Practices - was originally founded in 2011 by a multidisciplinary team as an independent project space in Mittelweg, 50 Berlin. Since then, Agora expands its mission to be a place to conceive and experiment with models of working together; providing stable spaces for artists to engage within collaborative and community-based practices."

[See also: https://www.instagram.com/agora_collective/ ]

[via: https://www.instagram.com/p/BiOzLvhlgtq/ ]]]></description>
<dc:subject>lcproject openstudioproject coworking berlin art collaborative collaboration community via:morgansully</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:8a75577c9694/</dc:identifier>
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</item>
<item rdf:about="http://www.latimes.com/entertainment/arts/miranda/la-et-cam-christoph-buchel-border-wall-prototype-20180208-story.html">
    <title>Is it inspired or irresponsible to call Donald Trump's border wall prototypes ‘art’?</title>
    <dc:date>2018-02-10T21:03:24+00:00</dc:date>
    <link>http://www.latimes.com/entertainment/arts/miranda/la-et-cam-christoph-buchel-border-wall-prototype-20180208-story.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We reach the intersection of Cuahtémoc Norte and Juventud Oriente, where a small roundabout serves as memorial to those who have died crossing the border. A European curator who is working with Büchel on the prototypes project — but who declines to go on the record — points out the memorial to the group.

I ask her and Diers whether they had ever visited Tijuana before working on Büchel's prototypes project. Neither had.

Within 20 minutes, we are standing in a hilly colonia on the eastern fringes of Tijuana, just before the metal border wall.

On the Mexican side of the dividing line are the junkyards that contend with the overflows of waste generated by Tijuana's maquiladoras, which craft the cheap goods that will ultimately end up in the U.S. On the other — al otro lado — are the looming prototypes.

Just south of the fence sits one of the stone obelisks that marked the border during the late 19th century. Diers notes that the simple presence of the obelisk was once enough to mark the international dividing line: "It was a conceptual border more than a real border."

Since they were completed, the border wall prototypes have turned into architectural celebrities of sorts — debated on the news, filmed by drones and scrutinized by critics. The Times' architecture critic, Christopher Hawthorne, describes them as "banal and startling," a combination of "architectural exhibition and the new nativism rolled into one."

Beyond their political implications, it's easy to see why the structures have drawn so much attention: They are absurd — bloated security theater in a color palette befitting a suburban subdivision. (So many shades of putty.) It was only a matter of time before an enterprising artist horned in on the action.

All the attention has also had the effect of turning this humble settlement into a tourist attraction. A folding ladder is placed near the metal wall, and we each take turns climbing up to get unobstructed pictures of the prototypes.

Soon we are joined by Alexis Franco Santana, an ebullient 22-year-old tijuanense who lives in a small room across from the site. Santana, outfitted in white tank, red headphones and constantly pinging cellphone, says the structures have drawn visitors from all over the world.

He thinks the prototypes are laughable.

"It's like Donald Trump said, 'Go to Toys R Us and bring me all the toys, and I will choose the best one,'" he says. "They can make the wall from here to the sky and we can find a way to get around it. Los mexicanos tienen maña." Mexicans have knack.

His neighbor, Juan Manuel Hernandez Lozano, takes a dimmer view.

Hernandez was born in Mexico but was taken to Los Angeles without papers when he was about 5. He spent almost his entire life in Los Angeles and speaks English laced with the musical cadence of the Eastside. To prove his real-deal L.A.-ness, he shows me a Raiders tattoo.

Nine years ago, he was deported. His family lives in L.A., but he's stuck in Tijuana. In that time, he has missed the funerals of both parents and a brother.

"It's been hard," he says. "I got sick over here. I have cancer. I should have been dead a year ago."

I ask him what he thinks of the idea of turning the prototypes into a national monument.

"It's a racist thing," he replies. "Why would they do something like that? What are they getting out of it?"

When the Manzanar internment camp was designated a national historic site by Congress in the 1990s, it was not without controversy. The camp, in the Owens Valley, had once harbored upward of 11,000 Japanese Americans, who had been interned there during a period of intense anti-Japanese paranoia during World War II.

Japanese American activists — among them, former internees — had called for protection of this contentious site as a way to remember this dark episode in U.S. history. ("A national symbolic step that must go forward," activist Sue Kunitomi Embrey said at the time.)

But some groups fought the designation. In a letter to the National Park Service, which manages the site, one critic described the portrayal of Manzanar as an internment camp as "treason." Others preferred that the camp be depicted as the benevolent provider of wartime "housing" for Japanese Americans.

The efforts to sugarcoat history ultimately failed. Manzanar is today one of the most prominent sites in the U.S. to commemorate the internment of Japanese Americans.

The making of a monument is a messy business. It requires unflagging advocates, inevitable detractors and a majority vote in Congress.

It also requires time.

Manzanar was declared a national historic landmark in 1985, four decades after it was shut down. It became a national historic site seven years later. And it all came as a result of a groundswell of support for the idea that this was history worth commemorating.

In the case of the border, that history is still being written. The border prototypes could become monuments to racist folly or reawakened white supremacy. All of it leads me to wonder what the reaction would have been in 1943 if a European artist had visited Manzanar, and then described the place as a "land art exhibition" in a press release.

Toward the end of the tour, Dier gathers us in a circle and asks what we think of the idea of turning the prototypes into a monument. One person says they could serve as "a monument to hubris." Another says they could be preserved like an American Auschwitz. I suggest that in the spirit of the border, where U.S. goods and ideas are constantly being recycled by Mexico, perhaps we should allow the residents of Tijuana to dismantle the prototypes and use them to build something new.

Members of the group disperse to catch their final snapshots. I ask Santana, who has been hovering in the background, if he's OK with turning the prototypes into art.

Not in their current form, he says. "If it's going to be art, they should paint them. They could put a beach scene on one or a forest on the other. But they need to paint them, otherwise it's not art."

The group clambers into the van and we make our way back to the other side — the one where many of us, through accidents of fate, just happened to be born."]]></description>
<dc:subject>carolinamiranda border borders sandiego tijuana california us mexico art 2018 donaldtrump policy christophbüchel renéperalta gelarekhoshgozaran whitesupremacy race racism xenophobia politics history berlin berlinwall manzanar</dc:subject>
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</item>
<item rdf:about="http://parallel-school.org/">
    <title>Parallel School</title>
    <dc:date>2018-01-01T21:08:11+00:00</dc:date>
    <link>http://parallel-school.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Parallel School offers an open environment for self-education in the broader context of art and design. We want to bring people from different places and backgrounds together to share knowledge, connect and initiate projects, publications, meetings and workshops. 

Parallel School belongs to no one. 
Parallel School has no location. 
Parallel School is not teaching.
Parallel School is learning."

…

"Parallel School encapsulates the idea of non-institutional, self-organized education in the broader context of Art and Design. The idea is that anyone around the world, whether currently a student or not, can create a new type of school, parallel to existing ones. It serves as a structure to share knowledge, connect with other individuals and initiate projects and workshops. But it can be anything. Self-education and sharing knowledge are possibilities through which we can engage emphatically with one another.

Parallel School originally started as a way for sharing and exchanging ideas and topics (self-education) and organizing workshops across borders, for example in Paris, Berlin and Moscow and was continued in Glasgow, Brno, Leipzig and Lausanne.

The goal is to bring people from different places and different backgrounds, not only from the world of (graphic) design, and work in an autonomous, self-set open structure. The focus will be on topics participants propose themselves around the subject of education. We will invite guests and lecturers from different disciplines to complement the workshop series. In the spirit of self-education every participant holds a short workshop, conducts a discussion or does whatever suits best to share her/his interests or specialties. We believe that inspiring and productive situations can be created without hierarchy.

Spread the word, contribute and be part of Parallel School!"

[via: https://walkerart.org/magazine/never-not-learning-summer-specific-part-1-intro-and-identities ]

[previously: https://pinboard.in/u:robertogreco/b:aecd0852151a ]]]></description>
<dc:subject>alternative design education schools artschools altgdp openstudioproject lcproject deschooling unschooling self-education self-directed self-directedlearning glasgowbrno leipzig lausanne paris berlin moscow self-organization art learning events publications hierarchy horizontality workshops unconferences</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fdfa616a15c6/</dc:identifier>
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<item rdf:about="https://www.instagram.com/p/BXkkV_TgbLU/">
    <title>Foto de Instagram de Chris Woebken • 9 de agosto de 2017 a las 4:28</title>
    <dc:date>2017-08-10T00:46:09+00:00</dc:date>
    <link>https://www.instagram.com/p/BXkkV_TgbLU/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Loving the Berlin playground designs"]]></description>
<dc:subject>playgrounds berlin</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.newschool.de/">
    <title>NewSchool</title>
    <dc:date>2017-08-01T00:08:05+00:00</dc:date>
    <link>https://www.newschool.de/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["NewSchool

• state-approved alternative school
• all-day school (secondary education)
• ethical, socio-critical, ecological and sustainable orientated
• inter-year groups
• interdisciplinary
• individualized project plans
• based on students’ needs
• cooking and eating together
• located in an entrepreneurial environment
• very realistic approach
• strong bonds with experts / between experts and NewSchool
• co-operations with companies, institutes, academies ecc.
• social engagement “social service”
• stays in nature on a regular basis
 
Listen, laugh and learn!

Especially during puberty, for many students going to school means trying to avoid schoolwork and commitments, or trying to escape all the “shoulds” they hear from parents and teachers. It seems like the only goal is getting to the next grade. We founded our school to give young people a chance of a fulfilled, enjoyable school experience that helps them to feel equipped for and to be curious about life.

Our school is a laboratory, a studio where Talents are given the chance to experiment. Each Talent will explore their strengths and find out what drives them. This is done through listening, cooperating, approaching challenges in a curious way, and following unique paths. Emotional intelligence, critical thinking, and problem-solving skills are essential for us at the NewSchool. Everyone learns from everyone else.

That’s why we go out into the real world. We experience nature, visit businesses, and go wherever the action is. We also gain new inspiration through communicating with experts (e.g. via Skype) from all over the world. Entrepreneurs, artists, managers, artisans – all of these experts are welcome at our school, no matter their ethnicity or religion. They provide information and support, or give us an insight about what their real life is like.

In cooperation with teachers, coaches, and experts, Talents develop projects, which they can pursue in a creative, engaged, interdisciplinary way working in inter-year groups. Young people and adults work together equally throughout the process, one that inspires them rather than constricting their ideas. We do learn by doing. It is our actions that spur our desire to engage with issues, groups of people, nature, and ethical questions. Talents get to know their strengths in close collaboration with others, then continue to develop them with passion.

We want to discover new things together, and to be bold in adjusting learning methods to meet today’s changed circumstances. Together, we grow to meet challenges, trust life, and allow learning to begin with the needs of the student. Old school was the past – the future is NewSchool.

NewSchool – It’s my way!"]]></description>
<dc:subject>germany berlin schools education sfsh webdev interdisciplinary alternative lcproject openstudioproject community experientiallearning place-based middleschool webdesign place-basededucation place-basedlearning place-basedpedagogy land-basedlearning land-basededucation</dc:subject>
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</item>
<item rdf:about="http://schoolofma.org/">
    <title>School of Machines, Making &amp; Make-Believe</title>
    <dc:date>2017-07-17T23:43:41+00:00</dc:date>
    <link>http://schoolofma.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["School of Machines, Making & Make-Believe is an organisation dedicated to the imaginative exploration of art, technology, design, and human connection. We’re passionate about interactivity and storytelling. We enjoy learning and playing with tools that make our brains and our dreams come to life! Wanna join us?

We curate experimental formats for learning, a creative work-holiday of sorts. We run several intensive full-time four-week programs in Berlin, Germany, each with well-known instructors and a unique topic and focus.

We've started taking our programs to other cities in Europe and plan to experiment in 2017 with new ways of bringing people together in the form of a machine learning residency, online classes geared towards art, tech, and activism, plus more! Stay tuned!

We invite creative people of all kinds -- artists, teachers, technologists, makers, engineers, designers, the curious, people passionate about learning and creativity, those who secretly desire to create something meaningful -- all are encouraged to participate."

[See also:
https://twitter.com/schoolofmaaa
https://www.instagram.com/schoolofma/ ]]]></description>
<dc:subject>art diy education berlin making lcproject openstudioproject sfsh storytelling interactive creativity racheluwa kathrynzazenski christiankokott merediththomas ritaeperjesi zolazakiya schoolofmaaa</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.nytimes.com/2017/05/18/t-magazine/germany-forest-kindergarten-outdoor-preschool-waldkitas.html">
    <title>Running Free in Germany’s Outdoor Preschools - The New York Times</title>
    <dc:date>2017-05-29T21:38:29+00:00</dc:date>
    <link>https://www.nytimes.com/2017/05/18/t-magazine/germany-forest-kindergarten-outdoor-preschool-waldkitas.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Robin Hood Waldkindergarten, which opened in 2005, is one of more than 1,500 waldkitas, or “forest kindergartens,” in Germany; Berlin alone has about 20. Most have opened in the last 15 years and are usually located in the city’s parks, with a bare-bones structure serving as a sort of home base, but others, like Robin Hood, rely on public transportation to shuttle their charges daily out into the wilderness, where they spend most of the day, regardless of weather. Toys, typically disparaged at waldkitas, are replaced by the imaginative use of sticks, rocks and leaves. A 2003 Ph.D. dissertation by Peter Häfner at Heidelberg University showed that graduates of German forest kindergartens had a “clear advantage” over the graduates of regular kindergartens, performing better in cognitive and physical ability, as well as in creativity and social development.

The American journalist Richard Louv, who coined the term “nature-deficit disorder” in his 2005 book, “Last Child in the Woods,” is cited often by Robin Hood staff, as is “Coyote’s Guide to Connecting With Nature,” by Jon Young, Ellen Haas and Evan McGown. (“Savage Park,” by Amy Fusselman, is another book that chronicles uninhibited play and was inspired by a visit to an adventure playground in Tokyo.) The pedagogical philosophy of waldkitas, which privileges outdoor play and hands-on environmental learning, comes originally from Scandinavia, but, as one teacher put it to me, “they don’t make a big fuss about it like they do here.” The trend’s non-Teutonic origins are somewhat surprising: There might be nothing “more German” than a state-funded preschool based primarily in a forest.

Germany has nearly three times as much protected land as the U.S., proportionate to the countries’ sizes, a nontrivial fact that highlights the way much of the country thinks about nature and its role in the emotional health of its citizens. “It’s terrible that kids today know all about technology but nothing about the little bird outside their window,” Peters said, gesturing out toward the woods and sounding like any number of quotable Germans, from Goethe to Beethoven to Bismarck, all of whom have rhapsodized on the psychic benefits of spending time in the forest. He continued: “In life, bad things happen — you lose your job or your partner or everyone just hates you — but you’ll always have this.”"

…

"THERE ARE SCATTERINGS of forest kindergartens in the U.S. as well as in the U.K. Even in Japan and South Korea, where education is famously strict, waldkitas are becoming increasingly popular. They have spread mostly through word-of-mouth among parents. And in Germany, it’s not just the wealthy — or the eccentric — who send their children. Like all other preschools in Berlin, tuition at Robin Hood is covered by the government for kids aged 2 through 6 (apart from a 100 euro per month fee because it’s a private school). New York City preschools can cost upward of $40,000 per year."]]></description>
<dc:subject>forestschools germany parenting education children 2017 nature richardlouv sfsh amyfusselman peterhäfner outdoors nyc southkorea japan uk berlin preschool schools learning</dc:subject>
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</item>
<item rdf:about="https://www.artsy.net/article/artsy-editorial-9-artist-run-restaurants-you-need-to-know">
    <title>9 Artist-Run Restaurants You Need to Know</title>
    <dc:date>2017-05-07T18:39:52+00:00</dc:date>
    <link>https://www.artsy.net/article/artsy-editorial-9-artist-run-restaurants-you-need-to-know</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the fall of 1971, the doors of a curious restaurant located at 127 Prince Street opened just south of New York’s Houston Street. Inside, if you were hungry, an artist might ladle you a steaming bowl of caldo gallego from one of three large cauldrons bubbling away over a low stove in the center of the room. Soup in hand, you’d make your way to a table where slices of bread were stacked around a huge heap of butter. Come another night and you might’ve been served the now-famous “bone dinner”—frogs’ legs and roasted marrow bones, among other skeletal dishes—then left with the remnants, rigorously cleaned and given a second life as wearable jewelry.

This was the restaurant and conceptual art project Food, run by artists Carol Goodden, Tina Girouard, and Gordon Matta-Clark, among others. Given a mini-retrospective at Frieze New York’s 2013 fair, involving several of the original chefs, the short-lived project has secured its place as one of the most iconic blurrings of the lines between art and food. The 1970s Soho establishment is far from the only artistic foray into the culinary realm, however, so we checked in on a handful that have been around for years, and a few others that are still taking shape.

Zagreus Projekt 
ULRICH KRAUSS 
BERLIN

“Food and art were the two elements in my life that were always there,” explains Ulrich Krauss, the founder of the Berlin food project space Zagreus Projekt. “I grew up in a butcher shop and I studied art.” He went on to apprentice as a chef, spending time cooking at a fancy hotel in southern Germany. “When you are in that world, it is so restricted, and you have rules for everything,” Krauss says. “It’s a very narrow world, so I got the feeling I had to escape from that.” Krauss left for Berlin, where he balanced artmaking—mostly performances—with cooking in restaurants. “I have to found a place where I bring things together,” he remembers thinking of his double life. Zagreus Projekt took shape.

Its first iteration found a home in the backroom of Galerie Markus Richter, a space for conceptual and minimal art that shuttered in 2005. Since then, Zagreus Projekt, which Krauss is careful to point out is not a gallery, has relocated to the elegant Mitte district. Artists bring ideas for exhibitions that in some way relate back to food, and a collaboration ensues to devise a menu that matches. FOOD ART, a collaboration that launches April 8th, pairs the talents of the artist-turned-chef with a Swiss-German artist couple, Hendrikje Kühne and Beat Klein, who make elaborate, three-dimensional collage sculptures, often including images of food and fragments of advertising and newspapers. “With every exhibition we do here, we have a different point of view on food or on the situation of eating, and that is the most important thing,” Krauss explains. But the demands of the project, 16 years on, are not without their toll. “I don’t see myself as an artist anymore,” says Krauss. “I see myself as a chef.”

Pharmacy 2 
DAMIEN HIRST 
NEWPORT STREET GALLERY, LONDON

Damien Hirst, dispenser of hand-painted pills and shark vitrines, blends two environments to unusual effect in his newest restaurant endeavor, Pharmacy 2, which opened at his Newport Street Gallery several weeks ago. After taking in vibrant work by John Hoyland, one of Britain’s key abstract painters, a Hirst devotee can round out the experience in the new spot. Uniquely crafted pills dot the marble floor, and a clinically cool neon sign that reads “prescriptions” hangs over the bar in view of works from Hirst’s “Medicine Cabinets” and “Kaleidescope paintings.” 

Diners enjoy chef-collaborator Mark Hix’s cooking, which eschews pharmaceuticals for fresh ingredients and a British-inflected menu of European classics, including crispy squid with green chilis or Hix’s riff on the traditional German apples-and-potatoes side “Heaven and Earth.” “Damien designed a formaldehyde ‘Cock and Bull’ for my restaurant Tramshed, so it makes sense for me to exchange my skills,” the chef explains.

[restaurant not yet named]
RAPHAEL LYON 
NEW YORK

“There is a long-running joke in the food industry that most artists are unrealized chefs,” the artist Raphael Lyon, who grows sculptures using geologic processes, tells me. “Which is just a way of saying that huge numbers of self-identified artists may have turned to art only because they wanted to be respected for working creatively with their hands, and that maybe they would have been more fulfilled in a kitchen rather than a studio.” Together with partner Arley Marks, Lyon is opening a restaurant off the Jefferson Street stop of New York City’s L train in the coming weeks. He also owns Enlightenment Wines, where he works as a “mazer,” fermenting honey and herbs into a wine-like beverage. “This will be something like a public home for that research,” he explains.

Lyon also hopes it will be “a place of sincere curiosity—whether it’s for a dry mead made out of Christmas trees and gold flake or just rethinking the pickled egg.” The artist’s deep knowledge of food and wine yields unusual revelations. “What interests me about winemaking, and more generally the American food scene writ large, is how until very recently discourse around it was obsessed with really awkward notions of authenticity,” Lyon observes. He suggests there’s a link between this approach to thinking about food and how people talked about European painting before Modernism. “A good part of the development of art in the last century was a move away from validity based on authentic regional expression to validity based on ideas,” he continues. “That’s happening in the food world, particularly in New York.”

ZAX Restaurant
WILL STEWART 
BROOKLYN

“Generally, the stereotype of ‘starving artist’ isn’t far off the mark in New York,” says Will Stewart, an artist in the city whose work engages the environment and the architecture of space. “You’ve got people living in strange shared spaces, and everybody’s out running around every night doing something.” It’s a city that Stewart thinks “operates as a pressure cooker.” A year and a half ago, he started wondering about setting up a makeshift restaurant. “There’re how many hundreds of thousands of people?” Stewart says, retracing the thoughts that led him to set up ZAX—his fixed-price, vegetarian-only supper club in a vacant space adjacent to his studio. “There will always be at least 20 people who are going to want to come by and have dinner.”

ZAX’s December “Fertility Meal,” put together by artists/guest chefs Maia Ruth Lee and Violet Dennison, included “Estrogen Seeds” (an appetizer made with anise and sugar crystals) and “New Mother Nourishment Soup” (seaweed, daikon, enoki mushrooms, shishito peppers, miso, and fingerling potatoes), among other peculiar dishes and libations. For a few extra dollars, heat acupuncture was also part of the meal. Though Stewart has put his restaurant-in-a-studio on hold, he plans to bring it back in Greenpoint sometime in April.

Conflict Kitchen
DAWN WELESKI & JON RUBIN 
PITTSBURGH

“What you choose to eat every day is a creative moment,” says Dawn Weleski, who, together with Jon Rubin, directs the Pittsburgh eatery Conflict Kitchen. “We provide an outlet for that creative expression.” The two artists work to address thorny social issues through food. “We were always thinking about how to re-envision the city, how to make it the city we wanted to live in,” Weleski, a Pittsburgh native, observes.

A simple but powerful premise guides their restaurant: Serve cuisines from countries with which the United States is in conflict. In its six years of operation, hungry residents who might not have given much thought to the social implications of U.S. foreign policy have filled up on Afghan, Cuban, Venezuelan, Palestinian, North Korean, and, most recently, Iranian cuisine. “We were trying to think of ways with which to engage the politics of the city, and to get people to have conversations in public spaces that weren’t typically had in Pittsburgh, let alone in the rest of America,” Weleski explains. 

Currency Exchange Café 
THEASTER GATES 
CHICAGO

It’s difficult to pinpoint the exact moment at which Theaster Gates’s expansive approach to artmaking came to include food. One starting point was the artist’s frequent dinners, at which guests ate soul food while discussing its origins and cultural importance. Another was getting the Currency Exchange Café, decorated with materials salvaged from the currency exchange that used to occupy the space, off the ground serving breakfast and lunch to residents of Chicago’s south side Washington Park neighborhood (ample shelves stocked with books line the walls and there are plans for a 35mm slide collection). With projects like these as well as the establishment of his Rebuild Foundation behind him, Gates is at work on ArtHouse: A Social Kitchen, taking shape just across the border in Gary, Indiana.

The project joins the Gary barbecue-and-soul-food fixture Mama Pearl’s, which is and will remain in the space, as a tenant in a large building being transformed into a multi-use facility boasting a commercial kitchen for training, an incubator for culinary businesses, a pop-up café with a menu that changes based on input from incubator participants, and even an exhibition space for art. The ambitious project is sewing the first seeds of what the rustbelt city hopes will be a leap toward fostering a cultural district, bringing to its residents a place where they can come together over a meal and admire the many talents of their neighbors. 

Thank You For Coming
LAURA NOGUERA, JONATHAN ROBERT, JENN SU TAOHAN, AND CYNTHIA SU TAOPIN
LOS ANGELES

Thank You For Coming is an experimental space that pairs a permanent restaurant serving simple weekend brunches with a series of creative residencies, as well as playing host to an eclectic array of additional programming. The mission is to “encourage spontaneous interactions and alternative understandings of food associations.” Located just across the Los Angeles River from Los Feliz in Atwater Village, the open-ended project space welcomes performances and installations, and makes its commercial kitchen available for use. Those who come do everything from bread-baking to zine-making, and well beyond. It has also reworked the cardboard-box-full-of-potatoes approach to the CSA, letting that final ‘A’ stand for art as well as agriculture. Members can expect packages including cheeses, hand salves, delicious fruit preserves, infused spirits, hand-sewn aprons, or “an artist-made functional object.”

George and Lennie
BRETT WALKER
SAN FRANCISCO

Brett Walker opened George and Lennie, a coffee shop in San Francisco’s centrally located Tenderloin neighborhood, last August. The project came about, in part, when Walker realized there were two pronounced continuities in his life: making art and making coffee. Walker came to San Francisco for a conceptually rigorous graduate program at Berkeley, where he made sculptures like inflatable rain jackets or plant-watering systems constructed from dehumidifiers, all while working at the trendy San Francisco café Four Barrel Coffee. “I was getting tired of having my art have to be about something,” Walker admits. “I slowly began making less and less obtuse conceptual art.”

Frequently, the work addressed the strained relationship between being an artist and a common laborer, circling around the necessity of supporting himself and his family through something other than art. “It occurred to me that for these reasons, I needed to do a show of my work in the place where I worked,” he says. So he swallowed his “snobby art-school pretensions” and took pains to fine-tune and perfectly hang pieces in the café where he was working. Eventually, the opportunity to run his own place came around, and Walker seized it. “Opening the café was no different than taking on some sort of art project,” he says of his merging of these two threads in his life with George and Lennie, which, fittingly for the artist’s work, takes its name from Of Mice and Men. He’s even transformed it into a makeshift portrait studio in which he creates images of his patrons.“This is an artist-run place,” Walker explains of his café, “but I think I view it as less an artist-run space and more of an art project in and of itself.”"]]></description>
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<item rdf:about="http://www.ignant.de/2016/07/27/in-conversation-with-eike-konig/">
    <title>In Conversation With Eike König – iGNANT.de</title>
    <dc:date>2016-08-27T03:08:12+00:00</dc:date>
    <link>http://www.ignant.de/2016/07/27/in-conversation-with-eike-konig/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["‘Hort’ is an old German word for Kindergarten. What does the word’s meaning say about the values of the collective, and what would you say have been its keys to success?

Yes, ‘Hort’ is a super old word for the place kids go after school. Where I grew up, in Frankfurt – where the Green party was founded – there were lots of independently-organised ‘Horts’. I think the idea of this free space is really interesting, because our lives seem to be so well organised, really structured. You go to school, you sit your exams, you go to uni, you graduate, you start working… you follow this linear path, try to organize your life around this structure, although life is actually constantly in flux, in motion – there are no real moments of graduation, only constructed ones. Having a degree doesn’t really signify anything. It’s just an example of one of the anchors to which we attach ourselves. Of course, we need goals, but these goals don’t give us (a) any satisfaction, because the process is permanent, and (b) they don’t guarantee any success. They don’t have a meaning for me. I studied, but I didn’t complete my course. I dropped out close to the end because I was offered a job as the art director for this label. You don’t get offers like that every day. For my parents, that decision was a little harder to swallow. They told me, “You can’t just not finish something.” They were scared I’d never make anything of myself.

But today it doesn’t work like that. I don’t care if someone hasn’t finished their degree. I’m interested in their personality, and what that person does, and how they share their work with me. And I always looked for a place where I could just be, and keep learning, and make mistakes – sure, you have to keep the business running, but learning and development is such an important part of life. And simply to exercise the skills I already have – that gets tired after a while. After a year, it gets really boring. It just keeps you in my comfort zone, to only use the strategies I already have to become successful. In a traditionally agency context, mistakes are avoided. But actually, for the sake of development, it’s the most important motor. To have the courage to try new things. Sometimes they work, others they don’t. To have the room to be able to take risks is super important to me.

So I thought to myself, why don’t I open my own ‘Hort’, a kind of place where older children – so not-quite adults – can go ‘after school’ – after uni. A safe space where kids from different backgrounds come together, feel safe, start to play, play with the highest level of creative energy possible, socialize, learn, grow, do things together: At its core, I find this idea really beautiful, really positive as a way to be together.

Earlier, we did a lot of playful projects, and today we work on more conceptual stuff, but when we get a brief, we don’t try to take the easiest path, the path we’ve already taken, but we look at the individual circumstances surrounding each brief, and we ask what we can learn from it too. This path always takes more energy, needs more discussion with our clients. Clients often expect ideas or concepts they’ve already seen before, or can picture in their minds. When someone says, “Nothing that you see in our portfolio will be like the concept you get,” you need to trust them. I prefer the path of the new: Let’s think differently about it and try to convey our position. So ‘Hort’ is a good idea. It’s also a nice name, has nice phonetics, and no other really clear meaning for others. Americans wouldn’t know what Hort is, say, though in Spanish it’s related to horticulture – landscape gardening, growing – there’s a lot of positive in there. All of us in the office can relate to that."

…

"As well as being the founder and creative director of Hort, you’re a Professor of Graphic Design at the University of Arts in Offenbach. What kinds of things are your students teaching you these days?

The role of the teacher has changed from being the professor-as-keeper-of-all-knowledge – the one that knows better than everyone else, and decides between right and wrong. Formerly, education was about repeating what others have already done. I was always a bit sceptical about this model, because the things we know and don’t yet know don’t necessarily impact on truth or falsehood – they are simply part of our biographies, the things we have taken to be true. But those things will be different for the person standing next to me.

Everything that I experienced during my studies and that I was critical of – I try to do those things differently. Today I teach in a University of the Arts – so there are separate disciplines, but they all run parallel to fine arts: painting, sculpture, etc. I’m in this warehouse section of the school, together with the painters and sculptors and the electronic artists and spacial designers. I have a very close-knit relationship with my colleagues in these fields, and I want to offer a research- and development-based approach to my teaching in design, graphics and illustration. I’m really intrigued by this apparent distinction between practical art and fine art. There’s a really interesting overlap between the disciplines.

I want to help my students to probe into this. Each of them is distinctly individual. No-one works like I do, and that’s important – I don’t want clones of myself. Of course they’ll be influenced by me as their teacher, but I try to focus on imparting and discussing ideas as opposed to the formal elements. My students include classic graphic designers, classic illustrators, but also those who do drawing, photography, painting – it’s super diverse, just like in the [Hort] office. Everyone is following the questions they’re personally interested in. I only provide space to do this, guide the group with questions – and draw upon my network to provide them with opportunities like showing their work in a gallery in Düsseldorf, or travelling to Tokyo to exchange their work with artists there, or bring in artists for talks, and introduce them to people to share their portfolio. Not to say, “this is my knowledge base and I will now impart it to you.” Working in this way is exciting, because everyone’s doing their own thing, developing along their own path side by side. We spend most of our time talking, actually. Which is a total inspiration for me too. I learn so much from our discourse.

And it keeps me young! If you work with young people, you can’t grow old. Pokémon Go? Five of my students had it. So of course I needed to see what it was, to keep up to date. I have one class where we just speak about contemporary graphic design. We don’t make anything – we just spend the whole lesson talking about things we’ve seen that inspire us. I want these students to develop their own interests – not to copy what others have done, but to find a form that relates to them, and develop a self-confidence to work on things that might not get 1000 likes on Tumblr, but actually mean something to them. Not to be pushed into the direction of self-promotion, but to find themselves first. You don’t need 1000 likes. Create something that’s relevant and interesting in real life. My teaching focus is on developing the personalities of my students, not on passing on knowledge. It’s super exciting. This daily work with people – whether my students or my colleagues at the office – is my biggest inspiration."]]></description>
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<item rdf:about="http://artjournal.collegeart.org/?p=6993">
    <title>Against Infographics - Art Journal Open</title>
    <dc:date>2016-03-14T00:46:57+00:00</dc:date>
    <link>http://artjournal.collegeart.org/?p=6993</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When design is excellent, graphics reveal data, writes the infographics guru Edward Tufte.1 Good information graphics allow the reader to see relationships not apparent in data without visual form. In principle, such graphics do not impose interpretations but, by showing relationships, make interpretations possible. In Tufte’s oft-quoted phrase: “Good design is clear thinking made visual.”2 Things become considerably more difficult, however, if, pace Tufte, your analytic goal is to complicate rather than to simplify, to open multiple avenues of inquiry, and, most important, to challenge the stability of underlying data, in fact or in principle.

All of these complexities are probed intensely in Depictions, an ongoing print series by the Dutch artist Gert Jan Kocken (b. 1971). Depictions consists of room-size maps of European cities during the Second World War—Rome, Vienna, Munich, and Berlin along the north-south axis of fascism; London, Rotterdam, Amsterdam, Łódź, Warsaw, and Stalingrad along the east-west corridor of conflict—each built up in layers from dozens of source maps unearthed in archives. Kocken’s three-by-four meter Depictions of Berlin, 1933–1945 (2010), for example, is constructed from 104 historical maps, which the artist scanned, georectified, layered into a single digital image, and rendered as a C-print. The resulting composite is a welter of information representing the breakneck change, contradictory claims, and massive data production of the Second World War.

Visually, Kocken’s Depictions are both familiar and strange. Anyone who knows Berlin, particularly the internal borders drawn in 1945 and ossified in the Berlin Wall that remain central to the city’s identity, will easily recognize the terrain of Depictions of Berlin. But other cartographic ghosts visible in the work are invisible on the ground. In Kocken’s map, along with the outlines of the wall, we see the process of ethnic cleansing as registered in contemporary reports, the footprint of Germania, the megacity with which Hitler intended to replace Berlin, and the view from Allied bombers. At once, the Depictions series draws on the data-rich tradition of monumental history painting, as seen, for example, in Albrecht Altdorfer’s The Battle of Alexander at Issus (1529), and on the defocalizing, allover paintings of Jackson Pollock, Lee Krasner, and other artists working in the 1940s and 1950s. Kocken’s Depictions are simultaneously narrative and aleatory."

…

"For infographic purposes, there are a number of more obvious ways to deal with historical maps than Kocken’s approach. In the first place, we have the computer interface. Clearly, this is a resource available to Kocken, as his maps all pass through digital mediation on their way to their final printed form. One can easily imagine, for example, a mapping application that allows users to pick and choose among the 104 maps that constitute Kocken’s Depictions of Berlin, selecting display options such as color, opacity, and so forth. And, indeed, many such engines exist. Moreover, with the right approach, even Kocken’s print artifact could be rendered more legible. Kocken chose a different angle, allowing competing stories to conflict visually as well as epistemologically. In places, this conflict produces illegibility not unlike what we find in the dark regions of the Ypres map; in other places, coherences and transparencies are themselves a surprise.

In an age of infographics, we tend to forget that infographics age and the foreignness of old graphics matters to our understanding of them. Kocken’s Depictions show us that information graphics are always historical and conveying their opacity is as much a part of the historical project as is translating them into a contemporary visual language."]]></description>
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</item>
<item rdf:about="http://www.citylab.com/housing/2015/07/berlins-brand-new-rent-control-laws-are-already-working/398087/">
    <title>Berlin's New Rent Control Laws Are Already Working - CityLab</title>
    <dc:date>2015-07-11T20:48:37+00:00</dc:date>
    <link>http://www.citylab.com/housing/2015/07/berlins-brand-new-rent-control-laws-are-already-working/398087/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The “rental price brake,” introduced on June 1st, is the city’s most comprehensive tool to date for keeping rent affordable."]]></description>
<dc:subject>berlin housing rentcontrol 2015 economics policy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ebd2bbc16e69/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rentcontrol"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2015"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:economics"/>
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</item>
<item rdf:about="http://www.hypermorgen.com/">
    <title>HYPERMORGEN - Forschungslabor Zukunft</title>
    <dc:date>2015-04-14T05:23:05+00:00</dc:date>
    <link>http://www.hypermorgen.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We believe that long-term success results, on one hand, from anticipating future developments to make better decisions today. On the other, it is crucial to understand the unforeseeable to make strategies robust against future shocks. 

We do not only work with traditional methods of Futures Research to distinguish the likely from the unforeseeable – we also work on creating Foresight Tools for the 21st Century. Combining those with our database of influential change drivers, we can help you to understand and use Foresight as long-term pillars for your strategy."

[See also: http://futurescope.co/

"This website is the blue background noise of Rene Schäfer, Frederik Eichelbaum and Jörg Schatzmann, three Berlin/Rhein-Main-Area based futurists who research and write about emerging trends, possible futures and bold visions.

We are particularly interested in complexity management and have a strong passion to bring state-of-the-art foresight methods to the information age.

Hypermorgen is an interdisciplinary research laboratory for futures, striving to continuously improve futures research methods. We help organisations identify future risks, face change and explore upcoming opportunities. Our core expertise is the identification and monitoring of key factors of change, (collaborative) forecasts and perspectives. We also develop scenarios depicting possible and likely futures and create design fiction.
 
// None of the images, work or art displayed here are our own, and we are really thankful to all of you who have created and represented personal and professional works. If there is something you do not wish to have here! please send us a message and we will gladly take it down!"]]]></description>
<dc:subject>reneschäfer frederikeichelbaum jörgschatzmann tumblrs futurism hypermorgen berlin</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:48b0ffdc75ba/</dc:identifier>
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</item>
<item rdf:about="http://nymag.com/next/2015/03/berlin-is-the-post-tourist-capital-of-europe.html">
    <title>Berlin Is the ‘Post-Tourist’ Capital of Europe -- Next</title>
    <dc:date>2015-03-18T06:43:38+00:00</dc:date>
    <link>http://nymag.com/next/2015/03/berlin-is-the-post-tourist-capital-of-europe.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Irritating as this may be, this blurring between the local and non-local is likely to continue shaping the future of Berlin – and the future of tourism itself. Johannes Novy, an urbanist at BTU Cottbus-Senftenberg, one of the country's top technical universities, argues that Berlin has become a test case for what some academics and journalists are calling post-tourism. “Many of the tourists we see here don’t fit the conventional image we have of tourists in Rome or Paris,” he says.

Novy has reservations about the term, but here's the idea: “Post-tourists” tend to avoid staying in hotels, they aren’t as interested in major tourist attractions, they combine work with travel, they’re looking for unconventional experiences, and they prefer to hang out in residential neighborhoods. Because Berlin is cheap, fun, and accessible, it's attracted an unusually high number of these types of visitors, who can spend months here before moving on."

…

"In many ways, the debate about post-tourism in Berlin echoes the one about gentrification everywhere else. In both cases, formerly sleepy neighborhoods become more upscale and exciting, while long-term residents and businesses are forced out and replaced with laptop-filled coffee shops. But in Berlin it also taps into a host of other resentments — about American entitlement, about being required to speak English, about a calm neighborhood being hijacked for the sake of someone else’s cliché idea of Berlin hedonism. “Berlin is the kind of place where people go if they want somewhere that is messy and complicated in ways that aren’t messy and complicated,” says Jason Clampet, the co-founder of Skift, a travel news site. “You can go to the orgy, but on the way home people will still wait for the light to change.”"

…

"According to Novy, the notion of “post-tourism” doesn’t represent a change in the way we travel so much as a change in the way we think about travel – and it primarily shows the extent to which technology and heightened mobility have helped obliterate categories like “work” and “vacation,” “local” and “visitor.” “The idea of this new tourism puts into question a lot of fundamental things about the kinds of lives people live these days,” he says. “We are in a world of endless mobility, and so we are all tourists all of the time.” Although many of these post-tourists come to Berlin looking for an “authentic” Berlin experience, that experience may never have existed in the first place, outside of their imagination."]]></description>
<dc:subject>post-tourism tourism berlin travel 2015 cities gentrification messiness johannesnovy mobility</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:245cff4f4160/</dc:identifier>
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<item rdf:about="http://selfiecity.net/">
    <title>selfiecity</title>
    <dc:date>2015-01-30T21:25:51+00:00</dc:date>
    <link>http://selfiecity.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Investigating the style of self-portraits (selfies) in five cities across the world.

Selfiecity investigates selfies using a mix of theoretic, artistic and quantitative methods:

We present our findings about the demographics of people taking selfies, their poses and expressions.

Rich media visualizations (imageplots) assemble thousands of photos to reveal interesting patterns.

The interactive selfiexploratory allows you to navigate the whole set of 3200 photos.

Finally, theoretical essays discuss selfies in the history of photography, the functions of images in social media, and methods and dataset."]]></description>
<dc:subject>selfies visualization photography data bankok berlin nyc moscow sãopaulo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5719a78b19eb/</dc:identifier>
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</item>
<item rdf:about="http://a-pare.de/">
    <title>A PAREDE ツ hello[at]a-pare.de</title>
    <dc:date>2014-07-10T02:16:48+00:00</dc:date>
    <link>http://a-pare.de/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Oh Hai! We are A Parede, a brazilian design research practice in Berlin.
Our research interests are in Speculative and Critical Design, Gender and Sound Studies."]]></description>
<dc:subject>luizaprado pedrooliveira criticaldesign speculativedesign designresearch gender sound berlin brazil brasil aparede designfiction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8d1d4fd2001e/</dc:identifier>
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<item rdf:about="http://www.boamistura.com/">
    <title>boamistura, rocking since 2001</title>
    <dc:date>2014-04-25T04:21:34+00:00</dc:date>
    <link>http://www.boamistura.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>spain españa art artists boamistura streetart murals graffiti panamá brasil brazil mexico georgia southafrica madrid córdoba algeria venice zaragoza norway capetown berlin sãopaulo</dc:subject>
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</item>
<item rdf:about="http://www.doisedois.net/">
    <title>doisedois</title>
    <dc:date>2014-02-18T22:45:37+00:00</dc:date>
    <link>http://www.doisedois.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Luiza Prado
Rio de Janeiro, Brazil, 1985.
Currently living in Berlin, Germany.

I'm a designer, researcher, artist and all-around curious person interested in the intersections of feminism, critical and speculative design, technology and our perceptions of our bodies and identities. I am currently a Design Research PhD candidate at the Universität der Künste Berlin; the working title for my dissertation is "Body extensions and the politics of designed artifacts". If you're curious you can check out my dissertation-related rants and reflections here.

Inquiries, stories, questions and general friendliness are always welcome! Say hi: hello@doisedois.net "

[via https://medium.com/designing-the-future/5a355cac2ca4 via @annegalloway]]]></description>
<dc:subject>luizaprado design criticaldesign brasil feminism art speculativedesign designfiction bodies identity body berlin research brazil</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d3b8a5a1129b/</dc:identifier>
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</item>
<item rdf:about="http://nextberlin.eu/2013/05/smart-citizens-make-smart-cities/">
    <title>Smart citizens make smart cities | NEXT Berlin</title>
    <dc:date>2013-06-04T05:09:43+00:00</dc:date>
    <link>http://nextberlin.eu/2013/05/smart-citizens-make-smart-cities/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“We have the technology to do anything. To make things happen you need to turn to design and redesign the context, the decision making and the question.” – Dan Hill, CEO of Fabrica, figured out that smart citizens are necessary to make smart cities. The institutions are collapsing, we have to decide on our own!"

[See also: http://www.cityofsound.com/blog/2013/02/on-the-smart-city-a-call-for-smart-citizens-instead.html ]]]></description>
<dc:subject>cities danhill smartcities urban urbanism planning decisionmaking organizations institutions riots 2013 society government occupy ows occupywallstreet arabspring darkmatter facebook poverty twitter insitutionalcollapse sitra bryanboyer tahirsquare egypt change design web internet networked media italy organization helsinki nimbyism nimby pop-ups restaurantday bottom-up streetfood berlin emergentbehavior citizenship law legal persistence systems efficiency urbanplanning centralization janejacobs infrastructure culture commerce conviviality chile constitución hybridforums inefficiency sharedspace brucesterling engagement participation adamcurtis allwatchedoverbymachinesoflovinggrace scale crowdsourcing beppegrillo brickstarter nimbys italia</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:streetfood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emergentbehavior"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:citizenship"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:law"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:persistence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:systems"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanplanning"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:janejacobs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:infrastructure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conviviality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:constitución"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hybridforums"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:inefficiency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sharedspace"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:engagement"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adamcurtis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:allwatchedoverbymachinesoflovinggrace"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scale"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:crowdsourcing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:beppegrillo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brickstarter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nimbys"/>
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</item>
<item rdf:about="http://www.guardian.co.uk/world/2012/sep/18/berlin-backlash-against-hipster-tourists">
    <title>Berlin's housing bubble and the backlash against hipster tourists | Jochen Hung | Comment is free | guardian.co.uk</title>
    <dc:date>2012-09-20T01:34:20+00:00</dc:date>
    <link>http://www.guardian.co.uk/world/2012/sep/18/berlin-backlash-against-hipster-tourists</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Skyrocketing housing costs in Berlin can't be blamed on an influx of 'foreigners', but are in fact fuelled by the global financial crisis"

[Video referenced and embedded within: https://vimeo.com/16116523 ]]]></description>
<dc:subject>immigration 2012 cities germany economics gentrification berlin</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c5d5cd6a3ddb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:germany"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:economics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gentrification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
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</item>
<item rdf:about="http://generalassemb.ly/">
    <title>General Assembly</title>
    <dc:date>2012-09-02T21:00:32+00:00</dc:date>
    <link>http://generalassemb.ly/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["General Assembly is a global network of campuses for individuals seeking opportunity and education in technology, business, and design."

"We offer a wide variety of learning opportunities, from 90-minute classes to long-form courses. With new options added daily, your only limit is scroll speed."

"A whole may be greater than the sum of its parts, but it's our parts that make us great. From members and instructors to knowledge-seekers and partners, our community defines what we are: collaborative learning advocates, forward-thinking envelope-pushers, and capri-pant enthusiasts.

We're excited to serve as a base for so many creative, innovative, and passionate thinkers and makers. Here are some of the Member Startups in our Community: [list]"]]></description>
<dc:subject>schooldesign learning classes coding philadelphia sanfrancisco boston berlin sydney toronto london coworking nyc startups openstudioproject lcproject sharedspace technology design entrepreneurship education generalassembly</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ce2cb863d23a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sydney"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toronto"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:openstudioproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sharedspace"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:entrepreneurship"/>
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</item>
<item rdf:about="http://www.transart.org/">
    <title>Low-residency MFA &amp; PhD Photography, Painting, Performance, New Media, Fine &amp; Visual Arts</title>
    <dc:date>2012-08-23T22:43:15+00:00</dc:date>
    <link>http://www.transart.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Transart Institute offers an international low-residency MFA and a practice-based PhD program for working artists in a highly individualized format. The innovative MFA program consists of three intensive summer residencies with lectures, workshops, critiques, seminars, performances and exhibitions in Europe and two fall or spring residencies in New York. In the four semesters between residencies, students create their own course of study realizing individual art and research projects with the support of faculty and self-chosen artist mentors wherever they work and live. The MPhil/PhD is a three to four year full time degree program with an average work commitment of 30 hours per week. The Degree is only offered for practice-based research (creative work) accompanied by a written thesis that contextualizes the work."]]></description>
<dc:subject>transartinstitute transart self-directedlearning phd nyc berlin credentialing unschooling glvo lowresidency altgdp education art mfa low-residency mfas credentials</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:459b6ba6166a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
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</item>
<item rdf:about="http://www.agoracollective.org/">
    <title>Agora</title>
    <dc:date>2012-07-17T03:15:57+00:00</dc:date>
    <link>http://www.agoracollective.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["…a multi-disciplinary gathering space of professionals, driven by the urge to explore new ways of interaction in today’s context. Seeking the balance between individuality & collectiveness. Individuals practicing and sharing their skills, providing to the collective a network, where connections are highly encouraged and facilitated resulting in a meaningful proactive community."

"…part of an artistic enterprise; a platform for the encounter of multi disciplinary projects, driven by urge to explore new ways of working & relating to projects & ideas in the actual context.

A space, a host for ideas in constant change agora provides space for artists, entrepreneurs, designers, bloggers, academics, programmers, accountants, performers, journalists, photographers, video makers, collaborators, writers, doers & dreamers.

Agora is a mix of individual initiatives & collective projects. Individuals exploring & creating a collective platform where connections & encounters are facilitated."
]]></description>
<dc:subject>community glvo via:cervus agoracollective design art coworking berlin</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:47306f08052d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:cervus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:agoracollective"/>
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</item>
<item rdf:about="http://www.agoracollective.org/agora-space/residences/">
    <title>Agora</title>
    <dc:date>2012-07-17T03:00:27+00:00</dc:date>
    <link>http://www.agoracollective.org/agora-space/residences/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AFFECT is a self-organized program where the participants share their projects in order to challenge themselves within the inputs of other artists – the process is facilitated by Agora Collective.

7 artists from different backgrounds are placed in the same space to affect each others work.

PURPOSE to challenge artistic projects within a collaborative context

PRINCIPLES AFFECT is a skill-sharing program based on collaborative artistic practices developed by and for young professionals who want to challenge a specific project

CONCEPT 7 artists from different backgrounds are placed in the same space to affect each other’s work.

STRUCTURE Period of 4 weeks Art Space at Agora’s top floor – 120 sq. meter in a industrial building in Neukölln Berlin 7 artists are selected through open call 4 variety of interventions with 2/3 facilitators per week…"
]]></description>
<dc:subject>agoracollective art via:cervus glvo 2012 residencies berlin</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cf0ed4c9ac35/</dc:identifier>
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</item>
<item rdf:about="http://www.raumlabor.net/">
    <title>raumlabor berlin</title>
    <dc:date>2012-04-13T19:21:22+00:00</dc:date>
    <link>http://www.raumlabor.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["yes we do love the great ideas of the 60s 70s & the optimism which is inherent in changing the world at the stroke of a pen to the better. but we strongly believe that complexity is real & good & our society today does need a more substantial approach. therefore our spacial proposals are small scale & deeply rooted in the local condition…. BYE BYE UTOPIA!"

"There was once a society that believed the future would bring better living conditions to everyone. There were people, utopian thinkers, who thought about the big questions of the city. Today only a feeling remains, half desire, half melancholy, reminiscing of those architects who wanted to live in a better society and who had dreamed of better places. Such an era is now over. Here begins my work.

raumlaborberlin is a network, a collective of 8 trained architects who have come together in a collaborative work-structure. We work at the intersection of architecture, city planning, art and urban intervention…"]]></description>
<dc:subject>crossdisciplinary multidisciplinary interdisciplinary interdisciplinarity activism history transformation experimentalarchitecture experimental adaptability change adaptation dynamic masterplanning meaningmaking place research-baseddesign urbaninterventions complexity urbanplanning cityplanning collaboration cities architects art design urbanism urban architecture berlin raumlabor local small</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f72f14f8d675/</dc:identifier>
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</item>
<item rdf:about="http://hypercities.com/">
    <title>Hypercities</title>
    <dc:date>2012-04-13T02:50:10+00:00</dc:date>
    <link>http://hypercities.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Built on the idea that every past is a place, HyperCities is a digital research and educational platform for exploring, learning about, & interacting with the layered histories of city and global spaces. Developed though collaboration between UCLA & USC, the fundamental idea behind HyperCities is that all stories take place somewhere and sometime; they become meaningful when they interact and intersect with other stories. Using Google Maps & Google Earth, HyperCities essentially allows users to go back in time to create and explore the historical layers of city spaces in an interactive, hypermedia environment.

A HyperCity is a real city overlaid with a rich array of geo-temporal information, ranging from urban cartographies and media representations to family genealogies and the stories of the people and diverse communities who live and lived there. We are currently developing content for: Los Angeles, NYC, Chicago, Rome, Lima, Ollantaytambo, Berlin, Tel Aviv, Tehran, Saigon, Toyko…"]]></description>
<dc:subject>seoul shanghai tokyo saigon telaviv berlin ollantaytambo lima rome chicago nyc losangeles storytelling googleearth googlemaps usc ucla atemporality timetravel hypercities visualization research history geography maps mapping cities urban</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3b34498867ac/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seoul"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shanghai"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tokyo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:saigon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:telaviv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ollantaytambo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lima"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rome"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:googleearth"/>
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</item>
<item rdf:about="http://www.kunstakademiet.dk/images/uploads/berlin_reader_02.pdf">
    <title>'GOING FRAGILE'. BERLIN. JANUARY 18 - 22. 2010 [.pdf]</title>
    <dc:date>2012-04-09T22:16:28+00:00</dc:date>
    <link>http://www.kunstakademiet.dk/images/uploads/berlin_reader_02.pdf</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A workshop organised by Howard Slater, Anthony Davies, Nils Norman and the School of Walls and Space

A READER

What follows is a group of texts and excerpts that we are pooling together as a semi-prompter or sub-guideline for what will or will not happen in Basso Berlin. In presenting these texts and themes we are not pre-empting any collective decision as to how the week will progress. I think all of us hope that there could be something unusual, stimulating or forward-leaning that could come from this week; something that comes from a collective pooling of our future-anterior experiences, desires and fragilities. There can be no experts if we are aiming for the urgent creation of co-meaning!"

[See also: http://www.kunstakademiet.dk/images/uploads/GF2_mini-reader.pdf ]]]></description>
<dc:subject>anthonydavies howardslater berlin freeform structure guydebord reader toread 2010 theschoolofwallsandspace nilsnorman</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cfd7b9f17d1e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anthonydavies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howardslater"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freeform"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:structure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reader"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toread"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2010"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theschoolofwallsandspace"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nilsnorman"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.mottodistribution.com/shop/museum-of-the-near-future-1.html">
    <title>Museum of the Near Future 1 - Anni Puolakka, Jenna Sutela, Anna Mikkola (Eds.) - ourpress</title>
    <dc:date>2012-02-24T08:17:14+00:00</dc:date>
    <link>http://www.mottodistribution.com/shop/museum-of-the-near-future-1.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Museum of the Near Future (MNF) is an apparatus for looking sideways at and intervening in urban situations and institutions. It presents itself as social installations—such as literary circles or other temporary communities—which are set up on museum premises. Producing space for imagination and discourse, these parasitic installations attempt to destabilize perceptions of what is possible, and desirable, between the now and the next in a given area.

The first iteration of Museum of the Near Future took place at the Museum of Finnish Architecture’s dormant villa in Helsinki during autumn 2011 and in collaboration with Berlin-based Motto Distribution. MNF I explored micro-political and experimental modes of participation in Helsinki, a city undergoing grand urban transformations, such as its rapid expansion to centrally located former harbour areas or the recent identity-defining missions. Composed of a thematic book society/shop in an underused institutional facility, & involving…"
]]></description>
<dc:subject>annamikkola annipuolakka jennasutela pop-upmuseums pop-upgalleries situationist urbanism urban lcproject glvo social pop-ups temporary participatory installations parasiticinstallations installation 2012 mottodistribution helsinki berlin finland books okdo museumofthenearfuture museums</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2542ee36ee9f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:annipuolakka"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jennasutela"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pop-upmuseums"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pop-upgalleries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:social"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pop-ups"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:temporary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:participatory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:installations"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:parasiticinstallations"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mottodistribution"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:helsinki"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:finland"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:okdo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:museumofthenearfuture"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://twitter.com/#!/ablerism/status/168434263547584513">
    <title>Twitter / @ablerism: Love Berlin. Human scale o ...</title>
    <dc:date>2012-02-20T22:53:49+00:00</dc:date>
    <link>https://twitter.com/#!/ablerism/status/168434263547584513</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Love Berlin. Human scale of Boston, sophistication of Brooklyn. And way cheaper, even in 2012. Wish I could share it w/ @bjford, @infrathin."]]></description>
<dc:subject>nyc 2012 comparison sarahendren cities brooklyn boston berlin</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3aaa3f7f2d0b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comparison"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sarahendren"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brooklyn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:boston"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.npr.org/2012/02/01/146083369/tina-browns-must-reads-dictators">
    <title>Tina Brown's Must-Reads: Dictators : NPR</title>
    <dc:date>2012-02-01T15:53:08+00:00</dc:date>
    <link>http://www.npr.org/2012/02/01/146083369/tina-browns-must-reads-dictators</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[1] "Johnson suggests even in private, North Koreans cannot tell the truth — that everything in their lives is fictionalized to one degree or another — & Brown says that's part of why his book is so original.

"Their own biographies are captured and rewritten and made to be the thing that you imbibe and live through, and that's why the freedom of the rower becomes such a haunting thing to Jun Do," Brown says."

[2] ""[York] writes about 'dictator chic,' which has now taken over as the fall of all these dictators from the Arab Spring brings all this flight money into Europe, & invades us with their taste," Brown says. According to York, 'despot decor' is increasing in certain spots around the world."

[3] "Murphy suggests that the Inquisition, rather than being a relic of the past, is a harbinger of modern times. Brown says that the sustained ability to create a system of fear, maintain records, & monitor people through communication systems & law reminds her of more modern examples."]]></description>
<dc:subject>toread cullenmurphy fear control architecture inquisition stasimuseum berlin eastgermany despotdecor dictatorchic peteryork northkorea literature fiction identity adamjohnson 2012 longform books tinabrown</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e9c74a05f288/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toread"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cullenmurphy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fear"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:control"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:inquisition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stasimuseum"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eastgermany"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:despotdecor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dictatorchic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:peteryork"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:northkorea"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:literature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:identity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adamjohnson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:longform"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tinabrown"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.raumexperimente.net/imprint.html">
    <title>Institut für Raumexperimente</title>
    <dc:date>2012-01-27T06:18:07+00:00</dc:date>
    <link>http://www.raumexperimente.net/imprint.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Institut für Raumexperimente (Institute for Spatial Experiments) is an educational research project by Prof. Olafur Eliasson, affiliated to the College of Fine Arts at the Berlin University of the Arts (UdK) and supported by the Senate for Education, Science and Research in Berlin. The program of the Institut für Raumexperimente including lectures, workshops and experiments is a part of the curriculum of the professor's class."
]]></description>
<dc:subject>experimentation spatialexperiments via:sarahhendren InstitutfürRaumexperimente art berlin olafureliasson</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a825a60ff906/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experimentation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spatialexperiments"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:sarahhendren"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:InstitutfürRaumexperimente"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:olafureliasson"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.galileo-gymnasium.de/">
    <title>Hochbegabtenförderung in Berlin Privatschule Gymnasium - Galileo Gymnasium</title>
    <dc:date>2012-01-17T07:15:18+00:00</dc:date>
    <link>http://www.galileo-gymnasium.de/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>education via:cervus berlin germany schools</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:24e152f15293/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:cervus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:germany"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schools"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.nytimes.com/2011/11/18/business/global/hip-cities-that-think-about-how-they-work.html?pagewanted=all">
    <title>Hip Cities That Think About How They Work - NYTimes.com</title>
    <dc:date>2011-11-26T21:05:59+00:00</dc:date>
    <link>http://www.nytimes.com/2011/11/18/business/global/hip-cities-that-think-about-how-they-work.html?pagewanted=all</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The story of young people, full of ambition, energy, skill and talent, moving to enticing cities that call to them like a siren’s song is as old as modern civilization. And in a world where national borders are easier to traverse, where more countries are joining the prosperous global middle class and where the cost of a one-way plane ticket is more affordable, young professionals probably have more cities to choose from than ever before.

This survey is not based solely on quality of life, number of trees or the cost of a month’s rent. Instead, we examine some cities that aim to be both smart and well managed, yet have an undeniably hip vibe. Our pick of cities that are, in a phrase, both great and good:

Aukland, Berlin, Barcelona, Cape Town, Copenhagen, Curitiba, Montreal, Santiago, Shanghai, Vilnus"]]></description>
<dc:subject>via:gpe cities aukland newzealand berlin germany barcelona spain españa capetown southafrica copenhagen denmark curitiba brasil montreal Quebec canada santiago chile shanghai china vilnus lithuania planning urbanplanning livability glvo urban urbandesign policy transit masstransit publictransit sustainability smartcities environment design brazil</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:823ed9f9d5d3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:gpe"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aukland"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newzealand"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:germany"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:barcelona"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spain"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:españa"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:capetown"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:southafrica"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:copenhagen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:denmark"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:curitiba"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brasil"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:montreal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:Quebec"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:canada"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:santiago"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shanghai"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:china"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vilnus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lithuania"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:planning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanplanning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:livability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbandesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:policy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:transit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:masstransit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publictransit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sustainability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:smartcities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:environment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brazil"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.stadtblind.org/2007/02/27/the-colors-of-berlin/">
    <title>Stadtblind » The Colors of Berlin</title>
    <dc:date>2011-11-25T23:35:53+00:00</dc:date>
    <link>http://www.stadtblind.org/2007/02/27/the-colors-of-berlin/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Colors of Berlin is for tourists and Berliners. The book is a unique tool for urban exploration, serving both as inspiration for a personal vision and documentation of the city. It is a declaration of love to Berlin. It helps the flaneur and the city-lover see and experience the urban landscape in a new way. Stadtblind’s aim is to create a distance from that which is familiar, to re-frame the familiar in such a way that it becomes fresh, worthy of attention and affection. We present the everyday spaces, objects and surfaces of contemporary Berlin ina manner that provides a new means of perceiving cities. It is precisely the everyday aspects of our lives that are most often overlooked; and it is precisely the everyday that most constitutes our lived experience of cities."

[via: http://youarehere2011.wordpress.com/suggested-reading/ ]]]></description>
<dc:subject>berlin travel psychogeography derive 2005 cities cityguides exploration urban urbanism flaneur situationist dérive flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:433da460b66f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2005"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cityguides"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
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