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  </channel><item rdf:about="https://ma.tt/2026/06/om-forever/">
    <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>
<dc:subject>ommalik grief friendship death life 2026 bobwier mattmullenweg christophermichel writing howwewrite storytelling blogs blogging humanity curiosity respect stories waysofliving craft love</dc:subject>
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    <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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    <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>
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    <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>
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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://www.citationneeded.news/curate-with-rss/">
    <title>Curate your own newspaper with RSS</title>
    <dc:date>2025-07-31T20:17:00+00:00</dc:date>
    <link>https://www.citationneeded.news/curate-with-rss/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Escape newsletter inbox chaos and algorithmic surveillance by building your own enshittification-proof newspaper from the writers you already read"]]></description>
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<item rdf:about="https://ludic.mataroa.blog/blog/contra-ptaceks-terrible-article-on-ai/">
    <title>Contra Ptacek's Terrible Article On AI — Ludicity</title>
    <dc:date>2025-06-30T00:49:34+00:00</dc:date>
    <link>https://ludic.mataroa.blog/blog/contra-ptaceks-terrible-article-on-ai/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A few days ago, I was presented with an article titled “My AI Skeptic Friends Are All Nuts” by Thomas Ptacek. I thought it was not very good, and didn't give it a second thought. To quote the formidable Baldur Bjarnason:

<blockquote>“I don’t recommend reading it, but you can if you want. It is full of half-baked ideas and shoddy reasoning.”1</blockquote>

I have tried hard, so very hard, not to just be the guy that hates AI, even though the only thing that people want to talk to me about is the one time I ranted about AI at length. I contain multitudes, meaning that I am capable of delivering widely varied payloads of vitriol to a vast array of topics.

However, the piece is now being circulated in communities that I respect, and I was near my breaking point when someone suggested that Ptacek's piece is being perceived as a “glass half full” counterpoint to my own perspective. There is a glass half full piece. It's what I already wrote. The glass has a specific level of water in it. Then finally, I saw that it was in my YouTube feed, and I reached my limit.

Let me be extremely clear2 — I think this essay sucks and it's wild to me that it achieved any level of popularity, and anyone that thinks that it does not predominantly consist of shoddy thinking and trash-tier ethics has been bamboozled by the false air of mature even-handedness, or by the fact that Ptacek is a good writer.

Anyway, here I go killin’ again."]]></description>
<dc:subject>ai ethics productivity blogs software criticism skepticism critique programming artificialintelligence thomasptacek nikhilsuresh llms attention samaltman openai chatgpt niksuresh</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 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>
<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>
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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>
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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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    <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>
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<item rdf:about="https://www.theguardian.com/commentisfree/2024/oct/05/the-blogosphere-is-in-full-bloom-the-rest-of-the-internet-has-wilted-dave-winer">
    <title>The blogosphere is in full bloom. The rest of the internet has wilted | John Naughton | The Guardian</title>
    <dc:date>2024-10-08T05:19:42+00:00</dc:date>
    <link>https://www.theguardian.com/commentisfree/2024/oct/05/the-blogosphere-is-in-full-bloom-the-rest-of-the-internet-has-wilted-dave-winer</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As blogging pioneer Dave Winer’s site turns 30, it’s a reminder that good writing and thinking has flourished beyond the reach of social media"

[via:
https://social.ayjay.org/2024/10/07/john-naughton-on.html ]

]]></description>
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    <title>Tumblr will move all of its blogs to WordPress — and you might not even notice - The Verge</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tumblr is migrating half a billion blogs to a new backend."]]></description>
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<item rdf:about="https://blog.ayjay.org/the-uncanny-valley-of-blogging/">
    <title>the uncanny valley of blogging – The Homebound Symphony</title>
    <dc:date>2024-06-21T19:47:19+00:00</dc:date>
    <link>https://blog.ayjay.org/the-uncanny-valley-of-blogging/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I used to call my blog Snakes & Ladders, because that reflected my belief that culture – culture-as-a-whole – is never simply ascending or declining, but is undergoing in its various locations constant ups and downs. But beneath that point is an image of myself as an observer and critic of this cultural moment. Now I call the blog The Homebound Symphony, [in honor of the Traveling Symphony in Emily St. John Mandel’s novel Station Eleven (https://blog.ayjay.org/the-homebound-symphony/ ), because I have stopped thinking of myself as an observer and critic and started thinking of myself as a preserver and transmitter. Another way to put this: Whereas I once tried to be a public intellectual, I now just want to be a … I dunno,, maybe a convivial conservator.

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

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

What’s funny about all this is that a blog is probably the least cool way to communicate with people. It doesn’t have old-school cred or state-of-the-art shine; it falls into a kind of uncanny valley. To be a blogger is sort of like being that Japanese guy who makes paintings with Excel (https://www.boredpanda.com/80-year-old-excel-paintings-tatsuo-horiuchi/ ). But that suits me ."]]></description>
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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>
    <link>https://www.fromjason.xyz/p/notebook/where-have-all-the-websites-gone/</link>
    <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>
<dc:subject>curation web internet howweread online aggregators amplification blogs blogging websites socialweb socialmedia reading tiktok facebook instagram snapchat 2024 jasonvelazquez via:javierarbona</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:10ab2fbc8fea/</dc:identifier>
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<item rdf:about="https://pjvogt.substack.com/p/how-do-i-use-the-internet-now">
    <title>How do I use the internet now? (Is there a sane way to use the internet?) - Search Engine with PJ Vogt (October 2023)</title>
    <dc:date>2024-03-26T22:46:27+00:00</dc:date>
    <link>https://pjvogt.substack.com/p/how-do-i-use-the-internet-now</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, a conversation we recorded a while ago that we’ve been impatient to share.

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

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

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

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

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

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

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

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

also here:
https://open.spotify.com/episode/2pcYNqD0n9R6UgJMbvJw27
https://podcasts.apple.com/gb/podcast/how-do-we-survive-the-media-apocalypse/id1614253637?i=1000649296199 ]]]></description>
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<item rdf:about="http://walkinginla.com/">
    <title>Walking in L.A.</title>
    <dc:date>2024-03-15T17:04:45+00:00</dc:date>
    <link>http://walkinginla.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>walking losangeles photography blogs architecture california</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bfc814dd4b6b/</dc:identifier>
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<item rdf:about="https://www.ninnsalaun.com/today">
    <title>Today [Reports From Unknown Places About Indescribable Events] — Ninn Salaün</title>
    <dc:date>2024-03-12T07:03:14+00:00</dc:date>
    <link>https://www.ninnsalaun.com/today</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ninn Salaün is an illustrator living in France. She likes to draw nature, the sky, and people in nature. She has been working on a daily meteorological fiction project called Reports From Unknown Places About Indescribable Events since 2020."]]></description>
<dc:subject>nonnsalaün blogs dailies photography nature weather sky skies place</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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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.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.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>
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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>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:82a86bbaf50d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:onlinetoolkit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:googlereader"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:simonwillison"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://heritage1854.com/">
    <title>Heritage 1854</title>
    <dc:date>2022-01-25T22:24:26+00:00</dc:date>
    <link>https://heritage1854.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to Heritage 1854. Here you will find the most complete resource online for everything vintage Timex. This site is built for community by community and is always growing. Interested in learning more about a recent watch you acquired, how to restore it, or just general Timex history and resources? This is the place. Visit the Model Archive to see a growing collection of all Timex models (Please be patient as more pieces are added almost daily). You can also help grow the archive by visiting the Contact section and submitting your watches. Need help with repairing and restoring your own pieces? Visit the Movement Guides and General Info sections at the top menu."]]></description>
<dc:subject>timex blogs history watches</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2d42e40d44a9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
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</rdf:Bag></taxo:topics>
</item>
<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>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c0869b8d8a85/</dc:identifier>
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</item>
<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>
<dc:subject>joannemcneil 2020 blogs blogging email newsletters archives kottke jasonkottke substack stoop howwewrite writing online web internet</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cd3c6ee64e81/</dc:identifier>
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</item>
<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>
<dc:subject>laurelschwulst 2019 decentralization p2p web webdesign blogging movement travel listening attention self-reflection howwewrite writing walking nyc beakerbrowser creativity pokemon pokemonmoon online offline internet decentralizedweb dat p2ppublishing p2pweb distributed webdev stillness infooverload ubiquitous computing internetofthings casygollan calm calmtechnology zoominginandout electricity technology copying slow small johnseelybrown markweiser xeroxparc sharing oulipo constraints reflection play ritual artleisure leisurearts leisure blogs trains kylemock correspondence caseygollan apatternlanguage intimacy dweb pokémon iot</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7a3fc36f5a3b/</dc:identifier>
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</item>
<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>
<dc:subject>blogs blogging jasonkottke kottke 2018 writing web web2.0 internet online rss</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3fa0875978ac/</dc:identifier>
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</item>
<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>
<dc:subject>carigmod newsletters 2019 email internet web online publishing walking substack buttondown tinyletter mailchimp memberful naas instagram facebook socialmedia blogs blogging self-publishing selfpublishing intimacy ownership</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.catranslation.org/blog-post/translation-blogs-we-think-you-should-be-reading/">
    <title>Translation Blogs We Think You Should Be Reading | Center for the Art of Translation | Two Lines Press</title>
    <dc:date>2019-01-27T20:21:45+00:00</dc:date>
    <link>https://www.catranslation.org/blog-post/translation-blogs-we-think-you-should-be-reading/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here are some of our favorite translation blogs (listed alphabetically). And we need your help! Which ones are we missing?

• Arablit was founded by M. Lynx Qualey and covers Arabic literature in (and not yet in) translation. There you can find roundups of forthcoming books translated from Arabic, book reviews, resources for teachers of Arabic literature in translation, and so much more. Plus, it’s the home of the ArabLit Story Prize.
https://arablit.org/

• Asymptote’s blog has a regular circulation of reviews, essays, and translations, as well as a weekly roundup of world literature news.
https://www.asymptotejournal.com/blog/
https://arablit.org/category/teaching-with-arabic-literature-in-translation/
https://arablit.org/2018/02/11/sunday-submissions-announcing-the-2018-arablit-story-prize/

• Biblibio is the blog of Meytal Radzinski, the founder of the Women in Translation movement and WITMonth. As Radzinski herself describes: “Biblibio is not a review blog. What does that mean? It means that the humble figure behind the veil sees the purpose of this blog as discussing a life in books in general, not only through reviews (though obviously somewhat). Bibli – book. Bio – life. This is a life in letters.”
https://biblibio.blogspot.com/
https://twitter.com/Read_WIT

• The Complete Review and its accompanying blog, The Literary Saloon, are run by M. A. Orthofer. Go here for reviews of books both popular and obscure, as well as international literary news that is rarely covered elsewhere. A great resource!
http://www.complete-review.com/main/main.html
http://www.complete-review.com/saloon/index.htm

• Conversational Reading is the blog of our own Publicity Director and Senior Editor, Veronica Scott Esposito. While not exclusively translation, the blog is largely translation-focused, including lists of interesting new and forthcoming books, Q&As with translators and authors, essays, and other related news in the field.
http://conversationalreading.com/
http://conversationalreading.com/category/interviews/

• Lizok’s Bookshelf is the blog of award-winning Russian translator Lisa Hayden. This is the go-to place for those interested in Russian literature. Lisa will let you know what is going on in the world of Russian literary prizes, tell you about interesting books coming out in Russia, books she’s reading, and, of course, books she’s translating.
https://lizoksbooks.blogspot.com/

• Reader@Large is the blog of Tara Cheesman-Olmsted, a freelance book critic, National Book Critic Circle member, and 2018 Best Translated Book Award fiction judge. The blog began as a general book review blog, but Tara currently only reviews books by international authors and translations, with a preference for small presses!
https://readeratlarge.com/

• Three Percent is the translation blog of the University of Rochester. Chad Post delights us with in-depth blog posts on a wide range of topics within the translation field. Home to book reviews, the Best Translation Book Award, and updates on trends in the translation field (including graphs and all kinds of fancy data analysis)!
https://www.rochester.edu/College/translation/threepercent/

• Tony’s Reading List is the blog of a true international literature aficionado. Dive into the expansive book review archives (spanning back to 2009) or, if you’re feeling adventurous, dig into something a little different.
https://tonysreadinglist.wordpress.com/
https://tonysreadinglist.wordpress.com/something-a-little-different/

• Translationista is the blog of Susan Bernofsky, German-language translator extraordinaire. She’ll keep you up-to-date on the latest literary prizes, as well as other news in the field. Make sure you check out: “Getting the Rights to Translate a Work: A How-To Guide” and “Tips for Beginning Translators.”
http://translationista.com/
http://translationista.com/2017/02/getting-rights-translate-work.html
http://translationista.com/2017/08/tips-beginning-translators.html

• WWB Daily, the blog of Words Without Borders, features a monthly watchlist of books coming out that month, in-depth essays by translators, excerpts from forthcoming books in translation.
https://www.wordswithoutborders.org/dispatches/
https://www.wordswithoutborders.org/dispatches/article/tarsila-do-amaral-translating-modernism-in-brazil-elisa-wouk-almino
https://www.wordswithoutborders.org/dispatches/article/first-read-from-lion-cross-point-masatsugu-ono-angus-turvill "]]></description>
<dc:subject>blogs translation writing language languages books arabic srg</dc:subject>
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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://ericbrightwell.com/">
    <title>Eric Brightwell | Exploration, Adventures, and Maps</title>
    <dc:date>2018-09-23T22:26:24+00:00</dc:date>
    <link>https://ericbrightwell.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>blogs losangeles ericbrightwell maps mapping california</dc:subject>
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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>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://oakulture.com/">
    <title>Oakulture | Documenting the Oakland cultural renaissance</title>
    <dc:date>2018-07-29T02:22:23+00:00</dc:date>
    <link>https://oakulture.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Background and History

Historically, the city of Oakland has always been what can be described as a cultural mecca. In the 30s, 40s, and 50s, West Oakland’s 7th street was known as the “Harlem of the West,” and supported a thriving jazz and blues scene. In the 60s and 70s, Oakland was instrumental in the development of the funk sound through artists like Rodger Collins and Johnny Talbot, as well as the connection between music and social justice movements — exemplified by the Black Panther Party’s “house band,” The Lumpen – a legacy which continues to this day through socially-conscious artists and “artivists” like Boots Riley and The Coup, Kev Choice, and Jennifer Johns.

Oakland music culture has produced everything from the “East Bay Grease” funk sound of Tower of Power, to Latin percussionist extraordinaire Sheila E., to pop-hip-hop phenomenon MC Hammer, to independent rap legend Too $hort, to the urban R&B of Tony! Toni! Toné!, En Vogue, Raphael Saadiq, and Keyshia Cole. It’s no accident that Tupac Shakur, quite possibly the most celebrated rap artist of all time, spent the formative years of his career in Oakland, or that legendary hip-hop collective Hieroglyphics claim Oakland as their home base.

Visual art has also been a huge part of Oakland culture; the city claims to have the most artists per capita of any city in the country, which has manifested through the internationally-recognized Art Murmur, as well as the proliferation of street-oriented visual artists and aerosol art practitioners upholding the legacy of Mike “Dream” Francisco.  Somewhat lesser-known is Oakland’s contribution to the film genre, which includes famous actors Danny Glover and Ted Lange as well as recent discoveries like director Ryan Coogler.  Similarly, Oakland’s spoken word scene, one of the best in the country, has provided a supportive platform for emerging talents like playwright Chinaka Hodge.

Although Oakland is the center of the Bay Area from a geographic standpoint, for many years its arts and culture scene was overshadowed by San Francisco. But things have changed recently. Gentrification, skyrocketing rents, and the influx of tech workers displaced dozens of artists and musicians from SF; many of whom settled in Oakland. That change has not gone unnoticed by the media: the New York Times named the city one of the USA’s top 5 destinations, San Francisco magazine dedicated an entire issue to its East Bay neighbor, and the Bay Guardian declared Oakland was “cooler” than SF. Meanwhile, the proliferation of new and interesting restaurants has made Oakland a hot topic in the foodie world. It seems the media has finally discovered Oakland, much in the same was as Columbus “discovered” America.

While all the recent national media attention has been gratifying for a city which for years was unfairly maligned for negative portrayals, much of the press coverage can be accurately described as coming from an outside perspective, looking in at Oakland. As current Oaklanders brace themselves for a wave of newcomers with no connection to the city’s rich cultural history, raising concerns of gentrification and the displacement which comes along with it, Oakland finds itself in the midst of a cultural renaissance which has brought new life into the downtown area, symbolized by the First Friday parties which have attracted as many as 15,000 people, and made the city a destination for nightlife seekers.

Oakulture began as a cultural initiative masquerading as an arts and culture column in hyperlocal website Oakland Local. The mission was simple: to document the cultural renaissance in words and pictures as it was happening, from the perspective of an Oakland resident and longtime Bay Area scribe, Eric K. Arnold – a writer/photographer with an institutional memory of the region’s arts and culture scene. Particular attention was paid to spotlighting emerging new talent, to identifying cultural trends – such as the intersection of tech and arts — as they were breaking, and to covering artists of color who were typically underserved by both national and local media.

Oakulture took a radically innovative approach to arts coverage: rather than segregating music from film from visual art from spoken word, as conventional media outlets typically did, Oakulture amalgamated them all together, thus presenting a Big Picture view which was a more honest representation of Oakland’s cultural dynamic – illustrating how the city’s diversity is reflected through the intersectionality of artistic disciplines and cultural manifestations. The column also used the online platform to present more photographs than a typical print story would, giving it a unique visual look which distinguished it from all competition.

Oakulture ran for more than a year in Oakland Local, covering 60 columns in all, and routinely amassing page views 5-10 times the views of typical OL stories in the arts & culture section. Despite outperforming its peers to such a degree, OL’s publisher suggested cutting back on the column due to financial considerations, which made little sense, considering not only the analytics numbers, but also the fact that Oakland’s cultural renaissance was in full bloom, and that more coverage, if anything, was needed.

The choice was made to become an independent site, serving the progressive, diverse arts and culture community, and expanding coverage to become a comprehensive source and resource.  Oakulture isn’t just hyperlocal, it’s hyperfocal, zeroing in on the arts and culture niche which informs every aspect of Oakland’s dynamicism, from lifestyle to politics. While currently existing on an online platform, Oakulture isn’t a static representation of the city’s cultural paradigm by any means; Oakulture isn’t just a website, it’s a lifestyle, a movement and a way of being, with plans to expand into other mediums when the time is right.

Right now, Oakulture’s goal is to document Oakland’s incredibly talented, historically slept-on scene and to promote the city’s artists locally, nationally, and internationally. All from an Oakland perspective. After all, Oakland is known for creating revolutionary movements, so why wouldn’t the city’s cultural arts be anything less?"]]></description>
<dc:subject>oakland news culture blogs bayarea</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:13569f4d6d3d/</dc:identifier>
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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="https://48hills.org/">
    <title>48 Hills | San Francisco</title>
    <dc:date>2018-04-01T18:31:57+00:00</dc:date>
    <link>https://48hills.org/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sanfrancisco blogs news politics arts culture</dc:subject>
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<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://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>
<item rdf:about="http://warpdoor.com/">
    <title>Warp Door</title>
    <dc:date>2016-08-13T04:37:00+00:00</dc:date>
    <link>http://warpdoor.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Warp Door exists in a transitive state, between dimensions, like an observatory in the middle of nowhere.*

Its interests include computer art, glitches, small and strange games, cute pocket dimensions, dolphin viruses, people.

It was founded by Tim W. and Chris Priestman in February 2014.

Warp Door has no advertisements and is funded entirely through Patreon by the kindness of people. You can also support Warp Door with a small donation, but it is not required to view it, or even participate in discussions it may encourage."

[See also: 
http://warpdoor.com/tag/freeware/
https://twitter.com/warpdoor ]]]></description>
<dc:subject>blogs games gaming videogames indie timw chrispriestman art glitchart</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://snapchat-blog.com/">
    <title>Snapchat</title>
    <dc:date>2016-08-03T05:13:42+00:00</dc:date>
    <link>http://snapchat-blog.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>snapchat tumblrs blogs</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5dfe25ef5a75/</dc:identifier>
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</item>
<item rdf:about="https://takingnotenow.blogspot.com/">
    <title>Taking note</title>
    <dc:date>2016-06-29T16:38:58+00:00</dc:date>
    <link>https://takingnotenow.blogspot.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>blogs via:tealtan notetaking notes notebooks indexcards information collecting hypertext connectedtext markdown writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.nytimes.com/2016/06/26/magazine/how-an-archive-of-the-internet-could-change-history.html">
    <title>How an Archive of the Internet Could Change History - The New York Times</title>
    <dc:date>2016-06-21T16:54:10+00:00</dc:date>
    <link>http://www.nytimes.com/2016/06/26/magazine/how-an-archive-of-the-internet-could-change-history.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A few years ago, the Brooklyn Museum put on a Keith Haring exhibition, with a focus on his early career. There were videos of Haring at work, feverishly painting his way across an enormous scroll, and a room filled with drawings he illegally chalked in subway stations. But most stunning, at least to me, were Haring’s notebooks. They were displayed under clear cubes, their well-worn sheets pinned open for visitors to study.

The notebooks were sublimely surreal, filled with dogs crawling beneath bulbous U.F.O.s and penises ejaculating alongside concave cylinders that looked like nuclear cooling towers. By the time I first encountered Haring’s work as a teenager, his artistic legacy had been reduced to catchy imagery of colorful, blocky bodies hugging and dancing on T-shirts. But the notebooks showed what nagged at the artist, what motivated him. I saw someone so suspicious of government surveillance that he often wrote in secret code, someone obsessed with the subversive power of gay sex and someone working to merge his skepticism of capitalism with a deep-­rooted desire for fame and commercial appeal.

I left with an urgent curiosity about what sort of artifacts we would display a few decades from now, for future generations to discover. Our contemporary analogues to the personal notebook now live on the web — communal, crowdsourced and shared online in real time. Some of the most interesting and vital work I come across exists only in pixels. Tumblr, for example, contains endless warrens of critical theory about trans identity politics and expression, one of the few havens on the web where that sort of discourse exists. Many of the short videos on Vine feel as though they belong to an ever-­evolving, completely new genre of modern folk art. Some of the most clever commentary on pop culture and politics is thriving deep in hashtags on Twitter. Social media is as essential to understanding the preoccupations and temperature of our time as Haring’s notebooks were for his. But preserving materials from the internet is much harder than sealing them under glass.

Building an archive has always required asking a couple of simple but thorny questions: What will we save and how? Whose stories are the most important and why? In theory, the internet already functions as a kind of archive: Any document, video or photo can in principle remain there indefinitely, available to be viewed by anyone with a connection. But in reality, things disappear constantly. Search engines like Google continually trawl for pages to organize and index for retrieval, but they can’t catch everything. And as the web evolves, it becomes harder to preserve. It is estimated that 75 percent of all websites are inactive, and domains are abandoned every day. Links can rot when sites disappear, images vanish when servers go offline and fluctuations in economic tides and social trends can wipe out entire ecosystems. (Look up a blog post from a decade ago and see how many of the images, media or links still work.) Tumblr and even Twitter may eventually end up ancient internet history because of their financial instability.

There are scattered efforts to preserve digital history. Rhizome, an arts nonprofit group, built a tool called Webrecorder to save parts of today’s internet for future generations. The Internet Archive’s Wayback Machine has archived hundreds of billions of web pages. But there’s still a low-grade urgency to save our social media for posterity — and it’s particularly urgent in cases in which social media itself had a profound influence on historic events.

In August 2014, Bergis Jules, an archivist at the University of California, Riverside, traveled to Washington for the annual meet-up of the Society of American Archivists. The day before the conference began, Michael Brown was killed by a police officer in Ferguson, Mo. Jules, along with millions of others, found himself glued to Twitter for news, reactions and commentary. In the days that followed, hashtags like #IfTheyGunnedMeDown challenged the narratives presented by the mainstream media and prompted a national dialogue about racial stereotypes and police brutality. Jules teamed up with Ed Summers, a software developer in attendance, and started collecting tweets that included the word “Ferguson.”

As an archivist, Jules was struck by the way Twitter — and all social media, for that matter — is permanently altering the way we think about history. “We’re thinking ahead to how we’ll look back,” Jules says. He offered the example of how their project, DocNow, collected tweets tagged with #SayHerName, a campaign that emerged within the Black Lives Matter movement to make the movement more gender inclusive. For now, DocNow is focused mainly on Twitter, but Jules hopes it may be built out in the future to work elsewhere.

Social media might one day offer a dazzling, and even overwhelming, array of source material for historians. Such an abundance presents a logistical challenge (the total number of tweets ever written is nearing half a trillion) as well as an ethical one (will people get to opt out of having ephemeral thoughts entered into the historical record?). But this plethora of new media and materials may function as a totally new type of archive: a multidimensional ledger of events that academics, scholars, researchers and the general public can parse to generate a more prismatic recollection of history.

In March, I participated in a talk at the Museum of Modern Art about racial and gender disparity among Wikipedia contributors and how it influences the texture of the site. (Roughly 80 percent are men, and minorities are underrepresented.) Print out everything about the “Star Wars” universe, and you’ll have a heavy tome, but many notable abolitionists and female scientists are practically nonexistent. Considering that Wikipedia is the sixth-­most-­visited site in the world and increasingly treated like the encyclopedia of record, this problem seems worth considering. After the discussion, Kyra Gaunt, a professor and social-­media researcher, approached me. In her spare time, she maintains the “twerking” entry on Wikipedia, which is embroiled in a never-­ending debate about how to define the dance move. Is it more crucial to highlight its roots in black culture or Miley Cyrus’s impact on its mainstream popularity? Even new historical records like Wikipedia can be derailed by old biases reasserting themselves. At least Wikipedia publishes each page’s edit history, so as long as it can keep its servers running, there will be a rich catalog for future historians to see what we argued about and why.

The internet is pushing us ­— in good ways and in bad — to realize that the official version of events shouldn’t always be trusted or accepted without question. And historians are constantly updating the record by looking for primary sources that were overlooked in earlier eras, often from marginalized figures. These days, such omissions will still happen, but we can catch them faster. Oversights that would have taken decades to correct are now resolved in weeks, even hours. We now get a kaleidoscopic view of events as they unfold, often in real time, on our screens and devices. History is not neutral or synonymous with truth, but the internet affords us a newfound vantage on the totality of passing time — the profound implications of which we are just now beginning to grasp.

Last year, two scientists presented a theory in quantum mechanics that they called “entangled histories.” They argue that the existence of a particle in space is fractured along many alternate timelines, all of which must be considered to understand the full chronology of its life cycle. It is baffling and exhilarating in the way only quantum physics can be, but one idea stood out as particularly resonant. Jordan Cotler, an author of the paper and a graduate student at Stanford Univer­sity, has said, “Our best description of the past is not a fixed chronology but multiple chronologies that are intertwined with each other.” We’ve long known that this is how human history works — an unimaginable number of small stories, compressed into one big one. But maybe now we finally have the ability to record and capture them all, and history can become something else entirely: not a handful of voices, but a cacophony."]]></description>
<dc:subject>jennawortham internet web archives internetarchive twitter socialmedia keithharing history preservation technology 2016 revision bergisjules blacklivesmatter docnow tumblr wikipedia controversy cacophony blogs</dc:subject>
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    <title>JOURNEY THROUGH TEACHING AND MATH | Journey &gt; Destination</title>
    <dc:date>2016-06-16T22:21:38+00:00</dc:date>
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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="http://www.pri.org/programs/world-words">
    <title>The World in Words | Public Radio International</title>
    <dc:date>2016-04-05T22:17:13+00:00</dc:date>
    <link>http://www.pri.org/programs/world-words</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A podcast about languages and the people who speak them"]]></description>
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</item>
<item rdf:about="https://iheartthreadbared.wordpress.com/">
    <title>threadbared</title>
    <dc:date>2015-08-01T20:59:39+00:00</dc:date>
    <link>https://iheartthreadbared.wordpress.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THREADBARED is an evolving collaboration between two clotheshorse academics to discuss the politics, aesthetics, histories, theories, cultures and subcultures that go by the names “fashion” and “beauty.” With commentary on how clothes matter, as well as book and exhibit reviews and interviews with scholars and artists, THREADBARED considers the critical importance of taking clothes –and the bodies that design, manufacture, disseminate, and wear them– seriously as an entry point into dialogue about the world around us.

We welcome queries relating to public comments, invited talks, commissioned essays, and books, films, and videos for review on THREADBARED! Check out our press, and book us for your event.

Please email us at threadbared dot matters at gmail dot com. Follow us on Facebook and Twitter!

Mimi Thi Nguyen is an associate professor of Gender and Women’s Studies and Asian American Studies at the University of Illinois, Urbana-Champaign. Her first book, The Gift of Freedom: War, Debt, and Other Refugee Passages, focuses on the promise of “giving” freedom concurrent and contingent on waging war and its afterlife. (Duke University Press, Fall 2012). With her second project on the obligations of beauty, she continues to pursue her scholarship through the frame of transnational feminist cultural studies, and in particular as an untangling of the liberal way of war that pledges “aid,” freedom, movement, and other social goods. She is co-editor with Thuy Linh Nguyen Tu of Alien Encounters: Popular Culture in Asian America (Duke University Press, 2007), and co-editor with Fiona I.B. Ngo and Mariam Lam of a special issue of positions: east asia cultures critique on Southeast Asian diasporas (2012). A former zinester, Punk Planet columnist, and Maximumrocknroll shitworker, she is widely published on punk and queer subcultures and also blogs at Thread & Circuits, where you can find all her old columns and some zine writings archived. For more about Nguyen, see here.

Minh-Ha T. Pham is an Assistant Professor in the Graduate Media Studies Program at Pratt Institute. Before coming to Pratt, she was an Assistant Professor of Visual Studies and Asian American Studies at Cornell University. Her first book, Asians Who Wear Clothes on the Internet: Race, Gender, and the Work of Personal Style Blogging, is forthcoming from Duke University Press in Fall/Winter 2015. Her writings on the politics of fashion, fashion technology, and consumption have been published in a wide range of academic journals and popular magazines. She also blogs at the Huffington Post and Of Another Fashion. And now, you can follow her on Twitter (@minh81)! For more information, click here."]]></description>
<dc:subject>mimithinguyen fashion blogs minh-hatpham glvo clothing clothes wearables uniformproject politics subcultures aesthetics beauty</dc:subject>
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<item rdf:about="http://textilecuisine.blogspot.com/">
    <title>The Textile Cuisine</title>
    <dc:date>2015-06-03T18:00:55+00:00</dc:date>
    <link>http://textilecuisine.blogspot.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Living in an old city of textile industry in Poland, I create subtle pieces of art in every form possible. From small ornaments to great wallhangings, everything I create starts from a scrap of textile.

It is a contemporary way to involve art in our everyday life, to let it into our houses, on the tables. My creations are mostly inspired by the charm of small things and are made to give the same feeling of beauty. See my works to see inspiration coming from nature, food, kitchen or... old stories!"]]></description>
<dc:subject>glvo textiles sewing bozenawojtaszek blogs quilts quilting</dc:subject>
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<item rdf:about="http://k-punk.org/abandon-hope-summer-is-coming/">
    <title>Abandon hope (summer is coming) | k-punk</title>
    <dc:date>2015-05-13T21:00:02+00:00</dc:date>
    <link>http://k-punk.org/abandon-hope-summer-is-coming/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So it was to be a re-run of 1992, after all. It seems that even elections are subject to retromania, now. Except, this time, it is 1992 without Jungle. It’s Ed Sheeran and Rudimental rather than Rufige Kru. Always ignore the polls, wrote Jeremy Gilbert late on election night. “You get a better sense of what’s going on in the electorate by sniffing the wind, sensing the affective shifts, the molecular currents, the alterations in the structures of feeling. Listen to the music, watch the TV, go to the the pubs and ride the tube. Cultural Studies trumps psephology every time.”

Contemporary English popular culture, with its superannuated PoMo laddishness, its smirking blokishness (anyone fancy a pint with Nigel?), its poverty porn, its craven cult of big business, has become like some gigantic Poundbury Village simulation, in which nothing new happens, forever … while ubiquitous “Keep Calm” messages, ostensibly quirky-ironic, actually function as They Live commands, containing the panic and the desperation …

England is a country in which every last space where conviviality might flourish has been colonised by a commercial imperative …. supermarket check-out operatives replaced by crap robots… unexpected item in bagging area… every surface plastered with corporate graffiti and haranguing hashtags … no trick missed to screw every last penny out of people… exorbitant parking charges in NHS hospitals (exact amount only, no change given), all the profits going to private providers …

Everything seen through a downer haze… “Mostly you self-medicate” … comfort eating and bitter drinking …. What’s your poison?"

…

"Blogs and social media have allowed us to talk to ourselves (but not to reach out beyond the left bubbles); they have also generated pathological behaviours and forms of subjectivity which not only generate misery and anger – they waste time and energy, our most crucial resources. Email and handhelds, meanwhile, have produced new forms of isolation and loneliness: the fact that we can receive communications from work anywhere and anytime means we are exposed to work’s order-words when we are alone, without the possibility of support from fellow workers.

In sum, the obsession with the web, its monopolisation of any idea of the new, has served capitalist realism rather than undermined it. Which does not mean, naturally, that we should abandon the web, only that we should find out how to develop a more instrumental relationship with it. Put simply, we should use it – as a means of dissemination, communication and distribution – but not live inside it. The problem is that this goes against the tendencies of handhelds. We all recognise the by now cliched image of a train carriage full of people pecking at their tiny screens, but have we really registered how miserable this really is, and how much it suits capital for these pockets of socialisation to be closed down?"

…

"The problem is that, in order to struggle against time poverty, the main resource we require is time – a nasty vicious circle that capital, with its malevolent genius, now has … This problem is absolutely immanent – writing this and the other posts I have completed this week has meant that I have fallen enormously behind on my work, which is storing up stress for the next week or so.

The first thing we must do in response to all this is to put into practice what I outlined above: try not to blame ourselves. #it’snotyourfault We must try to do everything we can to politicise time poverty rather than accept blame as individuals for failing to complete our work on time. The reason we feel overwhelmed is that we are overwhelmed – it isn’t an individual failing of ours; it isn’t because we haven’t “managed our time” properly. However, we can use the scarce resources we already have more effectively if we work together to codify practices of collective re-habituation (setting new rules for our engagement with social media and capitalist cyberspace in general for example).

Any way, here goes:

1. Talk to fellow workers about how we feel This will re-introduce care and affection into spaces where we are supposed to be competitive and isolated. It will also start to break down the difference between (paid) work and social reproduction on which capitalism depends.

2. Talk to opponents Most people who vote Tory and UKIP are not monsters, much as we might like to think they are. It’s important that we understand why they voted as they did. Also, they may not have been exposed to an alternative view. Remember that people are more likely to be persuaded if defensive character armour is not triggered.

3. Create knowledge exchange labs This follows from what I argued a few days ago. Lack of knowledge about economics seems to me an especially pressing problem to address, but we could also do with more of us knowing about law, I suspect.

4. Create social spaces Create times and spaces specifically dedicated to attending to one another: not (yet more) conferences, but sessions where people can share their feelings and ideas. I would suggest restricting use of handhelds in these spaces: not everything has to be live tweeted or archived! Those with access to educational or art spaces could open these up for this purpose.

5. Use social media pro-actively, not reactively Use social media to publicise, to spread memes, and to constitute a counter-media. Social media can provide emotional support during miserable events like Thursday. But we should try to use social media as resource rather than living inside it at all times. Facebook can be useful for discussions and trying out new ideas, but attempting to debate on Twitter is absurd and makes us feel more stressed. (He says, thinking of the time when, sitting on a National Express coach, perched over his handheld, he tried to intervene in an intricate discussion about Spinoza’s philosophy – all conducted in 140 characters.)

6. Generate new figures of loathing in our propaganda Again, this follows up from what I argued in the Communist Realism post. Capitalist realism was established by constituting the figure of the lazy, feckless scrounger as a populist scapegoat. We must float a new figure of the parasite: landlords milking the state through housing benefit, “entrepreneurs” exploring cheap labour, etc.

7. Engage in forms of activism aimed at logistical disruption Capital has to be seriously inconvenienced and to fear before it yields any territory or resources. It can just wait out most protests,but it will take notice when its logistical operations are threatened. We must be prepared for them cutting up very rough once we start doing this – using anti-terrorist legislation to justify practically any form of repression. They won’t play fair, but it’s not a game of cricket – they know it’s class war, and we should never forget it either.

8. Develop Hub struggles Some struggles will be more strategically and symbolically significant than others – for instance, the Miners’ Strike was a hub struggle for capitalist realism. We might not be able to identify in advance what these struggles are, but we must be ready to swarm in and intensify them when they do occur.

Summer is coming

The Lannisters won on Thursday, but their gold has already run out, and summer is coming. What we saw in the debates dominated by Nicola Sturgeon was not a mirage – it is a rising tide, an international movement, a movement of history, which has not yet reached an England sandbagged in misery and mediocrity. Comrades, I hope (ha!) for the sake of your mental health and your blood pressures that you didn’t see the right wing tabloids over the weekend (tw for class hatred): middle England crowing over its “humiliation” of “Red” Ed. Well if they think Ed was Red, wait until they see the coming Red Swarm. Outer England has been sedated, but it is waking from its long slumber, carrying new weapons …."

[via: http://stml.tumblr.com/post/118858720560/contemporary-english-popular-culture-with-its ]]]></description>
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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.theatlantic.com/international/archive/2015/04/the-atlantic-unbound/391116/">
    <title>The Atlantic Redesigns TheAtlantic.com - The Atlantic</title>
    <dc:date>2015-04-22T04:02:54+00:00</dc:date>
    <link>http://www.theatlantic.com/international/archive/2015/04/the-atlantic-unbound/391116/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We've redesigned TheAtlantic.com. What do you think?

From the beginning of the project, we've had the fundamental question in mind of what this site is—which is to say, both what it's become (as regular readers know, a lot's changed here over time) and what we want it to be. Is it the website of a magazine? Is it a news site? Is it, as James Franco possibly once suggested, a blog?

The answers, we recognized, are all in one way or another yes. But we figured we'd try a thought experiment: What if we described TheAtlantic.com as a direct, dynamic, digital extension of our core identity in journalism—as a real-time magazine?

That seemed to us both authentic and aspirational: an idea that captured what The Atlantic has been doing in new media for years and a framework that could bring the right focus to rebuilding TheAtlantic.com now.

So here's what we did:

We created a site that makes a new priority of visual presentation, that offers a cleaner reading experience across digital devices, and that gives us the flexibility we need, both in our articles and on our homepage, to join the speed and urgency of the web with the noise-cutting and impact that have always been central to The Atlantic's ambitions.

The new homepage is composed of full-width modules each representing either one big story or a constellation of connected stories. We can move these modules up or down the page, allowing us, among other freedoms, alternately to lead with the urgency of our news coverage or the impact of a big feature, according to the needs of the moment.

It also allows us to give full play to the same urgency and impact beyond the top of the page. As you return to the site, you'll find different homepage modules in different orders with different kinds of stories in different combinations. What you won't find, we hope, is the impression of diminishing importance as you scroll down.

Neither should you find yourself disoriented. So rather than placing stories arbitrarily adjacent to one another, we're using each of these modules to display a single story or a group of stories that are in some way related. This approach is inspired by the emergent logics of scrolling and swiping in mobile media: The vertical axis of the homepage represents a logic of exploration (scrolling); the horizontal axis, a logic of connection (swiping). A good magazine should, after all, help us keep our bearings.

Our new article pages are likewise more visually engaging and flexible. We're using larger images, and better image integration, with a fuller range of options for bigger feature stories, as well as more controlled templates for quicker hits, which we'll sometimes need as The Atlantic moves fast in trying to make sense of a rapidly changing world.

We've thought about the logics of exploration and connection on the article pages too: Next to our stories (horizontally), you'll find links to related articles; below the stories (vertically), you'll find links to normally unrelated articles, or for that matter photo essays or videos, currently popular on the site.

Maybe most conspicuously, across TheAtlantic.com, we've replaced our old nameplate and navigation bar with a simple new flag bearing our logo, options to subscribe or search the site, and an expandable menu. This treatment is influenced by the way the logo is set on our monthly covers; the minimalistic integration of the subscription, search, and navigation functions is based both on extensive user testing and our guiding dedication to keeping signals high, and noise low, around our brand and our work.

Oh, and the typefaces are new. Hawk-eyed readers will recognize the display and text fonts, both Lyon, as the same ones we use in print."]]></description>
<dc:subject>theatlantic digital 2015 publications magazines news jounalism webdev design presentation flexibility typography fonts urgency impact reading howweread blogs jjgould webdesign</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>
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</item>
<item rdf:about="http://thetextissilence.tumblr.com/">
    <title>The Text Is Silence</title>
    <dc:date>2015-01-08T00:35:34+00:00</dc:date>
    <link>http://thetextissilence.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>text silence tumblr blogs punctuation commas art</dc:subject>
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</item>
<item rdf:about="http://www.bbc.co.uk/blogs/adamcurtis/authors/Adam_Curtis">
    <title>BBC - Blogs - Adam Curtis - Author - Adam Curtis</title>
    <dc:date>2014-11-02T04:48:48+00:00</dc:date>
    <link>http://www.bbc.co.uk/blogs/adamcurtis/authors/Adam_Curtis</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>adamcurtis bbc blogs</dc:subject>
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</item>
<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>
<dc:subject>seanmichaelmorris 2014 writing digitalwriting communication pirates squatting hobos nomads digitalnomads adomainofone'sown blogs blogging googledocs renting creation conversation vine twitter photography podcasts lms revolution academia participatory participation howwewrite digiwrimo culturecreation</dc:subject>
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<item rdf:about="http://en.wikipedia.org/wiki/Dymaxion_Chronofile">
    <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>
<dc:subject>1962 chronofile dymaxion dymaxionchronofile lifelogging buckminsterfuller blogging blogs</dc:subject>
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<item rdf:about="http://revdancatt.com/2014/10/18/still_blogging">
    <title>Rev Dan Catt: Still Blogging</title>
    <dc:date>2014-10-21T18:42:33+00:00</dc:date>
    <link>http://revdancatt.com/2014/10/18/still_blogging</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It's fun to see people (by which I mean people I track) talking about blogging. Andy here and Gina here, and others in Andy's comments.

I thought I'd jot down my angle.

• I'm tired of putting content on other people's platforms such as Medium, Flickr & Tumblr because I'm now never quite sure when it'll all go bottom up with me scrabble to get my content back out. Instead I'm scrabbling now, slowly going back through my archive and converting posts to markdown and importing images from Flickr. You can see just how far I haven't got by the cube placeholder images at /root.

• No analytics, no tracking, no cookies. I don't want to help Google track people around the web just so I can see how few hundreds of people viewed the site today. Removing the tracking is part of owning content. My audio is still on SoundCloud which drags GA cookies in with it when I post it here, same with Vimeo/YouTube videos. It's getting easier to self-host that kind of stuff, I just haven't had the time yet. So, no javascript on the page, no css/images/js from external sites is the goal. As I'm still interested in where people come from I sometimes pop onto the server to run goaccess to view referrers.

• Blogging has changed, twitter and Medium have altered the need to blog how we used to. I've re-jigged my blog to be the historic record my future self will want. Hence why you get presented with the current month, rather than traditional reverse chronological posts. I'm designing it for a future when at the end of the year I can push a button and it'll toss all my content into a book, divided up into months.

It's my own shoebox"]]></description>
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<item rdf:about="http://tomofholland.com/">
    <title>tomofholland | The Visible Mending Programme: making and re-making</title>
    <dc:date>2014-09-21T06:43:13+00:00</dc:date>
    <link>http://tomofholland.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My name is Tom van Deijnen and I live in Brighton, UK. I’m a self-taught knitter and mender, originally from The Netherlands. I love doing things that take forever and technical detail, tradition and narrative inform many of my projects. Both knitting and mending projects feature on this blog. In my projects I always try to achieve the very best results as my abilities will allow. I prefer to use 100% wool yarn from independent yarn suppliers and particularly enjoy using breed-specific yarns from British breeds. They provide such a rich variety of textures and natural colours, I could never get tired of them!

Get In Touch

You can contact me on tomofholland@gmail.com.

About The Visible Mending Programme

The Visible Mending Programme seeks to highlight that the art and craftsmanship of clothes repair is particularly relevant in a world where more and more people voice their dissatisfaction with fashion’s throwaway culture. By exploring the story behind garment and repair, the Programme reinforces the relationship between the wearer and garment,  leading to people wearing their existing clothes for longer, with the beautiful darn worn as a badge of honour. By writing this blog, running darning workshops and taking repair work commissions I provide mending inspiration, skills and services to people and hopefully persuade them that shop-bought clothes deserve care and attention too, just like a precious hand-knit."]]></description>
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<item rdf:about="http://www.gardnercampbell.net/blog1/?p=1644">
    <title>Request for Comments | Gardner Writes</title>
    <dc:date>2014-09-05T19:22:22+00:00</dc:date>
    <link>http://www.gardnercampbell.net/blog1/?p=1644</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As Naughton tells the story, the young graduate students who were at the center of the Network Working Group found themselves with the future of the Internet in their hands. The big corporate brains knew about the machines that made up the network, but they didn’t know much about the network itself–it was too new, and it was an emergent phenomenon, not a thing they had built. The grad students in the NWG felt they were at great risk of offending the honchos, of overstepping their bounds as “vulnerable, insecure apprentices,” to use Naughton’s words. Crocker was especially worried they “would offend whomever the official protocol designers were….” But the work had to go forward. So Crocker invented the “Request for Comments,” what he called “humble words for our notes” that would document the discussions that would build the network.

Here’s how Crocker himself put it in this excerpt from RFC-3, “Documentation Conventions”:

<blockquote>Documentation of the NWG’s effort is through notes such as this. Notes may be produced at any site by anybody and included in this series…. [Content] may be any thought, suggestion, etc. related to the HOST software or other aspect of the network. Notes are encouraged to be timely rather than polished. Philosophical positions without examples or other specifics, specific suggestions or implementation techniques without introductory or background explication, and explicit questions without any attempted answers are all acceptable. The minimum length for a NWG note is one sentence.

These standards (or lack of them) are stated explicitly for two reasons. First, there is a tendency to view a written statement as ipso facto authoritative, and we hope to promote the exchange and discussion of considerably less than authoritative ideas. Second, there is a natural hesitancy to publish something unpolished, and we hope to ease this inhibition.</blockquote>

You can see the similarity to blogging right away. At least two primary Network Working Groups are involved: that of all the other people in the world (let’s call that civilization), and that of the network that constitutes one’s own cognition and the resulting “strange loop,” to use Douglas Hofstadter’s language. We are all of us in this macrocosm and this microcosm. Most of us will have multiple networks within these mirroring extremes, but the same principles will of course apply there as well. What is the ethos of the Network Working Group we call civilization? And for those of us engaged in the specific cognitive interventions we call education, what is the ethos of the Network Working Group we help out students to build and grow within themselves as learners? We discussed Ivan Illich in the Virginia Tech New Media Faculty-Staff Development Seminar today, and I was forcibly reminded that the NWG within sets the boundaries (and hopes) we have with which to craft our NWG without. School conditions what we expect in and from civilization.

I hope it’s also clear that these RFC-3 documentation conventions  specify a praxis of intellectual discourse–indeed, I’d even say scholarly communication–that is sadly absent from most academic work today.

Would such communciation be rigorous? Academic? Worthy of tenure and promotion? What did these RFCs accomplish, and how do they figure in the human record?  Naughton observes that this “Request for Comments” idea–and the title itself, now with many numerals following–has persisted as “the way the Internet discusses technical issues.” Naughton goes on to write that “it wasn’t just the title that endured … but the intelligent, friendly, co-operative, consensual attitude implied by it. With his modest, placatory style, Steve Crocker set the tone for the way the Net developed.” Naughton then quotes Katie Hafner’s and Matthew Lyon’s judgment that “the language of the RFC … was warm and welcoming. The idea was to promote cooperation, not ego.”

Naughton concludes,

<blockquote>The RFC archives contain an extraordinary record of thought in action, a riveting chronicle of the application of high intelligence to hard problems….</blockquote>

Why would we not want to produce such a record within the academy and share it with the public? Or are we content with the ordinary, forgotten, and non-riveting so long as the business model holds up?

Or have we been schooled so thoroughly that the very ambition makes no sense?

More Naughton:

<blockquote>The fundamental ethos of the Net was laid down in the deliberations of the Network Working Group. It was an ethos which assumed that nothing was secret, that problems existed to be solved collaboratively, that solutions emerged iteratively, and that everything which was produced should be in the public domain.</blockquote>

I think of the many faculty and department meetings I have been to. Some of them I have myself convened. The ethos of those Network Working Groups has varied considerably. I am disappointed to say that none of them has lived up to the fundamental ethos Naughton identifies above. I yearn for documentation conventions that will produce an extraordinary record of thought in action, with the production shared by all who work within a community of learning. And I wonder if I’m capable of Crocker’s humility or wisdom, and answerable to his invitation. I want to be."]]></description>
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<item rdf:about="http://www.taughtbyfinland.com/">
    <title>Taught by Finland</title>
    <dc:date>2014-08-28T05:33:59+00:00</dc:date>
    <link>http://www.taughtbyfinland.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["American teacher at a Finnish school."

"As an American teacher at a Helsinki public school, I'm getting to experience the innerworkings of Finnish education.

I created the Taught by Finland blog as a way to share many of my observations and insights from my time here."]]></description>
<dc:subject>teaching education finland blogs schools howweteach learning children timwalker</dc:subject>
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<item rdf:about="http://hampshiremedia.tumblr.com/">
    <title>HAMPSHIRE MEDIA</title>
    <dc:date>2014-08-21T10:06:21+00:00</dc:date>
    <link>http://hampshiremedia.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Intended to be a continuing resource for hampshire college students, run by media staff and student workers, this blog is a home for how-to's, equipment support, related geek news, and whatever else we feel like sharing."]]></description>
<dc:subject>libraries media tumblrs blogs hampshirecollege</dc:subject>
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<item rdf:about="http://www.museum-ed.org/">
    <title>Museum-Ed - Connecting the Museum Education Community</title>
    <dc:date>2014-07-15T07:37:43+00:00</dc:date>
    <link>http://www.museum-ed.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Museum-Ed strives to meet the needs of museum educators by providing tools and resources by and for the museum education community. Museum-Ed is a not-for-profit organization dedicated to providing museum educators opportunities to ask questions, to exchange ideas, to explore current issues, to share resources,to reflect on experiences, and to inspire new directions in museum education. Museum-Ed is not a membership organization. All of the resources on the Museum-Ed Web site are free and available to educators in any type of museum, and anyone interested in the field of museum education.

There are a variety of ways to participate in Museum-Ed, including a discussion list called talk@museum-ed with searchable archives, a conference and professional development calendar, blogs, sample training materials for docents and volunteers and other material contributed by museum educators.

If you are not a member of the talk@museum-ed discussion list, we hope you’ll join the discussion. Please also consider contributing your ideas for additions to this Web site, either on the discussion list or by writing the editors below. With your input, Museum-Ed can continue to represent the ideas and contributions of all who use its resources."]]></description>
<dc:subject>museums education tofollow blogs communities</dc:subject>
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