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    <title>Daring Fireball: Om</title>
    <dc:date>2026-06-27T07:16:56+00:00</dc:date>
    <link>https://daringfireball.net/2026/06/om</link>
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    <title>All Roads Lead to Om | Matt Mullenweg</title>
    <dc:date>2026-06-27T07:16:32+00:00</dc:date>
    <link>https://ma.tt/2026/06/om-forever/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Yesterday, my best friend and brother from another mother, Om Malik, passed away.

<blockquote>They say that blood is thicker than water, and what we had was way thicker than blood. — Bob Weir</blockquote>

Om’s request was for a small family prayer ceremony. In mourning, that will be all there is. In celebration and tribute, I love that everyone is sharing their Om stories online, like the writing and photography Christopher Michel shared, which very much embody the OG spirit of blogging that Om pioneered.

***

A Renaissance Man

I knew Om contained multitudes, but sitting by his side these last few weeks, I’ve been amazed to learn how many deep and completely separate communities he was part of. He meant so much to so many, in so many different ways.

Om loved putting on a good conference, and I’d like to celebrate his life with an awesome event on September 29, 2026 (his 60th) in San Francisco, like an OmFest. I’ll find a space where every community from the many facets of Om can come together. In the spirit of Open Source and co-creation, we can have some booths, flash talks, a gallery of his photography, pen showcase, and whatever other fun ideas people want to contribute. I can’t wait for the beautiful collision of his tech / journalism / Indian party planner / pen / coffee / shoes / photography circles, and probably some niches I couldn’t even imagine.

***

A Few Vignettes

I have so much to say about Om, but right now I’m working on moderating comments and keeping his website tip-top, so here are a few snippets:

Fundamentally, Om was a lover of humanity. He became a fast “regular” everywhere he went. He wouldn’t just buy coffee, he would also learn the name and story of every barista, the dogs and people in South Park. His deep curiosity and respect weren’t just for the fine and famous. It extended to every soul that crossed his path. His encyclopedic knowledge and photographic memory created connections not just in San Francisco, but all around the world wherever we traveled. (I need to pull the stats, but we went to five continents together, including Antarctica.)

He loved people and their stories. 

***

Om and I were an odd couple. We met online through forums and email because Om was one of the earliest adopters of WordPress. We finally met in person in 2004 when I was 20 and he was 38. He connected me to the first investors I ever spoke to, Phil Black, who formed True Ventures, and Tony Conrad, and introduced me to Toni Schneider, my business soul mate, who became like a co-founder as the CEO of Automattic in our first 8 years.

And of course on the internet. I don’t know how we would count, but I would guess Om read at least 1 or 2% of the whole thing.

**

Om was a voracious learner. I was there when he first used chopsticks, and only a few months later, he knew every sushi restaurant in San Francisco and exactly what he liked at each.

***

Om is probably in the top ten in the world for finding things incredibly early. That’s why he has the best usernames! How does one guy get the @om username on WordPress.com in 2005 (user ID 719), Twitter in 2006, Instagram in 2010? The first WordPress meetup was at Chaat Cafe (now Corner) in 2005, 8 people showed up, and Om was one of them.

***

One of the biggest lessons I learned from Om is the deep appreciation of craft. When he took an interest in photography or pens, he would somehow find his way to the most obscure, highest-quality expression of that form. “What Would Om Want?” is a question I will always ponder. I want to craft products that would make Om proud.

***

Om’s last word was “love.”"]]></description>
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    <title>Om Malik taught Silicon Valley to read itself - RuntimeWire</title>
    <dc:date>2026-06-27T07:09:28+00:00</dc:date>
    <link>https://runtimewire.com/article/om-malik-taught-silicon-valley-to-read-itself</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A personal remembrance of the GigaOm founder, True Ventures partner and writer who made Silicon Valley legible, including the late-night founder exchange that showed how his media machine worked."

...

"Om Malik (@Om), the journalist, GigaOm founder, photographer and True Ventures partner whose work tracked the commercial internet from dial-up optimism to AI saturation, died on June 24 at Stanford Hospital after what his family described as a long health journey with his heart, according to a post on On my Om. He was 59.

His family said he was surrounded by family and friends. The post asked readers to share remembrances in comments or on his social accounts, which is exactly right for Malik: he turned a personal site into a public room before the internet turned every public room into a feed.

Here is the part where I break the fourth wall, because the usual obituary distance would be dishonest. I was one of the founders trying to get his attention. In March 2008, late at night, I pitched GigaOm on Ping.fm, the social publishing startup, asking whether the publication wanted to run the story of our new iPhone interface and help give away beta signups. Malik replied within minutes, shortly after 11 p.m.: "can you outline what Ping.fm does? I would love to chat more, but would like to get an idea as to what its all about. :-)"

That exchange was small. It was also the whole system in miniature. A founder could reach the editor directly. The editor was awake. The story was not filtered through a communications department, a conference stage or a banked embargo calendar. Malik helped build that operating system for Silicon Valley media: fast, conversational, porous, technically literate and dangerously close to the companies it covered.

Malik was not just one of the people who covered Silicon Valley. He became one of the people Silicon Valley used to understand itself. That was the gift and the complication of his career. He was a reporter, then a founder, then a venture investor, and he never entirely gave up any of those identities. He could spot a network shift early because he had spent decades watching pipes, protocols, business models and human ego interact at close range. He could also be too close to the machine he covered, a tension that defined the blog era he helped build.

Born and raised in Delhi, Malik earned an undergraduate degree in chemistry from St. Stephen's College before moving through journalism jobs in India, London, Eastern Europe and New York. On his About page, he described himself as a San Francisco-based writer, photographer and investor who had spent three decades in the trenches of Silicon Valley and had been writing about the commercial internet since its birth. Before GigaOm, he worked at Business 2.0, Forbes.com, Red Herring and Quick Nikkei News, and wrote for outlets including The New Yorker, Fast Company, Wired and The Wall Street Journal.

The early biography matters because Malik did not enter technology as a cheerleader. He came through telecom, broadband and infrastructure, the unglamorous substrate under the consumer internet. His 2003 book, Broadbandits: Inside the $750 Billion Telecom Heist, examined the excesses and fraud around the telecom bubble. That made his later enthusiasm for networks more useful. He understood that every platform story had a bill attached, and usually a creditor somewhere in the frame.

The blog as company

Malik started GigaOm as a one-person technology blog in 2001 and, with seed funding from True Ventures, turned it into a media company and research business. True later wrote that shortly after closing its first fund in 2006, it gave Malik a $25,000 check with the note, "Use this to make your dreams come true," and then committed to fund GigaOm's Series A after a formal pitch meeting.

That origin story became part of both Malik's legend and GigaOm's eventual cautionary tale. The company was built like the startups it covered. It carried the ambition of venture-backed scale into a journalism business that depended on advertising, research, events and an audience sophisticated enough to care about cloud infrastructure before cloud infrastructure was obvious.

GigaOm was not as loud as TechCrunch and not as institutional as the business press. Its best work lived in the middle: close enough to startups to see the seams, technical enough to follow the architecture, skeptical enough to resist the worst demo-day theater. If you were building in that era, you knew what a GigaOm mention meant. It meant someone who understood the stack might take you seriously.

That is why the late-night Ping.fm exchange belongs in the story. It is not here as nostalgia. It shows the market structure Malik helped create. Founders had direct channels to writers. Writers had direct channels to readers. Publications could move at startup speed because they were startups. The upside was intimacy and signal. The downside was that everyone stood a little too close to everyone else.

Malik stepped away from day-to-day writing and became a full-time partner at True Ventures in 2014. TechCrunch, covering the move at the time, wrote that Malik was leaving professional journalism after years of the 24-hour news cycle, and quoted him saying the constant stream had come at a personal cost. The move formalized what had already been true for years: Malik was no longer only an observer of founders. He had become one.

The collapse that shadowed the legend

The hardest part of Malik's legacy is GigaOm's 2015 failure. The company shut down abruptly in March of that year after saying it was unable to pay its creditors in full. Staff lost jobs. The archive and brand later changed hands. For readers and employees, the shutdown was not an elegant sunset. It was the sudden stop that exposes how fragile even respected media institutions can be when they borrow the financing logic of the companies they cover.

The numbers were not small. A Recode account republished by the Benton Institute for Broadband & Society reported that GigaOm had raised around $40 million in equity and debt over eight years, including about $5 million from a 2011 venture debt round, and that by the end of 2014 it was spending about $400,000 a month on rent and interest payments. The Guardian later framed the closure as a lesson in what happens when a niche journalism business takes on Silicon Valley's growth expectations without Silicon Valley's software margins.

That is the bad part, and it should not be airbrushed. Malik's creation proved that a technology publication could be born on the web, build authority without legacy distribution and compete with trade magazines and newspapers on its own terms. It also proved that influence, respect and smart coverage do not automatically produce a durable balance sheet. In the end, GigaOm became a warning to every founder-journalist who believed audience love, investor money and events revenue could be fused into a stable media company.

The investor-writer contradiction

Malik's second act at True Ventures was cleaner financially but messier editorially. True's profile says he became a venture partner in 2008, a partner in 2014 and partner emeritus in 2020, investing in networking and infrastructure technologies while guiding the firm on technology trends. His own bio lists investments and board roles tied to companies such as Ditto, Petasense, Academia.edu, Socialcast, Lexity, Glider, MessageMe, Storehouse, TwinPrime, Over, Opendoor and IntentionNet.

That placed him in the same contradiction occupied by several blog-era figures: the people with the best taste in startups often had the strongest incentives around startups. Malik managed that tension better than most because his writing, especially in later years on On my Om, became less about scoops and more about judgment. He wrote about technology, photography, business cycles, health, memory and the human cost of living inside the network. He preferred the long arc to the launch post. He was still a participant, but his best work did not read like portfolio maintenance.

His eye for early signals was real. TechCrunch called him one of the forefathers of professional tech news blogging and noted that he was among the first bloggers to cover Twitter's launch and to break the news of TechCrunch's acquisition by AOL. Malik later revisited his own early Twitter experience in a 2020 On my Om essay, writing that he may have been the first non-employee user after Noah Glass told him about the service outside a San Francisco party. That memory captured both the innocence and the eventual exhaustion of the social web: a hungry reporter stepping outside for nicotine, hearing about a strange messaging product, publishing a post, then watching the whole internet reorganize itself around the behavior.

What he leaves behind

Malik's place in Silicon Valley lore is not that he built the biggest media company, made the most money as an investor or won every prediction. He did not. His significance is that he made technology legible at the moment the industry learned to narrate itself in real time.

He belonged to the generation that sat between magazine-era business reporting and the permanent feed. He knew the old discipline of beat reporting, the new speed of blogging and the founder psychology underneath both. He could be sentimental about tools and ruthless about hype. He loved networks, but he also understood that networks eat attention, sleep and health.

That final point was not abstract. Malik wrote publicly that a major heart attack in 2007 changed his focus and priorities. His family's statement this week gives that part of his life a final, blunt punctuation. The heart story was not a side note to the work. It shaped the quieter, more reflective Om of the past decade: the photographer of minimal landscapes, the writer skeptical of jargon, the investor more interested in durable shifts than noise.

I keep coming back to that 11 p.m. reply because it explains why so many founders, writers and investors are stopping today. Malik did not just write about the internet. He behaved like the internet when the internet still felt like a place where a direct question could open a door. He was curious, fast, opinionated and present.

The Valley will remember Malik because he was there early, but that undersells him. Plenty of people were early. Malik mattered because he understood that being early was not enough. You had to connect the technical fact to the business consequence, the business consequence to the human one, and the human one back to the story people told themselves about progress. That was his beat. It remains the beat everyone else is still trying to cover."]]></description>
<dc:subject>ommalik ryanmerket 2026 technology siliconvalley sanfrancisco journalism blogging media vc venturecapital internet web online telecommunication pace priorities hype feeds techcrunch gigaom trueventures investment writing howwewrite</dc:subject>
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<item rdf:about="https://blog.ayjay.org/idea-injection/">
    <title>idea injection – The Homebound Symphony</title>
    <dc:date>2026-06-25T08:47:23+00:00</dc:date>
    <link>https://blog.ayjay.org/idea-injection/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this piece [https://www.noahpinion.blog/p/does-anything-i-write-matter-anymore ] on why he blogs, Noah Smith says that

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

Then he continues, 

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

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

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

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

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

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

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

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

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

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

It may not be possible to have both immediate currency — quotability — and long-term significance. You might have to choose between Smith’s model and Keynes’s. "]]></description>
<dc:subject>alanjacobs howwewrite noahsmith johnmaynardkeynes slow influencers discourse politics politicians blogging bloggers attention change influence</dc:subject>
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<item rdf:about="https://mea.media/">
    <title>Mea</title>
    <dc:date>2026-04-10T04:44:33+00:00</dc:date>
    <link>https://mea.media/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[More info:
https://www.elysian.press/p/our-publishing-app-is-livecome-meet ]]]></description>
<dc:subject>onlinetoolkit blogs blogging socialmedia internet online web platforms microblogging</dc:subject>
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<item rdf:about="https://judsongreene.micro.blog/2026/01/12/writerly-humility.html">
    <title>Writerly Humility | Judson Greene</title>
    <dc:date>2026-01-13T16:20:37+00:00</dc:date>
    <link>https://judsongreene.micro.blog/2026/01/12/writerly-humility.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’m coming off of four years where I spent most of my time researching. In scholarship (at least in biblical studies), there is super high level original work and there’s really poor quality stuff. I’m fine with both of those. The former is to be studied and the latter ignored. But there’s a third category of stuff that’s just ok. Some new points, lots of rehearsing old hat, interaction with some primary sources but more as they’re mediated by other scholars. That’s the stuff I can’t stand. It cannot be studied with great benefit nor can it be conveniently ignored if it relates to what one is researching. I feel like that’s most of where my PhD reading went, and it left me with an impression: few books that should exist don’t; most books that do exist shouldn’t.

The writer must earn her book’s existence through mastery of the material, argument, and expression. My working assumption is that authors should labor for hours over what will take their readers minutes to obsorb.

I had frequently taken a similar posture to the interweb, where the information glut is even more pronounced. It bothered me when I saw people who would write books and then change their minds a few years later or blog posts that they’d recant after a few weeks.

But now I’m not so sure. I think for me, I’ve had notions in my head that too readily separates written and spoken words. I’m a great fan of learning by conversing. One of my main tools here is to tell someone my working theory of something and hear their thoughts and critique. I typically would rather learn through a conversation than a lecture or a book. I committed early on when I started my PhD to just sound stupid so greater minds could enlighten me on what I didn’t know (with great success).

Scholarly publications are also a conversation, perhaps the great conversation. It’s a slow and varied one, but if my PhD thesis gets published and then reviewed and then (perhaps, though unlikely) I write “A Brief Rejoinder to Amherst”—well, it’s a conversation. My beef, going back to the beginning, is the conversation partners are often not working from the level of rigor that I think they should. But hopefully, if the system works, folks won’t just learn from my book, but I might be forced to rethink some things in my book from their responses. All the same, I think the medium of the book (in nonfiction) approaches the reader as the one who will “learn from” the author. Conversely, the medium of conversation is more “learning with” the conversants.

I think I used to think of social media as “learning with” platforms (though I’ve always had a content producing ilk since I started blogging at age 10). This old social media was half-baked thoughts put out there for half-baked responses. But somewhere along the line that went away as these platforms—which were never great—were overcome by “thought leaders” and their “takes.” The position is articulated and sent into the void. The intended responses are either “This.” or an angry emoji. Little or no conversation here.

But now I’m trying to blog, micro.blog specifically. And am trying to write stuff that’s not great or finished or the sort of stuff someone might learn from. It’s just what I’m thinking. And hopefully it’ll be a means of learning with others.

It also hurts something in me. There’s that something that really really wants to only put words out into the void that I will think are right, well-argued, well-articulated, full of grace and charm, that I will think are oh-so right until the day (or night) I die. That can be a good thing, but not always. I’m trying to convince my perfectionist five-year-old all the time, “It’s ok to make mistakes.” And that’s something I’m still learning. I’ve now come to respect some folks I’ve followed who change their minds weeks after they publish essays arguing for something, because that seems to me to be a profoundly humble stance. One that’s not so precious about what we write. One that puts something out there and is now ready for out there to send something thoughtful back. One that can both change minds and be changed by them.

So, a mini-festo for how I hope to micro.blog:

1. don’t overthink stuff, just stream-of-consciousness everything
2. edit as little as possible (just leave “I think I used to think of” in there—no one cares)
3. remember, it’s just pixels—they’re all going to go away someday anyway
4. posts are conversation starters, not the last word and testament on X subject
5. let that proud perfectionism die"

[via:
https://micro.blog/ablerism/81960481

"@JudsonGreene I relate to this whole post — the gift/curse of recognizing the strongest craft in others’ work, the wish to discipline one’s own, a late realization that most thinkers are at their most exciting when their ideas are changing. It took publishing my book to set that change in motion!"]]]></description>
<dc:subject>judsongreene howwewrite writing blogging 2026 thinking howwethink</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:d2cf5dfeb945/</dc:identifier>
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<item rdf:about="https://www.joanwestenberg.com/the-case-for-blogging-in-the-ruins/">
    <title>The Case for Blogging in the Ruins</title>
    <dc:date>2026-01-02T23:15:04+00:00</dc:date>
    <link>https://www.joanwestenberg.com/the-case-for-blogging-in-the-ruins/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://www.manton.org/2026/01/02/quotes-and-notes-on-the.html ]]]></description>
<dc:subject>joanwestenberg 2026 blogs blogging writing howwewrite rss thinking howwethink reading socialmedia web internet discovery online platforms friction publishing attention facebook twitter montaigne newsletters diderot algorithms micheldemontaigne virginiawoolf denisdiderot</dc:subject>
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<item rdf:about="https://buttondown.com/dealgorithmed/archive/dealgorithmed-x-001/">
    <title>Dealgorithmed × 001 • Buttondown</title>
    <dc:date>2026-01-02T01:45:24+00:00</dc:date>
    <link>https://buttondown.com/dealgorithmed/archive/dealgorithmed-x-001/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Precisely 8 years ago, on January 1st, 2017, I pushed my blog online. I had no idea what I was doing at the time (if there’s one constant in my life, that’s probably it), but I can safely say that it was one of the best things I did in the context of the online side of my life. Having a place that truly felt mine, where I could express myself freely, was transformative. If Laurel’s website is a shifting house next to a river of knowledge, mine is a tea room.

For years, I was obsessed with the site itself, as a digital object. I spent hours of my life polishing it and optimizing it to extreme lengths, to the point where everything was compressed into 1 single HTTP request. I was constantly trying to find new ways to shave bytes. Not kilobytes, single bytes. Why? Because I could, I guess. Refactoring can be fun when you’re not forced to do it.

But at some point, something changed. Maybe it was just me getting older, or maybe it was the web around me that changed. The site itself became almost an afterthought, fading in the background of my digital life, and I started to be a lot more interested in the people that are out there, and the wider personal-web sphere (blogosphere?).

In September 2023, I started my People and Blogs series because I wanted to push against the narrative that “blogging is dead,”, something that I knew for a fact to not be true. Quite the contrary, in fact. Blogging was, and still is, very much alive. Phil Gyford has collected thousands of them on his ooh.directory, and I’m playing catch-up on blogroll.org.

Collecting and curating sites is a worthy endeavor in my opinion. Everyone who’s spending time curating a directory of some sort is an unsung hero in the context of a healthy, open web. Still, the more I collected sites, the more I thought I had to do more. Because let’s face it: we’re all busy, and we’re all a bit lazy when it comes to searching for content online. It’s easier to doomscroll the same 3 sites than figure out how to find interesting content while simultaneously fighting search engines that are getting worse by the day.

As it’s often the case in my life, I need to be annoyed by something in order to get my shit together and start working on projects. That something ended up being hearing the dead internet theory getting mentioned every other day.

That’s pretty much why Dealgorithmed exists: to prove that the human internet is not, in fact, dead. And that the web is also not filled with just bots posting AI slop. Don’t get me wrong, there’s P L E N T Y of that, but there’s also more than that.

A lot more, in fact. The problem is that it seems we have all just accepted that this crappy version of the commercial web we have is inevitable and there’s nothing we can do about it: the beautiful web of the old days is lost, corporations took it, and capitalism won. I don’t know about you, but I’m a stubborn mother fucker, and I refuse to accept this. Because yes, the web is a mess at the moment. If you surf it without an adblocker or a Pi-Hole, the experience is excruciating.

At the same time, though, the web is still a fucking awesome place. Sure, you can spend an hour doomscrolling Instagram, but you can also browse antique maps and atlases, play delightful word games, watch mesmerizing wind patterns simulations, listen to radio stations from all over the world, generate wacky typographic animations, or learn how to survive a drone.

The web is vast, the web is unpredictable, the web is weird, the web is very much alive. And the people who use it, who inhabit, who create on it and for it, people like you, are amazing. You’re all awesome, but you’re pretending you’re not."]]></description>
<dc:subject>manuelmoreale 2026 internet web online howweread reading socialmedia platforms blog blogging newsletters philgyford blogrolls blogs howwewrite writing collection curation ai aislop slop artificialintelligence algorithms commercialization openweb laurelschwulst</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.elizabethspiers.com/requiem-for-early-blogging/">
    <title>Requiem for Early Blogging</title>
    <dc:date>2025-11-26T01:37:37+00:00</dc:date>
    <link>https://www.elizabethspiers.com/requiem-for-early-blogging/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://talkingpointsmemo.com/tpm-25/what-made-blogging-different ]

"Whether I like it or not, the first line of my obituary will probably be that I was the founding editor of Gawker.com, the flagship site of Gawker Media, a sprawling blog network that was put out of business by Peter Thiel and Hulk Hogan in 2016. Nick Denton and I started Gawker in 2002 and I left in late 2003 to go to New York Magazine, so I missed some of Gawker’s greatest hits and biggest misses, but the early ‘00s were what I now think of as the heyday of blogging. (Talking Points Memo was started in 2000.) 

Since then, popular blogs have been commercialized; added comment sections and video; migrated to social media platforms; and been subsumed by large media companies. The growth of social media in particular has wiped out a particular kind of blogging that I sometimes miss: a text-based dialogue between bloggers that required more thought and care than dashing off 180 or 240 characters and calling it a day. In order to participate in the dialogue, you had to invest some effort in what media professionals now call “building an audience” and you couldn’t do that simply by shitposting or responding in facile ways to real arguments. 

This was largely a function of technical limitations. Commenting technology was just being developed and most blogs didn’t have it yet. While it was simple to spin up a blog with no technical knowledge — a breakthrough in itself that happened almost overnight — adding bells and whistles that allowed for easy cross-posting was difficult. Social media was basically nonexistent and what few social networks did exist (Six Degrees, or my former employer TheSquare.com) were not really used for posting news or having discussions. You couldn’t use paid advertising to direct people to your site unless you knew how to use digital ad systems which were also expensive and inaccessible to consumers in the days before Google AdSense and programmatic ads more generally. 

So if you wanted people to read your blog, you had to make it compelling enough that they would visit it, directly, because they wanted to. And if they wanted to respond to you, they had to do it on their own blog, and link back. The effect of this was that there were few equivalents of the worst aspects of social media that broke through. If someone wanted to troll you, they’d have to do it on their own site and hope you took the bait because otherwise no one would see it. 

I think of this now as the difference between living in a house you built that requires some effort to visit and going into a town square where there are not particularly rigorous laws about whether or not someone can punch you in the face. Before social media, if someone wanted to engage with you, they had to come to your house and be civil before you’d give them the time of day or let them in. And if they wanted you to engage with them, they’d have to make their own house compelling enough that you’d want to visit. 

Social media is more like the town square, but without the norms and laws of an actual town square. Anonymity, in particular, allows bad actors to do malicious things with few consequences outside of account suspension, which can generally be worked around by simply spinning up a new account. There is little downside to being suspended, especially for determined trolls who are not trying to engage in any kind of healthy dialogue, but only to harass and create havoc. 

(I say all of this as someone who grew up in a very rural place and loves the big city. This is not a knock on real-life town squares, which are generally governed by more than a vague terms-of-service agreement with boilerplate legalese that’s impenetrable and largely unenforceable.)

Early blogging was slower, less beholden to the hourly news cycle, and people were more inclined to talk about personal enthusiasms as well as what was going on in the world because blogs were considered an individual enterprise, not necessarily akin to a regular publication. One of my early blogs was mostly about economics, a Ukrainian punk band called Gogol Bordello, politics, and a bar on Canal street that turned into an Eastern European disco every night around midnight. 

I did not expect Gawker to be as popular as it was, and had been working as an equity analyst when we started it. It quickly became a full-time job, and my personal theory about why it succeeded in the beginning is that it covered New York City media, and media people like to read about themselves. Eventually, they liked it enough that they wanted to write about it. We got a lot of early press coverage when Gawker had fewer than 20,000 users a month, which at the time seemed like an astronomical number of readers, but in the age of social media, SEO, syndication, and site referrals, would be considered an epic failure. 

And those people were what product people would refer to as power users. They were invested as regular readers: they sent me emails and tips, thoughtful feedback, and sometimes very, very detailed critiques, lengthy and baroque. 

As a writer who often works out what I think in the writing, this felt very stimulating even when I was writing about frivolous things — what Anna Wintour did in the Condé Nast elevator, why everyone in Williamsburg was wearing John Deere mesh caps, and what junior investment bankers were paying for bottle service at Marquee. But it was more valuable to me in the sense that it allowed me to read and engage with other people who were attacking more serious issues. (This is around the time I first met Josh Marshall.) 

I grew up in a very right-wing, conservative family in rural Alabama. My dad was a local lineman and my mom was a janitor at my school, and we were Southern Baptist. Before I went to college (to be indoctrinated by liberals, as my family puts it) I don’t think I knew a single liberal or progressive, or at least not one my age. I was also in an information bubble — the internet technically existed but no one I knew had access to it in the mid ‘90s — and my only source of information outside of my tiny K-12 school, a former segregation academy, was the public library, which the right is now trying to censor for the exact reason that it presents a threat to actual (right-wing) indoctrination. 

I was the first person in my family to go to college and by the time I left, I was sliiightly more liberal than I had been going in — not because anyone indoctrinated me but because I had more exposure to information, people who were not like me, and viewpoints I had not considered before. At 22, I would have probably identified as a socially liberal libertarian. (Now I think that’s a contradiction in terms, but 22 year old me figured if you were pro-choice and pro-drug legalization, that was enough, and it was still a big departure from the white Evangelical Christian dogma I was taught as a child.) I have a wide range of interests and am, I think, a reasonably curious person, so I often sought out conversations online with people I disagreed with and read them to better understand where they were coming from and to figure out what I thought. Some of the people who changed my thinking over time were early bloggers — both because there were new people I read whose views I began to agree with and also because there were people I started out reading whose views I began to reject, and some of which I eventually found abhorrent. 

Research tells us that most people remain fairly ideologically aligned with their parents over time, and a full realignment is rare. When it does happen, it’s usually over a matter of decades. Mine happened much faster. I went from being a college Republican to a registered Democrat in less than five years, and my worldview felt like it had expanded tremendously. This is not because I change my mind easily or quickly but because my worldview was constantly challenged. I don’t attribute this solely to the internet — living in a city that isn’t culturally monolithic was a big factor too — but I am the kind of person who works out ideas through words, digital or otherwise. The sort of considered back and forth I remember from the thoughtful members of the early blogosphere is something that is harder to find now. It’s often drowned out by the firehose of social media, or simply harder to pay attention to because our brains are so addled from constant digital stimulation. 

There are bright spots, though. I fear we’re in a newsletter bubble (how many subscriptions can one person pay for?) but the kind of longer, considered personal writing that I miss can be found in this form if you’re willing to look for it. And if you’re writing a newsletter yourself, it’s harder for someone with the handle @horseshit1962 to bury your argument under last year’s brainrot memes the way they can so easily on platforms like X or Facebook. 

Some of the best blogs have evolved and expanded. Independent media is more important than ever, and Donald Trump’s recent attempts to censor mainstream outlets, comedians he doesn’t like, and “leftist” professors underscore the fact that speech is critical. The lesson for me, from the early blogosphere, is that quality of speech matters, too. There’s a part of me that hopes that the most toxic social media platforms will quietly implode because they’re not conducive to it, but that is wishcasting; as long as there are capitalist incentives behind them, they probably won’t. I still look for people with early blogger energy, though — people willing to make an effort to understand the world and engage in a way that isn’t a performance, or trolling, or outright grifting. Enough of them, collectively, can be agents of change. 

Trump may be able to intimidate Bob Iger, but it’s actually a lot harder to intimidate a million different outlets, each run by a single determined person."]]></description>
<dc:subject>elizabethspiers blogs blogging 2025 history howwewrite writing performance trolling grifting learning howwelearn thinking howwethink internet web online ideology speed takes hottakes politics donadtrump bobiger media hype</dc:subject>
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<item rdf:about="https://talkingpointsmemo.com/tpm-25/private-equity-killed-media">
    <title>How Private Equity Killed the Media Industry - TPM – Talking Points Memo</title>
    <dc:date>2025-11-12T20:02:19+00:00</dc:date>
    <link>https://talkingpointsmemo.com/tpm-25/private-equity-killed-media</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I learned many surprising lessons from my 20 months as editor-in-chief of Deadspin, the skeptical, irreverent, hilarious, trailblazing sports outlet that entertained, offended, and educated audiences in roughly equal measure. 

I learned from a cease-and-desist letter that Jacuzzi is a trademarked brand, and that the hotel room in which a world-famous soccer star was alleged to have raped a woman contained a mere “spa” or “hot tub.” I learned from inhaling Chartbeat that our very dumbest stories and our very smartest stories would always be our biggest traffic drivers. I learned from our general counsel more than I ever wanted to know about the precise limits of fair use. I learned from my coworkers — all of them brilliant and entirely deranged — that there is no limit to how hard I can laugh in a soul-suckingly bland Times Square cubicle farm. Even knowing how it all ended, I’d still take the job 100 times out of 100.

The most consequential lessons I learned, though, were about the ways in which I had misunderstood “free market” capitalism, and about what that meant for the industry that gave me my career. Those are the lessons I haven’t stopped agonizing over six years later, the ones that led to my first book but also caused scores of sleepless nights. 

Until Deadspin, I naively believed that a company making money required the company to sell goods or services. Boosting profits, under this line of thinking, requires either selling more of the company’s existing goods or services, or finding new goods or services to sell. This misunderstanding made me genuinely optimistic when Deadspin and our sister sites were purchased by a private equity firm and renamed G/O Media in 2019. The numbers my bosses had shown me indicated that Deadspin was profitable, even if our parent company was not. I knew we could be more profitable if we made basic moves like developing a subscription program, but our previous owner — the Spanish-language broadcaster Univision — never seemed to care enough to put in the time. 

Our new bosses at Great Hill Partners promised real financial expertise: Its executives told me on their first day in charge that they agreed we needed a subscription program. As far as I could tell, things were looking up.

Had I paid better attention to what was happening in the rest of the media industry, my read on the situation would have been far less rosy. I did know that Alden Global Capital had been devouring and decimating local newspapers; just a year earlier, The Denver Post’s editorial board had published a package of articles begging for their newspaper to be rescued from the hedge fund’s clutches. Yet even as I rooted for my colleagues in Colorado to escape, I accepted the conventional wisdom that the root problem was newspapers not adapting fast enough to the digital age, that Alden was a just vulture feasting on the scraps. Embarrassingly, I thought that being digital-only, that being profitable, that being cool would protect us.

Being cool didn’t protect Deadspin, as has been thoroughly chronicled by my colleagues and me. I quit my job three months after the acquisition. The rest of the staff followed me out the door two months after that. The site sat dormant for months, then went Weekend at Bernie’s mode for a couple of years, during which its most notable story was one that called a Native American 9 year old racist for wearing a headdress at a Kansas City Chiefs game, leading to a defamation suit that is still ongoing. In 2024, Deadspin was sold to a Maltese company and became a referral site for online casinos. This July, G/O Media began “working towards a full wind down,” in the words of CEO Jim Spanfeller. One of the most influential companies in the history of digital media was finally, mercifully dead.

Being cool didn’t protect Vice News either. Once the swashbuckling rogue of digital media, the site was destroyed by a combination of its madman founder and its greedy private-equity investors-turned-owners. When Vice News stopped publishing in February 2024 — nearly eight years after Gawker’s demise, five after OG Deadspin’s —  it marked the final nail in the coffin of the era in which any media outlet was thought of as cool. On one level, that’s for the best; I can think of exactly one Deadspin employee in the site’s history who could accurately be categorized that way. But it also makes clear just how much private equity has taken from us: not just local newspapers providing invaluable information about communities, but also blogs willing to get weird, to try things no one else would. 

After several years of reporting on and obsessing over how private equity works and why, I finally understand the root of my misconceptions about capitalism. I had thought that the point of buying a beloved, profitable publication was to make it more profitable, to strengthen the fundamentals of its business model in hopes of a lucrative exit years down the road. 

That is not the point of buying a beloved, profitable publication (or any business). The point is to make the private equity firm more profitable. The Denver Post and Deadspin and Vice News are just widgets, endlessly interchangeable in the service of maximizing shareholder value. Only chumps make money by selling goods or services these days; the real geniuses rely on management fees, deal fees, dividend recapitalizations, real estate deals, and the like. That allows — requires! — a private equity firm to divorce its incentives from that of its own portfolio company, making it, at best, agnostic to whether the company lives or dies. In many cases, the best decision for the firm is the one that directly undermines the company it controls. The reason there are no weird blogs anymore is that it’s more fruitful to drive them out of business.

When G/O Media began “working towards a full wind down” this summer, Spanfeller wrote a 2,300-word “epilogue” to the company’s existence, the main thrust of which seemed to be to demonstrate that coherent writing skills are not a prerequisite for running a media company. (Sample sentence: “At one and the same time the two are clearly linked and yet can also be goals at cross purposes.”) He barely mentioned the journalism produced by the sites he oversaw for six years except to criticize it for being biased; his few references to the people who worked for him were mostly dedicated to railing against unions. Yet he couldn’t resist bragging about what a success he’d been, despite all those mean bloggers and bargaining committees plotting against him. 

Every one of the eight sites Spanfeller had taken over six years earlier had either gone out of business or been reduced to a shell of its former self, but that didn’t matter. The key point came seven paragraphs in:

“We will exit having increased shareholder value.”"]]></description>
<dc:subject>privateequity blog blogging media internet online digitalmedia capitalism 2025 deadspin univision aldenglobalcapital finance profits vicenews</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.newyorker.com/magazine/2025/10/06/tim-berners-lee-invented-the-world-wide-web-now-he-wants-to-save-it">
    <title>Tim Berners-Lee Invented the World Wide Web. Now He Wants to Save It | The New Yorker</title>
    <dc:date>2025-09-30T22:38:19+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2025/10/06/tim-berners-lee-invented-the-world-wide-web-now-he-wants-to-save-it</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 1989, Sir Tim revolutionized the online world. Today, in the era of misinformation, addictive algorithms, and extractive monopolies, he thinks he can do it again."

...

"In a forthcoming book, The Age of Extraction, Tim Wu, a Columbia law professor who coined the term “net neutrality,” identifies 2012 and 2013 as the years when “platform power” took hold. Since the nineties, it had been assumed that the web would democratize society, empowering bloggers to compete with media conglomerates, and small manufacturers to bypass big retailers. Some of that happened. But the web’s Davids had only traded one Goliath for another — corporate platforms that stood between them and their markets. As Wu writes, “Paeans to small-is-beautiful and the transformation of the human existence” soon gave way to “a strategy that extracted from dependent businesses and harvested the time and data of the masses.”"]]></description>
<dc:subject>timberners-lee internet web online algorithms extraction capitalism 1989 2025 julianlucas timwu platforms 2012 2013 society blogging media corporations corporatism enshittification small decentralization commercialization data provacy socialmedia</dc:subject>
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<item rdf:about="https://varnelis.net/works_and_projects/on-the-golden-age-of-blogging/">
    <title>On the Golden Age of Blogging - varnelis.net</title>
    <dc:date>2025-05-04T19:46:35+00:00</dc:date>
    <link>https://varnelis.net/works_and_projects/on-the-golden-age-of-blogging/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2025 kazysvarnelis blogging blogs blogosphere writing howwewrite reading howweread architecture networkculture history 2000s 1990s 2010s scottalexander davewiner johnbarger justinhall internet web online computers computing davidlewis greigcrysler sciarc rss googlereader ericowenmoss robertsumrell centerforlanduseinterpretation detlefmertins drupal netowrkedpublics html hypertext aaronswartz jstor mit thingsmagazine archinect paulpetrunia javierarbona lebbeuswoods jeannouvel pritzkerprize stachitecure starchitects remkoolhaas adamgreenfield danhill cityofsound speedbird bryanfinoki johnhill mimizeiger geoffmanaugh alexandertrevi alexandralange enriqueramirez mollysteenson nicolaiouroussoff christopherhawthorne paulgoldberger bilbaoeffect frankgehry polyphony criticism markjarzombek archdaily dezeen media platforms socialmedia jo-annegreen harveymolotch networks josephgrima facebook twitter ebanwilliams blogger tumblr instagram discovery algorithms feeds architecturalcriticism ads advertising commercialization</dc:subject>
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</item>
<item rdf:about="https://blog.ayjay.org/things-made-and-in-the-making/">
    <title>things made and in-the-making – The Homebound Symphony</title>
    <dc:date>2025-01-20T20:25:44+00:00</dc:date>
    <link>https://blog.ayjay.org/things-made-and-in-the-making/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A while back I commented on a post by Robin Sloan [https://www.robinsloan.com/newsletters/finisher/ ] in which he says this:

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

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

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

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

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

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

[image]

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

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

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

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

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

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

It’s great to finish (or in my case abandon) something: to tell this story, to make this argument as well as you possibly can, crafting it with all your skill, and sending it out into the world to make its way as best it can. But there’s a place also — and I feel this increasingly strongly as I get older — for the tentative and incomplete, for “I’ll revisit this later,” for “Oh, I forgot this when I wrote that” — for, maybe above all, being corrected by charitable but honest readers and then being able to try again on the basis of what the lawyers call “information and belief.” I am always, and hope I always will be, gathering more information and developing my beliefs. As the man also said, “Old men ought to be explorers.”"]]></description>
<dc:subject>2025 alanjacobs howwewrite writing blogs blogging robinsloan unfinished incomplete thinking howwwethink montaigne contemplation notebooks workinginpublic howwework micheldemontaigne essays incompleteness</dc:subject>
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<item rdf:about="https://www.wrecka.ge/bad-shape/">
    <title>Bad shape</title>
    <dc:date>2025-01-13T01:54:43+00:00</dc:date>
    <link>https://www.wrecka.ge/bad-shape/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The idea I keep coming back to is that the big platforms, like Dickens' Marley, were dead to begin with, and are now something particularly bad, which is dead on their feet."

...

"The evidence of the past decade and a half argues strongly that platform corporations are structurally incapable of good governance, primarily because most of their central aims (continuous growth, market dominance, profit via extraction) conflict with many basic human and societal needs."]]></description>
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</item>
<item rdf:about="https://pika.page/">
    <title>Pika - Start Your Happy Blog</title>
    <dc:date>2025-01-04T01:45:31+00:00</dc:date>
    <link>https://pika.page/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Pika is a pretty good blogging platform by the people at Good Enough. It’s pretty and easy and pretty easy. You should try it!"

[See also:
https://pika.page/pulse ]]]></description>
<dc:subject>hosting cms blogging free blogs software pika onlinetoolkit</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:814fb91ee782/</dc:identifier>
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<item rdf:about="https://humancarbohydrate.substack.com/p/94-practical-and-emotional-human">
    <title>94 practical and emotional human experience optimising recommendations for 2025</title>
    <dc:date>2025-01-01T23:37:28+00:00</dc:date>
    <link>https://humancarbohydrate.substack.com/p/94-practical-and-emotional-human</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I know you all want to be told what to do

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

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

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

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

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

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

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

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

7. All villains are redeemable. Even you.

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

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

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

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

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

a. What were you like in high school?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

25. Never network. Make new friends.

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

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

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

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

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

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

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

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

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

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

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

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

[image]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

69. The cure to hate is curiosity.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

88. Buy professional shampoo and conditioner.

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

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

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

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

[image]

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

94. Finally, someone in my feedback link said I am obsessed with status (brother, you are telling me?), but I have found status to be a poor motivator for any habit that sticks. If the 12 years of adulthood have taught me anything about self-improvement and discipline is that the only effective motivation to do anything is to take care of others. Get fit, make money, and amass clout and social influence, all in the hope that if you find yourself driving down the highway, you won’t speed past the wounded dog. Everything else falls off the wagon."]]></description>
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<item rdf:about="https://buttondown.com/comparison-guides/take-rates">
    <title>Creator economy platform costs</title>
    <dc:date>2024-12-29T00:02:02+00:00</dc:date>
    <link>https://buttondown.com/comparison-guides/take-rates</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A pricing calculator for creator economy platforms."

...

"Introduction
The creator economy is all the rage, isn't it? There are so many platforms that allow creators to monetize their work, but it's hard to know which one is the best for you.

All of them have different feature sets and different pricing models. It can be confusing and annoying to price-shop — it feels like you need a math degree just to figure out the cost of building your business. That's why I built this widget: to help you compare the costs of different platforms. (I'm not saying you should make your decision solely on cost, but it's certainly important to consider!)

The calculator

Creator economy platform cost calculator

[form set to]
Subscription price (per month) 10
Number of paid subscribers 1000
Number of free subscribers 0

Service Cost (monthly USD)
Buttondown $29.00
Beehiiv $39.00
Substack $1000.00
Maven $1000.00
Ghost $19.00
WordPress $408.00
Patreon $800.00
Buy Me a Coffee $500.00
Ko-fi $6.00
Kit (fka ConvertKit) $101.00
Memberful $515.00
Gumroad $1000.00
Podia $33.00
Steady $1000.00
Hype $500.00
MemberSpace $500.00
Ream $1000.00
Discord $1000.00

How did you compile this data?
I went through the pricing pages of each of the above services and calculated the cost of each service for a hypothetical newsletter with various price points and subscriber counts. Frustratingly, some services make it difficult to get the exact formula for their pricing, but the above calculator is as accurate as humanly possible.

In addition, I tried to be as generous as possible to each service: if they offer multiple tiers of service, I used the cheapest tier; if they offer an annual discount, I used the annual discount; if they offer a free tier, I used the free tier.

Aren't I actually paying more than this?
Yes! Literally every single one of the above services processes payments through Stripe, which charges a flat fee of 2.9% + $0.30 per transaction. To my knowledge, there aren't any services that offer a cheaper rate than Stripe, so I've left it out of the calculations since it's a constant across all services.

One exception to this is Discord, which doesn't pass through the raw Stripe fee but charges (in addition to the 10% platform fee) a 6% processing fee. This means they're taking a _little_ bit more on all payments of $10 or above and a _little_ bit less on payments below $10.

These numbers seem awfully self-serving.
I agree! Obviously I am biased: I built this tool to show that many people are paying a lot more money than they need to for managing their paid subscriptions, and are better off with a cheaper solution. It just so happens that Buttondown is a particularly affordable solution (though I will point out not the cheapest!)

You have a bug — regardless of what numbers I put in, KoFi only costs $6.
Not a bug. KoFi charges a flat $6 fee per month, regardless of how much volume you're running through them.

What about Liberapay? They're free, right?
Liberapay is terrific. They are not quite a creator economy platform, as they only support donations (meaning that transactions cannot be tied to a promise of recompense, such as exclusive content or access). However, if you're looking for a solution that lets you accept _donations_ from your readers, they're a great option.

What about [other provider]?
I'm happy to add more providers to this list! Please email me and I'll add them to the list.

Gee, it sure is awfully nice of you to compile this resource and keep it up to date. What can I ever do to thank you?
Tell your friends about Buttondown, the best way to add email subscriptions to your newsletter.

Changes over time
This tool is updated periodically with new pricing information. Here are the most recent changes:

December 26, 2024 — updated Ghost to reflect lower prices for newsletters with less than 1000 subscribers and Beehiiv to reflect their free tier for newsletters with no paid subscriptions
April 22, 2024 — updated Beehiiv to reflect their shift to usage-based pricing"]]></description>
<dc:subject>onlinetoolkit web online pricing startups comparison blogs blogging business money newsletters substack beehiiv maven ghost wordpress ko-fi memberful memberspace discord ream gumroad buttondown buymeacoffee patreon</dc:subject>
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<item rdf:about="https://www.are.na/block/20684314">
    <title>I'm like a pdf but a girl: Girlblogging as a nomadic pedagogy, by Ester Freider (2022) [.pdf]</title>
    <dc:date>2024-12-06T18:35:48+00:00</dc:date>
    <link>https://www.are.na/block/20684314</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Entire digital collections are hidden behind a search box. The paradox of the search box is that while 'everything' is accessible, without knowing what is the scope of the collection it is hard to know what to search. This fact limits the experience of discovery, browsing, and learning. The search box mechanism also feeds into the common assumption that 'everything' is available online, which is far from true considering the collections of cultural libraries and archives.

How to read a Library the topics of digitization, access, visualization, discovery, the democratization of digital technologies, digital/data literacy, and community participation in the context of cultural archives and libraries. The practice-based research departs from the research questions: Can we use the physical library and its collection to imagine access to knowledge in the digital library? Can we use digital tools to allow readers to link data, share knowledge and collaborate within and across libraries? Can machine learning and AI be used in a library to enhance reading and promote access instead of being used for targeting advertisement and surveillance? Is it possible to make the library a digital public space? The research was concluded with the exhibition Catching up in the Archive in which the entire archive of de Appel was displayed. We produce a Mobile Archive Unit as a method to involve the community in the digitization process."]]></description>
<dc:subject>esterfreider 2022 blogs blogging howwewrite writing libraries librarians tumblr internet web online valeriagraziano marcellmars romislavmedak piratecare piracy accessibility commons are.na girlbloggers davidkarp 2017 michaelwarner 2002 hypertext form networks interface ui ux tags tagging mindyseu legacyrussell hashtags chrismessina myleshorton collaboration collaborative pedagogy self-directedlearning self-directed nomadism curriculum alexandraelbakyan sci-hub lib-gen tomislavmaedak memoryoftheworld ubuweb monoskop kennethgoldsmith dušanbarok petarjandric anakuzmanic aaronswartz 2008 scihub librarygenesis 2015 access academia jstor science education udoyhasan civildisobedience maryoliver richardsiken chenchen glitchfeminism laboriacuboniks xenofeminism rosibraidotti empowerment feminism cyberfeminism resistance domination joymaking capitalism economics wetness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://thebaffler.com/latest/extremely-online-and-incredibly-tedious-sasseen">
    <title>Extremely Online and Incredibly Tedious | Rhian Sasseen</title>
    <dc:date>2024-11-14T15:59:06+00:00</dc:date>
    <link>https://thebaffler.com/latest/extremely-online-and-incredibly-tedious-sasseen</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
"Against Autofiction: Two Paths for the Internet Novel | Spike Art Magazine
"The digital era is synonymous with flat, persona-driven fiction. How can literature transcend celebrified Tweets and respond innovatively to the web’s decentered form?""
https://spikeartmagazine.com/articles/essay-against-autofiction-two-paths-for-the-internet-novel ]

"The internet-whisperer du jour

There’s a meme I think about often, a dumb joke that originated in a New Yorker cartoon from the nineties and exploded from there. In the original image, a dog sits in front of a desktop computer, a browser window open on his screen. He’s turned his head toward another dog sitting on the ground beside him. The caption elaborates: “On the internet, no one knows you’re a dog.”

This evocation of anonymity, the separation between the public and the private self, feels quaintly old-fashioned in 2024, so eroded is the boundary between our real and digital lives. For years, when the internet was the domain of computer engineers and assorted weirdo thrill seekers, the distinction that this meme alludes to was possible. But no more. There may be fewer dogs on the internet these days, but there are an awful lot of writers. And some of them are very online.

Every few years, the publishing industry designates a crop of young writers as the internet-whisperers du jour, voices of generations that haven’t quite divided, cell-like, from the one previous, developing or else being assigned a purportedly distinct sensibility in the process. Three years ago, we had the dueling “internet novels” that were Patricia Lockwood’s No One Is Talking About This and Lauren Oyler’s Fake Accounts; before that, we had the Adderall-inflected prose of Tao Lin and  blogosphere-born essay collections like Emily Gould’s And the Heart Says Whatever. This spring, Gabriel Smith’s Brat arrived on the scene, its galley heralding the “rhythms of the internet” that pulse through its pages. The novel brings a Generation Z spin to modern ennui—and it reads surprisingly similar to the old millennial one.

Brat, Smith’s debut, follows a young writer named Gabriel as he leaves London to return to his family home following the death of his father. While there, a kind of techno-ghost story unfolds as he peels layers of dead skin from his body, dwells on an ex-girlfriend, spends a lot of mindless time online, reads a mysterious old manuscript of his mother’s (yes, he belongs to a family of writers), finds a strange video tape, and finally, on the last page, begins the novel that we’re holding in our hands. All this has a pleasantly Gothic tone when you glance at a summary, which suggests an interesting contrast between the human and the digital, and the friction that arises when they meet. The problems start when you actually open the book, which reads like a c. 2010 Tumblr page spat up by the Wayback Machine.

One of the most frustrating aspects of Brat is the way in which its stripped-down prose obscures the true strangeness of its imagery, particularly that peeling skin. An early description reads as such: “The doctor was right about the skin on my chest, just to the right of where I assumed my heart was. It looked all weird.” “All weird” is lazy writing, self-conscious in its attempt to pass as colloquial or casual, the everyday language of our texts and posts and conversations and lives. But it comes off as oddly mannered, a posturing that recognizes itself to be a posture and yet does nothing to counteract this impression. The book is rife with this kind of language. It’s a missed opportunity for Smith to pull the novel in an unfamiliar direction, to construct a work as vivid and hallucinatory as that singular image of peeling skin.

And Brat is in on the joke. Too many moments in the novel come off as a self-aware thumbing of the nose—from the casual, childish homophobic insults shared between the narrator and his older brother, to the reproduction in full of a short story by the narrator’s ex-girlfriend about a Russian oligarch titled “Cum Tributo.” None of this is clever or interesting; it’s tedious. And though someone reading this will undoubtedly claim that this is the point—that it’s meant to be, well, bratty—there is a circular logic to that argument that I find depressing. It mistakes provocation as inherently substantive. If there is nothing else that characterizes a certain strain of the contemporary novel, it is a feigned sophistication that shirks the convictions required for a book to endure.

Despite the marketing copy’s fixation on the internet, Brat focuses a great deal on older technology. A VHS tape, a physical book manuscript, and a television script play an even more important role in the story than smartphones and content streams. They are objects that Gabriel finds in his family home when he returns to clean house for a realtor; all three shapeshift, presenting different stories, images, and characters for Gabriel to read or watch each time he returns to them. On the videotape, he views unfamiliar images of his mother: “It was my mother again, the same age, outdoors, sitting on a picnic blanket with a man I did not recognize,” Smith writes. “He looked big and thin and Spanish or South American. My body started to feel bad and full of movement.” Regarding that last line, it is one of three times that it or a variation appears in this book, the first upon staring at a photo of his girlfriend (“I looked again at the photo of my girlfriend. My body felt bad and full of movement.”) and the third, two pages after looking at the tape of his mother following a failed attempt at masturbation, the Freudian circle complete.

But what, exactly, does it mean to feel “bad” in these contexts? It is a vague word, inexact in its application. The character feels bad, notes it, and then moves on; nothing more is ventured. But observing a thing isn’t the same as saying something about it. Though this might sound obvious, one of the pleasures of literature is the way in which it categorizes and dissects our experiences, rendering the murky wordlessness of feeling into a paragraph or turn of phrase that makes sense out of what is so often senseless. And though we have here a book that is conscious of itself as a book, it is often without linguistic precision or pleasure.

The moments of intratextuality—the quotations from the manuscript, titled A Bit of Earth, or the forgotten television script we are told was written by the father—provide an attempt at contrast, however, particularly in their interest in the relationship between life, death, and the new technologies that develop to capture these moments in time. These are ripe ideas: I think of that line in Derrida’s cameo in the 1983 British film Ghost Dance, in which he says, “The modern technology of images enhances the power of ghosts and their ability to haunt us,” a moment the French writer Maël Renouard expanded on in his memoir of the internet, Fragments of an Infinite Memory. Or the Japanese video artist Shigeko Kubota’s 1980 work Video is Ghost of Yourself, its disintegrating tape. But Brat mostly resists the interiority that might make these strange images and scenes from videotapes and print into a coherent metaphor for loss and the injustices of time, the ache that is a child watching their parents age and die. Rather than poignant, they come across as borrowed, sprinkled in without fully coalescing.

Part of the problem stems from how similar these scripts and manuscripts are to the rest of the book. There is again an abiding resistance to specificity—a character in A Bit of Earth is described as having  “sinuses [that] sounded full of something”—but what is that something? To carry off this register, details become monumentally important. Bret Easton Ellis, an early influence on this kind of style, crams his novels with almost too many brand names and club names and names of magazines and drugs, but this cascade of references grounds his early work, capturing their particular place and time, their essential superficiality—Los Angeles in the nineties, New York in the eighties—with an air of authority. But it’s a technique that can easily outwear its welcome, sometimes even in the span of the book in which it’s being used. Ellis’s solution for this is to juxtapose this prose with moments of extreme violence, jarring the reader out of the complacency brought on by the commercial-like onslaught of brand names, but this, too, becomes predictable, losing its power to shock. The dissolute yuppies are always immoral. All that glitters is not gold, etc.

Too often for young writers, this kind of aesthetic flatness becomes essentially a one-trick pony. It’s easy to imitate, which is why it’s popular; all you have to do is listlessly describe a series of actions and throw in a few references to masturbation, drugs, or, ideally, some combination thereof. The books written in this mode tend to blur together. Whole swaths of Brat feel interchangeable with another much-discussed Gen Z debut: Honor Levy’s short story collection My First Book, despite the differing forms, settings, and genders of the various protagonists. There is a parochial quality to many of Levy’s stories; even with settings like Versailles’s Hall of Mirrors, their world feels cramped, the size of the Twitter status update bar, and as self-referential.

Both Smith and Levy have ties to Tyrant Books, the independent press founded by the late Giancarlo DiTrapano and was closely associated with what would come to be termed “alt lit.” The aesthetic flatness Smith and Levy are clearly going for was characteristic of many of the writers associated with the scene, which produced works like Tao Lin’s Shoplifting from American Apparel (2009), Megan Boyle’s Liveblog (2015), and Marie Calloway’s infamous 2011 short story “Adrien Brody” (published by Lin’s Muumuu House) and subsequent book what purpose did i serve in your life (published in 2013 by Tyrant Books). Returning to some of these works, particularly Calloway’s, I am struck by their sense of stakes. The chat lingo-inflected plainness of Calloway’s prose in “Adrien Brody” subtly undermines the politics at play, the power differential between a twenty-one-year-old woman and the forty-year-old man who sleeps with her. It is unassuming, it is at odds with the maximalism that had been on-trend for English-language literature, and it skewers, very precisely, the tawdriness of the New York publishing circles that it simultaneously namechecks. This is a story that has something to say about the violence that lurks, always, beneath the surface of relationships between heterosexual men and women.

A preoccupation with human dignity and its tarnishing is a surprising thread that runs through many of the alt lit works of the early 2010s. “From reading his articles,” observes the thinly veiled heroine of “Adrien Brody” of the writer who is about to cheat on his age-appropriate girlfriend by sleeping with her, “what I had really admired about his writing was essentially this feeling of how to uphold human dignity and the sacredness of human feeling and connection. And so it seemed unbelievable that he would cheat.” Connection is supposedly easier to come by than ever thanks to what we once optimistically referred to as the world wide web, and yet the internet seems to produce alienation above all else. The spareness of Calloway’s prose, juxtaposed with its dissection of the extremities of human loneliness, ends up echoing the chasm that has opened up between what we ought to do, and what we might claim to do online, versus how we actually act in real life. Brat, despites its focus on its narrator’s point of view, mostly avoids this kind of exposure. What we are left with lacks the risk of its stylistic predecessors.

And without risk there lies danger. We have entered a cultural moment in which it is fashionable to admit to language’s futility. It is a mark of sophistication now to yawn that it’s all rhetoric, and isn’t that enough? Why try to make writing sound interesting, why try to argue something unexpected, when all attempts to mold and shape a language will ultimately fall flat? Bad writing, self-conscious writing, comes out of an essential disillusionment with the one real tool that writers have. It is writing that postures, that is ready to claim, at every criticism, that oh, you just don’t get it. The sarcasm functions as a protective armor, but unlike real irony, no hypocrisies are exposed.

For those who retain a shred of faith in language, who are fascinated by and weary of its implicit dangers—the laws it can enact, the hierarchies embedded even inside its simplest modes of address—books like Brat may be disappointing. But they do point to a larger question that every writer working today has to grapple with, and that is the problem of recording temporality in an increasingly frenzied, tech-mediated age. Even more so than the explosion of mass media and print culture in the late nineteenth and twentieth centuries, the internet today trades in ephemerality. And so how exactly is fiction—a kind of writing that aims at its very core to tamp down and preserve a particular place, a time, a mood—supposed to approach this?

When faced with a variation of this question amid the rapid technological shifts of his own era, E. M. Forster cried out “Only connect!” in the pages of Howards End. A renewed focus on human subjectivity—the ghost in the machine—offered a path forward, and it still does. For all of the namechecks and memes replicated in the first half of Lockwood’s No One Is Talking About This, the book found its footing in the second half, when the tragedy of a child’s mortality—real life—interrupts the endless scrolling. And then there are the books that have used the development of the internet as a chance to explore the muck of human existence, such as the Ecuadorian writer Monica Ojeda’s novels Jawbone and Nefando, with their repellent explorations of child abuse and the Dark Web. Or the French writer Delphine de Vigan’s Kids Run the Show, on child influencers, that plays with the internet’s favorite genre—true crime.

“Internet writing” has become a category broad enough to mean essentially nothing because the internet is a technology in the same way that a book is a technology. There is an immersive quality to the internet, the Wikipedia rabbit holes and the endless link trees, that the affectless writing that has become the house style of online life fails to capture. We turn the page; we scroll. An endless deluge of information, our existences online are now defined by a complex tangle of memes and references and rhetorical quirks. But it’s in the sorting of the information, the understanding of how this information gets filtered into the very structures of our language, that the art lies."]]></description>
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<item rdf:about="https://pluralistic.net/2021/05/09/the-memex-method/">
    <title>The Memex Method – Pluralistic: Daily links from Cory Doctorow</title>
    <dc:date>2024-10-30T18:18:54+00:00</dc:date>
    <link>https://pluralistic.net/2021/05/09/the-memex-method/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>corydoctorow memex 2021 commonplacebooks howweread howwewrite thinking howwethink writing blogs blogging databases publishing clayshirky dorismith accretion accumulation habits routine community communities</dc:subject>
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<item rdf:about="https://blog.ayjay.org/the-uncanny-valley-of-blogging/">
    <title>the uncanny valley of blogging – The Homebound Symphony</title>
    <dc:date>2024-06-21T19:47:19+00:00</dc:date>
    <link>https://blog.ayjay.org/the-uncanny-valley-of-blogging/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I used to call my blog Snakes & Ladders, because that reflected my belief that culture – culture-as-a-whole – is never simply ascending or declining, but is undergoing in its various locations constant ups and downs. But beneath that point is an image of myself as an observer and critic of this cultural moment. Now I call the blog The Homebound Symphony, [in honor of the Traveling Symphony in Emily St. John Mandel’s novel Station Eleven (https://blog.ayjay.org/the-homebound-symphony/ ), because I have stopped thinking of myself as an observer and critic and started thinking of myself as a preserver and transmitter. Another way to put this: Whereas I once tried to be a public intellectual, I now just want to be a … I dunno,, maybe a convivial conservator.

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

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

What’s funny about all this is that a blog is probably the least cool way to communicate with people. It doesn’t have old-school cred or state-of-the-art shine; it falls into a kind of uncanny valley. To be a blogger is sort of like being that Japanese guy who makes paintings with Excel (https://www.boredpanda.com/80-year-old-excel-paintings-tatsuo-horiuchi/ ). But that suits me ."]]></description>
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<item rdf:about="https://www.fromjason.xyz/p/notebook/where-have-all-the-websites-gone/">
    <title>Where have all the websites gone?</title>
    <dc:date>2024-06-04T03:19:10+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cool, right? So here’s the bad news— we are the ones who vanished, and I suspect what we really miss are the joys of discovery.

We miss curation #
We used to know how to do this. Not long ago, we were good at separating the signal from noise. Granted, there’s a lot more noise these days, but most of it comes from and is encouraged by the silos we dwell in.

Somewhere between the late 2000’s aggregator sites and the contemporary For You Page, we lost our ability to curate the web. Worse still, we’ve outsourced our discovery to corporate algorithms. Most of us did it in exchange for an endless content feed. By most, I mean upwards of 90% who don’t make content on a platform as understood by the 90/9/1 rule. And that’s okay! Or, at least, it makes total sense to me. Who wouldn’t want a steady stream of dopamine shots?

The rest of us, posters, amplifiers, and aggregators, traded our discovery autonomy for a chance at fame and fortune. Not all, but enough to change the social web landscape.

But that gold at the end of the rainbow isn’t for us. “Creator funds” pull from a fixed pot. It’s a line item in a budget that doesn’t change, whether one hundred or one million hands dip inside it. Executives in polished cement floor offices, who you’ll never meet, choose their winners and losers. And I’m guessing it’s not a meritocracy-based system. They pick their tokens, round up their shills, and stuff Apple Watch ads between them.

So when we wonder where all the websites have gone, know it’s the curators we’re nostalgic for because the curators showed us the best the web had to offer once upon a time. And the curators— the tenders, aggregators, collectors, and connectors— can bring us back to something better. Because it’s still out there, we just have to find it.

Here’s the best part. You can be that curator right now, at this very moment. You can start to rebuild the interconnectivity that made the web fun to explore. And you don’t need to be a computer scientist to do it.

Open a Linktree account or whatever. And instead of adding your other social media accounts, add three links to your favorite blog posts. Or, add links to a few artists with their own sites. Or your favorite aggregator sites. It doesn’t matter what you include, so long as we make portals to other digital green spaces that exist outside of Instagram.

Then, throw that list into your link-in-bio. I just swapped my IG link from my home page to a post listing my favorite blogging platforms. Most, if not all, are from “indie” developers. And who knows, maybe someone clicks on it and the web gains a new writer. How cool would that be?

So what do ya say? Let's make a bunch of open web portals for 2024! I guess I set this up for a two-parter, haven’t I? I’ll see you at the next post."]]></description>
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<item rdf:about="https://pjvogt.substack.com/p/how-do-i-use-the-internet-now">
    <title>How do I use the internet now? (Is there a sane way to use the internet?) - Search Engine with PJ Vogt (October 2023)</title>
    <dc:date>2024-03-26T22:46:27+00:00</dc:date>
    <link>https://pjvogt.substack.com/p/how-do-i-use-the-internet-now</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, a conversation we recorded a while ago that we’ve been impatient to share.

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

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

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

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

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

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

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

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

also here:
https://open.spotify.com/episode/2pcYNqD0n9R6UgJMbvJw27
https://podcasts.apple.com/gb/podcast/how-do-we-survive-the-media-apocalypse/id1614253637?i=1000649296199 ]]]></description>
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<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ec9a3e3ac999/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=E-OFnHwuTBg">
    <title>&quot;Anything that comes out of a writer is fiction.&quot; | Writer Benjamín Labatut | Louisiana Channel - YouTube</title>
    <dc:date>2024-02-01T02:45:19+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=E-OFnHwuTBg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Fiction is a human tool we developed to give reality a human shape to understand what is presented to us, and that goes on at all levels. It is part of perception. There is a large part of fiction in perception itself." Meet the award-winning Chilean writer Benjamín Labatut.

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

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

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

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

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

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

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

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

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

Goes with another video:
""Writing should give access to the world." | Writer Benjamín Labatut"
https://www.youtube.com/watch?v=ohsQ3WtdWoM ]]]></description>
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<item rdf:about="https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/">
    <title>How to Keep Time - The Atlantic [bookmarking for Season 5, &quot;How to Keep Time&quot; - this podcast covered other topics before that.]</title>
    <dc:date>2024-01-23T05:11:04+00:00</dc:date>
    <link>https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Direct link to Season 5:
https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/?season=5 ]

"A series exploring our complex relationship with the clock"

...

"About How to Keep Time

On this season of How to Keep Time, co-hosts Becca Rashid and Ian Bogost explore our relationship with time and how to reclaim it. Why is it so important to be productive? Why can it feel like there’s never enough time in a day? Why are so many of us conditioned to believe that being more productive makes us better people?

Produced by Becca Rashid. Co-hosted by Becca Rashid and Ian Bogost. Editing by Jocelyn Frank. Fact-check by Ena Alvarado. Engineering by Rob Smerciak. The executive producer of Audio is Claudine Ebeid; the managing editor of Audio is Andrea Valdez."


[Transcripts:

Episode 1
"How to Keep Time: Try Wasting It
How to Waste Time: Wasting time could be the best way to use it.
In a culture obsessed with productivity, what would it mean to commit to letting it go?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-waste-time/676187/

"Co-hosts Becca Rashid and Ian Bogost explore our relationship with time and how to reclaim it. Why is it so important to be productive? Why can it feel like there’s never enough time in a day? Why are so many of us conditioned to believe that being more productive makes us better people? [includes interview with Oliver Burkeman]"

Episode 2
"How to Keep Time: Look Busy
If time is a luxury, why don’t we flaunt it?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-look-busy/676195/

"Many of us complain about being too busy—and about not having enough time to do the things we really want to do. But has busyness become an excuse for our inability to focus on what matters?

According to Neeru Paharia, a marketing professor at Arizona State University, time is a sort of luxury good—the more of it you have, the more valuable you are. But her research also revealed that, for many Americans, having less time and being busy can be a status symbol for others to notice. And when it comes to the signals we create for ourselves, sociologist Melissa Mazmanian reveals a few myths that may be keeping us from living the lives we want with the meaningful connections we crave."

Episode 3
"How to Leave Work Time at Work: Time to Break Up With Your 9-to-5
Sometimes workplace culture requires you to leave the rest of your life at the door. What if there are better ways to structure time?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-leave-work-time-at-work/676196/

"Before laptops allowed us to take the office home and smartphones could light up with notifications at any hour, work time and “life” time had clearer boundaries. Today, work is not done exclusively in the workplace, and that makes it harder to leave work at work.

Co-hosts Becca Rashid and Ian Bogost examine the habits that shrink our available time, and Ignacio Sánchez Prado, a professor of Latin American Studies at Washington University in St. Louis, offers his reflections on American culture and shares suggestions for how to use the time we do have, for life."

Episode 4
"How to Rest. What Is Rest, Anyway?
There’s a difference between leisure and laziness."
https://www.theatlantic.com/podcasts/archive/2024/01/how-to-rest/676197/

"Between making time for work, family, friends, exercise, chores, shopping—the list goes on and on—it can feel like a huge accomplishment to just take a few minutes to read a book or watch TV before bed. All that busyness can lead to poor sleep quality when we finally do get to put our head down.

How does our relationship with rest affect our ability to gain real benefits from it? And how can we use our free time to rest in a culture that often moralizes rest as laziness? Alex Soojung-Kim Pang, the author of several books on rest and director of global programs at 4 Day Week Global, explains what rest is and how anyone can start doing it more effectively."

Episode 5
"Time-Management Tips From the Universe
It could help to examine the cosmos."
https://www.theatlantic.com/podcasts/archive/2024/01/time-management-tips-from-the-universe/676199/ 

"Time can feel like a subjective experience—different at different points in our lives. It’s also a real, measurable thing. The universe may be too big to fully comprehend, but what we do know could help inform the ways we approach our understanding of ourselves, our purpose, and our time.

Theoretical physicist and black-hole expert Janna Levin explains how the science of time can inspire new thinking and fresh perspectives on a much larger scale."

Episode 6
"Can We Keep Time?
Do photos, social posts, and diaries actually help us remember better?
https://www.theatlantic.com/podcasts/archive/2024/01/can-we-keep-time/676198/

It can be tough to face our own mortality. Keeping diaries, posting to social media, and taking photos are all tools that can help to minimize the discomfort that comes with realizing we have limited time on Earth. But how exactly does documenting our lives impact how we live and remember them?

In this episode, diarist and author Sarah Manguso reflects on the benefits and limitations of keeping track of time, and Charan Ranganath, a professor of psychology and researcher at the UC Davis Center for Neuroscience, discusses what research reveals about how memories work and how we can better keep time."]]]></description>
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<item rdf:about="https://www.newyorker.com/culture/the-weekend-essay/coming-of-age-at-the-dawn-of-the-social-internet">
    <title>Coming of Age at the Dawn of the Social Internet | The New Yorker</title>
    <dc:date>2024-01-19T16:34:50+00:00</dc:date>
    <link>https://www.newyorker.com/culture/the-weekend-essay/coming-of-age-at-the-dawn-of-the-social-internet</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Online platforms allowed me to cultivate a freer version of myself. Then the digital world began to close off."

[archived here:
https://archive.is/JFYQV ]]]></description>
<dc:subject>kylechayka internet web online 2024 platforms enshittification algorithms howweread fiy decentralization centralization facebook twitter blogs bloggin attention socialmedia personalbranding instagram tiktok feeds recommendations onkawara pandemic coronavirus blogging discord tumblr geocities are.na yoshitoshiabe covid-19</dc:subject>
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<item rdf:about="https://www.rollingstone.com/culture/culture-commentary/internet-future-about-to-get-weird-1234938403/">
    <title>The Internet Is About to Get Weird Again</title>
    <dc:date>2024-01-01T03:44:53+00:00</dc:date>
    <link>https://www.rollingstone.com/culture/culture-commentary/internet-future-about-to-get-weird-1234938403/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The new year offers many of the promises of an online moment we haven’t seen in a quarter-century"

...

"Consider the dramatic power shift happening right now in social media. Twitter’s slide into irrelevance and extremism as it decays into X has hastened the explosive growth of a whole host of newer social networks. There’s the nerdy vibes of the noncommercial Mastodon communities (each one with its own set of Dungeons and Dragons rules to play by), the raucous hedonism of Bluesky (like your old Tumblr timeline at its most scandalous), and the at-least-it’s-not-LinkedIn noisiness of Threads, brought to you by Instagram, meaning Facebook, meaning Meta. There are lots more, of course, and probably another new one popping up tomorrow, but that’s what’s great about it. A generation ago, we saw early social networks like LiveJournal and Xanga and Black Planet and Friendster and many others come and go, each finding their own specific audience and focus. For those who remember a time in the last century when things were less homogenous, and different geographic regions might have their own distinct music scenes or culinary traditions, it’s easy to understand the appeal of an online equivalent to different, connected neighborhoods that each have their own vibe. While this new, more diffuse set of social networks sometimes requires a little more tinkering to get started, they epitomize the complexity and multiplicity of the weirder and more open web that’s flourishing today.

What’s more, the people who had been quietly keeping the spirit of the human, personal, creative internet alive are seeing a resurgence now that the web is up for grabs again. Take someone like Everest Pipkin, an award-winning digital artist and activist who has been making games, videos, interactive sites, and video streams all exploring the boundaries of digital culture. They evoke the open-endedness of the Nineties internet, but with the modern sensibility that comes from someone who wasn’t even born when the web browser was first invented. Or check out the Society for Poetic Computation. It’s an eccentric, deeply charming, self-organized school for people who want to combine art and technology and a social conscience to make things that are completely different from the generic output of the trillion-dollar titans. Just one extraordinary example is Neta Bomani, one of the co-directors of the SFPC, whose unique and arresting digital works could never be built on the template of the last generation of homogenous social media tools. Then there’s Mask On Zone, a collaboration with the artist and coder Ritu Ghiya, which gives demonstrators and protesters in-context guidance on how to avoid surveillance before, during, and after attending a protest. And Bomani’s work often circles back to another staple of Nineties fan culture: printed zines. Often taking the form of workshops on zine-making, it’s an example of taking online culture back offline, showing young creators how their digital relationships inform real-world creativity now, just as it did a generation ago. It seems likely that nearly everyone’s daily digital diet will include some smattering of these kinds of wonderfully idiosyncratic creations, right alongside the latest memes on their For You page.

There are many more. Stefan Bohacek has been working for years to enable almost anyone to create simple, automated bots, offering up everything from a constantly-updated view of the weather at the South Pole to one that posts excerpts from the City of New York’s archives of civic data (here’s a map of every Latin cultural organization in the city!) to ones that post obscure and delightful images from the collections of museums around the world. That kind of creativity had been stifled as Twitter fell apart and other platforms like Reddit cracked down on independent developers, but the rise of new networks and alternative platforms has inspired a resurgence in these kinds of creations that hasn’t been seen since the early 2000s. Elan Kiderman Ullendorff has been exploring a similar space, encouraging people to “Escape the Algorithm” through a series of tools and websites which show regular internet users that another digital world is possible, with examples like “Youtune”, which lets users explore original songs that have been streamed very few times, helping you find music that might have been ignored by the algorithm but might still be worth hearing.

And then there’s someone like Darius Kazemi, a computer programmer and community organizer who has been patiently toiling away building tools that let others build healthy, constructive, human-scale online communities — the sort that are full of acts of kindness and genuine connection, instead of incessant fights about hate speech. There’s been a huge uptick in interest in Darius’ work as networks like Twitter have fallen apart, and a new generation discovers the joys of an internet that’s as intimate and connected as a friendly neighborhood. And this hearkens back to that surprising, and delightful, discovery that often underpinned the internet of a generation ago — sometimes the entire platform you were using to talk to others was just being run by one, passionate person. We’re seeing the biggest return to that human-run, personal-scale web that we’ve witnessed since the turn of the millennium, with enough momentum that it’s likely that 2024 is the first year since then that many people have the experience of making a new connection or seeing something go viral on a platform that’s being run by a regular person instead of a commercial entity. It’s going to make a lot of new things possible.

I’m not a pollyanna about the fact that there are still going to be lots of horrible things on the internet, and that too many of the tycoons who rule the tech industry are trying to make the bad things worse. (After all, look what the last wild era online lead to.) There’s not going to be some new killer app that displaces Google or Facebook or Twitter with a love-powered alternative. But that’s because there shouldn’t be. There should be lots of different, human-scale alternative experiences on the internet that offer up home-cooked, locally-grown, ethically-sourced, code-to-table alternatives to the factory-farmed junk food of the internet. And they should be weird."]]></description>
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<item rdf:about="https://www.techwontsave.us/episode/196_the_human_side_of_the_ai_underclass_w_joanne_mcneil">
    <title>The Human Side of the AI Underclass w/ Joanne McNeil - Episodes - Tech Won’t Save Us</title>
    <dc:date>2023-12-03T16:56:08+00:00</dc:date>
    <link>https://www.techwontsave.us/episode/196_the_human_side_of_the_ai_underclass_w_joanne_mcneil</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Notes
Paris Marx is joined by Joanne McNeil to discuss her new novel dealing with the human labor behind self-driving cars and the challenges of being a good tech critic.

Guest
Joanne McNeil is the author of Wrong Way and has written for Dissent Magazine, New York Magazine, and The Nation.

Links
- Joanne has written about the need for tech critics that aren’t insiders and tech media warming back up to Facebook.
- Paris wrote about the recent scandal around GM’s Cruise division.
- In 2014, Ursula Le Guin was awarded the National Book Foundation’s Medal for - Distinguished Contribution to American Letters and gave a speech that skewered capitalism.
- Joanne’s fictional tech founder was in part inspired by Holacracy and Dan Price.
- The fantasy of self-driving cars is highly reliant on remote drivers.

Similar
- The Fight Over the Future of OpenAI w/ Mike Isaac
- Elon Musk Unmasked: Creating the Genius Myth (Part 2)
- Elon Musk Unmasked: Origins of an Oligarch (Part 1)
- The Real History of the Luddites w/ Brian Merchant']]></description>
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<item rdf:about="https://www.theverge.com/2023/11/17/23964580/tumblr-downscaling-smaller-social-media-site">
    <title>Tumblr is betting big on going small - The Verge</title>
    <dc:date>2023-11-18T07:54:44+00:00</dc:date>
    <link>https://www.theverge.com/2023/11/17/23964580/tumblr-downscaling-smaller-social-media-site</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sustainable social media — it’s a novel thought, perhaps even an encouraging one. Degrowth is not obsolescence. As Ernie Smith of Tedium pointed out, maybe having to scale down isn’t the end of the world and can even be a good thing. In Tumblr’s case, of course, the shrinkage is due to necessity, not philosophy, but there might be a silver lining nonetheless. 

Though it is a flexible platform which can be used by anyone to spin up a blog or a personal website, and during its peak in the early 2010s it had mainstream appeal across various demographics, Tumblr’s lasting impact is its role as a home for subculture. Multiple academic studies devoted to Tumblr’s impact have focused on its history as an incubator for youth culture, queer culture, pornography, and fandom. It’s the Velvet Underground of platforms — not everyone has or had a Tumblr, but so many people who did have gone on to make vital contributions to art, music, entertainment, fashion, and literature. Accounts on Instagram, TikTok, and YouTube make plenty of sweet ad cash aggregating Tumblr’s most creative and hilarious posts.

The irony is that if Tumblr adopted some of the features of those platforms, like real-name display names or a purely algorithmic feed, its posts might well cease to be as worthy of aggregation in the first place. Without visible follower counts or verification, and thus no direct route to becoming an influencer, Tumblr has fallen out of step with the rest of the platform ecosystem and provides a nostalgic reminder to users of how things used to be — and still sometimes are. It is the anarchistic, pseudonymous spirit of Tumblr — which has grown organically from the days when the platform couldn’t give a damn about being profitable — that keeps on making it such a fertile and creative place to spend time online. 

It’s not necessarily an accurate sample size, of course, but many of the users participating in Mullenweg’s Q&A expressed their gratitude for Automattic’s efforts to preserve the culture of Tumblr that they treasure. Tumblr’s main products are the post editor and the reblog function. Flexible and modular, they provide fertile ground for creativity and interaction. As long as those don’t go away, neither will Tumblr’s existing community. 

What is that culture? It’s fragile and raucous and intricate and raunchy all at once. Somewhat self contained and set apart from the rest of the internet, it’s both a relic of a past optimistic climate of user-generated, content-based platforms and a promise of the future of small, independent social media.

There is no inherent incompatibility between a slimmed-down Tumblr product and engineering team (perhaps assisted by AI as Mullenweg speculated earlier this year in an interview) and a content Tumblr user base. Tumblr might give up on the possibility of a massive influx of new users, but that never really seemed within its grasp, despite Mullenweg’s bullish post-acquisition goals. Instead, it may mean something that Tumblr’s long-term loyalists have wanted the whole time: the Tumblr they know and love, with no arbitrary changes or unwanted upgrades. 

In an era when social media is increasingly algorithmic and video-forward, it makes sense that there is a very low chance for a text- and photo-heavy platform like Tumblr, which emphasizes personal connection and artistic inspiration over advertisement, to have a second life as massive as the first. Nor is it surprising that Automattic would strip back its spending on trying to make that happen. But Tumblr’s dedicated user base seems lucky enough to have a parent company which, despite that fact, is committed to letting it live on."]]></description>
<dc:subject>tumblr 2023 blogs blogging socialmedia web online subcultures socialnetworks automattic</dc:subject>
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<item rdf:about="https://www.theverge.com/2023/11/9/23954412/tumblr-downscaling-employees-transferred-automattic">
    <title>Tumblr is downscaling after failing to ‘turn around’ the site - The Verge</title>
    <dc:date>2023-11-12T10:09:34+00:00</dc:date>
    <link>https://www.theverge.com/2023/11/9/23954412/tumblr-downscaling-employees-transferred-automattic</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s planning to devote smaller teams toward improving core features, and we might say goodbye to Tumblr Live."]]></description>
<dc:subject>tumblr 2023 automattic blogging</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.newyorker.com/culture/infinite-scroll/why-the-internet-isnt-fun-anymore">
    <title>Why the Internet Isn’t Fun Anymore | The New Yorker</title>
    <dc:date>2023-10-11T02:00:09+00:00</dc:date>
    <link>https://www.newyorker.com/culture/infinite-scroll/why-the-internet-isnt-fun-anymore</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The social-media Web as we knew it, a place where we consumed the posts of our fellow-humans and posted in return, appears to be over."

...

"The social-media Web as we knew it, a place where we consumed the posts of our fellow-humans and posted in return, appears to be over. The precipitous decline of X is the bellwether for a new era of the Internet that simply feels less fun than it used to be. Remember having fun online? It meant stumbling onto a Web site you’d never imagined existed, receiving a meme you hadn’t already seen regurgitated a dozen times, and maybe even playing a little video game in your browser. These experiences don’t seem as readily available now as they were a decade ago. In large part, this is because a handful of giant social networks have taken over the open space of the Internet, centralizing and homogenizing our experiences through their own opaque and shifting content-sorting systems. When those platforms decay, as Twitter has under Elon Musk, there is no other comparable platform in the ecosystem to replace them. A few alternative sites, including Bluesky and Discord, have sought to absorb disaffected Twitter users. But like sproutlings on the rain-forest floor, blocked by the canopy, online spaces that offer fresh experiences lack much room to grow.

One Twitter friend told me, of the platform’s current condition, “I’ve actually experienced quite a lot of grief over it.” It may seem strange to feel such wistfulness about a site that users habitually referred to as a “hellsite.” But I’ve heard the same from many others who once considered Twitter, for all its shortcomings, a vital social landscape. Some of them still tweet regularly, but their messages are less likely to surface in my Swift-heavy feed. Musk recently tweeted that the company’s algorithm “tries to optimize time spent on X” by, say, boosting reply chains and downplaying links that might send people away from the platform. The new paradigm benefits tech-industry “thread guys,” prompt posts in the “what’s your favorite Marvel movie” vein, and single-topic commentators like Derek Guy, who tweets endlessly about menswear. Algorithmic recommendations make already popular accounts and subjects even more so, shutting out the smaller, more magpie-ish voices that made the old version of Twitter such a lively destination. (Guy, meanwhile, has received so much algorithmic promotion under Musk that he accumulated more than half a million followers.)

The Internet today feels emptier, like an echoing hallway, even as it is filled with more content than ever. It also feels less casually informative. Twitter in its heyday was a source of real-time information, the first place to catch wind of developments that only later were reported in the press. Blog posts and TV news channels aggregated tweets to demonstrate prevailing cultural trends or debates. Today, they do the same with TikTok posts—see the many local-news reports of dangerous and possibly fake “TikTok trends”—but the TikTok feed actively dampens news and political content, in part because its parent company is beholden to the Chinese government’s censorship policies. Instead, the app pushes us to scroll through another dozen videos of cooking demonstrations or funny animals. In the guise of fostering social community and user-generated creativity, it impedes direct interaction and discovery.

According to Eleanor Stern, a TikTok video essayist with nearly a hundred thousand followers, part of the problem is that social media is more hierarchical than it used to be. “There’s this divide that wasn’t there before, between audiences and creators,” Stern said. The platforms that have the most traction with young users today—YouTube, TikTok, and Twitch—function like broadcast stations, with one creator posting a video for her millions of followers; what the followers have to say to one another doesn’t matter the way it did on the old Facebook or Twitter. Social media “used to be more of a place for conversation and reciprocity,” Stern said. Now conversation isn’t strictly necessary, only watching and listening.

Posting on social media might be a less casual act these days, as well, because we’ve seen the ramifications of blurring the border between physical and digital lives. Instagram ushered in the age of self-commodification online—it was the platform of the selfie—but TikTok and Twitch have turbocharged it. Selfies are no longer enough; video-based platforms showcase your body, your speech and mannerisms, and the room you’re in, perhaps even in real time. Everyone is forced to perform the role of an influencer. The barrier to entry is higher and the pressure to conform stronger. It’s no surprise, in this environment, that fewer people take the risk of posting and more settle into roles as passive consumers.

The patterns of life offscreen affect the makeup of the digital world, too. Having fun online was something that we used to do while idling in office jobs: stuck in front of computers all day, we had to find something on our screens to fill the down time. An earlier generation of blogs such as the Awl and Gawker seemed designed for aimless Internet surfing, delivering intermittent gossip, amusing videos, and personal essays curated by editors with quirky and individuated tastes. (When the Awl closed, in 2017, Jia Tolentino lamented the demise of “online freedom and fun.”) Now, in the aftermath of the pandemic, amid ongoing work-from-home policies, office workers are less tethered to their computers, and perhaps thus less inclined to chase likes on social media. They can walk away from their desks and take care of their children, walk their dog, or put their laundry in. This might have a salutary effect on individuals, but it means that fewer Internet-obsessed people are furiously creating posts for the rest of us to consume. The user growth rate of social platforms over all has slowed over the past several years; according to one estimate, it is down to 2.4 per cent in 2023.

That earlier generation of blogs once performed the task of aggregating news and stories from across the Internet. For a while, it seemed as though social-media feeds could fulfill that same function. Now it’s clear that the tech companies have little interest in directing users to material outside of their feeds. According to Axios, the top news and media sites have seen “organic referrals” from social media drop by more than half over the past three years. As of last week, X no longer displays the headlines for articles that users link to. The decline in referral traffic disrupts media business models, further degrading the quality of original content online. The proliferation of cheap, instant A.I.-generated content promises to make the problem worse.

Choire Sicha, the co-founder of the Awl and now an editor at New York, told me that he traces the seeds of social media’s degradation back a decade. “If I had a time machine I’d go back and assassinate 2014,” he said. That was the year of viral phenomena such as Gamergate, when a digital mob of disaffected video-game fans targeted journalists and game developers on social media; Ellen DeGeneres’s selfie with a gaggle of celebrities at the Oscars, which got retweeted millions of times; and the brief, wondrous fame of Alex, a random teen retail worker from Texas who won attention for his boy-next-door appearance. In those events, we can see some of the nascent forces that would solidify in subsequent years: the tyranny of the loudest voices; the entrenchment of traditional fame on new platforms; the looming emptiness of the content that gets most furiously shared and promoted. But at that point they still seemed like exceptions rather than the rule.

I have been trying to recall the times I’ve had fun online unencumbered by anonymous trolling, automated recommendations, or runaway monetization schemes. It was a long time ago, before social networks became the dominant highways of the Internet. What comes to mind is a Web site called Orisinal that hosted games made with Flash, the late interactive animation software that formed a significant part of the kitschy Internet of the two-thousands, before everyone began posting into the same platform content holes. The games on the site were cartoonish, cute, and pastel-colored, involving activities like controlling a rabbit jumping on stars into the sky or helping mice make a cup of tea. Orisinal was there for anyone to stumble upon, without the distraction of follower counts or sponsored content. You could e-mail the site to a friend, but otherwise there was nothing to share. That old version of the Internet is still there, but it’s been eclipsed by the modes of engagement that the social networks have incentivized. Through Reddit, I recently dug up an emulator of all the Orisinal games and quickly got absorbed into one involving assisting deer leaping across a woodland gap. My only reward was a personal high score. But it was more satisfying, and less lonely, than the experience these days on X."]]></description>
<dc:subject>kylechayka 2023 web online internet socialmedia twitter tiktok instagram meta facebook algorithms blogs blogging google search reddit ai artificialintelligence jiatolentino twitch performance celebrity eleanorstern broadcast media reciprocity conversation monetization entrapment derekguy elonmusk choiresicha orisinal sharing</dc:subject>
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<item rdf:about="https://daringfireball.net/thetalkshow/2023/03/11/ep-370">
    <title>The Talk Show ✪: Ep. 370, With Jason Kottke</title>
    <dc:date>2023-03-13T01:54:07+00:00</dc:date>
    <link>https://daringfireball.net/thetalkshow/2023/03/11/ep-370</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jason Kottke returns to the show to celebrate the 25th anniversary of Kottke.org."

[way too much Gruber, not enough Kottke in this long conversation]]]></description>
<dc:subject>jasonkottke johngruber daringfireball internet histoty web online blogs blogging kottke</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7835333d115b/</dc:identifier>
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<item rdf:about="https://simonwillison.net/2022/Nov/8/mastodon-is-just-blogs/">
    <title>Mastodon is just blogs</title>
    <dc:date>2022-11-11T22:53:09+00:00</dc:date>
    <link>https://simonwillison.net/2022/Nov/8/mastodon-is-just-blogs/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And that’s great. It’s also the return of Google Reader!

Mastodon is really confusing for newcomers. There are memes about it.

If you’re an internet user of a certain age, you may find an analogy that’s been working for me really useful:

Mastodon is just blogs."

...

"The expanded analogy
Here’s my expanded version of that initial analogy:

Mastodon is just blogs and Google Reader, skinned to look like Twitter."]]></description>
<dc:subject>mastodon twitter blogs blogging 2022 rss online onlinetoolkit googlereader simonwillison</dc:subject>
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<item rdf:about="https://bearblog.dev/">
    <title>ʕ•ᴥ•ʔ Bear Blog</title>
    <dc:date>2020-06-19T20:27:36+00:00</dc:date>
    <link>https://bearblog.dev/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["ʕ•ᴥ•ʔ Bear

Free, no-nonsense, super-fast blogging
No javascript, no stylesheets, no trackers. Just your words.

Sign up Discovery feed

There is a website obesity crisis. Bloated websites full of scripts, ads, and trackers slowing your readers down every time they try to read your well crafted content.

Bear is all you need to build a fantastic and optimized site or blog. It works perfectly on any viewing device. All you need to focus on is writing good content.

View example blog

Bear makes it simple to publish content online, grow an audience, all while keeping pages tiny, fast, and optimized for search engines.

Each page is ~5kb and you can add a custom domain for free.

Start blogging now"]]></description>
<dc:subject>blogs blogging markdown notes notetaking cms webdev webdesign free lightweight simpleweb</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fb01193b4874/</dc:identifier>
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</item>
<item rdf:about="https://collectednotes.com/">
    <title>Collected Notes.</title>
    <dc:date>2020-06-19T20:26:30+00:00</dc:date>
    <link>https://collectednotes.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Collected Notes.

The simplest, and most powerful note-taking blogging platform.

Upload your thoughts.
Note-taking, with easy sharing. Without the nonsense

Simplicity
Every app out there eventually tries to do more than they should. We believe in doing less, but better.

Markdown with live preview
Live Markdown previews allow you to see the final result in real-time as you type.

No nonsense
- No ads.
- No feature creep.
- No tracking.
- No annoying emails.
- No data sold.
- No comments.
- No vanity metrics.
- No proprietary formats.
You’ll never see popups, clutter, subscription up-sells, or anything that interferes with the reading experience. Collected Notes is a reading-first experience.
Your attention matters.

Native experience
The iPhone & iPad app enables a fast native-first experience. Just open the app and dive into writing mode. More about our apps

Clear business model
No platform lock-in. Your data is yours, and it’s easy to export. We make money by charging a small subscription for API access, image uploads, support and more.
More about ⚡️ Premium

Formats & API
Your notes have an API! meaning you can get them as .json, .txt and .md. Simply append the format you want to the post URL and you’re all set! More about our API

Download”]]></description>
<dc:subject>blogs blogging markdown notes notetaking cms webdev webdesign</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.niemanlab.org/2020/01/a-return-to-blogs-finally-sort-of/">
    <title>A return to blogs (finally? sort of?) » Nieman Journalism Lab</title>
    <dc:date>2020-01-10T23:15:47+00:00</dc:date>
    <link>https://www.niemanlab.org/2020/01/a-return-to-blogs-finally-sort-of/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I read plenty of newsletters, but I don’t subscribe to very many. Often — especially in the case of the personal and quirky, and the less overtly news-pegged — I scroll through the archives of newsletters on the web and read several editions at a time.

It’s great. It’s like reading blogs.

Newsletters seem to have circled around from being the new blogs to being like blogs (but with posts that are emailed to readers). The web interface of any given public Substack is basically that of a blog. You can even set up comments. And there are subscription apps like Stoop that organize newsletters’ content as RSS readers did for blogs.

One reason we might see a resurgence of blogs is the novelty. Tell someone you’re starting a new newsletter and they might complain about how many newsletters (or podcasts) they already subscribe to. But tell them you’re launching a blog and see how that goes: Huh. Really, a blog? In 2020? Wow.

It’s been long enough now that people look back on blogging fondly, but the next generation of blogs will be shaped around the habits and conventions of today’s internet. Internet users are savvier about things like context collapse and control (or lack thereof) over who gets to view their shared content. Decentralization and privacy are other factors. At this moment, while so much communication takes place backstage, in group chats and on Slack, I’d expect new blogs to step in the same ambiguous territory as newsletters have — a venue for material where not everyone is looking, but privacy is neither airtight nor expected.

Blogs offer the potential to broadcast, but not too broadly. We might even see a breakdown where newsletters begin to focus more on individual personal stories and daily digests, while blogs will fill in the gaps of all that might be written about otherwise.

It is genuinely pleasant to scroll through Jason Kottke’s blog when I have no idea where else to click on the internet. It’s pleasant to scroll through the archives of various newsletters too. Such spaces are escape hatches from the horse-race election cycle: People are looking for those escape hatches, and they’re looking to create them too. So why not start a blog?"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=TiHKbeDOXas">
    <title>Laurel Schwulst, &quot;Blogging in Motion&quot; - YouTube</title>
    <dc:date>2019-05-07T22:19:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=TiHKbeDOXas</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This video was originally published as part of peer-to-peer-web.com's NYC lecture series on Saturday, May 26, 2018 at the at the School for Poetic Computation.

It has been posted here for ease of access.

You can find many other great talks on the site:
https://peer-to-peer-web.com

And specifically more from the NYC series:
https://peer-to-peer-web.com/nyc "

[See also:
https://www.are.na/laurel-schwulst/blogging-in-motion ]]]></description>
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<item rdf:about="https://kottke.org/18/04/blogging-is-most-certainly-not-dead">
    <title>Blogging is most certainly not dead</title>
    <dc:date>2019-02-19T22:16:46+00:00</dc:date>
    <link>https://kottke.org/18/04/blogging-is-most-certainly-not-dead</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A few weeks ago, I asked the readers of the Noticing newsletter to send in links to their blogs and newsletters (or to their favorite blogs and newsletters written by others). And boy, did they! I pared the submissions list down to a representative sample and sent it out as last week’s newsletter. Here’s a smaller excerpt of that list…you can find the whole thing here.

Several people wrote in about Swiss Miss, Subtraction, Damn Interesting, Cup of Jo, sites I also read regularly.

Ted pointed me towards Julia Evans’ blog, where she writes mostly (but not exclusively) about programming and technology. One of my favorite things about reading blogs is when their authors go off-topic. (Which might explain why everything on kottke.org is off-topic. Or is everything on-topic?)

Bruce sent in Follow Me Here, which linked to 3 Quarks Daily, a high-quality blog I’d lost track of.

Marcelo Rinesi blogs infrequently about a little bit of everything. “We write to figure out who we are and what we think.”

Futility Closet is “a collection of entertaining curiosities in history, literature, language, art, philosophy, and mathematics, designed to help you waste time as enjoyably as possible”. (Thx, Peter)

Michael Tsai blogs about technology in a very old school way…reading through it felt like a wearing a comfortable old t-shirt.

Sidebar: the five best design links, every day. And Nico Lumma’s Five Things, “five things everyday that I find interesting”.

Pamela wrote in with dozens of links, among them visual blog But Does It Float, neuroscience blog Mind Hacks, the old school Everlasting Blort.

Elsa recommends Accidentally in Code, written by engineer Cate Huston.

Madeleine writes Extraordinary Routines, “sharing interviews, musings and life experiments that explore the intersection between creativity and imperfection”.

Kari has kept her blog for the last 15 years. I love what she wrote about why she writes:

<blockquote>I also keep it out of spite, because I refuse to let social media take everything. Those shapeless, formless platforms haven’t earned it and don’t deserve it. I’ve blogged about this many times, but I still believe it: When I log into Facebook, I see Facebook. When I visit your blog, I see you.</blockquote>

Social media is as compelling as ever, but people are increasingly souring on the surveillance state Skinner boxes like Facebook and Twitter. Decentralized media like blogs and newsletters are looking better and better these days…"

[See also:
Noticing Newsletter's "Blogging Is Most Certainly Not Dead" edition:
https://mailchi.mp/kottke/blogging-is-not-dead-edition-2575912502?e=9915150aa0

Noticing Newsletter's "The Best Kottke Posts of 2018 B-Sides" edition
https://mailchi.mp/kottke/noticing-the-best-kottke-posts-of-2018-b-sides-edition-12212018?e=9915150aa0 ]]]></description>
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<item rdf:about="https://craigmod.com/essays/newsletters/">
    <title>Oh God, It's Raining Newsletters — by Craig Mod</title>
    <dc:date>2019-02-07T22:07:33+00:00</dc:date>
    <link>https://craigmod.com/essays/newsletters/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In truth, it’s a newsletter about the design of walking. But more broadly, launching it has given me reason to consider the state of newsletters and email, in 2019: It’s kind of amazing."

…

"Ownership is the critical point here. Ownership in email in the same way we own a paperback: We recognize that we (largely) control the email subscriber lists, they are portable, they are not governed by unknowable algorithmic timelines.3 And this isn’t ownership yoked to a company or piece of software operating on quarterly horizon, or even multi-year horizon, but rather to a half-century horizon. Email is a (the only?) networked publishing technology with both widespread, near universal adoption,4 and history. It is, as they say, proven."

…

"A lot of this newsletter writing is happening, probably, because the archives aren’t great. Tenuousness unlocks the mind, loosens tone. But the archival reality might be just the opposite of that common perception: These newsletters are the most backed up pieces of writing in history, copies in millions of inboxes, on millions of hard drives and servers, far more than any blog post. More robust than an Internet Archive container. LOCKSS to the max. These might be the most durable copies yet of ourselves. They’re everywhere but privately so, hidden, piggybacking on the most accessible, oldest networked publishing platform in the world. QWERTYUIOP indeed."]]></description>
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<item rdf:about="https://www.wired.com/story/future-book-is-here-but-not-what-we-expected/">
    <title>The 'Future Book' Is Here, but It's Not What We Expected | WIRED</title>
    <dc:date>2019-01-06T05:16:12+00:00</dc:date>
    <link>https://www.wired.com/story/future-book-is-here-but-not-what-we-expected/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THE FUTURE BOOK was meant to be interactive, moving, alive. Its pages were supposed to be lush with whirling doodads, responsive, hands-on. The old paperback Zork choose-your-own-adventures were just the start. The Future Book would change depending on where you were, how you were feeling. It would incorporate your very environment into its story—the name of the coffee shop you were sitting at, your best friend’s birthday. It would be sly, maybe a little creepy. Definitely programmable. Ulysses would extend indefinitely in any direction you wanted to explore; just tap and some unique, mega-mind-blowing sui generis path of Joycean machine-learned words would wend itself out before your very eyes.

Prognostications about how technology would affect the form of paper books have been with us for centuries. Each new medium was poised to deform or murder the book: newspapers, photography, radio, movies, television, videogames, the internet.

Some viewed the intersection of books and technology more positively: In 1945, Vannevar Bush wrote in The Atlantic: “Wholly new forms of encyclopedias will appear, ready made with a mesh of associative trails running through them, ready to be dropped into the memex and there amplified.”

Researcher Alan Kay created a cardboard prototype of a tablet-like device in 1968. He called it the "Dynabook," saying, “We created a new kind of medium for boosting human thought, for amplifying human intellectual endeavor. We thought it could be as significant as Gutenberg’s invention of the printing press 500 years ago.”

In the 1990s, Future Bookism hit a kind of beautiful fever pitch. We were so close. Brown University professor Robert Coover, in a 1992 New York Times op-ed titled “The End of Books,” wrote of the future of writing: “Fluidity, contingency, indeterminacy, plurality, discontinuity are the hypertext buzzwords of the day, and they seem to be fast becoming principles, in the same way that relativity not so long ago displaced the falling apple.” And then, more broadly: “The print medium is a doomed and outdated technology, a mere curiosity of bygone days destined soon to be consigned forever to those dusty unattended museums we now call libraries.”

Normal books? Bo-ring. Future Books? Awesome—indeterminate—and we were almost there! The Voyager Company built its "expanded books" platform on Hypercard, launching with three titles at MacWorld 1992. Microsoft launched Encarta on CD-ROM.

But … by the mid-2000s, there still were no real digital books. The Rocket eBook was too little, too early. Sony launched the eink-based Librie platform in 2004 to little uptake. Interactive CD-ROMs had dropped off the map. We had Wikipedia, blogs, and the internet, but the mythological Future Book—some electric slab that would somehow both be like and not like the quartos of yore—had yet to materialize. Peter Meirs, head of technology at Time, hedged his bets perfectly, proclaiming: “Ultimately, there will be some sort of device!”

And then there was. Several devices, actually. The iPhone launched in June 2007, the Kindle that November. Then, in 2010, the iPad arrived. High-resolution screens were suddenly in everyone’s hands and bags. And for a brief moment during the early 2010s, it seemed like it might finally be here: the glorious Future Book."

…

"Yet here’s the surprise: We were looking for the Future Book in the wrong place. It’s not the form, necessarily, that needed to evolve—I think we can agree that, in an age of infinite distraction, one of the strongest assets of a “book” as a book is its singular, sustained, distraction-free, blissfully immutable voice. Instead, technology changed everything that enables a book, fomenting a quiet revolution. Funding, printing, fulfillment, community-building—everything leading up to and supporting a book has shifted meaningfully, even if the containers haven’t. Perhaps the form and interactivity of what we consider a “standard book” will change in the future, as screens become as cheap and durable as paper. But the books made today, held in our hands, digital or print, are Future Books, unfuturistic and inert may they seem."

[sections on self-publishing, crowdfunding, email newsletters, social media, audiobooks and podcasts, etc.]

…

"It turns out smartphones aren’t the best digital book reading devices (too many seductions, real-time travesties, notifications just behind the words), but they make excellent audiobook players, stowed away in pockets while commuting. Top-tier podcasts like Serial, S-Town, and Homecoming have normalized listening to audio or (nonfiction) booklike productions on smartphones."

…

"Last August, a box arrived on my doorstep that seemed to embody the apotheosis of contemporary publishing. The Voyager Golden Record: 40th Anniversary Edition was published via a crowdfunding campaign. The edition includes a book of images, three records, and a small poster packaged in an exquisite box set with supplementary online material. When I held it, I didn’t think about how futuristic it felt, nor did I lament the lack of digital paper or interactivity. I thought: What a strange miracle to be able to publish an object like this today. Something independently produced, complex and beautiful, with foil stamping and thick pages, full-color, in multiple volumes, made into a box set, with an accompanying record and other shimmering artifacts, for a weirdly niche audience, funded by geeks like me who are turned on by the romance of space.

We have arrived to the once imagined Future Book in piecemeal truths.

Moving images were often espoused to be a core part of our Future Book. While rarely found inside of an iBooks or Kindle book, they are here. If you want to learn the ukulele, you don’t search Amazon for a Kindle how-to book, you go to YouTube and binge on hours of lessons, stopping when you need to, rewinding as necessary, learning at your own pace.

Vannevar Bush's “Memex” essentially described Wikipedia built into a desk.

The "Hitchhiker’s Guide to the Galaxy" in The Hitchhiker's Guide to the Galaxy is an iPhone.

In The Book of Sand, Borges wrote of an infinite book: "It was then that the stranger told me: 'Study the page well. You will never see it again.'" Describing in many ways what it feels like to browse the internet or peek at Twitter.

Our Future Book is composed of email, tweets, YouTube videos, mailing lists, crowdfunding campaigns, PDF to .mobi converters, Amazon warehouses, and a surge of hyper-affordable offset printers in places like Hong Kong.

For a “book” is just the endpoint of a latticework of complex infrastructure, made increasingly accessible. Even if the endpoint stays stubbornly the same—either as an unchanging Kindle edition or simple paperback—the universe that produces, breathes life into, and supports books is changing in positive, inclusive ways, year by year. The Future Book is here and continues to evolve. You’re holding it. It’s exciting. It’s boring. It’s more important than it has ever been.

But temper some of those flight-of-fancy expectations. In many ways, it’s still a potato."]]></description>
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<item rdf:about="https://theoutline.com/post/5811/why-tumblr-is-better-than-twitter-and-we-should-bring-it-back">
    <title>Let’s all go back to Tumblr</title>
    <dc:date>2018-09-10T22:32:15+00:00</dc:date>
    <link>https://theoutline.com/post/5811/why-tumblr-is-better-than-twitter-and-we-should-bring-it-back</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A reconsideration of the last great blogging platform."

…

"The sum of this was thoughtful, personalized content (for lack of a better word) consumed at a slower, more natural pace where eventually everyone would lose interest in being mean to each other. Also, memes and animal GIFs and political solidarity and all of the good things. Wow! Doesn’t that sound great? Wouldn’t Twitter be better if it was more like that? It was like that, at least for a while; I participated in at least three distinct, naturally occurring social scenes encompassing parts of college and half of my twenties. I met a lot of people for the first time after meeting them on Tumblr, and almost all of them turned out to be actually cool. Whether or not I enjoyed someone’s Tumblr after following them for a while was, in fact, an immensely accurate prediction for how I’d enjoy them in real life.

It’s nearly impossible for me to conceive of Tumblr being as big as it still is, because almost nobody I know uses it anymore. Everyone I knew aged out of it, lost interest in chronicling their personal lives or got jobs writing the kinds of blogs they used to write for free. As denizens of scenes peeled off for different pastures (Twitter, post-graduation life, parenthood), that sense of community became difficult to find in new forms. Tumblr, after all, is still user-unfriendly. There is no easy way to find a new set of blogs without doing a lot of manual clicking around, and the wide range of Tumblr types (such as those almost exclusively devoted to social justice, or fandoms) made it difficult to stumble upon the exact thing I wanted.

This is damning for a social network, and every time I’ve tried to “get back into” Tumblr in the last year, it’s like hanging around a ghost town, and it just drives me back to the whole depressing Twitter cycle, where at least people are still talking, even if it’s mostly in the form of yelling.

This tension of insularity is at least partly the company’s fault, and a big part of why Tumblr never meaningfully grew or monetized after its initial boom period at the turn of the decade. It remains popular in the sense that people use it, but it’s just… around, no longer accessibly special in a way that demands our attention. The userbase isn’t as depleted as Myspace, but it remains much farther from the conversation about the future of digital media than ever seemed possible when it was first acquired by Yahoo, in a 2013 deal now universally regarded as a failure. (Founder David Karp has long since gone, presumably to enjoy his hundreds of millions of dollars. Hey David, send me some.)

The ethos of Tumblr is more easily recognizable in a platform like Tinyletter, where people craft small batch blogs for a curated following, the downside being that they’re entirely siloed in their own worlds with no chance of outside interaction. But considering how hectic and intrusive the modern internet can feel, this isolation feels like an asset, not a bug. Snail mail might never make a comeback, but the pleasures of one-on-one communication are evergreen.

Tumblr’s irrelevance in the digital economy is a problem if you invested in the company, but not so much if you’re a user who never drifted away. The platform remains full of the potential it once had, theoretically. So why not come back? Why don’t we all go back? I’ve tried, and I still haven’t had much luck finding a new rhythm; if you have any good Tumblrs worth following, let me know. I’d love to give it another shot."]]></description>
<dc:subject>jeremygordon 2018 tumblr twitter blogs blogging web internet community online socialmedia tinyletter</dc:subject>
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<item rdf:about="https://www.bbc.co.uk/programmes/b098n8z9">
    <title>BBC Radio 4 - Pick a Sky and Name It</title>
    <dc:date>2018-07-04T18:51:33+00:00</dc:date>
    <link>https://www.bbc.co.uk/programmes/b098n8z9</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How did Momtaza Mehri go from net savvy 6th former to successful millennial poet?

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

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

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

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

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

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

Producer: Tamsin Hughes
A Testbed production for BBC Radio 4."]]></description>
<dc:subject>momtazamehri poets poetry poems howwelearn online internet web blogging autodidacts somalidiaspora tamsinhughes 2018 interviews radio profiles somalia middleeast london experience childhood dubai mogadishu civilwar tumblr publishing howwewrite freedom autodidactism</dc:subject>
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<item rdf:about="https://medium.com/@hhschiaravalli/school-is-literally-a-hellhole-bac8427a65ec">
    <title>School is Literally a Hellhole – Medium</title>
    <dc:date>2018-06-14T05:45:56+00:00</dc:date>
    <link>https://medium.com/@hhschiaravalli/school-is-literally-a-hellhole-bac8427a65ec</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By continually privileging and training our eyes on a horizon “beyond the walls of the school” — whether that be achievement, authentic audiences, the real world, the future, even buzz or fame — have we inadvertently impoverished school of its value and meaning, turning it into a wind-swept platform where we do nothing but gaze into another world or brace ourselves for the inevitable? Here we have less and less patience for the platform itself, for learning to live with others who will be nothing more than competitors in that future marketplace."

…

"What would be possible if we instead were to wall ourselves up with one another, fostering community and care among this unlikely confluence of souls? Does privileging the proximate, present world render any critique of or contribution to the larger world impossible?

I don’t think so. Learning to protect, foster, and value the humans in our care will often automatically put us in direct conflict with the many forces that disrupt or diminish those values. More than reflecting the real world or the future or some outside standard or imperative, kids need to see themselves reflected and recognized in these rooms. This is true even in the most privileged of environments. Providing recognition means valuing students' perspectives and experiences, but also helping them gain critical consciousness of themselves and their world, which they often intuit.

These tasks aren’t disconnected from the outside world, but often need a smaller, more human-sized community in which to flourish. The impulse to test and measure continually intrudes upon this process. But so do other prying eyes, ones that cast our students as entrepreneurial, capitalistic, future-ready, self-motivated, passionate individuals — and that often shame those who can’t or won’t conform to this ideal.

We should ask ourselves to what extent those outside standards and ideals are antithetical to the values of education — civic discourse, collectivity, cooperation, care. I realize this post is short on specifics, but let’s be more cautious about always forcing one another out into unforgiving gaze of others, commending the merits of a world beyond this one."]]></description>
<dc:subject>arthurchiaravalli schools schooling schooliness presence unschooling deschooling education learning highschool competition coexistence community benjamindoxtdator engagement blogging teaching howweteach howwelearn personalbranding innovation johndewey work labor nietzsche collectivism collectivity cooperation care caring merit entrepreneurship passion 2018 foucault michelfoucault</dc:subject>
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<item rdf:about="https://micro.blog/">
    <title>Micro.blog</title>
    <dc:date>2018-05-26T00:10:23+00:00</dc:date>
    <link>https://micro.blog/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today's social networks are broken. Ads are everywhere. Hate and harassment are too common. Fake news spreads unchecked.

There's a better way: a network of independent microblogs. Short posts like tweets but on your own web site that you control.

Micro.blog is a safe community for microblogs. A timeline to follow friends and discover new posts. Hosting built on open standards.

Use Micro.blog from the web or with native apps for iOS and macOS. Learn more about why I created Micro.blog."

[See also: "Why I created Micro.blog" 
http://help.micro.blog/2015/why-i-created-this/ ]]]></description>
<dc:subject>via:ayjay web online microblogs onlinetoolkit indieweb socialnetworking socialmedia publishing blogging blogs webdev webdesign</dc:subject>
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<item rdf:about="http://orbitaloperations.cmail20.com/t/ViewEmail/d/5234D06A0B7819B52540EF23F30FEDED/C672A3FAD68B88BDC68C6A341B5D209E">
    <title>ORBITAL OPERATIONS: Alive And A King - OO 18 Feb 18</title>
    <dc:date>2018-02-20T21:40:03+00:00</dc:date>
    <link>http://orbitaloperations.cmail20.com/t/ViewEmail/d/5234D06A0B7819B52540EF23F30FEDED/C672A3FAD68B88BDC68C6A341B5D209E</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["2

Damien Williams on a book about animal tool-use [https://social-epistemology.com/2018/02/13/deleting-the-human-clause-damien-williams/ ] and the "human clause" - 

Shew says that we consciously and unconsciously appended a “human clause” to all of our definitions of technology, tool use, and intelligence, and this clause’s presumption—that it doesn’t really “count” if humans aren’t the ones doing it—is precisely what has to change.

Tracking Elon Musk's car through space.

Eight reasons why Facebook has peaked.

Does anyone else find it odd that selfies still get more likes and engagement on Instagram than anything else?

 
3

Via Nabil, this interview with Jason Kottke [http://orbitaloperations.createsend1.com/t/d-l-ojdgtl-iroiiuht-i/ ], a survivor of the first wave of "professional bloggers," is interesting.

<blockquote>The way I’ve been thinking about it lately is that I am like a vaudevillian. I’m the last guy dancing on the stage, by myself, and everyone else has moved on to movies and television. The Awl and The Hairpin have folded. Gawker’s gone, though it would probably still be around if it hadn’t gotten sued out of existence.

On the other hand, blogging is kind of everywhere. Everyone who’s updating their Facebook pages and tweeting and posting on Instagram and Pinterest is performing a bloggish act.</blockquote>

The Republic Of Newsletters.

The Invisible College of Blogs.

Kottke notes that he gave up on RSS when Google Reader shut down.  So did some websites.  But not all of them, not by a long chalk.  And RSS readers like Feedbin work just fine, even in tandem with phone apps like Reeder.  (I know other people who swear by Feedly.)  

In part of a long thread about the Mueller indictments, my old acquaintance Baratunde Thurston said:

<blockquote>We build a giant deception machine called marketing and advertising, and an adversary used it against us.

We build a giant influence machine called social media, and an adversary used it against us.</blockquote>

These two lines apply to pretty much everything on and about the internet in the 2010s, too.

<blockquote>When I was young, living down the road in Essex, where radio was born (in a Marconi hut outside Chelmsford), radio came out of wooden boxes. Switches and dials. I liked the way my old radios imposed architecture on a world of invisible waves. A red needle, numbers, a speedometer for signals. Physical switching between Medium Wave, FM and Long Wave. Ramps and streets and windows. To me, it gave radio a structure like the false topology of the Tube map.</blockquote>

That was me, from a few years ago.  I bet, at some point, there were Tube maps made for certain blogging continuums.

Why am I going on about this again?  Because you like reading.  You wouldn't be here if you didn't like reading.  The "pivot to video" narrative of last year turned out to be basically Facebook's way to kill publishers, and it was a great doomsday weapon.  Get publishers to fire all their writers and get video makers in.  Then kill publishers' ability to reach people on Facebook with video!  It was genius, and you need to understand how insidious that was.

(Also ref. Chris Hardwick's recent Twitter rant about the terrible timeshifting Instagram is doing.)

Tumblr's so fucked up that you could probably take it over between you.  And set up systems with IFTTT as simple as mailing your posts to yourself so you have an archive for when the ship goes down. 

The Republic and the College are pro-reading, pro-thinking, pro- the independence of voices.

In 2015, I also wrote:

<blockquote>I’m an edge case.  I want an untangled web. I want everything I do to copy back to a single place, so I have one searchable log for each day’s thoughts, images, notes and activities.  This is apparently Weird and Hermetic if not Hermitic.

I am building my monastery walls in preparation for the Collapse and the Dark Ages, damnit. Stop enabling networked lightbulbs and give me the tools to survive your zombie planet.</blockquote>"

…

"4

Back in 2012, I had the great honour of introducing reporter Greg Palast to an audience in London, and this is part of what I said:

I'm a writer of fiction.  It's fair to wonder why I'm here.  I'm the last person who should be standing here talking about a book about real tragedies and economics.  I come from a world where even the signposts are fictional.  Follow the white rabbit.  Second star to the right and straight on til morning.  And a more recent one, from forty years ago, the fictional direction given by a mysterious man to an eager journalist: follow the money.    

Economics is an artform.  It's the art of the invisible.  Money is fictional.

The folding cash in your pocket isn't real.  Look at it.  It's a promissory note.  "I promise to pay the bearer."  It's a little story, a fiction that claims your cash can be redeemed for the equivalent in goods or gold.  But it won't be, because there isn't enough gold to go around.  So you're told that your cash is "legal tender," which means that everyone agrees to pretend it's like money.  If everyone in this room went to The Bank Of England tomorrow and said "I would like you to redeem all my cash for gold, right here, in my hand" I guarantee you that you all would see some perfect expressions of stark fucking terror.  

It's not real.  Cash has never been real.  It's a stand-in, a fiction, a symbol that denotes money.  Money that you never see.  There was a time when money was sea shells, cowries.  That's how we counted money once.  Then written notes, then printed notes.  Then telegraphy, when money was dots and dashes, and then telephone calls.  Teletypes and tickers.  Into the age of the computer, money as datastreams that got faster and wider, leading to latency realty where financial houses sought to place their computers in physical positions that would allow them to shave nanoseconds off their exchanges of invisible money in some weird digital feng shui, until algorithmic trading began and not only did we not see the money any more, but we can barely even see what's moving the money, and now we have people talking about strange floating computer islands to beat latency issues and even, just a few weeks ago, people planning to build a neutrino cannon on the other side of the world that actually beams financial events through the centre of the planet itself at lightspeed. A money gun.

Neutrinos are subatomic units that are currently believed to be their own antiparticle.  Or, to put it another way, they are both there and not there at the same time.  Just like your cash.  Just like fiction: a real thing that never happened.  Money is an idea.

But I don't want to make it sound small.  Because it's really not.  Money is one of those few ideas that pervades the matter of the planet.  One of those few bits of fiction that, if it turns its back on you, can kill you stone dead."]]></description>
<dc:subject>warrenellis 2018 damienwilliams multispecies morethanhuman blogging economics communities community newsletters googlereader rss feedly feedbin radio reading chrishardwick instagram timelines socialmedia facebook selfies aggregator monasteries networks socialnetworking socialnetworks gregpalast fiction money capitialism cash tumblr ifttt internet web online reeder</dc:subject>
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</item>
<item rdf:about="https://www.onimagazine.com/home-1/2018/2/10/book-review-love-and-other-words-i-mispronounced">
    <title>Book Review: Love And Other Words I Mispronounced — ONI MAGAZINE</title>
    <dc:date>2018-02-19T06:35:26+00:00</dc:date>
    <link>https://www.onimagazine.com/home-1/2018/2/10/book-review-love-and-other-words-i-mispronounced</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Instead of layers of irony and distance that, like with the poets referenced above, add up to a superficial, sarcastic, hipster-ish voice what this book offers is a sincere expression, beauty in vulnerability, and self-reflection and a search for truth in the aftermath of an abusive relationship."]]></description>
<dc:subject>jamieberrout poetry instagtam blogs blogging socialmedia multimedia gumroad transgender dictionaryofobscuresorrows johnkoenig kierra loveandotherwords words poems writing books vulnerability</dc:subject>
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<item rdf:about="https://www.instagram.com/p/BdX32P1jpub/">
    <title>An Xiao Busingye Mina on Instagram: “My #2017bestnine includes talks/panels at Harvard Law School and the V&amp;A Museum as I started looking at memes in the physical world and the…” • Instagram</title>
    <dc:date>2018-01-01T06:40:15+00:00</dc:date>
    <link>https://www.instagram.com/p/BdX32P1jpub/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My #2017bestnine includes talks/panels at Harvard Law School and the V&A Museum as I started looking at memes in the physical world and the political implications thereof, signs of the resistance in the United States as I rediscovered photography after a 6 year hiatus, artsy selfies, a real-life security robot, a rainbow on a road trip and falling snow while we worked on @thebagx.
.
Amidst this are many things I didn’t Insta about so much — countless misinformation events, new software initiatives, research with refugees in Berlin, an artist residency in Lijiang, the birth of @thecivicbeat’s Meme Lab, and the end of something started nearly 3 years ago. In 2017, I also submitted my book manuscript — by this same time in 2018, it will be ready to come to life (fingers crossed). It’s a book about Internet memes, movements and, I think, the rise of authoritarianism, and it reflects 6 years of thinking.
.
2017 was a privileged one for me, as I got to travel the world, but it was not a rosy year. I saw the rise of swastikas and open hate in the United States, extrajudicial killings in the Philippines, a clamping down on the internet in China and increased demolitions in Beijing, the ripple effects of the war in Syria, and the global ravages of new digital forms of propaganda and manipulation. I didn’t write about these things specifically here, but they influenced me nonetheless. These, and two things I did post about — visits to the concentration camps at Sachsenhausen and Manzanar — left me with a deep sense of how fragile peace and democracy can be.
.
Along the way, this little Insta account has become a blog of sorts, tapped away and edited on buses and planes and trains. Thanks for being here with me on this journey."]]></description>
<dc:subject>anxiaomina 2017 blogging instagram travel experience writing howwewrite</dc:subject>
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<item rdf:about="https://kottke.org/17/12/zines-are-the-future-of-media">
    <title>Zines are the future of media</title>
    <dc:date>2017-12-23T21:12:37+00:00</dc:date>
    <link>https://kottke.org/17/12/zines-are-the-future-of-media</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My favorite Nieman Lab prediction for journalism in 2018 (including this one I wrote myself [http://www.niemanlab.org/2017/12/watch-out-for-spotify/ ]) is Kawandeep Virdee’s “Zines Had It Right All Along.” [http://www.niemanlab.org/2017/12/zines-had-it-right-all-along/ ]

His actual prediction is that in 2018, digital media “will reflect more qualities that make print great.” Virdee distills a shortlist of qualities of zines and quarterly mags that he thinks are portable to digital:

• Quarterlies are a pleasure to read with a variety in layout and pacing
• They’re beautiful to hold.
• They’re less frequent, and much better.
• Even the ads are well-crafted, and trusted.
• Zines have an enormous variety.
• They’re experimental and diverse.
• This gives them a freshness and surprise.
• They’re anti-formalist; they’re relatable.

“Most sites look the same,” Virdee writes. “It can be weird and wonderful.”

The positive example he gives isn’t a text feature, but the NYT video series “Internetting with Amanda Hess.” It’s an odd choice because digital video hasn’t had much of a problem picking up on a zine aesthetic or giving us that level of freshness and surprise; it’s digital text that’s been approaching conformity.

It’s also weird that Virdee works product at Medium, which is one of the sites that, despite or maybe because of its initial splash, is kind of the poster child for the current design consensus on the web. If Virdee is making the case that Medium (and other sites) should look a lot less like Medium, that would be the most exciting thing that Medium has done in a couple of years.

The other point I’d add is that zines and quarterlies look the way they do and feel the way they feel not because of a certain design aesthetic they share, or a design consensus they break from, but because of how they’re run, who owns them, and why they’re published. They look different because they are different. So maybe we need to look at the whole package and create an… oh, I don’t know, what’s the phrase I need… an “indie web”?"]]></description>
<dc:subject>timcarmody kawandeepvirdee zines publishing blogs blogging digital publications 2017 2018 quarterlies classideas cv conformity medium media predictions design originality weirdness aesthetics freshness internet amandahess web online graphicdesign layout webdesign indie indieweb diversity anti-formalism relatability surprise variety craft pacing howwewrite howweread print papernet</dc:subject>
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<item rdf:about="https://tinysubversions.com/spooler/">
    <title>Spooler</title>
    <dc:date>2017-07-12T18:12:58+00:00</dc:date>
    <link>https://tinysubversions.com/spooler/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A tool that turns Twitter threads into blog posts, by Darius Kazemi."]]></description>
<dc:subject>dariuskazemi twitter tools onlinetoolkit twittertools blogging twitterthreads</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://blog.klipse.tech/javascript/2016/06/20/blog-javascript.html">
    <title>A new way of blogging about javascript</title>
    <dc:date>2016-06-24T19:47:25+00:00</dc:date>
    <link>http://blog.klipse.tech/javascript/2016/06/20/blog-javascript.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>javascipt blogging code coding interactive alankay yehonathansharvit</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://opinionator.blogs.nytimes.com/2011/08/07/education-needs-a-digital-age-upgrade/">
    <title>Education Needs a Digital-Age Upgrade - The New York Times</title>
    <dc:date>2016-06-12T04:07:54+00:00</dc:date>
    <link>http://opinionator.blogs.nytimes.com/2011/08/07/education-needs-a-digital-age-upgrade/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/ecomentario/status/741833701999280128 ]

"To take an example of just one classroom convention that might be inhibiting today’s students: Teachers and professors regularly ask students to write papers. Semester after semester, year after year, “papers” are styled as the highest form of writing. And semester after semester, teachers and professors are freshly appalled when they turn up terrible.

Ms. Davidson herself was appalled not long ago when her students at Duke, who produced witty and incisive blogs for their peers, turned in disgraceful, unpublishable term papers. But instead of simply carping about students with colleagues in the great faculty-lounge tradition, Ms. Davidson questioned the whole form of the research paper. “What if bad writing is a product of the form of writing required in school — the term paper — and not necessarily intrinsic to a student’s natural writing style or thought process?” She adds: “What if ‘research paper’ is a category that invites, even requires, linguistic and syntactic gobbledygook?”

What if, indeed. After studying the matter, Ms. Davidson concluded, “Online blogs directed at peers exhibit fewer typographical and factual errors, less plagiarism, and generally better, more elegant and persuasive prose than classroom assignments by the same writers.”"]]></description>
<dc:subject>writing 2011 howwewrite education blogging learning socialmedia digital sfsh virginiaheffernan</dc:subject>
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<item rdf:about="https://hapgood.us/2015/10/17/the-garden-and-the-stream-a-technopastoral/">
    <title>The Garden and the Stream: A Technopastoral | Hapgood</title>
    <dc:date>2016-04-13T06:41:18+00:00</dc:date>
    <link>https://hapgood.us/2015/10/17/the-garden-and-the-stream-a-technopastoral/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Brought back to my attention thanks to Allen: 
"@rogre Read this and thought of you and your bookmarks & tumblr:"
https://twitter.com/tealtan/status/720121133102710784 ]

[See also:
https://hapgood.us/2014/06/04/smallest-federated-wiki-as-an-alternate-vision-of-the-web/
https://hapgood.us/2014/11/06/federated-education-new-directions-in-digital-collaboration/
https://hapgood.us/2015/01/08/the-fedwiki-user-innovation-toolkit/
https://hapgood.us/2016/03/03/pre-stocking-the-library/
https://hapgood.us/2016/03/04/bring-your-bookmarks-into-the-hypertext-age/
https://hapgood.us/2016/03/26/intentionally-finding-knowledge-gaps/
https://hapgood.us/2016/04/09/answer-to-leigh-blackall/
http://rainystreets.wikity.cc/
https://www.youtube.com/watch?v=2Gi9SRsRrE4 

https://github.com/federated-wiki
http://fed.wiki.org/
http://journal.hapgood.net/view/federated-wiki
http://wikity.net/
http://wikity.net/?p=link-word&s=journal.hapgood.net ]

"The Garden is an old metaphor associated with hypertext. Those familiar with the history will recognize this. The Garden of Forking Paths from the mid-20th century. The concept of the Wiki Gardener from the 1990s. Mark Bernstein’s 1998 essay Hypertext Gardens.

The Garden is the web as topology. The web as space. It’s the integrative web, the iterative web, the web as an arrangement and rearrangement of things to one another.

Things in the Garden don’t collapse to a single set of relations or canonical sequence, and that’s part of what we mean when we say “the web as topology” or the “web as space”. Every walk through the garden creates new paths, new meanings, and when we add things to the garden we add them in a way that allows many future, unpredicted relationships

We can see this here in this collage of photos of a bridge in Portland’s Japanese Garden. I don’t know if you can see this, but this is the same bridge from different views at different times of year.

The bridge is a bridge is a bridge — a defined thing with given boundaries and a stated purpose. But the multi-linear nature of the garden means that there is no one right view of the bridge, no one correct approach. The architect creates the bridge, but it is the visitors to the park which create the bridge’s meaning. A good bridge supports many approaches, many views, many seasons, maybe many uses, and the meaning of that bridge will even evolve for the architect over time.

In the Garden, to ask what happened first is trivial at best. The question “Did the bridge come after these trees” in a well-designed garden is meaningless historical trivia. The bridge doesn’t reply to the trees or the trees to the bridge. They are related to one another in a relatively timeless way.

This is true of everything in the garden. Each flower, tree, and vine is seen in relation to the whole by the gardener so that the visitors can have unique yet coherent experiences as they find their own paths through the garden. We create the garden as a sort of experience generator, capable of infinite expression and meaning.

The Garden is what I was doing in the wiki as I added the Gun Control articles, building out a network of often conflicting information into a web that can generate insights, iterating it, allowing that to grow into something bigger than a single event, a single narrative, or single meaning.

The Stream is a newer metaphor with old roots. We can think of the”event stream” of programming, the “lifestream” proposed by researchers in the 1990s. More recently, the term stream has been applied to the never ending parade of twitter, news alerts, and Facebook feeds.

In the stream metaphor you don’t experience the Stream by walking around it and looking at it, or following it to its end. You jump in and let it flow past. You feel the force of it hit you as things float by.

It’s not that you are passive in the Stream. You can be active. But your actions in there — your blog posts, @ mentions, forum comments — exist in a context that is collapsed down to a simple timeline of events that together form a narrative.

In other words, the Stream replaces topology with serialization. Rather than imagine a timeless world of connection and multiple paths, the Stream presents us with a single, time ordered path with our experience (and only our experience) at the center.

In many ways the Stream is best seen through the lens of Bakhtin’s idea of the utterance. Bakhtin saw the utterance, the conversational turn of speech, as inextricably tied to context. To understand a statement you must go back to things before, you must find out what it was replying to, you must know the person who wrote it and their speech context. To understand your statement I must reconstruct your entire stream.

And of course since I can’t do that for random utterances, I mostly just stay in the streams I know. If the Garden is exposition, the stream is conversation and rhetoric, for better and worse.

You see this most clearly in things like Facebook, Twitter, Instagram. But it’s also the notifications panel of your smartphone, it’s also email, it’s also to a large extent blogging. Frankly, it’s everything now.

Whereas the garden is integrative, the Stream is self-assertive. It’s persuasion, it’s argument, it’s advocacy. It’s personal and personalized and immediate. It’s invigorating. And as we may see in a minute it’s also profoundly unsuited to some of the uses we put it to.

The stream is what I do on Twitter and blogging platforms. I take a fact and project it out as another brick in an argument or narrative or persona that I build over time, and recapitulate instead of iterate."

…

"So what’s the big picture here? Why am I so obsessed with the integrative garden over the personal and self-assertive stream? Blogs killed hypertext — but who cares, Mike?

I think we’ve been stuck in some unuseful binaries over the past years. Or perhaps binaries that have outlived their use.

So what I’m asking you all to do is put aside your favorite binaries for a moment and try out the garden vs. the stream. All binaries are fictions of course, but I think you’ll find the garden vs. the stream is a particularly useful fiction for our present moment.

OER

Let’s start with OER. I’ve been involved with Open Educational Resources many years, and I have to say that I’m shocked and amazed that we still struggle to find materials.

We announced an open textbook initiative at my school the other day, and one of the first people to email me said she taught State and Local Government and she’d love to ditch the textbook.

So I go look for a textbook on State and Local Government. Doesn’t exist. So I grab the syllabus and look at what sorts of things need explaining.

It’s stuff like influence of local subsidies on development. Now if you Google that term, how many sites in the top 50 will you find just offering a clear and balanced treatment of what it is, what the recent trends are with it, and what seems to be driving the trends?

The answer is none. The closest you’ll find is an article from something called the Encyclopedia of Earth which talks about the environmental economics of local energy subsidies.

Everything else is either journal articles or blog posts making an argument about local subsidies. Replying to someone. Building rapport with their audience. Making a specific point about a specific policy. Embedded in specific conversations, specific contexts.

Everybody wants to play in the Stream, but no one wants to build the Garden.

Our traditional binary here is “open vs. closed”. But honestly that’s not the most interesting question to me anymore. I know why textbook companies are closed. They want to make money.

What is harder to understand is how in nearly 25 years of the web, when people have told us what they THINK about local subsidies approximately one kajillion times we can’t find one — ONE! — syllabus-ready treatment of the issue.

You want ethics of networked knowledge? Think about that for a minute — how much time we’ve all spent arguing, promoting our ideas, and how little time we’ve spent contributing to the general pool of knowledge.

Why? Because we’re infatuated with the stream, infatuated with our own voice, with the argument we’re in, the point we’re trying to make, the people in our circle we’re talking to.

People say, well yes, but Wikipedia! Look at Wikipedia!

Yes, let’s talk about Wikipedia. There’s a billion people posting what they think about crap on Facebook.

There’s about 31,000 active wikipedians that hold English Wikipedia together. That’s about the population of Stanford University, students, faculty and staff combined, for the entire English speaking world.

We should be ashamed. We really should."

…

"And so we come to the question of whether we are at a turning point. Do we see a rebirth of garden technologies in the present day? That’s always a tough call, asking an activist like me to provide a forecast of the future. But let me respond while trying not to slip into wishful analysis.

I think maybe we’re starting to see a shift. In 2015, out of nowhere, we saw web annotation break into the mainstream. This is a garden technology that has risen and fallen so many times, and suddenly people just get it. Suddenly web annotation, which used to be hard to explain, makes sense to people. When that sort of thing happens culturally it’s worth looking closely at.

Github has taught a generation of programmers that copies are good, not bad, and as we noted, it’s copies that are essential to the Garden.

The Wikimedia Education project has been convincing teachers there’s a life beyond student blogging.

David Wiley has outlined a scheme whereby students could create the textbooks of the future, and you can imagine that rather than create discrete textbooks we could engage students in building a grand web of knowledge that could, like Bush’s trails, be reconfigured and duplicated to serve specific classes and purposes.

And from my own perspective, the project I’m working on with Ward Cunningham, federated wiki, made zero sense to people even two years ago, but I can feel a sea change now when I describe it. I’m still starting the ball from the back of the field, but at least I’m on the field. I’ll take it.

And finally, here we are today.  My sense is that this conference is an attempt to think bigger than the next app, the next press release, the next buzzword; that what we want to do here is to seriously interrogate the assumptions that are hidden in plain sight. The fact we’re doing this, here and now — to me that’s a sign as well. And it’s promising.

There’s so much I had to cut out of this talk, about cross-institutional collaboration, about the stream and exclusion, the Garden and integrative education. I hope you’ll ask me about some of those, either in a couple minutes here or over the next few days.

But I’ll leave you with this: we can imagine a world, I think, so much better than this one, if only we can get our heads out of the Stream for a bit, and build the Garden we need. So let’s talk about how to do that."]]></description>
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<item rdf:about="https://www.grammarly.com/">
    <title>Grammar Check | Grammarly</title>
    <dc:date>2016-02-22T07:43:11+00:00</dc:date>
    <link>https://www.grammarly.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Grammarly makes you a better writer by finding and correcting up to 10 times more mistakes than your word processor."]]></description>
<dc:subject>blogging editing grammar tools writing onlinetoolkit</dc:subject>
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<item rdf:about="https://overland.org.au/2015/11/we-are-all-umberto-eco-now/">
    <title>We are all Umberto Eco now | Overland literary journal</title>
    <dc:date>2016-02-22T04:11:51+00:00</dc:date>
    <link>https://overland.org.au/2015/11/we-are-all-umberto-eco-now/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["He felt, I think – or at least played at feeling – that he needed to justify being given such freedom in a medium that was perceived as being finite. For him to write on the last page of L’Espresso meant that somebody else could not. To devote that space to expound on idle musings was a self-indulgence that needed to be accounted for.

Now consider how similar this author-position is to online writing, and blogs in particular. I’m sure I’ve read dozens of debut blog posts setting out the author’s intentions to write about disparate topics, and that it might not last very long, but anyway, ‘we shall see’. It’s the same reader contract, which is another way of saying we’re all Umberto Eco now: everyone can start a column of idle musings, and publish it to a potentially wider audience than his – as large as everyone who speaks one’s language and has an internet connection. And sure, there is no money involved, but I can’t imagine money would have been too big a consideration for the author of The Name of the Rose. It was the opportunity to enter into that contract that would have appealed to him.

The other thing about blogs and personal pages or small, non-paying online magazines is that very few people might actually read them, but, on the other hand, you don’t have to feel you’re taking anyone’s space away. Which I think explains why – without my having researched the problem in any systematic way – online first posts are generally less apologetic than Eco’s first matchbook. There are, besides, entire social media platforms devoted to presenting and sharing one’s niche interests.

Eco’s column, as I’ve written in a book on his work published this year, was in many respects an early incarnation of the blog form, trading as it did in lists, word games, pastiche and curiosities. Yet, ironically, it lost its uniqueness and become a much more conventional print magazine column once the World Wide Web took off and actual blogs started to proliferate. In 2012, Eco wrote:

<blockquote>When I get tired once and for all of coming up every two weeks with topics that are somewhat current for this column, I would like to embark on a series of late reviews, in which I talked about books that were published a long time ago as if they were new and it were useful to reread them.</blockquote>

This is, in fact, a most common kind of exercise on the web, and the subject of many popular blogs. We review old books and old films as if new all the time, since not only space but also time has collapsed under the digital paradigm. But maybe Eco’s late misgivings suggest we should interrogate these practices.

This belief that online is ‘free’, that it doesn’t take anyone’s paid writing job away or stifle anyone’s voice – while unspoken and in most respects probably true – needs to be measured against the crisis of magazines and of formally edited selections of content more generally.

While the online edition of Overland is a magazine in a fairly traditional sense, The Huffington Post isn’t, just like Buzzfeed isn’t a newspaper. Looking at my own patterns of reading, I find that I consume individual posts and essays from a wide variety of sources, some of which I’m not even entirely conscious of, as I just happen to end there on somebody’s recommendation. On balance this has enriched my life immeasurably, exposing me to a far greater range of voices than was ever available to me before. These broader connections, in turn, greatly facilitate political articulation and organisation.

Yet the countervailing issues are not merely economic: my reading all of these disparate writings frays the contours of my social and cultural world, fracturing any sense of the topical and the local. Even as I engage on my own musings on obscure topics, reasoning that I am not limiting anyone’s time and space but in fact adding infinitesimally to the available store of knowledge, I must ask myself if this is entirely true, or if the shifts that occur under the surface entail the loss of something else, somewhere else.

I am not suggesting that people should write less, or justify why they write to anyone, let alone to me: but rather calling attention to material realities that are sometimes hidden by the sheen of the digital screen. Not just the mechanics of publishing but also the psychology of writing has changed. We should reflect not just on the economics of the profession, as we do often, but also on the economics of attention. It is, after all, always a valuable question to ask: why do I write?"]]></description>
<dc:subject>attention blogging writing giovannitiso readwriteweb 2015 twitter socialmedia buzzfeed huffingtonpost serendipity web online howweread howwewrite reading publishing umbertoeco</dc:subject>
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<item rdf:about="http://www.theguardian.com/technology/2015/dec/29/irans-blogfather-facebook-instagram-and-twitter-are-killing-the-web">
    <title>Iran's blogfather: Facebook, Instagram and Twitter are killing the web | Technology | The Guardian</title>
    <dc:date>2016-02-18T21:24:09+00:00</dc:date>
    <link>http://www.theguardian.com/technology/2015/dec/29/irans-blogfather-facebook-instagram-and-twitter-are-killing-the-web</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Iranian blogosphere was a diverse crowd – from exiled authors and journalists, female diarists, and technology experts, to local journalists, politicians, clerics, and war veterans . But you can never have too much diversity. I encouraged conservatives inside Iran to join and share their thoughts. I had left the country in late 2000 to experience living in the west, and was scared that I was missing all the rapidly emerging trends at home. But reading Iranian blogs in Toronto was the closest experience I could have to sitting in a shared taxi in Tehran and listening to collective conversations between the talkative driver and random passengers.

There’s a story in the Qur’an that I thought about a lot during my first eight months in solitary confinement. In it, a group of persecuted Christians find refuge in a cave. They, and a dog they have with them, fall into a deep sleep and wake up under the impression that they have taken a nap: in fact, it’s 300 years later. One version of the story tells of how one of them goes out to buy food – and I can only imagine how hungry they must have been after 300 years – and discovers that his money is obsolete now, a museum item. That’s when he realises how long they have been absent.

The hyperlink was my currency six years ago. It represented the open, interconnected spirit of the world wide web – a vision that started with its inventor, Tim Berners-Lee. The hyperlink was a way to abandon centralisation – all the links, lines and hierarchies – and replace them with something more distributed, a system of nodes and networks. Since I got out of jail, though, I’ve realised how much the hyperlink has been devalued, almost made obsolete."

[another version here: https://medium.com/matter/the-web-we-have-to-save-2eb1fe15a426#.b1yqu3o1k ]

[via: http://snarkmarket.com/2015/8272 ]]]></description>
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<item rdf:about="http://www.digitalmanifesto.net/manifestos/">
    <title>Digital Manifesto Archive</title>
    <dc:date>2016-02-18T05:20:16+00:00</dc:date>
    <link>http://www.digitalmanifesto.net/manifestos/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This collection aggregates manifestos concerned with making as a subpractice of the digital humanities."

…

"This archive is an academic resource dedicated to aggregating and cataloging manifestos that fall under two basic criteria. 1) The Digital Manifesto Archive features manifestos that focus on the political and cultural dimensions of digital life. 2) The Digital Manifesto Archive features manifestos that are written, or are primarily disseminated, online.

The manifesto genre is, by definition, timely and politically focused. Further, it is a primary site of political, cultural, and social experimentation in our contemporary world. Manifestos that are created and disseminated online further this experimental ethos by fundamentally expanding the character and scope of the genre.

Each category listed on the archive is loosely organized by theme, political affiliation, and (if applicable) time period. While the political movements and affiliations of the manifestos archived in each category are not universal, each category does try to capture a broad spectrum of political moods and actions with regard to its topic.

This site is meant to preserve manifestos for future research and teaching. The opinions expressed by each author are their own.

This archive was created by Matt Applegate. Our database and website was created by Graham Higgins (gwhigs). It is maintained by Matt Applegate and Yu Yin (Izzy) To
You can contact us at digitalmanifestoarchive@gmail.com.

This project is open source. You can see gwhigs' work for the site here: Digital Manifesto Archive @ Github.com"]]></description>
<dc:subject>manifestos digital digitalhumanities archives making mattapplegate yuyin designfiction criticalmaking engineering capitalism feminism hacking hacktivism digitalmarkets digitaldiaspora internetofthings iot cyberpunk mediaecology media publishing socialmedia twitter ethics digitalculture piracy design bigdata transhumanism utopianism criticaltheory mediaarchaeology opensource openaccess technofeminism gaming digitalaesthetics digitaljournalism journalism aesthetics online internet web technocracy archaeology education afrofuturism digitalart art blogging sopa aaronswartz pipa anarchism anarchy</dc:subject>
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<item rdf:about="http://scripting.com/liveblog/users/davewiner/2016/01/20/0900.html">
    <title>Anywhere but Medium</title>
    <dc:date>2016-01-21T06:29:25+00:00</dc:date>
    <link>http://scripting.com/liveblog/users/davewiner/2016/01/20/0900.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If Medium were more humble, or if they had competition, I would relax about it. But I remember how much RSS suffered for being dominated by Google. And Google was a huge company and could have afforded to run Google Reader forever at a loss. Medium is a startup, a well-funded one for sure, but they could easily pivot and leave all the stories poorly served, or not served at all. I'm sure their user license doesn't require them to store your writing perpetually, or even until next week.

I only want to point to things that I think have a chance at existing years from now. And things that are reasonably unconflicted, where I feel I understand where the author is coming from. Neither of those criteria are met by posts on Medium. I also want to preserve the ability of developers to innovate in this area. If Medium sews up this media type, if they own it for all practical purposes, as Google owned RSS (until they dropped it), then you can't move until they do. And companies with monopolies have no incentive to move forward, and therefore rarely do. Look at how slowly Twitter has improved their platform, and all the new features are for advertisers, not for writers. I suspect Medium will go down a similar path. 

We can avoid this, it's not too late. You have a choice. Post your writing to places other than Medium. And when you see something that's interesting and not on Medium, give it some extra love. Push it to your friends. Like it on Facebook, RT it on Twitter. Give people more reasons to promote diversity on the web, not just in who we read, but who controls what we read. 

We all point to tweets, me too, because it's too late for competition. And YouTube videos. SoundCloud MP3s. Do we really want to bury something as small and inexpensive as a web page? Is it necessary that a Silicon Valley tech company own every media type? Can we reserve competition in the middle of the web, so we get a chance for some of the power of an open platform for the most basic type of creativity -- writing? 

When you give in to the default, and just go ahead and post to Medium, you're stifling the open web. Not giving it a chance to work its magic, which depends on diversity, not monoculture. 

Anyway, the story had a happy ending. Patterson posted his story on WordPress.com. I circulated a link to it via my linkblog, so he got far more exposure than he would have gotten on Medium, and the open web got a little more of a future as a result. "]]></description>
<dc:subject>medium openweb davewiner 2016 blogging publishing writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3e79e01490c4/</dc:identifier>
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<item rdf:about="http://nymag.com/following/2015/11/why-instagram-captions-are-the-new-blogging.html">
    <title>Why Instagram Captions Are the New Blogging -- Following: How We Live Online</title>
    <dc:date>2015-12-29T21:43:29+00:00</dc:date>
    <link>http://nymag.com/following/2015/11/why-instagram-captions-are-the-new-blogging.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Instagram limits each caption to 2,200 characters. The potential length becomes extremely annoying as a marketing tool, and brands often abuse it to post contests or elaborate copy (see this explainer from Crowdfire). But in the hands of an average user, it provides plenty of space for a few observations of “the enormous and simple beauty of ordinary life,” as @keishua_ writes in one post, a snapshot of her cat gazing out the window.

Cate Butler’s Instagram captions tend toward the quality of a lifestyle blog, memorializing meals made and books read in a Ina Garten–level syrup. “Sometimes breakfast for lunch is a necessity,” Butler, a freelance marketer in Utah, writes. Elsewhere, she notes: “I find myself looking forward to soft woolly sweaters.” “Like everyone else, I started with a Facebook account, then Twitter, Tumblr, etc., but they all lacked something,” Butler tells me. “What I wanted to post about, and what I cared about, I quickly found other social networks didn't have.”

Another appeal is the community of Instagram’s built-in audience. Dutch doll-maker Sophia Smeekens-Starrenburg found “other creatives, mothers, and people that try slow and spiritual living” through Instagram, as well as real-life friends, she says. It became a place “where I can tell my life story in square pieces. Easy to access and quick.” This means sharing uncomfortable feelings as well as joy. Smeekens-Starrenburg recently recounted her miscarriage in an elegiac post.

Instagram caption-blogging tends toward the trials and mundanities of everyday life, separating it from “blogging” as we think of it today — interlinked, news-focused dialogue and debate. Instagram comments aren’t threaded, re-sharing requires an outside app, and the character limits mean subtle arguments are hard to make. Also: You’re forced to type on an annoying-to-use mobile keyboard.

Still, what makes Instagram an attractive blogging platform for some makes it terrible for others. What’s the point in writing if you can’t be an #influencer, participating in an ongoing collective debate? A less structured, more communicative platform like Medium will always be better for topical discussion, if that’s what you’re after. Instagram is designed for lifestyle content; it’s not going to replace a website CMS anytime soon.

But the app’s simplicity and ease of use makes it perfect for people who are looking to communicate with little friction with a small, direct audience. Best of all, Instagram still feels “private,” even when it’s not: It’s rare to encounter strangers or trolls; old classmates and distant relatives are unlikely to follow you and even less likely to leave comments. If Facebook, where your short life update could wind up in a friend-of-a-friend’s newsfeed without you realizing it, is a minefield, Instagram is a clearing: quiet, safe, pretty, and more than a little twee.

In this sense Instagram feels less like Blogspot, and more like Livejournal. You don’t read it for debate or argument, but to know what your friends are doing and feeling. Most Instagram blogging requires a certain amount of innate sympathy to find compelling. But opening the app can be a nice return to an older internet, where people felt more open and less paranoid about sharing the endearing ordinariness of their everyday lives online.

To be sure, Instagram’s use as a blogging platform is not exactly widespread, yet. On vacation in Spain this year, I tried an experiment with journaling on the platform, writing out diary entries and posting them as images alongside the usual tourist snapshots. It reached my friends more directly and felt less exposed than Facebook, but that doesn’t mean it was particularly compelling. Most of the posts got fewer likes than a selfie or a shot of a cute dog.

The platform is “very performative,” Japanwala says. Self-expression and intimacy are implied, but not always present or reciprocated. “For every day in my life that I paint for someone else, I want them to paint their day back for me,” she adds. “Perhaps that’s unrealistic.” But as Instagram grows, and as users abandon the confusing din of Facebook for the relative quiet of its filtered feed, it will become the platform of choice for documenting our lives. And we’ll look back on the Rock as a pioneer."]]></description>
<dc:subject>instagram captions internet socialmedia blogging kylechayka 2015 performance presentationofself photography blogspot livejournal natashajapanwala</dc:subject>
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    <title>Microsoft developers saved Windows Live Writer from death</title>
    <dc:date>2015-12-10T06:23:53+00:00</dc:date>
    <link>http://thenextweb.com/apps/2015/12/09/a-team-of-microsoft-developers-revived-windows-live-writer-then-open-sourced-it/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: http://www.hanselman.com/blog/AnnouncingOpenLiveWriterAnOpenSourceForkOfWindowsLiveWriter.aspx ]]]></description>
<dc:subject>windows software applications blogging opensource via:warrenellis microsoft openlivewriter windowslivewriter</dc:subject>
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<item rdf:about="http://www.wired.com/2015/12/muslim-women-twitter/">
    <title>5 Women Quashing Preconceptions About Islam on Social Media | WIRED</title>
    <dc:date>2015-12-10T04:37:11+00:00</dc:date>
    <link>http://www.wired.com/2015/12/muslim-women-twitter/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["YOU KNOW YOU’VE reached peak Islamophobia when a presidential candidate says he’d be uncomfortable with a Muslim in the White House. In response to Ben Carson, Twitter user (and Libyan-American Muslim woman) Hend Amry pointed and laughed, launching the hashtag #HowToStopAMuslimPresident. (First idea: all-bacon White House.) She’s one of a growing number of Muslim women who are using social media (and a healthy dose of humor) to speak truth to preconceptions.

Sana Saeed | @sanasaeed
A producer at AJ+, Al Jazeera’s all-digital, Facebook-centric channel, she coined the term “faithwashing”: when people say conflicts like Israel and Palestine’s are merely religious. Social media, she says, “allows all of us Muslim women—who veil, don’t veil, veil sometimes, veil everything, veil very little—to critique popular representations.”

Tanzila Ahmed and Zahra Noorbakhsh | #GoodMuslim-BadMuslim podcast
“There are so many things I didn’t know about being Muslim until the media told me about it,” quips Noorbakhsh on this podcast. Ahmed is most proud of how many younger women they reach with their chatty format: “We speak to them in a way that no one has before.”

Zainab Bint Younus | The Salafi Feminist blog
Responding to the concerns that women in niqabs need rescuing, this Canadian blogger—who wears the face covering—collected selfies from others like her. The results? Pretty boring … if you think covered ladies playing street hockey and riding Jet Skis are boring.

Hend Amry | @libyaliberty
When Bill Maher claimed that ISIS fighters aren’t outliers in their violence, she tweeted, “Five of the last 12 Nobel Peace Prize winners were Muslim. So according to Bill Maher, we’re all Peace Prize winners!” It was retweeted more than 7,800 times. But her best joke was that Princess Leia is a headscarf short of being “sharia-compliant.”]]></description>
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</item>
<item rdf:about="https://blot.im/">
    <title>Blot is the easiest way to blog</title>
    <dc:date>2015-11-22T17:37:22+00:00</dc:date>
    <link>https://blot.im/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Blot creates a folder in your Dropbox
and publishes files you put inside.

[Blot demo video: https://www.youtube.com/watch?v=_k2NQNj9-LE ]

Blot turns images, text, markdown and HTML files into posts. Use your favourite app to write your blog posts.

There are no ads and no third-party tracking. You pay a small annual fee and that's it.

Blot is fast, reliable and hosts blogs with thousands of posts without issue.

✓ Hosting included
✓ Five beautiful themes
✓ Use a custom domain
✓ Create a theme
✓ Markdown support
✓ RSS feed & sitemap
✓ Code highlighting
✓ Math typesetting
✓ Disqus comments
✓ Analytics integrations
✓ Search engine
✓ Draft previews

Sign up for $20 a year and start your blog now.

FAQs
Why does Blot cost money?
I have to cover the cost of running Blot somehow.

Can Blot access all the files in my Dropbox?
No, Blot can only access the folder containing your blog posts.

Will my blog use up my Dropbox bandwidth?
No, Blot fetches a copy of each blog post and hosts it on Blot's servers.

See more on the help page [https://blot.im/help ]. Don't hesitate to contact me [https://blot.im/contact ] with any questions.

Themes
Blot comes with five themes. You can also create your own from scratch.

[screenshots]

Dashboard
Your blog comes with a dashboard for customizing your blog. This is how it looks:

[screenshots]"

[via: https://twitter.com/johnpavlus/status/668227772368580608 ]]]></description>
<dc:subject>blot webdev web blogging dropbox markdown onlinetoolkit hosting webdesign davidmerfield</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:54e790923845/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=5_FqHfTXh8A">
    <title>Chat with Gardner Campbell - YouTube</title>
    <dc:date>2015-09-23T04:39:02+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=5_FqHfTXh8A</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>hillbrookschool education 2015 juliarubin learning jeromebruner alankay christaflores autoethnography narration curation sharing howwelearn networks jonudell highered highereducation blogging webpublishing culture self-discovery rhizomaticlearning spiraling reggioemilia carlrogers adelegoldberg socialreciprocity anthropology spirallearning community communities hypertext hyperlinks paulsilviapsychology metacognition engagement self-surprise edtech tednelson sherryturkle gregorybateson structure shareddiscovery elation tagging twitter interest interestedness teaching pedagogy howweteach scaffolding johnmilton paradiselost compliance mimicry temptation stipulation stimulation association messiness understanding writing connectivism email recursion gardnercampbell interested</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.niemanlab.org/2015/05/elise-goes-east-how-nprs-new-seoul-bureau-chief-is-using-tumblr-to-complement-her-reporting/">
    <title>Elise goes East: How NPR’s new Seoul bureau chief is using Tumblr to complement her reporting » Nieman Journalism Lab</title>
    <dc:date>2015-05-08T07:01:15+00:00</dc:date>
    <link>http://www.niemanlab.org/2015/05/elise-goes-east-how-nprs-new-seoul-bureau-chief-is-using-tumblr-to-complement-her-reporting/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Since moving to South Korea in March, Elise Hu has been using Tumblr to document everything from the serious to the silly — and expand her voice beyond the NPR airwaves."

…

"“I don’t know that I would have room to share that somewhere else besides that platform,” Hu told me by phone from Seoul.

Hu has used the blog to post her stories from East Asia, share information that didn’t make it into her NPR pieces, and to just make observations — both serious and silly — about what it’s like to be an expat living halfway around the world. She moved to Seoul in March, and the blog has attracted more than 7,000 followers, already exceeding her goal of 5,000 for the first year.

In her nearly two months in South Korea, Hu has published a wide array of posts, from an extended Q&A with a professor about Japanese–Korean relations to a series called This Exists, which highlights objects unique to Asia that Americans might not know about. Not to mention this YouTube video that showed her listening to a voicemail message from an irate listener.

The Tumblr has brought Hu tips and feedback from readers — both in the States and in Korea. When she posted her story on the stresses South Korean students face, she received a number of responses from readers who shared stories from their own experiences as students.

“This allows me to have more of a bloggier voice and is more linked to me personally,” Hu said. “It allows me to sort of jump around in the idiosyncratic way that I might just exist as a person, because our more formal blogs don’t have that similar flexibility or voice, so I’ve really appreciated that.”"

[Elise Goes East! http://elisegoeseast.tumblr.com/

"Elise Hu opened up NPR’s first permanent Seoul bureau in March 2015, on the same day the American Ambassador to South Korea was knifed in the face. (That was an interesting day.) The bureau is responsible for both Koreas and Japan, so expect to see behind-the-scenes from the peninsula and the island.

Previously, Elise covered technology for the Washington, D.C.-based network, helped start The Texas Tribune, and reported for several commercial TV stations. She began her journalism career reviewing bars and nightclubs in Taipei, which was a jolly good time. She’s eager to connect with you."]]]></description>
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<item rdf:about="http://www.cecileemeke.com/blog/2015/4/30/blog">
    <title>blogging, being wrong, malcolm x &amp;amp; the pharcyde — cecile emeke</title>
    <dc:date>2015-04-30T08:44:10+00:00</dc:date>
    <link>http://www.cecileemeke.com/blog/2015/4/30/blog</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Being wrong has taught me so much. You have to be wrong sometimes to be critical. Logically you can't always be right and think critically; you have to have a moment of realising you're incorrect to push you to move past your current line of thinking to something new. Even if your moments of being incorrect are in private or don't last long, they still happen, they are still necessary. So I guess the scary part about a blog is that you might be wrong in front of other people or that it's recorded 'permanently'. I personally really respect people who aren't comfortable with being wrong."

Malcolm X's autobiography was one of the first books I ever read that really changed how I saw the world. One of the things I respected about him is that he was wrong very publicly and had no qualms in owning that, forming a new conclusion and keeping it pushing. It made me value what he said more because it was clear he was committed to truth and liberation, not his own pride and the bragging rights that come with the fallacy of infallibility. So I'm not too scared about being wrong, I'm more scared about being silent. Audre Lorde always talked about how silence can't and won't protect you and how often what we fear has already happened, so why remain scared and quiet?"]]></description>
<dc:subject>cecileemeke malcolmx audrelorde 2015 blogging criticism criticalthinking silence wrongness truth liberation thinkinginpublic fallibility infallibility paulgilroy</dc:subject>
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<item rdf:about="https://vimeo.com/122363654">
    <title>FutureEverything 2015: Alexis Lloyd &amp; Matt Boggie on Vimeo</title>
    <dc:date>2015-03-24T20:07:07+00:00</dc:date>
    <link>https://vimeo.com/122363654</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From New York Times R&D Labs, Alexis Lloyd and Matt Boggie talk about our possible media futures, following the early days of the web - where growth was propelled forward by those making their own spaces online - to the present, where social platforms are starting to close down, tightening the possibilities whilst our dependency on them is increasing. Explaining how internet users are in fact participatory creators, not just consumers, Alexis and Matt ask where playing with news media can allow for a new means of expression and commentary by audiences."]]></description>
<dc:subject>public media internet web online walledgardens participation participatory 2015 facebook snapchat open openness alexisloyd mattboggie publishing blogs blogging history audience creativity content expression socialnetworks sociamedia onlinemedia appropriation remixing critique connection consumption creation sharing participatoryculture collage engagement tv television film art games gaming videogames twitch performance social discussion conversation meaningmaking vine twitter commentary news commenting reuse community culturecreation latoyapeterson communication nytimes agneschang netowrkedculture nytimesr&amp;dlabs bots quips nytlabs compendium storytelling decentralization meshnetworking peertopeer ows occupywallstreet firechat censorship tor bittorrent security neutrality privacy iot internetofthings surveillance networkedcitizenship localnetworks networks hertziantribes behavior communities context empowerment agency maelstrom p2p cookieswapping information policy infrastructure technology remixculture</dc:subject>
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<item rdf:about="https://medium.com/everything-about-startups-and-entrepreneurship/300-awesome-free-things-e07b3cd5fd5b">
    <title>+300 Awesome Free Things for Entrepreneurs and Startups — Startups, Wanderlust &amp; Life Hacking — Medium</title>
    <dc:date>2015-02-18T19:32:46+00:00</dc:date>
    <link>https://medium.com/everything-about-startups-and-entrepreneurship/300-awesome-free-things-e07b3cd5fd5b</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Category titles;]

→ Business + Marketing ←
→ Design + Code ←
→ Work & Productivity ←
→ Discover & Learn ←]]></description>
<dc:subject>onlinetoolkit free resources tools via:clivethompson business marketing design code coding webdev writing learning education work productivity software web internet online logos fonts html5 css3 css html names naming hosting blogging imaging compression imageediting newsletters email socialmedia communitymanagement surveys color palettes stockphotography patterns typography icons symbols ui templates distraction collaboration alimese webdesign</dc:subject>
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<item rdf:about="http://snarkmarket.com/2014/8259">
    <title>A leaky rocketship / Snarkmarket</title>
    <dc:date>2014-11-05T05:37:47+00:00</dc:date>
    <link>http://snarkmarket.com/2014/8259</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Joining this blog was one of the most important things that ever happened to me, and that’s another way in which I can judge somewhat objectively how important it is been. In November 2008, I was on the academic job market, getting ready to interview for a few tenure-track jobs and postdoctoral fellowships, and it was weird — it was a time when people, smart people, influential people still said “you shouldn’t have a blog, you shouldn’t be on twitter, if you do these things, you should do them under pseudonyms, and if anyone asks you about it, you shouldn’t tell them, because if you blog, and it’s known that you write a blog, online, people are going to wonder whether or not you’re really serious about your work, and you just don’t want to give them any extra ammunition to wonder anything about you.”

I didn’t care. I had been waiting for one or two years, ever since Robin had suggested that maybe Snarkmarket would add a few writers and maybe I might be one of them, I think when we were on our way to the bathroom at the Museum of Modern Art on a random visit, and I was just super hungry to be handed the key to this place where I’ve been reading and writing comments since before I knew what a blog really was.

Is that still a thing, people getting excited about being able to be part of a blog? I didn’t think so, but then I became part of Paul Ford’s tilde.club and saw people falling over themselves to get an invite to SSH into a UNIX server, just to be a part of something, just to have a chance to put up some silly, low bandwidth, conceptually clever websites and chat with strangers using the UNIX terminal. It’s not like being one of the cool kids who’s in on a private beta for the latest and greatest smartphone app, where your enjoyment is really about being separate from the people who aren’t included, and the expected attitude is a kind of jaded, privileged disinterest: it’s more like getting a chance to play with the neighbor kid’s Lego set, and he has all the Legos.

Robin and Matt had crazy good Legos. I didn’t get that academic job, but I was able to take their Legos and build my way into a job writing for Wired, of all places, 30 years old and I’d never been a journalist except by osmosis and imposture here at Snarkmarket, and now I get paid every month to write for Wired, how does that happen except that this place was an extra scaffolding for all of us, for me in grad school, for Matt at newspapers across the country, for Robin at Gore TV/Current TV/Twitter, to build careers that weren’t possible for people who didn’t have that beautiful Lego scaffolding to support them (I’m wearing a sling on my arm right now with straps that wrap around my body to hold my arm in place, and a screw and washer to hold my shoulder bone together, my upper arm bone really, plus my rotator cuff, plus hold massive tendons, plus I’m thinking about those times that I would walk from my apartment in Columbus Circle down Broadway to Four Times Square in Manhattan to go to work at wired, wired isn’t there anymore, Condé Nast just moved in to one World Trade Center today, all the way downtown, but the scaffolding in Manhattan that is just constant, that is the only thing that allows the city to remake itself day after day month after month year after year, so this scaffolding metaphor is really doing something for me, plus Legos, well, Legos that just came from before, so what can I tell you, roll with it).

I don’t work at Wired, Robin doesn’t work at Twitter, Matt is at NPR, and we are where we are because of the things that we did but also because of this place. Ars Technica ran a story about it being 10 years since EPIC 2014 – I could paste the link [http://arstechnica.com/business/2014/11/epic-2014-recalling-a-decade-old-imagining-of-the-tech-driven-media-future/ ] and maybe that would be the bloggy thing to do, but you’re big boys and girls, you can Google it after you finish reading this — and there’s great interviews in there with Robin and Matt about how they made the video, and some specific names of wars and companies aside, were basically right about how technology companies were going to take the distribution and interpretation of the news away from both traditional journalism companies and the emerging open standards of the World Wide Web. I mean, isn’t that a hell of a thing, to see the future and put it in a flash movie? Anything was possible in 2004, especially if that anything Looked like a future that was vaguely uncomfortable but not so bad, really.

I turned 35 today, and I don’t really have a lot of deep thoughts about my own life or career or where I am in it. I’ve had those on other birthdays, and I’ve had them on many days in the not too distant past. Today, though, I’ve mostly felt warm and embraced by the people all around me, in my home, across the country, on the telephone, connected to me by the mails, whose books I read (and whose books publishers send to my house, my friends are writing books and their publishers send them free to my house, that’s almost as amazing as a machine that I can control that lets me read new things all day), and who were connected to me by the Internet: on twitter or Facebook, on Slack or email, by text message or text messaging’s many, many hypostases, all around me, as real to me as anyone I’ve ever imagined or read or touched, all of them, all of them warm and kind and gracious and curious about me and how I’m doing, what I’m up to, what I’m thinking, what I want to do this week or next month or when I get a chance to read that thing they sent me. it is as real to me as that invented community at the end of epic 2015 [http://epic.makingithappen.co.uk or https://www.youtube.com/watch?v=OQDBhg60UNI ], that brilliant coda that people almost always forget, and I don’t know why because it’s actually a better prediction of our future-come-present than anything in the first video, but maybe it’s not about the New York Times, it’s just about a beautiful day outside, a traffic accident, an open door, Matt’s beautiful voice when he narrates that photograph, beckoning you to come outside to look, LOOK.

The Snarkmatrix Is infinite, the stark matrix is everywhere, the start matrix can touchdown at any point in these electronic channels and reconstitute itself, extending perpetually outward into the entire world of media and ideas and editors who are trying to understand what will happen next, and teenage kids who are trying to figure out how what they’re doing maps in any way at all to this strange, established world of culture, to writers who are anxious for any sense of community, any place to decompress between the often hostile worlds of social media and professional correspondence. People want a place, a third place, and blogs are a great form of that place, even when they’re not blogs. (I’m subblogging now. This is what it’s come to. But I think most of you feel me.)"]]></description>
<dc:subject>2014 snarkmarket epic2014 epic2015 timcarmody robinsloan mattthomas blog blogging writing scaffolding lego snarkmatrix looking seeing observing sharing conversation howwelearn howwethink howwewrite history future making culturecreation media journalism slack email im twitter facebook socialmedia</dc:subject>
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<item rdf:about="http://snarkmarket.com/blog/snarkives/about_snarkmarket/a_concise_history_of_the_future/">
    <title>Snarkmarket: A Concise History of the Future</title>
    <dc:date>2014-11-05T05:34:41+00:00</dc:date>
    <link>http://snarkmarket.com/blog/snarkives/about_snarkmarket/a_concise_history_of_the_future/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tim: I used to have a rule, that I would never just link to stuff. I always had to comment just as much.
That’s why in my first year, I had about fifteen posts.
Robin: a blog is like an article of clothing. a weird one, like a futuristic pointy hat or silver pants.
you don’t know how to wear it at first…
but then you break it in — you get comfortable with it
Tim: but suddenly you go to a party where everyone’s rocking it
and you say… oh, that’s how you do it
Matt: when we started, I just thought it would be a good way to keep in touch w/ Robin. which it has been. but it ended up much awesomer, which was a plus.
Robin: well i credit snarkmarket to essentially changing my trajectory in journalism entirely.
because, almost overnight,
it was so much more FUN than writing normal articles,
and getting feedback in the normal way.
which is to say, not at all.
your party metaphor applies here, tim.
Tim: Snarkmarket easily made me much more interested in, um, now than I ever would have been.
Reminds me of the Nietzsche quote — the trouble with scholars is that by thinking backward, eventually you believe backward too.
Robin: mmm i like that!
Tim: SM has helped me orient my thinking forward.
Robin: a blog — and all the things that surround & support it, like a well-stocked rss reader, and commenters — are an anchor to the present
sometimes to a fault
but even so
Tim: The real trouble is thinking that backwards is the last forwards
like, the real break is the printing press
or the french revolution
or the advent of the computer
some epoch-making change that fixes everything forever
so you don’t see how things are changing now
Matt: it took me a moment to process “backwards is the last forwards.”
Tim: thinking backwards to find beginnings
rather than closures or ruptures
Matt: I eventually got it. I like it.
Tim: which in a way is a blinder to optimism
Matt: I’m going to toss that at a curmudgeonly academic one of these days.
Robin: honestly we’ve waited too long to refresh/reboot/rethink snarkmarket —
partly as a result of, you know, having jobs and lives and things —
but at its ideal it is changing a lot more frequently, a lot more fluidly.
so we should think of this evolution not as an epoch-maker
but the first beat in a new, faster tempo
Matt: amen.
Tim: right, throwing the finish line ahead so you can run past it
Matt: the other day, I was thinking about how I’ve never kept a diary. and there was a moment of regret - all those thoughts and memories that have just been scattered to the ages.
but then I remembered Snarkmarket. which is the oddest type of diary. ‘cause it’s not about me, but it’s about how I view the world.
Robin: yes! actually matt, you just linked to an old 2006 post of mine today —
and i clicked over and went: “wait… who wrote this?”
it struck me in the best possible way
Tim: a diary of public preoccupations
So, like, what are the big moments in SM history?
It seems like Robin targeting Al Gore TV is a big one
EPIC is undoubtedly a big one
which, in a way, is more consequential.
Matt: I remember four years ago, a while after Dean’s Presidential candidacy went up in flames, when I posted about a story I intended to report in ten years. (when his records from office in VT would be made public.)
Robin: love that. i feel that we must endeavor to make snarkmarket a reliable repository for ten-year ideas.
Matt: Snarkmarket seemed the most enduring document in which to declare that intent. there was no better way to send a message to myself in 10 years.
Robin: we’re halfway there already which isn’t bad.

…

Matt: blogging = destiny.
Robin: welcome to the snarkmatrix officially, tim
Tim: thanks kids.
Matt: yes, we are very glad to have you.
Tim: good to be aboard this leaky rocketship into the future."]]></description>
<dc:subject>snarkmarket 2008 timcarmody mattthompson robinsloan blog blogging optimism writing howwewrite howwethink forwardthinking backwardthinking evolution progress inventingthefuture genesis future</dc:subject>
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<item rdf:about="http://www.hybridpedagogy.com/journal/risk-reward-digital-writing/">
    <title>Risk, Reward, and Digital Writing - Hybrid Pedagogy</title>
    <dc:date>2014-11-02T03:39:59+00:00</dc:date>
    <link>http://www.hybridpedagogy.com/journal/risk-reward-digital-writing/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Digital writing is political because in every pixel, every DNA-like strand of code, we are placing ourselves into the public. Even if we are not writing for a wide audience, even if we make no plans to disseminate our work, the craft of writing now takes place within other people’s software, in other people’s houses. This page the borrowed sheets. Me the writer a couch surfer.

Owning our own homes in the digital requires an expertise that this writer does not have. I don’t own my own server, I haven’t learned to code, I haven’t designed my own interfaces, my own web site, nor even my own font. I must content myself to rent, to squat, or to ride the rails. But in this I find a certain freedom, a resistance in the willy-nilly. I cannot build my own home in the digital, but I can mark my territory.

In November, Hybrid Pedagogy — along with the UW-Madison Division of Continuing Studies — will once again host Digital Writing Month, a 30-day writing challenge that asks participants to create works of text, image/video, and sound. The form these works take, and what they say, do, expose, problematize, or solve, is entirely up to the author(s) and artist(s) who join the fray. The work should be challenging, inventive, and should give the digital writer a chance to do something they’ve always wanted to do.

Here, in this piece, I am offering an additional challenge: to make the act of digital writing truly political. To rouse and incite, to question and provoke, to mark our territories on the spaces delimited by their designers. By creating, hack; by writing, rebel. We must make the sites of our work little bitty Bastilles, our tweets and Vines and sound clips tiny marches on Versailles. Imagine a blog that flies the Jolly Roger, a podcast that bows to no one, a Vimeo channel that riots and runs amok. These are the ways the insurgence begins.

In this, I recognize I speak of rebellion playfully, when in truth most revolutions are terrible, bloody affairs. That playfulness, though, is the invitation. We are creating a revolution of digital handicraft, of makers and shakers. We shall not throw our bodies upon the machines, but we shall throw our words there — and our images — and our voices. The approach may look joyous and celebratory, and the fervor may delight and inspire, and the result will have meaning.

Hybrid Pedagogy has been accused of being Pollyanna, our work too blithe and easy, our seriousness not nearly serious enough. Our editors on the tenure track have been reminded to publish with traditional journals, lest their academic work wither under the glare of rigor and double-blind peer review. But there is nothing casual about Hybrid Pedagogy, just as there is nothing casual about any other digital work. What digital work does is change the landscape of all work. When we write in the digital, our words behave differently; when we broadcast our ideas, the reception re-broadcasts and re-purposes those ideas. Digital publishing, digital writing, digital humanities, digital literacy, digital citizenship — these are not terms à la mode, but rather they are new components of very real human communities, very real human craft. We may approach them with equal part suspicion and exaltation, but approach them we must.

Insisting on such requires a certain risk, especially in academia. We must be prepared to look back in the faces of those who think our digital work lacks merit and tell them otherwise. And we must do so to the ends of our wits.

To change the perception that the digital is not as consequential as work in traditional media we must participate in it. We must put our best work there, and eschew the paper-bound, readerless journals that grow mold in library basements. We must reinhabit libraries, as sites for conference and debate, crafting and creation, community and not simply curation. We must likewise redefine what matters, what has impact factor, and grow the traditional so it’s not so obsolete. We must show up in digital places in throngs and masses. No algorithms will change unless we move against them. The LMS will not die its death until we put it in the ground. Our work in the digital will not begin if we never recognize that it is work that must begin.

Digital Writing Month, and digital writing at any time, is never frivolous. In doing things differently, we sow difference. “Essays quake and tremble at the digital,” I said. “They weep in awe and fascination. And they throw themselves into the abyss … Digital writing is a rebellion. An uprising against our sense and sensibility. Différance.” By refusing to do what’s expected, we frame a space of new expectations, new possibilities. When we recognize the oppression of autocorrect, the hegemony of the algorithm, the charade of rigor, we light the fires of revolution. And though they may glow softly at first, enough of them gathered together will burn down towers."]]></description>
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    <title>Dymaxion Chronofile - Wikipedia</title>
    <dc:date>2014-10-28T03:19:56+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Dymaxion_Chronofile</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Dymaxion Chronofile is Buckminster Fuller's attempt to document his life as completely as possible. He created a very large scrapbook in which he documented his life every 15 minutes from 1920 to 1983. The scrapbook contains copies of all correspondence, bills, notes, sketches, and clippings from newspapers. The total collection is estimated to be 270 feet (80 m) worth of paper. This is said to be the most documented human life in history.

<blockquote>If somebody kept a very accurate record of a human being, going through the era from the Gay '90s, from a very different kind of world through the turn of the century—as far into the twentieth century as you might live. I decided to make myself a good case history of such a human being and it meant that I could not be judge of what was valid to put in or not. I must put everything in, so I started a very rigorous record</blockquote>

—Buckminster Fuller, Oregon Lecture #9, p.324, 12 July 1962"]]></description>
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