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  </channel><item rdf:about="https://www.thenewatlantis.com/publications/the-bills-that-destroyed-urban-america">
    <title>The Bills That Destroyed Urban America — The New Atlantis</title>
    <dc:date>2026-04-01T04:17:04+00:00</dc:date>
    <link>https://www.thenewatlantis.com/publications/the-bills-that-destroyed-urban-america</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The planners dreamed of gleaming cities. Instead they brought three generations of hollowed-out downtowns and flight to the suburbs."

[See also:


"The Demise of Real Neighborhoods Is a Story of Finance"
https://www.thenewatlantis.com/publications/the-demise-of-real-neighborhoods-is-a-story-of-finance

"America’s neighborhoods were once beautiful, unique, dense, and scaled for a communal life on foot. But obscure federal rules piling up over a century have made it nearly impossible for banks to finance new ones."]]]></description>
<dc:subject>josephlawler cities us 2026 urbanplanning urban cars stlouis automobiles policy markgelfand history middleclass transit publictransit transportation streetcars rail railways trains congress pruitt-igoe neighborhoods progressive progressivism catherinebauer housing mobility nyc lecorbusier rationalism paris villeradieuse slums density crime michaelbloomberg rudolphgiuliani edithelmerwood puertoricop sanjuan planning laws law legal 1937 detroit zoining howardhusock publichousing society roberttaft banking banks finance lawmaking robertomoses 1949 1954 1973 richardnixon poverty fha 1932 1934 1944 alexandervonhoffman morthages suburbs suburbia economics economy race racism brooklyn oarkslope boston southend 1849 housingact</dc:subject>
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<item rdf:about="https://www.roborantreview.com/reviews/a-tale-of-two-first-thursdays">
    <title>A Tale Of Two First Thursdays — Roborant Review</title>
    <dc:date>2026-02-16T04:08:22+00:00</dc:date>
    <link>https://www.roborantreview.com/reviews/a-tale-of-two-first-thursdays</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Perspectives: A series authored by art world professionals on the state of the arts."

...

"Before proceeding, I should interject that I have no intention of villainizing anyone at the TLCBD—since we opened our space they have been incredibly helpful and supportive of us every step of the way, and generally do a lot of important work in the neighborhood. Everyone I’ve met who works for them also, in their own way, genuinely cares for the Tenderloin and wants to see it thrive. I also understand that, especially in our current economic climate, organizations like the TLCBD need to take whatever funding they can get—public or private—and selectiveness is not a luxury everyone can always afford to exercise in the nonprofit sector. That being said, it has become apparent I have some major philosophical differences with them regarding what our neighborhood needs right now, and it’s my opinion that it isn’t a sleek makeover aimed at transforming it into a trendy and up-and-coming place to live. We’ve all seen what similar initiatives have done in neighborhoods like Bushwick in Brooklyn, and Boyle Heights in Los Angeles—and they almost exclusively result in erased cultures, higher rents, and ultimately displacement. 

All opinions aside, however, the move to bring that same money—and the same people behind DFT—into our neighborhood to manufacture this rebranding was something more than an ideological difference at this point—it was personal. If watching this cabal of billionaires and their money usurp the First Thursdays wasn’t hard enough, not being able to speak up or do anything about it for two years has given the umbrage I’ve carried plenty of time to ferment. This was, not to mention, compounded by the recognition of the greater motives at play—to further transform San Francisco into a playground for the ultra-wealthy along with their ensuing urban development and unchecked tech experimentation (e.g., Waymo). Offers to bolster and fold the First Thursday Art Walk into this “Larkin Street Revival” program struck me as a textbook example of Art Washing—because, of course, if efforts to “revive” and gentrify a commercial corridor are underway, what better place to start than with a monthly art walk?

Beginning on January 1st, 2026, the First Thursday Art Walk officially found itself without funding once again—and admittedly of my own volition this time. The TLCBD offered to try to find additional funding that did not come from Chris Larsen’s $5 million donation, but I decided that the affiliation, even if only by proxy, was too strong, and I was thus resolute in cutting my ties with them. I did, however, acknowledge that while I was the steward and the main organizer, I did not start nor own the Art Walk. It was a community event, and the community ought to decide what was best for it. If the community chose to take Chris Larsen’s money, I would not stand in their way—however, neither I nor my gallery would have any part in it. On January 27th, I called a meeting that brought together a congress of those of whom I considered the most active participants of the Art Walk—those who regularly organized events each month and had some level of investment in the growth of the First Thursdays. The objective was to educate everyone on the situation, share opinions, and discuss whether they as a whole wanted to accept this money, and if not, then what to do in the interim until alternative sources of funding were found. 

Among the dozen or so small business owners and representatives present, the consensus on whether to take the money was generally divided. A few people wholeheartedly stood behind my decision, while a few others were quite vocal in their beliefs that the money could benefit the community. Most, however, acknowledged both the pros and cons equally and expressed little more than indecision. One of the biggest arguments for accepting it was that the money was going to be allocated to the neighborhood anyway, and as the pre-existing small businesses here, we should be the ones to receive it and put it to use. An understandable perspective, but one that, for me at least, begins to break down in light of the increasingly exposed designs underway in the reshaping of our city to fit the wants and needs of a select few at the cost of many. And if we believe these billionaires are inherently unethical, along with their constant bypassing of democracy through “charity,” the question remains: how can we accept their contributions without incurring the moral and existential toll? 

While no conclusion was reached at the meeting, more or less everything was laid out on the table, and it was decided that the matter of accepting Chris Larsen’s money would be put to a vote in the coming weeks. This would give everyone time to do their own research and come to their own conclusions before making a final judgment. The Art Walk now sits in limbo, and the future of its governance rests in the hands of its most devoted participants. 

Go To Hell With Your Money, Bastards

Of all of my favorite pieces of dusty, twentieth-century art history lore, one of the perhaps most inspiring is the response of Danish artist and thinker Asger Jorn (co-founder of the COBRA group and Situationist International) to receiving the Guggenheim International Award in 1964. The esteemed award, which included a $2,500 prize, was promptly rejected by Jorn who, via telegram, immediately responded with “Go to hell with your money, bastard,” and a demand that public confirmation of his refused participation be made. In a day-and-age when selling out is not only increasingly acceptable, but the active goal of many artists and institutions, the sentiment of Jorn’s telegram rings for me now louder than ever. 

While the term “art washing” itself is relatively new, the practice has existed in many forms over the course of not just decades, but centuries. As early as the Renaissance, the aristocracy has used art to both launder any number of their own misdoings and as attempts to share credit for the achievements of greater minds than their own. Jorn most certainly saw past this veil, just as many now collectively recognize the sly employment of artists, muralists, galleries, and subcultures as tools for real estate speculation and development. Given such understanding, I would think the choice to not accept money from the likes of Chris Larsen, Daniel Lurie, or the Civic Joy Fund should be an easy one. 

The unfortunate reality, however, is that the reigning narrative of modern-day San Francisco just may no longer be one of conviction, compassion, and standing up to power that it has historically been touted for. That narrative has been replaced by one defined by mass surveillance, hostile anti-houseless architecture, and the full embodiment of our century’s tech-entrepreneurial response to Manifest Destiny. And the remaining pockets of genuine culture and community that exist here seem under constant threat themselves of either co-option, exploitation, or eventual displacement. For those of us who are still clutching onto some vision of the San Francisco we fell in love with however many years ago, the choice is now ours as to whom we align ourselves with. 

I know a lot of people view the Civic Joy Fund and their donors and affiliates as some sort of vital and even necessary force in the resuscitating of our city and in helping it to thrive. Others, like myself, see it as yet another arm of the technocratic billionaire class’s crushing stranglehold on the soul of San Francisco, but all the more nefarious in its masquerading as culture, equity, and inclusion. It is of my humble opinion that a city is not “thriving” when a small group of the ultra-wealthy are having to bankroll endless free street concerts and activations to try to make the city more fun for exactly the same class of people who helped decimate it in the first place—especially when those activations are co-opted and at the expense of pre-existing traditions like the Tenderloin & Lower Polk Art Walk. 

A city thrives when working-class families, individuals, and artists can afford to live in it and aren’t constantly suffocated by rent, rising costs of living, and the looming fear of eviction. A city thrives when workers, students, and small businesses are supported both by infrastructure and by demographics of people who not only inherit the city but are actively interested and engaged with it. San Francisco’s problem for too long has been pandering to an industry of people who are generally detached—and whose only incentives for living here lie in the close proximity to their tech jobs and the convenience of being able to order a near-infinite variety of meals from DoorDash while they isolate in the safety and comfort of their condos and can only be lured out with enormous (and free) block parties. 

As I write this, the corporate street fair known as DFT, about which I’ve hitherto been prohibited from speaking, continues to rage on at the start of each month, along with the endless other events and activations they’re trying to use to invigorate San Francisco and, in turn, preserve the investments of the city’s wealthiest shareholders. Meanwhile, the future of the First Thursday Art Walk—or at very least my involvement in it—is precarious. These recent events have led me to do some deep introspection about whether a gallery like ours, and a monthly art walk, can even exist at all in a neighborhood like the Tenderloin without, in some way—if even inadvertently—feeding the cycles of gentrification, no matter how intent we’ve become on resisting them. Looking back, I question whether my endeavors to work with the city at all have been the right idea, and whether my efforts would have matured better had they remained in spite of, rather than in collaboration with, these institutions shaped by conflicting incentives and entrenched in the power structures that govern San Francisco. 

Documenting this all has also prompted me to do some serious ruminating on not only my own complicity, but that of artists and galleries in general within these extractive economic systems we’re immersed in. Unless one keeps the creative work they do entirely divorced from commerce—and I praise the few that do—there is no practical way to vet every transaction that helps uphold our practices. As the adage goes, there is no ethical consumption under capitalism. This raises the question: when, and where do we then draw the line? For me, I’ve concluded it’s when my work risks being weaponized, either directly or indirectly, to perpetuate harm or promote the agendas of those I stand in moral opposition to. Witnessing what has happened in San Francisco over the past few years, I’ve grown to understand how challenging it can be for artists to evade such agendas, as they often arrive disguised as much-needed patronage and support, and prey on a financially vulnerable class of people. But that does not excuse us from having to ask ourselves these hard questions, and with what’s happening in our city, the time to be asking them is now.  

The closure of Moth Belly Gallery at this point may be all but imminent, but I’d much prefer that over having our legacy tainted by any affiliation to the rampant sterilization of this city and the billionaire money propelling it. Besides, five years is a long time to have run a space like ours, and it would be in line with the ephemeral nature of DIY, artist-run galleries to clock out around this time. If that means getting a regular job again, all the better—as I’m at a point where I’d rather do that than continue to be constantly beholden to the interests of others when it comes to the things that I cherish. And if that also entails the true end of my now 23-year tenure as a resident of San Francisco, I also accept that fate, and am thankful for having at least caught a short glimpse of the marvelous city San Francisco once was before being devoured by the mass corporatization of the twenty-first century."]]></description>
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    <title>Why I Walk - Chris Arnade Walks the World</title>
    <dc:date>2026-01-10T17:52:49+00:00</dc:date>
    <link>https://walkingtheworld.substack.com/p/why-i-walk-part-1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Walking as learning"

[part 2:
https://walkingtheworld.substack.com/p/how-to-walk-12-miles-a-day

see also:

"Walking, Wittgenstein, and God
Without God, what exactly is there?"
https://walkingtheworld.substack.com/p/walking-thinking-and-god ]]]></description>
<dc:subject>chrisarnade walkign 2022 learning howwelearn urban cities place experience nyc brooklyn slow hagiasofia shipoftheseus istanbul atikvalide türkiye turkey</dc:subject>
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    <dc:date>2025-11-12T06:23:41+00:00</dc:date>
    <link>https://daily.jstor.org/on-the-meaning-and-value-of-public-spaces/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What is public space? How is it produced, and why is that production important for our social and political lives?"

[See also:

"Perspectives on Public Space: A Reading List

This list introduces some of the main debates about public space, from park politics to political protest, public expressions of sexuality to safety and security."
https://daily.jstor.org/perspectives-on-public-space-a-reading-list/ 

Full series here:
https://daily.jstor.org/series/perspectives-on-public-space/ ]]]></description>
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<item rdf:about="https://placesjournal.org/article/extralibrary-loan-making-civic-infrastructure/">
    <title>Extralibrary Loan: Making the Civic Infrastructure We Need</title>
    <dc:date>2025-11-02T20:52:41+00:00</dc:date>
    <link>https://placesjournal.org/article/extralibrary-loan-making-civic-infrastructure/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Amid a war on public knowledge, libraries are pushing outward, enlarging the commons through new configurations of civic and creative life."

...

"We don’t need fancy, new buildings to create civic synergies or build community news networks. But thinking spatially and programmatically can help us imagine what’s possible, which partners should be invited in, how the logistics of sharing are structured, what spaces of exception and refuge will be carved out. We should think, too, about topologies of fortification: how these allied institutions and partnered programs can be more deeply rooted in their communities, and, through their entanglement and embeddedness, less vulnerable to isolated attack. Banding together, they demonstrate the value of civic adjacencies. And scaling up — to an urban or regional-logistical scale — they form new networks of solidarity: improvisatory extra-institutional loans, systems of sharing, fugitive infrastructures, shadow libraries, joint trusts, collective practices of hope, expansive undercommons necessary in this dark era."]]></description>
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    <title>Electric cargo bikes are rewiring people for the better - YouTube</title>
    <dc:date>2025-09-22T17:00:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ypUGjGWo_hg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The best type of e-bike for replacing car trips is the cargo bike. Sturdy, capable, and often able to haul lots of cargo or even multiple humans, electric cargo bikes are rewiring cities to adapt their infrastructure for more human-centric transportation. Parents are using them to take their kids to school, businesses are using them for last-mile delivery, seniors are using them to improve their mobility, and cities are using them to replace traditional car- and truck-based services, like snow plows and garbage pickup. #Transporation  #Technology #Bikes 

0:00 Intro
0:25 The cargo e-bike revolution
2:47 Visiting Propel bike shop in Brooklyn
3:57 Bike infrastructure challenges
5:51 Interview with Arleigh Greenwald, Electric bike specialist 
6:37 Bike bus 
7:35 Conclusion"

[See also:

"Why your next car should be an electric cargo bike
Cargo bikes are rewiring cities to adapt their infrastructure for more human-centric transportation. And they’re also really fun to ride. Plus: bike bus!"
https://www.theverge.com/transportation/781908/electric-cargo-bike-car-replace-bike-bus

"A couple of years ago, I helped start a bike bus in my suburban town in North Jersey. The pandemic was still raging, and we were all looking for ways to get our kids out of the house and on to their bikes so they could get a little physical activity before school.

One of the things that helped me get the bike bus started was an electric cargo bike. At the time, my kids were too small to ride the two-and-a-half miles to our school by themselves, so the cargo bike — a first-gen Flyer L885 with a rear-hub motor and a plethora of fun accessories (now renamed the Flyer Via Pro) — was an elegant solution to this problem. Now, three years later, they can ride their own bikes, but I still find myself using my cargo bike to lead our growing bike bus pack every Friday. And it’s replaced my car anytime I need to run a local errand. It’s my “daily driver.”

Ever since the pandemic, electric bike sales in the US have been on a rocket ship trajectory. They are the fastest growing bike category for the past several years, according to recent statistics. And while there was some concern that the e-bike boom would fade post pandemic, or that tariffs and trade wars would put a dent in them, sales have held strong. It looks increasingly likely that electric bikes are here to stay.

E-bikes tend to stir up a lot of passion — They’re too fast! Teens are riding them unsafely! Bike lanes are already too crowded! What about faulty batteries? — but their utility is unquestionable. Owners talk a lot about using their e-bikes in unique and creative ways. But the best use for an e-bike is to replace a car trip. And the data suggests that e-bike owners are doing exactly that.

The best type of e-bike for replacing car trips is the cargo bike. Sturdy, capable, and often able to haul lots of cargo or even multiple humans, electric cargo bikes are rewiring cities to adapt their infrastructure for more human-centric transportation. Parents are using them to take their kids to school, businesses for last-mile delivery, seniors to improve their mobility, and cities to replace traditional car- and truck-based services, like snow plows and garbage pickup. We’re even starting to see electric cargo bike share programs emerge as a solution for anyone who can’t afford one of their own.

And perhaps the most joyful application, cargo bikes are playing a central role in the global movement to encourage more kids to ride their bikes to school. These bike buses that are springing up in cities and towns across the world are exposing more people to the joys of electric cargo bikes as well as the need for better infrastructure, slower speed limits, and communities that are oriented around the smallest and most vulnerable among us.

There’s still a long way to go before electric bikes, and cargo bikes in particular, are seen as legitimate forms of transportation in the US. Europe has made a lot more progress in that regard. Cities need to build safer systems, like protected bike lanes and convenient bike parking, to encourage more people to ride. And that requires taking space away from cars, which is a politically fraught proposal. Governments need to ensure their citizens are protected from faulty batteries that have been known to catch fire. And drivers and cyclists alike need to give each other a little bit of grace and make room for new people in the community — especially children — so everyone feels welcome, included, and valued.

Cargo bikes won’t solve every problem we have. But they can certainly help make our communities more livable."]]]></description>
<dc:subject>bikes biking ebikes carbikes transportation 2025 cities urban urbanism climatechange climate cars trasnportation transit mobility us bikepaths bikeability catstrain delivery infrastructure green environment streets urbanplanning bikebuses arleighgreenwald nyc brooklyn offline cycling safety porland minneapolis sanfrancisco</dc:subject>
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    <title>Building a Watch From Scratch In Brooklyn - YouTube</title>
    <dc:date>2025-08-13T18:26:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=FdT94gXsyoc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Taylor Scott Mason takes us through the inner workings of Brooklyn Watchmaker, Giles Clement. Giles is not only building his own watches, but building the machinery needed to make the parts right here in New York."

[See also:
https://wornandwound.com/building-a-watch-from-scratch-in-brooklyn/ ]]]></description>
<dc:subject>taylorscottmason gilesclement watches watchmaking 2025 brooklyn</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7a25b0cc01a6/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=Zv7TRhHXuEI">
    <title>Meet the Israeli Religious Extremists That Are Trying To Bring About The End Times - YouTube</title>
    <dc:date>2025-05-08T21:54:27+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Zv7TRhHXuEI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There’s a movement in Israel that wants to bring about the end times.

The Temple Movement believes destroying Al-Aqsa Mosque and replacing it with a Jewish temple will bring about the messiah.

BT’s Kei Pritsker explains the movement’s goals and its ties to Israeli fascism."]]></description>
<dc:subject>us israel endtimes apocalypse jerusalim likud benjaminnetanyahu 2025 mikehuckabee donaldtrump policy colonialism colonization ethniccleansing genocide kahanism meirkahane history zionism christianzionism supremact displacement dispossession westbank gaza nyc brooklyn chabadlubavitch religion extremism templemount al-aqsamosque prophecy muslims judaism fringe rightwing farright domeoftherock palestine babylonians ancientrome messiah templeinstitute ideology fascism yisraelariel kachparty jewishdefenseleague antizionism yasserarafat jdl assassination alexodeh darrellissa canada terrorism alidawabsha chaimrichman templemountfaithful movementfortemplerenewal chaivekayam harhabayitshelanu nationalism ethnonationalism settlercolonialism settlers lehava islamophobia antiarab shmuelsackett tzipihotovely uriariel eliban-dahan miriregev ayeletshaked yarivlevin yuliedelstein knesset yehudaglick moshefeiglin yitzchakpindrus itamarben-gvir baruchgoldstein thirdtemple thirdtemplemovement iof idf mendelschneerson rebbe raci</dc:subject>
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    <title>The Vanishing Genius - Political Currents by Ross Barkan</title>
    <dc:date>2025-04-07T23:18:15+00:00</dc:date>
    <link>https://rosselliotbarkan.com/p/the-vanishing-genius</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And I think, watching these children from afar, that almost none of them are going to conceive the next Pet Sounds or Song of Solomon or Mulholland Drive. For all the obsessing modern parents do over the fates of their children, they’re happy to toss out an iPad or a smartphone or a Nintendo Switch and let their boys and girls melt, slowly, in the blue light. A person close to me once suggested that wardens should start giving prisoners iPhones because there’s nothing that will more rapidly pacify an unruly and restless population. If iPhones were teleported back in time to the twentieth century, would we have a twentieth century? Much of the mass culture then, high and middle, was birthed, with little exaggeration, in unremarkable New York City public schools. Here’s one era: Paul Simon (Forest Hills HS ‘59, with Art Garfunkel), Carole King (James Madison HS ‘58), Barbra Streisand (Erasmus Hall HS ‘59), Neil Diamond (Lincoln HS ‘58, and attended Erasmus with Streisand), Barry Manilow (Easten District HS ‘61), David Geffen (New Utrecht HS ‘60), and Tony Visconti (New Utrecht HS ‘60). Gerry Goffin went to the more selective Brooklyn Tech and graduated in 1957. Lou Reed grew up in the nearby Long Island suburb of Freeport and graduated Freeport High in 1959. If you’re looking for literary lions, the city public schools have a few, including Arthur Miller (Lincoln HS ‘32), James Baldwin (attended DeWitt Clinton HS), Cynthia Ozick (Hunter College HS ‘46), and Norman Mailer (Boys High ‘39). This is not an argument for sending your precious offspring to neighborhood New York schools—no school anywhere has magic genius fairy dust to make your child into a generational talent—but it is a reminder that these men and women all had parents who behaved very differently than today’s spiritual technocrats. All of these giants, in their youth, had time to dream—and dream grandly. What kind of time do children have now? What about teenagers? Twenty-somethings? Brian Wilson once called music God’s voice and I mull this occasionally, the link between art and divinity and the purpose of a human life. If we want to give honor to something greater than ourselves, we must not squander the potential we do have, the genius we might harbor. To do so would be, if not a sin against creation, then a tragedy. And an avoidable one."

[via:
https://blog.ayjay.org/two-quotations-on-the-effects-of-phones/ ]]]></description>
<dc:subject>publicschools publiceducation brooklyn nyc history literature music jamesmadisonhighschool nycps brooklyntech rossbarkan beachboys creativity imagination brianwilson children childlaborlaws technology screens screentime videogames smarthphones mobile phones publishing novels parenting paulsimon caroleking barbrastreisand neildiamond favidgeffen tonyvisconti gerrygoffin loureed barrymanilow jamesbaldwin arthurmiller cynthiaozick normanmailer</dc:subject>
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<item rdf:about="https://www.thrashermagazine.com/tag/this-old-ledge/">
    <title>Thrasher Magazine - Displaying items by tag: This Old Ledge</title>
    <dc:date>2024-12-20T22:02:59+00:00</dc:date>
    <link>https://www.thrashermagazine.com/tag/this-old-ledge/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>tedbarrow thisoldledge skateboarding skating history cities losangeles nyc sanfrancisco brooklyn dtla urban urbanism urbanplanning design urbandesign thrasher thrashermagazine architecture philadelphia dc washingtondc</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:cdb66243f812/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=USNJ2eOme8E">
    <title>We Tracked the Secret Police Microphones Hidden Everywhere | WIRED - YouTube</title>
    <dc:date>2024-12-19T20:58:48+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=USNJ2eOme8E</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["ShotSpotter microphones are controversial surveillance devices designed to alert authorities to gunshots. But their exact locations have been kept secret from both the public and the police—until now. WIRED obtained leaked documents detailing the locations of over 25,500 of these devices, and what we learned abut how and where they’ve been deployed may surprise you.

Read more: https://www.wired.com/story/shotspotter-secret-sensor-locations-leak/

Have data or information you'd like to share with WIRED? You can reach out securely via email at dhruvmehrotra@wired.com or on Signal at dmehro.89"]]></description>
<dc:subject>shotspotter surveillance police policing 2024 pasadena chicago miami brooklyn nyc microphones dhruvmehrotra joeyscott</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d32ad01c6c32/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=U-JZy79eQ-M">
    <title>Riding Into The Future with Tarform Motorcycles - YouTube</title>
    <dc:date>2024-07-06T00:19:06+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=U-JZy79eQ-M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The traditional motorcycle is getting an upgrade thanks to a Brooklyn-based startup called Tarform. The company is launching their first street-legal, electric motorcycle to the public. The founder, Taras Kravtchouk, designed the modern vehicle with sustainability in mind. The top shape (where the gas tank normally is) is a flax seed composite dyed with algae-based pigments.

Beyond electrification, Kravtchouk forecasts a big change in mobility. With traffic-ridden highways and smog-covered cities, lighter and smaller vehicles could improve the roads. And with Tesla leading the way, consumers are more interested than ever in electric vehicles. Would you drive one of these sci-fi bikes? Presented by Samsung."]]></description>
<dc:subject>motorcycles tarform brooklyn electric sound 2020 taraskravtchouk</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d86c9457ba9b/</dc:identifier>
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</item>
<item rdf:about="http://80s.nyc/">
    <title>80s.NYC - street view of 1980s New York</title>
    <dc:date>2023-09-17T19:06:33+00:00</dc:date>
    <link>http://80s.nyc/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Explore over 100,000 street segments and 800,000 building photos.

Click near a highlighted segment to see the street, or select a featured story from the menu above."

[See also:
https://1940s.nyc/ ]]]></description>
<dc:subject>maps mapping streetview photography nyc brooklyn 1980s history buildings archives 1940s lcd googlestreetview</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ca086360503a/</dc:identifier>
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<item rdf:about="https://1940s.nyc/">
    <title>1940s NYC | Street photos of every building in New York City in 1939/1940 [also 1980s]</title>
    <dc:date>2023-09-17T19:03:32+00:00</dc:date>
    <link>https://1940s.nyc/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Between 1939 and 1941, the Works Progress Administration collaborated with the New York City Tax Department to collect photographs of most buildings in the five boroughs of New York City. In 2018, the NYC Municipal Archives completed the digitization and tagging of these photos. This website places them on a map."

[See also: http://80s.nyc/ ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=nmvKNpEJJ-c">
    <title>Neighborhood Nostalgia Comes to Life | The Originals | The New Yorker Documentary - YouTube</title>
    <dc:date>2023-02-23T19:48:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=nmvKNpEJJ-c</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Five friends recount what life was like in Brooklyn in the nineteen-seventies—from the games they played in the street to the criminal elements they tried to avoid—in this short film by Cristina Costantini and Alfie Koetter."

[via:
https://kottke.org/23/01/the-originals-a-short-film-about-bygone-brooklyn ]]]></description>
<dc:subject>brooklyn carrolgardens italianamericans 2022 neighborhoods immigrants cristinacostantini alfiekoetter childhood history oralhistory nostalgia nyc cities urban children community</dc:subject>
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<item rdf:about="https://infinitemiledetroit.com/Bougie_Crap_Art,_Design_and_Gentrification.html">
    <title>Bougie Crap: Art, Design and Gentrification - ∞ mile Detroit</title>
    <dc:date>2023-01-15T03:36:35+00:00</dc:date>
    <link>https://infinitemiledetroit.com/Bougie_Crap_Art,_Design_and_Gentrification.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A prime example of bougie crap is Shinola’s products, especially their watches ($500 - $1500) and bikes ($1950 – $2950) that undergo “precise, custom-level assembly by experts in our Detroit Flagship retail store…. Because we believe there's only one way to properly build” a watch or bicycle and that's “one at a time, by hand, with rigorous attention to detail and using only the highest quality components available.”5 Shinola’s French style bicycle (with American-made frame and fork) is designed for “urban riding, commuting and running errands … in any weather” and costs $757 more than the $2,193 Detroit 2013 median household monthly income.6 But, they reassure you, if you care for your bike, you can “pass it on to your children and grandchildren”; bougie crap promises a legacy of permanence via consumer culture in contrast to the decay of Detroit.7"

...

"As artists and designers, we are complicit in gentrification-by-bougie crap, not just as consumers, but as collaborators with gentrifying agents. The College for Creative Studies (CCS) houses Shinola’s watch factory and Detroit corporate office on the fifth floor of the Alfred A. Taubman Building, a building that started life as the Argonaut Building, constructed by General Motors in the 1920s-30s as their research lab, vacated by GM in 1999 and donated to CCS in 2008. The building was reborn with Taubman’s name during renovations in 2008, funded by a $2.5 million donation from GM (a year before they received their $50 billion U.S. government bailout), $64 million in tax credits, $56.8 million from CCS’s trustees, private foundations, corporations and individuals and $18.6 million from the Henry Ford Learning Institute and the Thompson Education Foundation that chartered the middle/high school housed in the Taubman Building.10 The tenants of this building, named after the mall developer and self-described “luxury retail pioneer”, reflect the clash between art/design, education, corporate interests, social responsibility and their competing and allied values.

More than just an occupant, Shinola is a “partner” in educating the CCS students and a collaborator in their curriculum.11  A Shinola promotional video celebrating this “partnership” showcases the Shinola-sponsored, student-design workshops as a means to “give students real life experience working with a brand.”12  At this pivotal time in their lives, young people privileged to attend college stand on the threshold of exploring, redefining and identifying their interests and values. William Deresiewicz describes the opportunity of college as the best chance to learn to think, to develop moral awareness, self-awareness and intellectual growth.13  Instead of establishing an environment where artists and designers defy established perspectives or rage against the machine, CCS connects them with a brand. No, CCS redesigns the curriculum with the brand, and presents this as innovation. Says one student in the video: “… just trying to get out of who I am and aligning myself with this brand and really falling in love with it, which we did, I think I grew as a person and as a designer.”

In expression, demographics and tenets, the Shinola video and a second promotion by CCS personify the values of bougie crap in reinforcing the status quo. There are larger questions here about how higher education, in general, perpetuates privilege but, for now, I am focusing on the connections between a very specific confluence of art, design, class and education in Detroit. To begin, participants in the CCS/Shinola union enact the racial and class divide at play in the gentrification of a Detroit that’s “rising from the ashes” but also pre-existed within the Fordist automotive industry. All Shinola executives and CCS professors in the videos are white men; almost all the student representatives awarded speaking parts are white males, with just enough black people in the background or supporting roles to provide the “veneer of class neutrality.”14  CCS’s student population is 9% African American in a city that was 82.7% Black in 2010.15 While (white) Bachelor-degreed Watch Designers, Brand Coordinators and Production Engineers “explore ideas quickly,” participate in a “fast paced environment” and “create exciting content featuring the people, materials, and story that make Shinola unique,” the “non-confrontational” (the second Personal Attributes qualification for this “career”) High School-degreed Line Assemblers and Industrial Sewers depicted in Shinola’s representations of their watch “workers” “sit for long periods of time” and have the ability “to understand and follow instructions.”16 The physical mobility of employees in their “careers” reflects their social mobility.

Second, CCS collaborates in casting the Shinola brand as a cultural agent associated with craft, makers, creative innovation and youthful perspectives. This is done by positioning the business within the school itself, but also by emphasizing the union between craft and industry. At a certain point in their promotional materials, the two groups and their language become indistinguishable from each other. Echoing Shinola’s pitch in his own presentation, one student declares: “We want to show design that’s informed by hand-craft. We use bright colors throughout and spirited imagery, uh, that will reflect these fresh ideas and expressions.”  A CCS product design student sporting the archetypal urban-woodsman beard says: “I’m really into, you know, making stuff by hand.” Jump to Shinola Creative Director Daniel Caudill, who reminds us “We like to feel like we’re individuals and we like to personalize our stuff,” just as the video cuts to a scene of him sitting next to a bearded, tattooed man, presumably from Shinola, who looks like he wandered in from the set of Little House on the Prairie (1974 - 1982).  The rhetoric being taught here is that of bougie crap: use techniques and aesthetics that evoke “hand craft” to suggest originality and individuality. Presumably, Shinola is aware of marketing studies revealing that consumers attribute “higher moral status to traditional craft processes” in which artisans work with their hands and create “out of some inner need, not focused on some external demand.”17  Their questionnaire assessing consumer responses to cities reveals that their branding strategy originated in studies such as these. Find the target market, discover how they define authenticity and then appear genuine in intent. In the Shinola/CCS videos, CCS students, looking like younger versions of the Shinola executives, present “fresh” versions of the brand — material qualities, color choices and font styles — unaware that they are simply replicating alternative forms of calculated “authenticity.”

The look of the urban woodsman isn’t just a fashionable digression. These urban woodsmen in thermal underwear, plaid shirts, beards and wool caps perform roles of masculinity and bravado imagined about the lumberjack of the American West, a fiction recently exposed by Willa Brown who sees the lumbersexual as a trend for the modern man in crisis, “on the edge of losing their birthright”.18  In CCS and Shinola videos, drawing attention to these figures fortifies their claim of authenticity; these products are born, not of executives stuck behind their desks, but of men in touch with their hands and the virtues of manual labor. Yet, the pioneer is a complicated symbol in Detroit with many residents and business owners of color disturbed by the media and fiscal attention paid to new, white “pioneers” when they’ve struggled for decades to maintain the city’s culture and trade.19  You won’t see men of color playing urban woodsmen or pioneers — perhaps because they don’t find that historic period one that merits revisiting or the colonizer a role that’s enjoyable to play.

At issue in this union of art, design and commerce is an ethics that encourages students to stylize bougie crap and customers to buy more stuff.  In this case, CCS teaches students the visual and verbal cues to create and establish bougie crap as a normative principle, without imparting a consciousness about the economic and social agendas being served and legitimized in these representations.20  When design is confused with styling, students aspire to produce bougie crap. As design scholar Steven McCarthy laments in his book The Designer As… (BIS Publishers, 2013),: “The function of much design now is to lubricate the exchange of currency, not to provide affordable housing, healthy foods, efficient transportation, accessible information, a cultured citizenry and more.”21 Art/design schools should take the lead in challenging and empowering students to become attentive to critical social, political and economic problems. Joseph Beuys argued that all of us should use creativity to engage with capital — not profit-based private capitalism — but in the form of human capacity, growth and democracy in forming alternate productive systems.22  Innovation? — CCS putting the fifth floor to use in developing entrepreneurial activities that support real Detroiters at the heart of industry creation, a sustainable economy and equitable distributions of power and engagement.

These questions of design arose recently on Core 77 in a feature about Soulcake Creative’s Kickstarter campaign for their new product. In his statement, Soulcake industrial designer Geoff Ledford lamented a “society obsessed with stuff”: “…sadly, the only inexhaustible part of the [consumer] loop seems to be consumers' incessant demand for more.” “What’s a designer to do?” asked Ledford. “As designers, we can't do much to discourage society's obsession with stuff…. If designers do our jobs well, we actually encourage customers to buy more stuff, not less.”23  This is the rhetoric art and design students come upon: “We as designers can’t stop designing stuff, so let’s adopt the language of bougie crap and connect it with art/design as a model of “hand-craft” or “personalization.” Ledford doesn’t answer his question “how can problem-solving designers confront consumerism and the environmental crisis?” by encouraging consumers to redefine “capital” or by empowering people to live more modestly. His solution: manufacture designer walking sticks from recycled golf shafts.

Beyond the complicity of artists and designers in the consumption, production and exhibition of bougie crap, the final culprit is the failure of artists as cultural critics. As socially-aware, creative people, we tend to agree that major corporations such as ExxonMobil, McDonalds and Starbucks are politically, environmentally, culturally or economically corrupt. As artists, we address these social issues through interventionist projects and tactical media. We may be wary of Columbus Day celebrations, knowing the genocide of Native Americans that resulted from the hands of white colonialists. Yet, we are often leaders of the Christopher Columbus Syndrome, a phenomenon Spike Lee described in reference to the gentrification of Fort Greene, Brooklyn.24  Let’s pursue “big-time” corporate and environmental offenders like Dow Chemical and Wal-Mart, but let’s remember to look within our own community at the ways in which art and design serve the wealthy classes, undermine economic equity and contribute to gentrification. Let’s widen our perspective to include criticism that may be directed back at our own consumption and productive patterns."]]></description>
<dc:subject>design capitalism marketing image gentrification detroit socialmobility education economics equity josephbeuys status class rebekahmodrak 2015 consumption wealth signaling power calculatedauthenticity authenticity williamderesiewicz statusquo neoliberalism highered highereducation culture labor co-option brands branding demographics misrepresentations brooklyn forgreene colonialism spikelee society consumerism art personalization geoffledford rhetoric bougiecrap complicity columbussyndrome ethics climatechange displacement stevenmccarthy willabrown lubersexuals collegeforcreativestudies criticalthinking criticism watches cooption permanence cooptation</dc:subject>
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<item rdf:about="https://kameelahr.com/">
    <title>Kameelah Janan Rasheed</title>
    <dc:date>2021-04-13T01:56:27+00:00</dc:date>
    <link>https://kameelahr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“I am a learner1 from East Palo Alto, CA.2

Learning as a thing one does in interdisciplinary, interspecies, and interstellar communion.”

“As a learner, Rasheed grapples with the poetics, politics, and pleasures of the unfinished and uncontained. She is invested in Black storytelling technologies that invite us to consider ways of [un]learning that are interdisciplinary, interspecies, and interstellar. Because not all stories are for everyone, Rasheed’s work considers Black storytelling technologies in relation to the surveillance states, or how we tell stories that consider interiority, lenticularity (or varying modes of visibility and legibility), revision, and spiritual syncretism.

Engaging primarily with text*, Rasheed works across different substrates and compositional fields. She works on the page, on walls, and in public space to create associative arrangements of letters, words, and shapes that invite an embodied and iterative reading** process. Rasheed creates ecosystems of iterative and provisional projects. These projects include sprawling, “architecturally-scaled” xerox-based collages; large-scale public installations; publications; prints; digital archives; lecture-performances; library interventions; performance scores; poems/poetic gestures; and other forms yet to be determined.”

…

“Kameelah Janan Rasheed was born in East Palo Alto, CA. She lives and works in Brooklyn, NY. Rasheed has a MA in Secondary Social Studies Education from Stanford University (2008), a BA in Public Policy from Pomona College (2006), and was an Amy Biehl U.S. Fulbright Scholar - South Africa at the University of Witwatersrand (2006-7). Since 2016, she has been on the faculty at the School of Visual Arts in the MFA Fine Arts program.

After five years as a high school social studies teacher and many more years in a variety of learning contexts since 2001, Rasheed transitioned into curriculum design and teacher coaching in 2013. Since 2013, Rasheed has worked with an education non-profit as a curriculum developer and adult professsional learning manager supporting secondary social studies teachers develop their practices. Rasheed is the founder of Mapping the Spirit as well as the owner and founder of Orange Tangent Study.”]]></description>
<dc:subject>kameelahjananrasheed eastpaloalto brooklyn poetry poems publishing art xerox collage visibility legibility revision interiority interspecies morethanhuman interdisciplinary writing howwewrite unfinished</dc:subject>
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<item rdf:about="https://themillions.com/2017/07/finding-way-new-form-interview-teju-cole.html">
    <title>Finding My Way into a New Form: An Interview with Teju Cole - The Millions</title>
    <dc:date>2021-01-22T17:45:39+00:00</dc:date>
    <link>https://themillions.com/2017/07/finding-way-new-form-interview-teju-cole.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“TC: I wanted to make a book that was a little bit novelistic but with none of the things you expect from a novel. This book is not made up. These are stories drawn from real life — personal experience, philosophy, essayistic-type of speculations. Novels usually don’t have 150 color photographs. And yet I wanted to give it the energy of a novel or a documentary film, just a very peculiar one. So in one sense it was about the excitement of working in a new genre — a genre I was developing myself — the rhythm of text and image. But if you look at just the images all by themselves, they have a common visual language. They’re in color. I shot everything in film in 25 different countries. They usually have streetscapes or interiors, not a lot of people. When we have people, they’re turned away from us, so there’s a quietness that connects all the images. And if you read all the text in sequence, they have a kind of philosophical temperature that unites them. So this adventure was finding my way into a new form that I hope has a coherence. So if somebody goes through the book, they feel they’ve been through something strange and marvelous. It’s a strange album, a strange movie, a strange novel, but it’s none of those things because it’s actually just texts and images.”

…

“SP: Is your project to remove the blind spots, or to acknowledge that we all have blind spots?

TC: It’s really about acknowledgement. To go back to these very old texts was also a way to acknowledge the antiquity of these questions. There’s something elemental about a person walking down a street, so I talk a lot about walking in the book because walking is connected to photography but photography is connected to seeing. The kind of seeing we do has to do with us being upright creatures whose eyes are flat on our faces. We’re not like dogs close to the earth, with eyes on either side of the snout. So these are very old questions. At some point we were on all fours and then we stood up. Of course the book is haunted by frailty, eventually also by death. I wanted this book to be very contemporary but also to deal with what it means to be a human creature upon the earth. Somehow thinking about theology and Homer gave me access to that.

SP: You’ve taken these photos all over the world. I started jotting down some of these places: Lagos, where you grew up, Nuremberg, Tivoli, Nairobi, Auckland, Tripoli, Milan, Berlin, Zurich, Copenhagen, Seoul, Bombay, Sao Paolo, Brooklyn, Beirut, Bali. The list goes on and on. You must like to travel.

TC: I get to travel a lot. I take a lot of pleasure from it and I get a lot of productive discomfort from it. I only included photos I felt were relevant to the project of the book. I only included places where I made film photographs because I wanted a consistency of effect and appearance. Not because film is better than digital. For example, on this visit to Madison, I’ve only brought my small digital camera.

SP: So I have this image of you. You land in a new place and just start walking with your camera, not necessarily to any particular destination. Is this what you do?

TC: That’s pretty accurate. You know, what’s missing from this book is I don’t have any pictures of Iceland because when I went there, I didn’t take a film camera. I took a digital one. I have no pictures from South Africa. I have no pictures from Australia.”

…

“SP: Do you consider Brooklyn home?

TC: Yes.  That’s where my wife is. My brother lives there. My friends are there. My books are there. My office is there. So that’s home. I also consider Lagos home. My parents live there. It’s where I grew up. If I go to Nigeria, my room is there. The two most spoken languages in Lagos — Yoruba and English — are languages I’m fluent in. So there’s an at-homeness, but a home is also wherever there’s good wi-fi. That connects me to the world in a way that is irreducible and essential to my experience of the world.

SP: Do you consider yourself more Nigerian or more American?

TC: Neither. Split right down the middle. Or rather 100 percent of both. I feel very invested in Nigeria’s future. There’s a book I’ve been working on for a long time about Lagos, so I think a lot about Nigeria. I’m American and America is in crisis at the moment and I feel invested. Open City was definitely an approach to this question but I feel invested in what this country ought to be.  I’m a citizen who is not a patriot.  I’m a citizen in the sense of being invested in what we owe each other. What do we do to protect each other’s rights? What do we do about people who break our mutual agreement? What do sanctions and punishments look like?  Those philosophical questions are very interesting to me. Our borders are interesting to me. If my money’s being used to kill foreigners in the theater of war, that’s my business. So I’m very American and I’m also very Nigerian.

SP: The two cities where you’ve spent the most time are Lagos and New York. Are they totally different experiences for you or do they have certain similarities?

TC: The commonalities are extensive. It is the experience of cosmopolitanism, which is maybe the fourth definition of home for me.  And this is what I find in spaces in Lagos. And it’s what I find in New York — restaurants, clubs, bookshops, shopping malls, traffic, crazy people on the street, high fashion. Cities as a kind of problem-solving technology. If there are 16 million people in the same place, then we have to use resources in a way that makes sense in such a compressed space.

SP: What are the biggest differences between Lagos and New York?

TC:  New York is much richer. Lagos might have 25 buildings of monumental scale and New York has 300. The sheer physical scale of New York never ceases to surprise me. And then there’s that thing of New York being a world capital. Lagos is the capital of Africa.

Don’t let people in Cairo or Johannesburg tell you different. Lagos is the place where the pop culture of Africa is being made.  Lagos is the capital of Africa but New York is the capital of the world.  So there is something about encountering this expansive, complex mutual togetherness in conversation. It’s possible in New York. So New York is almost not an American city. It’s a city that’s a vision of what the world looks like if these borders are not as they are right now.”]]></description>
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    <title>Slowdown Papers – Medium</title>
    <dc:date>2020-09-29T19:29:08+00:00</dc:date>
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    <title>‘I Still Believe in It’ - The New York Times</title>
    <dc:date>2020-08-02T14:01:03+00:00</dc:date>
    <link>https://www.nytimes.com/2020/07/30/podcasts/nice-white-parents-serial-2.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“In this episode, Chana Joffe-Walt searches the New York City Board of Education archives for more information about the School for International Studies, which was originally called I.S. 293.

In the process, she finds a folder of letters written in 1963 by mostly white families in Cobble Hill, Brooklyn. They are asking for the board to change the proposed construction of the school to a site where it would be more likely to be racially integrated.

It’s less than a decade after Brown v. Board of Education, amid a growing civil rights movement, and the white parents writing letters are emphatic that they want an integrated school. They get their way and the school site changes — but after that, nothing else goes as planned.”

[via: https://twitter.com/likaluca/status/1289624657138601984

"Listening to more of the “nice white parents” podcast and big takeaway from ep 2? The secret killers of NYC school intergration in the 60s? White parents who VOCALLY supported integration & then… didn’t send their kids for a variety of the same reasons that parents today cite.

NYC parents, esp white parents, really need you to listen to this podcast.

Whether or not that Black Lives Matter sign in your window is a signal of true solidarity is going to come down to, in large part, where you put your kids in school. At least in NYC.

Last thought: I don’t know if change is coming for real, but accountability is. Folks watching now.”]]]></description>
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    <title>Bernie 2020 Caucus Concert Rally in Cedar Rapids - YouTube [bookmarking for the Cornel West portion]</title>
    <dc:date>2020-02-07T17:26:42+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[[timestamp starting at 1:40:04 and continuing for about ten minutes]]]></description>
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<item rdf:about="https://www.flyingsquads.org/">
    <title>Flying Squads | Providing young people with time to practice making their own decisions</title>
    <dc:date>2020-01-07T05:10:04+00:00</dc:date>
    <link>https://www.flyingsquads.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[““A city that is really concerned with the needs of its young will make the whole environment accessible to them, because, whether invited to or not, they are going to use the whole environment.” -Colin Ward, The Child in the City

***

Our Program

Flying Squads provide young people with time to practice making their own decisions in a nurturing community of human connections through which they can develop relationships and work on self-confidence with genuine feedback from peers and society.

Unlike school field trips, the Flying Squad does not have a predetermined destination but instead practices the crucial skills of deciding together where to go and how to spend their time. Each day starts in a public space (typically a library) documenting and reflecting on previous time together in a communal journal. The group then sets out into the world to explore common interests as a collective, experimenting on how to build community and deciding how to voice group concerns on the social justice issue of being youth in a city built for adults.

Even in the most caring of school and homeschooling coop spaces, a definitive line is drawn on where children learn and what space and materials are and are not for them. By intentionally not using a learning space or having predetermined tools and materials, Flying Squad participants learn the important value of abolishing these distinctions as the young people involved interact with the world outside on a regular basis, carving out a space for themselves in their city. And as they do so, they learn perhaps one of life’s most important lessons: how to find self-identity while caring for and developing a community with others.

***

Our Concern for Human Rights

Flying Squads believe in liberation for all people, and we operate on the values of anti-oppression, young people’s rights, and community.

We believe that you cannot stand for anti-oppression for young people without standing for anti-oppression for all oppressed and marginalized groups. Liberation is intertwined, and we must be willing to support and advocate for one another in order to get free.

All of us, especially young people, exist within systems, relationships, caretakers, and communities where oppression affects us. If the adults and elders in the community are not on a path towards liberation, we cannot hope to support our young people on their path to liberation.

Our Values

Young people’s rights are respected here. Go here for more on this.

- Flying Squads are consent-based. If you are signing up for your child make sure to get their consent and agreement before doing so.

- We are committed to intentional and continual anti-oppression work and will not tolerate overt or covert racism and bigotry. Go here for more on the issues of SDE and centering whiteness.

- We believe in community, mutual aid, and taking care of one another. These values are reflected in how we work through what we want to do each day, how we address conflict, and how we interact with one another, both within individual Flying Squads, and within our network of facilitators and groups.

***

“A city that is really concerned with the needs of its young will make the whole environment accessible to them, because, whether invited to or not, they are going to use the whole environment.” –Colin Ward, The Child in the City

***

A Brief History

Flying Squads started in a library in Brooklyn in the fall of 2018. But the concept behind them began years earlier, when I was working to co-found the junk playground, play:groundNYC, which wonderfully gives children free choice, but still within a confined space.

At the time, I was reading Colin Ward’s gorgeous book, The Child in the City, which discusses how, to truly be free, children must be a part of the city itself. Children need to feel comfortable on their own streets and must be welcomed in public spaces– a concept that no longer exists in today’s modern culture.

And so, I spent a year running a program helping children “get lost” in the city (called Ramble the City), but that too still felt too top-down, dictating where and why children went around to various spaces in the city. Ultimately this led to Flying Squads, a program specifically designed to encourage young people to take back their city and to again be accepted in society as autonomous individuals in a communal space.

Now in our second year, we are thrilled to announce that our project has grown, with Bria and David starting a second community in Portland and Brooklyn starting a third community in Eugene.

—Alexander Khost (what’s my title… Initiator? Provocateur?)

***

Facilitators

Bria Bloom (Portland Flying Squad) grew up unschooled, and now is a passionate advocate for Self-Directed Education and children’s rights. Bria loves to work and play as an SDE facilitator, and has experience doing so from her work in free schools, alternative spaces, and her experience as a parent. She spends her time exploring questions and ideas with young people and adults, supporting young people in whatever way they need, laughing often, and marveling at all of the positive risk-taking, creative thinking, and passion that lives in self-directed communities every day. Bria is also a martial artist and a dancer, a happy Portland cyclist, and a writer. She spends a lot of her time reading and discussing education and parenting ideas with anyone who is interested.

David Jacobo (Portland Flying Squad) is a Self-Directed Education advocate and facilitator. He has a passion for children’s rights, Self-Directed Education, and social justice. He was born in Los Angeles and raised between Oregon and California. A second generation immigrant of Mexican and Guatemalan descent, David and his family moved constantly to find work opportunities until finally landing in Salem. He graduated with a B.S. in Sociology at Portland State University. After working for three years in public schools, David sought to find alternative education styles that focused less on conforming and authority and more on creativity and autonomy. David is an avid photographer and a working musician. He hopes to not only inspire kids but to be inspired by them as well.

Alexander Khost (Brooklyn Flying Squad) is a father and children’s rights advocate. He volunteers running Friends of the Modern School, supporting the history and maintaining current models of anarchistic education. He works with young people at the homeschooling coop, Brooklyn Apple Academy; he is the Editor-in-Chief of the Alliance for Self-Directed Education’s online magazine, Tipping Points; and he is the founder of Voice of the Children, promoting and facilitating art and activism for young people.

He previously founded the Teddy McArdle Free School, a democratic free school in New Jersey, and more recently co-founded play:groundNYC, a junkyard playground for children on Governors Island in New York City.

Brooklyn Wetzel (Eugene Flying Squad) is an adult self-directed learner with a passion for freedom and autonomy. From a young age, she rejected institutional schooling and sought her own path in music promotion, art, and small business. Over the last 5 years, she has facilitated at a democratic school, ran a photo booth business and worked at an indigenous language game development start-up in rural Montana. After moving to Oregon in 2018 she completed the Agile Learning Facilitator training and started work on a community non-profit supporting people in end of life issues. A digital native and idea person, one of her favorite things is to connect people with new resources to explore their passions. Brooklyn has a deep trust in people of all ages to grow and learn to be their best selves without coercion judgment or hierarchical structures.”]]></description>
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    <title>Why Libraries Have a Public Spirit That Most Museums Lack</title>
    <dc:date>2019-11-08T04:28:50+00:00</dc:date>
    <link>https://hyperallergic.com/525985/why-libraries-have-a-public-spirit-that-most-museums-lack/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A broad swath of society seems to feel more welcome in a public library rather than a museum. I examined the Brooklyn Public Library as a model of heightened engagement through collective knowledge creation."

...

"At a time when museums are being held accountable by a variety of publics for every aspect of their operations — from programming and exhibition-making to financial support and governance structures — perhaps it is useful to look at parallel institutions that are doing similar work for guidance on alternative ways of working.

I have spent a great deal of time thinking about the relationship between museums and public libraries, to understand what makes libraries feel different from museums. Why do they have a public spirit that most museums don’t? Why are there lines around the block at some NYC library branches at 9 am? I’ve been reading about the roots of both institutions in the United States, and they have evolved in similar ways; so how do they diverge? And is this divergence relevant to the ways in which a stunningly broad swath of society feels welcome within a public library and not a museum?

John Cotton Dana, the Progressive Era thinker and radical re-imaginer of public libraries, wrote a particularly important essay in 1917 titled “The Gloom of the Museum.” It includes a section about expertise that is particularly germane today:

<blockquote>They become enamoured of rarity, of history … They become lost in their specialties and forget their museum. They become lost in their idea of a museum and forget its purpose. They become lost in working out their idea of a museum and forget their public. And soon, not being brought constantly in touch with the life of their community … they become entirely separated from it and go on making beautifully complete and very expensive collections but never construct a living, active, and effective institution.</blockquote>

Museums and libraries in the US originated in similar places and via similar patronage models with their foundational collections coming largely from wealthy collectors of books and art objects, sometimes in conjunction with institutions of higher learning. However, the word “public” remains embedded in what we call the library. And while some branches are named for generous funders, these are secondary to the overall system. In fact, the Queens Public Library system, the largest in the nation, boasts of a branch within a mile of every Queens resident."]]></description>
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<item rdf:about="https://www.brooklynmuseum.org/exhibitions/garry_winogrand">
    <title>Brooklyn Museum: Garry Winogrand: Color</title>
    <dc:date>2019-07-29T03:50:41+00:00</dc:date>
    <link>https://www.brooklynmuseum.org/exhibitions/garry_winogrand</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://hyperallergic.com/507587/garry-winogrand-in-living-color/
https://frieze.com/article/powerful-humanism-garry-winogrands-colour-photographs
https://www.bostonglobe.com/arts/art/2019/06/20/garry-winogrand-that-master-black-and-white-was-master-color-too/yUWmx9NRlllfeebPitzz6O/story.html
https://observer.com/2019/04/garry-winogrand-iconic-street-photographer-reconsidered-brooklyn-museum/
https://gothamist.com/2019/05/03/midcentury_nyc_photos_winogrand.php

https://fraenkelgallery.com/artists/garry-winogrand ]]]></description>
<dc:subject>garrywinogrand exhibits brooklyn brooklynmuseum 2019 nyc photography color</dc:subject>
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<item rdf:about="https://www.brooklynbugs.com/">
    <title>Brooklyn Bugs</title>
    <dc:date>2018-05-19T19:32:32+00:00</dc:date>
    <link>https://www.brooklynbugs.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Brooklyn Bugs' mission is to raise appreciation and awareness of edible insects through delicious, fun, and creative programming. After producing NYC’s first festival dedicated to edible insects over Labor Day Weekend in 2017, Brooklyn Bugs received notable press that shared its interest in promoting the gastronomical, sustainable and ecologically friendly aspects of entomophagy or the human consumption of insects.  

We are committed to educate and encourage people that this is not a food trend, but a movement that will continue to grow worldwide."]]></description>
<dc:subject>bugs insects food nyc brooklyn</dc:subject>
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<item rdf:about="http://subpixel.space/entries/after-authenticity/">
    <title>After Authenticity</title>
    <dc:date>2018-04-08T08:11:05+00:00</dc:date>
    <link>http://subpixel.space/entries/after-authenticity/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Meanwhile, years of semantic slippage had happened without me noticing. Suddenly the surging interest in fashion, the dad hats, the stupid pin companies, the lack of sellouts, it all made sense. Authenticity has expanded to the point that people don’t even believe in it anymore. And why should we? Our friends work at SSENSE, they work at Need Supply. They are starting dystopian lifestyle brands. Should we judge them for just getting by? A Generation-Z-focused trend report I read last year clumsily posed that “the concept of authenticity is increasingly deemed inauthentic.” It goes further than that. What we are witnessing is the disappearance of authenticity as a cultural need altogether.

Under authenticity, the value of a thing decreases as the number of people to whom it is meaningful increases. This is clearly no longer the case. Take memes for example. “Meme” circa 2005 meant lolcats, the Y U NO guy and grimy neckbeards on 4chan. Within 10 years “meme” transitioned from this one specific subculture to a generic medium in which collective participation is seen as amplifying rather than detracting from value.

In a strange turn of events, the mass media technologies built out during the heady authenticity days have had a huge part in facilitating this new mass media culture. The hashtag, like, upvote, and retweet are UX patterns that systematize endorsement and quantify shared value. The meme stock market jokers are more right than they know; memes are information commodities. But unlike indie music 10 years ago the value of a meme is based on its publicly shared recognition. From mix CDs to nationwide Spotify playlists. With information effortlessly transferable at zero marginal cost and social platforms that blast content to the top of everyone’s feed, it’s difficult to for an ethics based on scarcity to sustain itself.

K-HOLE and Box1824 captured the new landscape in their breakthrough 2014 report “Youth Mode.” They described an era of “mass indie” where the search for meaning is premised on differentiation and uniqueness, and proposed a solution in “Normcore.” Humorously, nearly everyone mistook Normcore for being about bland fashion choices rather than the greater cultural shift toward accepting shared meanings. It turns out that the aesthetics of authenticity-less culture are less about acting basic and more about playing up the genericness of the commodity as an aesthetic category. LOT2046’s delightfully industrial-supply-chain-default aesthetics are the most beautiful and powerful rendering of this. But almost everyone is capitalizing on the same basic trend, from Vetements and Virgil Abloh (enormous logos placed for visibility in Instagram photos are now the norm in fashion) to the horribly corporate Brandless. Even the names of boring basics companies like “Common Threads” and “Universal Standard” reflect the the popularity of genericness, writes Alanna Okunn at Racked. Put it this way: Supreme bricks can only sell in an era where it’s totally fine to like commodities.

Crucially, this doesn’t mean that people don’t continue to seek individuation. As I’ve argued elsewhere exclusivity is fundamental to any meaning-amplifying strategy. Nor is this to delegitimize some of the recognizable advancements popularized alongside the first wave of mass authenticity aesthetics. Farmer’s markets, the permaculture movement, and the trend of supporting local businesses are valuable cultural innovations and are here to stay.

Nevertheless, now that authenticity is obsolete it’s become difficult to remember why we were suspicious of brands and commodities to begin with. Maintaining criticality is a fundamental challenge in this new era of trust. Unfortunately, much of what we know about being critical is based on authenticity ethics. Carles blamed the Contemporary Conformist phenomenon on a culture industry hard-set on mining “youth culture dollars.” This very common yet extraordinarily reductive argument, which makes out commodity capitalism to be an all-powerful, intrinsically evil force, is typical of authenticity believers. It assumes a one-way influence of a brand’s actions on consumers, as do the field of semiotics and the hopeless, authenticity-craving philosophies of Baudrillard and Debord.

Yet now, as Dena Yago says, “you can like both Dimes and Doritos, sincerely and without irony.” If we no longer see brands and commodity capitalism as something to be resisted, we need more nuanced forms of critique that address how brands participate in society as creators and collaborators with real agency. Interest in working with brands, creating brands, and being brands is at an all-time high. Brands and commodities therefore need to be considered and critiqued on the basis of the specific cultural and economic contributions they make to society. People co-create their identities with brands just as they do with religions, communities, and other other systems of meaning. This constructivist view is incompatible with popular forms of postmodern critique but it also opens up new critical opportunities. We live in a time where brands are expected to not just reflect our values but act on them. Trust in business can no longer be based on visual signals of authenticity, only on proof of work."]]></description>
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<item rdf:about="https://www.artsy.net/article/artsy-editorial-9-artist-run-restaurants-you-need-to-know">
    <title>9 Artist-Run Restaurants You Need to Know</title>
    <dc:date>2017-05-07T18:39:52+00:00</dc:date>
    <link>https://www.artsy.net/article/artsy-editorial-9-artist-run-restaurants-you-need-to-know</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the fall of 1971, the doors of a curious restaurant located at 127 Prince Street opened just south of New York’s Houston Street. Inside, if you were hungry, an artist might ladle you a steaming bowl of caldo gallego from one of three large cauldrons bubbling away over a low stove in the center of the room. Soup in hand, you’d make your way to a table where slices of bread were stacked around a huge heap of butter. Come another night and you might’ve been served the now-famous “bone dinner”—frogs’ legs and roasted marrow bones, among other skeletal dishes—then left with the remnants, rigorously cleaned and given a second life as wearable jewelry.

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

Zagreus Projekt 
ULRICH KRAUSS 
BERLIN

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

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

Pharmacy 2 
DAMIEN HIRST 
NEWPORT STREET GALLERY, LONDON

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

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

[restaurant not yet named]
RAPHAEL LYON 
NEW YORK

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

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

ZAX Restaurant
WILL STEWART 
BROOKLYN

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

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

Conflict Kitchen
DAWN WELESKI & JON RUBIN 
PITTSBURGH

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

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

Currency Exchange Café 
THEASTER GATES 
CHICAGO

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

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

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

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

George and Lennie
BRETT WALKER
SAN FRANCISCO

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

Frequently, the work addressed the strained relationship between being an artist and a common laborer, circling around the necessity of supporting himself and his family through something other than art. “It occurred to me that for these reasons, I needed to do a show of my work in the place where I worked,” he says. So he swallowed his “snobby art-school pretensions” and took pains to fine-tune and perfectly hang pieces in the café where he was working. Eventually, the opportunity to run his own place came around, and Walker seized it. “Opening the café was no different than taking on some sort of art project,” he says of his merging of these two threads in his life with George and Lennie, which, fittingly for the artist’s work, takes its name from Of Mice and Men. He’s even transformed it into a makeshift portrait studio in which he creates images of his patrons.“This is an artist-run place,” Walker explains of his café, “but I think I view it as less an artist-run space and more of an art project in and of itself.”"]]></description>
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<item rdf:about="http://clocktower.org/series/the-alternative-art-school-fair-radio">
    <title>The Alternative Art School Fair Radio | Clocktower</title>
    <dc:date>2016-12-24T05:52:51+00:00</dc:date>
    <link>http://clocktower.org/series/the-alternative-art-school-fair-radio</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Alternative Art School Fair at Pioneer Works presents an introduction to alternative art schools from around the US and the world, November 19-20, 2016. The entire event, including workshops, discussions, and keynote presentations by Carol Becker, Luis Camnitzer, Craig Wilkins and Dorothea Rockburne, will be streamed live and archived on clocktower.org.

See the radio schedule below to plan your listening party. The live listening link can be found HERE.

Art education is a reflection of social and cultural evolution; it engages with structures of meaning-making and considers different frameworks for experience. The impetus to create an alternative art school is rooted not only in a desire to create “better” art, but to create the conditions for greater freedom of expression. Often run as free, artist-run initiatives, the values and visions of alternative art schools vary widely in methodology, mission and governance. But even when they are relatively small in scale they provide vital models of cultural critique and experimentation.

Listening Schedule:
November 19
Keynote panel -- 12:00-1:30PM
Carol Becker
Luis Camnitzer
Dorothea Rockburne
Victoria Sobel
Interviewer/Moderator: Catherine Despont

How can alternative systems impact traditional arts education? -- 2-3:30PM 
Ox-Bow
Daniel Bozhkov
School of the Future
Interviewer/Moderator: Regine Basha

Art and Democracy -- 3:45-5:15PM
UNIDEE
The Black Mountain School
UOIEA (Anna Craycroft)
Interviewer/Moderator: Provisions Library

Self-Governance as Pedagogy: Of Other Spaces -- 5:30-7:30PM
Art and Law Program
Interviewer/Moderator: Associate Director Lauren van Haaften-Schick
Art & Law Program Fellows: Abram Coetsee & Alex Strada (Fall 2016), Damien Davis (Spring 2016)

November 20
Keynote -- 12:00-1:30PM
Dr. Craig L. Wilkins, PhD, RA

Hybrid Practice -- 2:00-3:30PM
SFPC
Zz School of Print Media
Southland Institute
Interviewer/Moderator: Archeworks

Responsive Programming: A Conversation Between The Ventriloquist Summerschool and Sheila Levrant de Bretteville -- 3:45-5:15PM
The Ventriloquist Summerschool
Sheila Levrant de Bretteville

(Re)incorporating Art in Everyday Life -- 5:30-7:00PM
Chad Laird (Sunview Luncheonette)
Tal Beery (School of Apocalypse)
Tatfoo Tan (NERTM)
Moderator/Interviewer: Grizedale Arts"]]></description>
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<item rdf:about="http://pioneerworks.org/alternative-art-school-fair">
    <title>Alternative Art School Fair | Pioneer Works</title>
    <dc:date>2016-12-20T18:47:24+00:00</dc:date>
    <link>http://pioneerworks.org/alternative-art-school-fair</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: The Alternative Art School Fair Radio
http://clocktower.org/series/the-alternative-art-school-fair-radio ]

"The Alternative Art School Fair
November 19-20, 2016

The Alternative Art School Fair presents an introduction to alternative art schools from around the US and the world.

Art education is a reflection of social and cultural evolution; it engages with structures of meaning-making and considers different frameworks for experience. The impetus to create an alternative art school is rooted not only in a desire to create “better” art, but to create the conditions for greater freedom of expression. Often run as free, artist-run initiatives, the values and visions of alternative art schools vary widely in methodology, mission and governance. But even when they are relatively small in scale they provide vital models of cultural critique and experimentation.

The Alternative Art School Fair event, including workshops, discussions, and keynote presentations by Carol Becker, Luis Camnitzer, Craig Wilkins and Dorothea Rockburne, will be streamed live and archived by Clocktower Productions on clocktower.org.

Media Sponsor:
Hyperallergic 

Participating Schools

AAPG – Alternative Art Program Guatemala • AltMFA • Anhoek School • Archeworks • Arts Letters & Numbers • ASCII Project • Beta-Local • Black Mountain School • Brooklyn Institute for Social Research • Center for Art Analysis • COLLABOR • école de Hogbonu • Enroll Yourself • Free School of Architecture • Islington Mill Art Academy • Grizedale Arts • Ox-Bow School of Art and Artists' Residency • NERTM - New Earth Resiliency Training Module • Nomad/9 • Pioneer Works • School of Apocalypse • School of Critical Engagement - SoCE • School of the Future • School for Poetic Computation • SOMA • Sommerskolen • Spring Sessions • Sunview Luncheonette • The Art & Law Program • The Black School • The Other MA - TOMA • The Public School • The School of Making Thinking • The Southland Institute • The Ventriloquist Summerschool • The Zz School of Print Media • Thinker Space • Transart Institute • Uncertainty School • UNIDEE - University of Ideas • Utopia School

Presses, Libraries, Resources

Arthur Fournier Fine and Rare • Booklyn • Brooklyn Art Library • Common Field • Inventory Press • OSSAI - Open Source and Space Administration Institute for Alternative Research • Provisions Library • Sketchbook • Project Zone Books

Saturday Schedule … [with session descriptions]

Sunday Schedule … [with session descriptions]

Schools [and a few other things, as noted, website links to descriptions, and to each school’s site if there is one]

AltMFA
London, United Kingdom

Alternative Art College
United Kingdom

Alternative Art Program
Guatemala

Anhoek School
Brooklyn, New York, USA

Antiuniversity Now
London, United Kingdom

Archeworks
Chicago, Illinois, USA

Arts Letters & Numbers
New York, USA

ASCII Project
Mohansein Giza, Egypt

Beta-Local
San Juan, Puerto Rico

Black Mountain School
Black Mountain, North Carolina, USA

GALLERY
Booklyn
Brooklyn, New York, USA

LIBRARY
Brooklyn Art Library
Brooklyn, New York, USA

SCHOOL
Brooklyn Institute for Social Research
Brooklyn, NY, USA

NETWORK
Common Field
National

école de Hogbonu
Porto Novo, Bénin

Enrol Yourself
London, United Kingdom

BOOKSTORE
Fournier Fine & Rare
Brooklyn, New York, USA

Grizedale Arts
Coniston, Lake District, UK

PRESS
Inventory Press
New York, New York, USA

New Earth Resiliency Training Module [NERTM]
Staten Island, NY, USA

Nomad/9 MFA
Hartford, Connecticut, USA

RESOURCE
Open Source and Space Administration Institute for Alternative Research [OSSAI]
nomadic

Ox-Bow School of Art and Artists’ Residency
Saugatuck, Michigan, USA

Pioneer Works
Brooklyn, New York, USA

LIBRARY
Provisions Library
Fairfax, Virginia, USA

Ricean School of Dance
Hydra Island, Greece

School of Apocalypse
Brooklyn, New York, USA

School of Critical Engagement [SoCE]
Los Angeles / Oslo / Accra

School of the Future
Brooklyn, New York, USA

School for Poetic Computation
New York, NY, USA

Shift/Work
Edinburgh, Scotland

Spring Sessions
Amman, Jordan

SOMA
Mexico City, Mexico

Sommerskolen
Stavanger, Norway

Southland Institute
Los Angeles, California, USA

Sunview Luncheonette
Brooklyn, New York, USA

The Art & Law Program
New York, New York, USA

The Black School
Brooklyn, New York, USA

The Cheapest University
Paris, France

The Free School of Architecture
Los Angeles, California, USA

The Public School
Brussels, New York City, Los Angeles, and elsewhere

The School of Making Thinking
Brooklyn, New York, USA

The School of the Damned
London, United Kingdom

The Ventriloquist Summerschool
Oslo, Norway

The Zz School of Print Media
Kansas City, Missouri, USA

ThinkerSpace
Brussels, New York City, Los Angeles, and elsewhere

TOMA
Southend-on-Sea, United Kingdom

Transart Institute
Berlin, Germany, and New York, New York, USA

Uncertainty School
Seoul, New York, International

UNIDEE-University Of Ideas
Biella, Italy

Union of Initiatives for Educational Assembly (UOIEA)
Sites vary

PRESS
Zone Books
Brooklyn, NY, USA"]]></description>
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<item rdf:about="https://www.wnyc.org/story/altschool-silicon-valley-education/">
    <title>When Silicon Valley Takes on Elementary School - Note to Self - WNYC</title>
    <dc:date>2016-10-13T02:07:10+00:00</dc:date>
    <link>https://www.wnyc.org/story/altschool-silicon-valley-education/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""We have an opportunity to do what we want - choose our path instead of the teachers making a choice for us." 

Meet Piper, a blond, freckled 9-year-old from Brooklyn who talks like a seasoned grownup. She used to go to public school with Manoush's son but now - with the help of financial aid - she's enrolled in a new experimental school in her neighborhood: AltSchool.

AltSchool is not your typical private school. Its founder is Max Ventilla, a former Google executive with a vision to reform education. Ventilla's company, with over 100 million dollars from investors like Mark Zuckerberg and Marc Andreesen, uses tech to teach and track students' social and academic skills. Ventilla's idea is that over time, that data can build a more thorough picture of each student and determine how she is taught. This method of "personalized learning" (think Montessori 2.0) is being prototyped in eight "micro-schools" in Palo Alto, San Francisco, and New York City, with the goal of applying it to schools everywhere. Manoush went to visit one in Brooklyn.

NPR's education reporter Anya Kamanetz is skeptical of Ventilla's goal to optimize education for the masses, and she's concerned about Silicon Valley's foray into education. "They have a giant promise, which is that the right software system, the right operating system, is going to transform teaching and learning... and, what it ultimately means is that they have shareholders to satisfy."

This week: can a tech startup engineer a better system for learning everywhere and make money doing it? And would these two tech reporters/mothers send their own kids there?"]]></description>
<dc:subject>altschool manoushxomorodi education 2016 maxventilla technology schools microschools brooklyn anyakamanetz</dc:subject>
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<item rdf:about="http://www.theatlantic.com/education/archive/2016/07/the-great-middle-school-divide/491483/">
    <title>Why Brooklyn's Middle Schools Are So Segregated - The Atlantic</title>
    <dc:date>2016-07-21T15:54:25+00:00</dc:date>
    <link>http://www.theatlantic.com/education/archive/2016/07/the-great-middle-school-divide/491483/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How a series of choices has deepened the segregation of Brooklyn’s schools"]]></description>
<dc:subject>schools education nyc brooklyn segregation cities money class 2016 gentrification choice resegregation</dc:subject>
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<item rdf:about="http://www.nytimes.com/2016/06/12/magazine/choosing-a-school-for-my-daughter-in-a-segregated-city.html">
    <title>Choosing a School for My Daughter in a Segregated City - The New York Times</title>
    <dc:date>2016-07-17T19:50:41+00:00</dc:date>
    <link>http://www.nytimes.com/2016/06/12/magazine/choosing-a-school-for-my-daughter-in-a-segregated-city.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Integration was transformative for my husband and me. Yet the idea of placing our daughter in one of the small number of integrated schools troubled me. These schools are disproportionately white and serve the middle and upper middle classes, with a smattering of poor black and Latino students to create “diversity.”

In a city where white children are only 15 percent of the more than one million public-school students, half of them are clustered in just 11 percent of the schools, which not coincidentally include many of the city’s top performers. Part of what makes those schools desirable to white parents, aside from the academics, is that they have some students of color, but not too many. This carefully curated integration, the kind that allows many white parents to boast that their children’s public schools look like the United Nations, comes at a steep cost for the rest of the city’s black and Latino children."

…

"It was hard not to be skeptical about the department’s plan. New York, like many deeply segregated cities, has a terrible track record of maintaining racial balance in formerly underenrolled segregated schools once white families come in. Schools like P.S. 321 in Brooklyn’s Park Slope neighborhood and the Academy of Arts and Letters in Fort Greene tend to go through a brief period of transitional integration, in which significant numbers of white students enroll, and then the numbers of Latino and black students dwindle. In fact, that’s exactly what happened at P.S. 8.

A decade ago, P.S. 8 was P.S. 307’s mirror image. Predominantly filled with low-income black and Latino students from surrounding neighborhoods, P.S. 8, with its low test scores and low enrollment, languished amid a community of affluence because white parents in the neighborhood refused to send their children there. A group of parents worked hard with school administrators to turn the school around, writing grants to start programs for art and other enrichment activities. Then more white and Asian parents started to enroll their children. One of them was David Goldsmith, who later became president of the community education council tasked with considering the rezoning of P.S. 8 and P.S. 307. Goldsmith is white and, at the time, lived in Vinegar Hill with his Filipino wife and their daughter.

As P.S. 8 improved, more and more white families from Brooklyn Heights, Dumbo and Vinegar Hill enrolled their children, and the classrooms in the lower grades became majority white. The whitening of the school had unintended consequences. Some of the black and Latino parents whose children had been in the school from the beginning felt as if they were being marginalized. The white parents were able to raise large sums at fund-raisers and could be dismissive of the much smaller fund-raising efforts that had come before. Then, Goldsmith says, the new parents started seeking to separate their children from their poorer classmates. “There were kids in the school that were really high-risk kids, kids who were homeless, living in temporary shelters, you know, poverty can be really brutal,” Goldsmith says. “The school was really committed to helping all children, but we had white middle-class parents saying, ‘I don’t want my child in the same class with the kid who has emotional issues.’ ”

The parents who had helped build P.S. 8, black, Latino, white and Asian, feared they were losing something important, a truly diverse school that nurtured its neediest students, where families held equal value no matter the size of their paychecks. They asked for a plan to help the school maintain its black and Latino population by setting aside a percentage of seats for low-income children, but they didn’t get approval.

P.S. 8’s transformation to a school where only one in four students are black or Latino and only 14 percent are low-income began during the administration of Mayor Michael Bloomberg, known for its indifference toward efforts to integrate schools. But integration advocates say that they’ve also been deeply disappointed by the de Blasio administration’s stance on the issue. In October 2014, after the release of the U.C.L.A. study pointing to the extreme segregation in the city’s schools, and nearly a year after de Blasio was elected, Councilmen Ritchie Torres and Brad Lander moved to force the administration to address segregation, introducing what became the School Diversity Accountability Act, which would require the Department of Education to release school-segregation figures and report what it was doing to alleviate the problem. “It was always right in front of our faces,” says Lander, a representative from Brooklyn, whose own children attend heavily white public schools. “Then the U.C.L.A. report hit, and the segregation in the city became urgent.”"]]></description>
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<item rdf:about="https://www.theguardian.com/business/2016/jun/08/mcdonalds-community-centers-us-physical-social-networks?CMP=share_btn_tw">
    <title>McDonald's: you can sneer, but it's the glue that holds communities together | Business | The Guardian</title>
    <dc:date>2016-06-25T03:42:31+00:00</dc:date>
    <link>https://www.theguardian.com/business/2016/jun/08/mcdonalds-community-centers-us-physical-social-networks?CMP=share_btn_tw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Tweeted previously:
"“Unlike community centers, it is also free of bureaucracy.” When our public institutions no longer serve the public."
https://twitter.com/rogre/status/742821334476951554

and noting
"Same with other chains (like Starbucks, KFC) in my neighborhood. Places for youth to assemble too, when programs come with too many strings."
https://twitter.com/rogre/status/742821897553874944

"When many lower-income Americans are feeling isolated by the deadening uniformity of things, by the emptiness of many jobs, by the media, they still yearn for physical social networks. They are not doing this by going to government-run community service centers. They are not always doing this by utilizing the endless array of well-intentioned not-for-profit outreach programs. They are doing this on their own, organically across the country, in McDonald’s.

Walk into any McDonald’s in the morning and you will find a group of mostly retired people clustering in a corner, drinking coffee, eating and talking. They are drawn to the McDonald’s because it has inexpensive good coffee, clean bathrooms, space to sprawl. Unlike community centers, it is also free of bureaucracy."

…

"In almost every franchise, there are tables with people like Betty escaping from the streets for a short bit. They prefer McDonald’s to shelters and to non-profits, because McDonald’s are safer, provide more freedom, and most importantly, the chance to be social, restoring a small amount of normalcy.

In the Bronx, many of my friends who live on the streets are regulars. Steve, who has been homeless for 20 years, uses the internet to check up on sports, find discarded papers to do the crossword puzzle, and generally escape for a while. He and his wife Takeesha will turn a McDonald’s meal into an evening out. Beauty, who has been homeless for five years, uses the internet to check up on her family back in Oklahoma when she can find a computer to borrow.

Most importantly though, McDonald’s provide many with the chance to make real and valuable connections. When faced with the greatest challenges, with a personal loss, wealthier Americans turn to expensive therapists, others without the resources or the availability, turn to each other.

In Sulfur Springs, Texas, in the late morning, Lew Mannon, 76, and Gerald Pinkham, 78, were sitting alone at a table, the last of the morning regulars to leave. She was needling him about politics. (“I like to tease the men who come, get them all riled up, tell them they just don’t want a female as president.”) Both are retired, Gerald from working for an airfreight company, and Lew after 28 years as a bank teller.

When I asked Lew about her life, she started to tear up, stopped for a second, and composed herself. “Life is hard. Very hard. Seven years ago I lost my husband to leukemia. Then three years ago I lost one of my sons. Health complications from diabetes. When my son died, I had nobody to help me, emotionally, except this community here. Gerald lost his wife three years ago, and we have helped support each other through that.”

She stopped again, unable to speak from tears. After a moment of silence: “I look composed on the outside. Many of us do. But I struggle a lot on the inside. This community here gives me the support to get by.”"

[Update: Kenyatta Cheese blogged this with the following notes:
http://finalbossform.com/post/145925082985/mcdonalds-you-can-sneer-but-its-the-glue-that

I’ve learned through @triciawang that spaces like these are known as third places in sociology. Third places are neutral, accessible spaces where people can meet with old friends and be exposed to possible new ones.

Tricia spent a decade living in, mapping, and understanding third places in Beijing, Wuhan, Brooklyn, Bangalore, and Oaxaca. (She’s badass that way.)

She taught me that Starbucks and Pizza Hut serve a similar role among young folks in China, especially for people who don’t necessarily feel comfortable sleeping in the third places that are internet cafes.

Small note on how this connects to @everybodyatonce: tv networks and creators sometimes ask us if they should create a dedicated app or website for their fandoms to which we almost always say no.

Much like the government-run community center, a dedicated app creates an unnecessary barrier to entry for new fans and requires you to program the space in the same way that you need to program and organize physical space. By meeting fans in neutral spaces (tumblr, twitter, IG, LJ, even reddit), you build bigger community by supporting the culture that already exists. ]]]></description>
<dc:subject>2016 chrisarnade community cities mcdonalds poverty society inequality elitism us bureaucracy elderly aging economics civics lowerclass precarity classism thirdspaces kenyattacheese triciawang beijing starbucks china brooklyn wuhan bangalore oaxaca pizzahut kfc everybodyatonce fandom socialmedia thirdplaces</dc:subject>
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<item rdf:about="http://www.camilojosevergara.com/About-This-Project/1">
    <title>Camilo Jose Vergara</title>
    <dc:date>2016-04-17T03:48:13+00:00</dc:date>
    <link>http://www.camilojosevergara.com/About-This-Project/1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://kottke.org/16/04/tracking-time 

"Camilo Jose Vergara's Tracking Time project is a collection of photos of locations around the US (LA, Harlem, Detroit, South Bronx) photographed repeatedly over the years, from the 70s to the present day."]]]></description>
<dc:subject>architecture art cities photography camilojosévergara harlem nyc chicago gary camden losangeles newark brooklyn southbronx bronx chile time history change</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.newyorker.com/magazine/2016/03/07/altschools-disrupted-education">
    <title>Learn Different - The New Yorker</title>
    <dc:date>2016-03-01T19:03:02+00:00</dc:date>
    <link>http://www.newyorker.com/magazine/2016/03/07/altschools-disrupted-education</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Students at AltSchool are issued a tablet in pre-K and switch to a laptop in later years. (For now, AltSchool ends at the equivalent of eighth grade.) When I visited a mixed classroom for second and third graders, most of the children were sunk into their laptops. All were engaged in bespoke activities that had been assigned to them through a “playlist”—software that displays a series of digital “cards” containing instructions for a task to be completed. Sometimes it was an online task. Two children were doing keyboarding drills on a typing Web site. Their results would be uploaded for a teacher’s assessment and added to the student’s online Learning Progression—software developed by AltSchool which captures, in minute detail, a student’s progress.

The curriculum is roughly aligned with the Common Core, the government standards that establish topics which students should master by the end of each grade. But AltSchool’s ethos is fundamentally opposed to the paradigm of standardization that has dominated public education in recent decades, and reflects a growing shift in emphasis among theorists toward “personalized learning.” This approach acknowledges and adapts to the differences among students: their abilities, their interests, their cultural backgrounds.

A girl in the class was completing an offline task—reading a book about polar bears. A boy lay on his stomach on the carpeted floor, headphones on, using a Web site called BrainPOP to learn how to calculate the perimeters of basic shapes. “Two out of five!” he shouted at one point, as oblivious of those around him as a subway rider wearing earbuds and singing along to Drake.

Not all the activities were solitary. Two girls sat together, laptops before them, using Google Images to scroll through pictures of seals for a social-studies assignment; occasionally, they paused to compare notes. Every so often, a student spoke with the teacher, a young woman in jeans and a loose top, her iPhone tucked under her thigh as she sat on the carpet. One girl had been using her laptop to research castles—an area of sustained interest. She and the teacher discussed princesses and castles, and whether they always went together. “That’s a good question,” the teacher said, and then asked, “Does America have princesses?”"

…

"At the same time, educators at AltSchool are discussing whether children really need to attain certain skills at particular stages of their educational development, as the Common Core implies. Seyfert thinks that it might be more useful to think of learning not as linear but as scrambled, like a torrent file on a computer: “You can imagine all the things you need to learn, and you could learn it all out of order so long as you can zip it up at the end, and you are good to go.”

Like other AltSchool teachers, Seyfert was drawn to the startup because of its ambition to make systemic change. Two or three times a week, she told me, she gives colleagues feedback about the school’s digital tools. The Learner Profile, Stream app, and other tools are only about a year old, and AltSchool’s personalization still requires considerable human intervention. Software is updated every day. Carolyn Wilson, AltSchool’s director of education, told me, “We encourage staff members to express their pain points, step up with their ideas, take a risk, fail forward, and fail fast, because we know we are going to iterate quickly. Other schools tend to move in geologic time.” (Ventilla may question the utility of foreign-language acquisition, but fluency in the jargon of Silicon Valley—English 2.0—is required at AltSchool.)

Ventilla told me that these tools were central to a revised conception of what a teacher might be: “We are really shifting the role of an educator to someone who is more of a data-enabled detective.” He defined a traditional teacher as an “artisanal lesson planner on one hand and disciplinary babysitter on the other hand.” Educators are stakeholders in AltSchool’s eventual success: equity has been offered to all full-time teachers."

…

"Some education advocates are wary about potential privacy violations that might result from data collection on the scale intended by AltSchool, particularly given that AltSchool is a for-profit company. (Most independent schools are not-for-profit institutions.) These concerns could complicate the adoption of AltSchool software by public school systems. Ventilla says that there is no intention to use AltSchool data for commercial purposes, and that AltSchool can gather data in a way that will respect a student’s anonymity. Only salient moments in the classroom videos are saved, he says, and most are not even stored. “I would never want to record all the things a kid says and keep them around,” he said. But he added that looking at vocabulary-acquisition patterns in aggregate could provide teachers with valuable information that will help them teach each individual more effectively. “The collection of any kind of data is not free,” Ventilla acknowledged. “But the alternative is the incredibly invasive, inaccurate standardized-testing regimen that we have now, which comes at a lot of cost, psychic and otherwise, and doesn’t provide nearly the amount of benefit that we want.”

Daniel Willingham, an education scholar at the University of Virginia, told me that adopting technology in schools can be maddeningly inefficient. “The most common thing I hear is that when you adopt technology you have to write twice the lesson plans,” he told me. “You have the one you use with the technology, and you have the backup one you use when the technology doesn’t work that day.” Willingham also notes that the most crucial thing about educational software isn’t the code that assesses student performance; it’s the worthiness of the readings and the clarity of the math questions being presented onscreen. “People are very focussed on the algorithm,” he said. “But equally important is the quality of the materials.”

The gap between AltSchool’s ambitions for technology and the reality of the classroom was painfully obvious the morning that I spent in the Brooklyn school. One kindergartner grew increasingly frustrated with his tablet as he tried to take a photograph of interlocking cubes that he had snapped into a strip of ten. (He was supposed to upload the image to his playlist.) He shook the unresponsive tablet, then stabbed repeatedly at the screen, like an exhausted passenger in a cab after an overnight flight, unable to quell the Taxi TV.

Even when AltSchool’s methods worked as intended, there were sometimes questionable results. The two girls whom I watched searching for seals on Google Images found plenty of suitable photographs. But the same search term called up a news photo of the corpse of a porpoise, its blood blossoming in the water after being rent almost in half by a seal attack. It also called up an image in which the head of Seal, the singer, had been Photoshopped onto a sea lion’s body—an object of much fascination to the students. To the extent that this exercise was preparing them for the workplace of the future, it was also dispiritingly familiar from the workplace of the present, where the rabbit holes of the Internet offer perpetual temptation."

…

"There had been some bumpy moments for the Palo Alto school, which opened last fall. One family left after concluding that there wasn’t enough homework. Other parents wanted to know the curriculum in advance—an impossible demand in a school dedicated to following children’s interests. A look around the classrooms confirmed that for some children the ability to follow their own passions reaped rich dividends. I observed the kindergarten-and-first-grade classroom during afternoon “choice time,” and saw two children separately involved in complicated long-term projects. A seven-year-old boy with an avid interest in American history had built a dining-table-sized model of Fort Sumter out of cardboard—he was painting black-splotch windows on its perimeter. He had also composed a storybook about Paul Revere, which was vibrantly written, if impressionistically spelled. Another seven-year-old boy had undertaken a physics experiment, building two styles of catapult out of tongue depressors and tape. He was measuring their power with the help of a yardstick affixed to the wall, and recording the data in a notebook. The AltSchool environment—and an inspiring young teacher named Paul France—had liberated these children’s individual creativity and intellectual curiosity in just the way that the parents of a potential Elon Musk might hope.

The boys’ classmates, however, had made less demanding use of their choice time, and this had apparently allowed the teaching staff to provide the necessary support for the more ambitious projects. Four boys were seated on the floor making primitive catapults with Jenga blocks. Half a dozen girls had chosen “art creation,” and were sitting around a table affixing stickers to paper and chatting. One girl had opted to work in clay. But no students had chosen to engage in dramatic play, or to work at the light table, or to do jigsaw puzzles—options that were displayed on a wall chart. The remaining eight children—six boys and two girls—had selected “tablet time.” They were sitting around a table, each with headphones on, expertly swiping and clicking their way through word or number games. Their quiet immersion would be recognizable to any parent who has ever bought herself a moment’s peace from the demands of interacting with her child by opening Angry Birds on her phone."

…

"When the AltSchool technologists who participated in the December hackathon shared their discoveries at the end of the session, the team that had focussed on bookmarking video seemed particularly pleased with its innovations. The team had decided to try to find a “fun route” to help teachers request a video clip of a moment in class. “The idea is that the teacher could, in theory, just knock twice on their phone,” one team member said. He patted twice on his device, which was buried in the front pocket of his jeans, to demonstrate the ease and unobtrusiveness of the gesture.

Another member of the team tapped on his laptop, and a graph that resembled an echocardiogram, with troughs and spikes, appeared on a large video screen at the head of the table. A third team member, a young man with a starter beard, tapped twice on his phone, and the graph reappeared with a new spike—the result of his tapping.

There were cheers around the room as the developers explained how they had filtered the data so that the jostling motions of a teacher walking upstairs, say, would not show up as a bookmark. “It’s reasonably robust,” one said, with pride. Someone asked about a cluster of spikes on the graph. “That was, I don’t know—me digging around with the phone in my pocket,” came the answer.

From the back of the room, a woman spoke up: “Did you test it with a female?”

Many participants laughed. “I’m serious,” the questioner went on. “A lot of our teachers are females, and they carry phones in different places.”

The members of the bookmark team, all of whom were male, looked deflated. In coming up with their apparently elegant solution, they had not visualized a female teacher slapping her bottom to activate a phone tucked into her back pocket.

“That’s a really good point,” one of them acknowledged, his smile waning. “Yeah, it could use a lot of fine-tuning. This was just, like, hey, get ourselves to a demo.” They had failed fast and failed forward. That was what they were supposed to do. Tomorrow, they would iterate."]]></description>
<dc:subject>altschool education schools 2016 children learning pedagogy amplify teachtoone brooklyn paloalto maxventilla surveillance standardization blendedlearning howweteach howwelearn automation technology edtech sanfrancisco gender siliconvalley commoncore standards brainpop</dc:subject>
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<item rdf:about="http://www.nytimes.com/newsgraphics/2013/08/18/reshaping-new-york/">
    <title>Reshaping New York - Interactive Feature - NYTimes.com</title>
    <dc:date>2015-09-20T00:22:40+00:00</dc:date>
    <link>http://www.nytimes.com/newsgraphics/2013/08/18/reshaping-new-york/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>nyc 2013 gentrification michaelbloomberg dataviz visualization nytimes policy zoning maps mapping construction housing urban urbanplanning brooklyn</dc:subject>
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<item rdf:about="https://www.indiegogo.com/projects/the-octavia-project">
    <title>The Octavia Project | Indiegogo</title>
    <dc:date>2015-05-13T03:02:01+00:00</dc:date>
    <link>https://www.indiegogo.com/projects/the-octavia-project</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video: https://www.youtube.com/watch?v=6gZnUlB0uz4 ]

"We use sci-fi to encourage Brooklyn girls to dream big and empower them to design their own futures.

<blockquote>“Hard times are coming when we will be wanting the voices of writers who can see alternatives to how we live now.” —Ursula K. Le Guin at the National Book Awards</blockquote>

Young people are already envisioning, writing, and creating alternative ways of living, but they need to be given the space, the encouragement, the platform, and the tools to make it happen. With your help, the Octavia Project will bring this opportunity to young women from Brooklyn's under-served neighborhoods. These girls have important, world-altering stories living inside them, but without the support and space to flesh them out, these narratives may languish away in the purgatory of good ideas.

We want to use girls’ passion in sci-fi, fantasy, and fan-fiction to teach them skills in science, technology, art, and writing, equipping them with skills to dream and build new futures for themselves and their communities. Our inspiration and namesake is Octavia E. Butler, who broke barriers in writing and science fiction to become an award-winning and internationally recognized author (Kindred, Lilith's Brood). We are inspired by her visions of possible futures and commitment to social justice.

Twelve girls, ages 13-18, will participate in this free summer program. In the first workshop a girl might develop her story set two thousand years in the future. In the next workshop, she works with a professional architect to engineer a physical model of her own imaginary future city. In another workshop, girls might learn to code a simple program that morphs their names into strange aliases that inspire fictional adventures. Or they’ll learn the basics of circuits and light up the pages of their work with LEDs. They might even use Twine, an interactive storytelling platform, to share their narratives with the world.

No matter the final curriculum, our girls will have access to women working in science and tech, internship and online publishing opportunities, and college-aged mentors.

The Octavia Project is the brainchild of a robotics teacher, Meghan McNamara, and a science fiction author, Chana Porter."]]></description>
<dc:subject>scifi sciencefiction octaviabutler girls stem education octaviaproject dreaming thinking futurism dreams children youth brooklyn nyc lcproject openstudioproject learning imagination fantasy fanfiction maghanmcnamara chanaporter teaching howwelearn ursulaleguin ursulakleguin</dc:subject>
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<item rdf:about="http://www.facets-con.com/#home">
    <title>FACETS</title>
    <dc:date>2015-04-21T18:05:30+00:00</dc:date>
    <link>http://www.facets-con.com/#home</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An interdisciplinary creative coding, interactive art, and videogames un-conference.

FACETS is a conversational based creative un-conference with a focus on underrepresented voices and demographics in STEM and art."

…

"MISSION STATEMENT

FACETS grew out out of a need for a new type of conference and a new type of conversation. Art, interactive technology, new media and game design are making innovative, beautiful things and are using similar tools and having similar, ground breaking discoveries and conversations but not with each other. What can a game designer learn from the linear mathematics used from procedurally generated music? What can the new media academic teach the creative technologist? How does technology inform storytelling, and how will video game design change cinema? The aim of FACETS is to create a cross disciplinary conference that facilitates conversation, mentorship, innovation, and ideation across these disciplines. We all make amazing things, let's make them together. 

Organized by Caroline Sinders and created by Caroline Sinders, Mohini Freya Dutta, Phoenix Perry, and Jane Friedhoff, FACETS started out of a frustration with a lack of places to discuss interactive art, media, and game design, particularly with talented and underrepresented demographics in STEM."
]]></description>
<dc:subject>facets events nyc brooklyn 2015 coding art videogames unconferences carolinesinders janefriedhoff phoenixperry mohinidutta rachelbinx sarahjaffe paoolopedercini ingridburrington joannemcneil</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ingridburrington"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joannemcneil"/>
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</item>
<item rdf:about="http://www.theguardian.com/money/2014/sep/28/new-york-gentrification-brooklyn-wealth-poverty-drive-change">
    <title>In Brooklyn, gentrification wipes out pigeons and chickens to make room for cats and dogs | Money | The Guardian</title>
    <dc:date>2015-03-20T08:03:16+00:00</dc:date>
    <link>http://www.theguardian.com/money/2014/sep/28/new-york-gentrification-brooklyn-wealth-poverty-drive-change</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Gentrification of inner-city neighborhoods into pseudo-suburbs have created a line between the haves and the have-nots"

[See also: http://gothamist.com/2015/03/21/photos_lamb.php ]]]></description>
<dc:subject>brooklyn animals cats dogs chickens pigeons birds 2014 pets nyc</dc:subject>
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<item rdf:about="http://www.dnainfo.com/new-york/20150317/greenpoint/lamb-spotted-lunching-with-diners-at-greenpoint-restaurant">
    <title>Lamb Spotted Lunching with Diners at Greenpoint Restaurant - Greenpoint - DNAinfo.com New York</title>
    <dc:date>2015-03-20T08:01:07+00:00</dc:date>
    <link>http://www.dnainfo.com/new-york/20150317/greenpoint/lamb-spotted-lunching-with-diners-at-greenpoint-restaurant</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hopefully they didn't order the lamb.

A man and woman were spotted by a local resident bringing a lamb to lunch at Greenpoint restaurant Five Leaves Tuesday afternoon.

Animals technically aren't allowed inside the popular eatery, but the diners kept the baby sheep outside on their laps, said Five Leaves employee Peter Demos.

People sometimes bring in their dogs, but it's the first time Demo has seen something like this at the 18 Bedford Ave. restaurant, he said.

Other diners "ooed" and "awed" at the little guy, which didn't make noise and didn't eat, Demos explained.

"They were like, 'Wow it's a lamb'," he said. "It was like a baby."

The customer who brought the lamb with him used to be a regular at the restaurant, but he hadn't come in for a long time and had never brought a lamb with him before, Demos said.

Greenpoint resident Nick Ramsey, 34, tweeted a photo of the furry fella when he spotted it on the way to work on Tuesday. His first thought was, "Doesn't this restaurant also serve lamb?"

The eatery does dish up a lamb pho dip sandwich, which features roasted lamb leg, rillettes, pickled jicama and an orange-anise consomme dip, but it was unclear if the man ordered the item, according to Demos.

"Just, also, 'why do you have a lamb?'" asked Ramsey, who noted that this type of sighting didn't surprise him in Brooklyn.

He and other locals joked about the possibility of eating the creature, though his friends and co-workers later pointed out that perhaps it was being used for knitting.

"Maybe there’s an artisanal yarn movement that I’m not aware of," Ramsey said.

It's not unheard of for New Yorkers to bring unusual animals to restaurants. A goat was spotted with a couple at Famous Famiglia restaurant in Midtown in 2012, munching on a spinach slice.

Still, Demos wasn't that impressed with the lamb.

"I was just like, 'It's a lamb.' I don't really care," he said. "Someone in Brooklyn has this f----ng thing they're doing.""]]></description>
<dc:subject>sheep lambs animals pets brooklyn 2015 greenpoint human-animalrelationships human-animalrelations multispecies</dc:subject>
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<item rdf:about="http://www.nytimes.com/2014/07/30/dining/australians-arrive-serving-breakfast.html">
    <title>Australian Cafes Arrive in New York - NYTimes.com</title>
    <dc:date>2015-03-18T06:59:38+00:00</dc:date>
    <link>http://www.nytimes.com/2014/07/30/dining/australians-arrive-serving-breakfast.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>cafes nyc australia coffeeshops coffee 2014 brooklyn food coffeehouses</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://rubyamanze.com/">
    <title>ruby amanze</title>
    <dc:date>2015-03-05T22:26:43+00:00</dc:date>
    <link>http://rubyamanze.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["ruby onyinyechi amanze is a Brooklyn based artist of Nigerian birth  and British upbringing. her drawings and works on paper have been influenced greatly by this cultural hybridity, as well as textile design, photography, print-making and architecture.  amanze graduated Summa Cum Laude from Tyler School of Art, Temple University in Philadelphia. she then went on to pursue a M.F.A at Cranbrook Academy of Art, Bloomfield Hills, Michigan.  

amanze has exhibited her work in numerous exhibitions in New York,  London, Ghana, Lagos, Philadelphia and Amsterdam. most recently, amanze was  awarded a 2012-13 Fulbright Scholars Award, to join the  Department of Fine and Applied Arts at the University of Nigeria,  Nsukka. she currently resides in Brooklyn where she maintains a full time studio practice."

…

"In a once conflicted space of neither here not there, ada the Alien and her cohort of kindred creatures [including audre the Leopard, Pidgin, Twin, Oyibo the Merman, ofunne & the Ghosts…] now find solace and empowerment in their self constructed, chimeric universe of hybridity and freedom. Exhibiting human, alien and animal characteristics, they navigate effortlessly through an intergalactic space and time. Ranging in size from hand held to immersive, these drawings reflect the layered experiences of a growing population of “in-betweeners” and global citizens, whose fluid identity is not grounded in a monolithic geography or permanence based, notion of home. Aliens, hybrids and ghosts is a non-linear narrative that celebrates the labyrinth of national, ethnic and sexual identities that exist somewhere between constructed reality, fantasy, memory and imagination. In this world, creatures find authenticity and wholeness in their ability to simultaneously belong nowhere and everywhere."

[See also:
http://www.okayafrica.com/news/no-such-place-edward-tyler-nahem-fine-art-new-york-city/
https://www.youtube.com/watch?v=xvhZLbdjRvQ
https://www.youtube.com/watch?v=RexNXjrzrKI
https://vimeo.com/70056081 ]]]></description>
<dc:subject>rubyonyinyechiamanze art artists africa nyc brooklyn space aliens in-betweeners permanence geography home hybrids authenticity wholeness belonging identity memory fantasy globalcitizens ghosts nigeria rubyamanze</dc:subject>
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</item>
<item rdf:about="http://laundromatproject.org/">
    <title>The Laundromat Project</title>
    <dc:date>2015-02-04T03:33:19+00:00</dc:date>
    <link>http://laundromatproject.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mission & Vision

We amplify the creativity that already exists within communities by using arts and culture to build community networks, solve problems, and enhance our sense of ownership in the places where we live, work, and grow.
 
We envision a world in which artists are understood as valuable assets in every community and everyday people know the power of their own creative capacity to transform their lives, their relationships, and their surroundings.

Theory of Change

The Laundromat Project believes art, culture, and engaged imaginations can change the way people see their world, open them up to new ideas, and connect them with their neighbors. When artists have the opportunity to build and contribute their unique skills and perspectives to the needs of their neighborhoods, they can be invaluable assets in furthering community wellbeing. When the skills and strategies for igniting creativity are made broadly available to everyday people and purposefully applied as tools for visioning a new and better world, these can be powerful forces for positive, transformative change. We know we have been successful when, over time, our neighbors—artists and everyday people, newcomers and old-timers, individually and collectively—become more involved in the civic and cultural affairs of their communities, feel more deeply connected to the places and people where they live and work, and bring a sense of creativity to community concerns.

Values

The Laundromat Project achieves its mission by bringing socially relevant and socially engaged arts programming to laundromats and other everyday community spaces in order to reach as many of our neighbors as possible. We are particularly committed to long-term and sustained investment in communities of color as well as those living on modest incomes.
 
As we strive to achieve our mission and embody our vision, the following values infuse all of our work. We are:
 
Creative Catalysts
We see artists as unique connectors who build bridges among disparate ideas, cultures, and points of view. Their ability to bring unconventional perspectives and creative solutions to challenges and situations makes artists dynamic and powerful assets in our communities.
 
Community-Centered
We believe that creativity is best activated where people already are—such as their local laundromat and other everyday spaces—and while addressing the issues we care about most.
 
Neighborly
We believe arts, culture, and creative expression are powerful engines for turning strangers into neighbors. A community of neighbors helps make the strong, resilient communities in which we all deserve to live. We strive to be good neighbors always.
 
People Powered
We are inspired by the diverse, creative, passionate people with whom we work. Even when we face the challenges of inequity or injustice—be they driven by race, class, gender, education, or geography/environment—we believe in the inherent, creative capacity of us all to dream a new world and bring it into being.
 
Active Listeners and Learners
We do our best work when we listen to understand and learn, not just to hear or recite. Furthermore, learning, like creativity, requires a willingness to experiment, reconsider, and refine. These two skills are cornerstones for creating positive, transformative change.
 
Collaborative and Cross-Pollinating by Design
We believe in the full creative force of our communities to solve challenges and envision new ways of being. This is powered by working collectively and leveraging the wide-spectrum of experiences, knowledge, and skills each community member brings to and across the table.
 
Propelled by Love
Our work is fueled by a love of our communities, the principles of justice, and a joy powerful enough to help shape the world we dream of together. Love is a radical and essential tool of power and protest. We embrace it."]]></description>
<dc:subject>art nyc brooklyn bed-stuy laundry socialpracticeart public lcproject openstudioproject everyday laundromats community collaboration workinginpublic</dc:subject>
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</item>
<item rdf:about="https://placesjournal.org/article/library-as-infrastructure/">
    <title>Library as Infrastructure</title>
    <dc:date>2014-12-04T19:59:19+00:00</dc:date>
    <link>https://placesjournal.org/article/library-as-infrastructure/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For millennia libraries have acquired resources, organized them, preserved them and made them accessible (or not) to patrons. But the forms of those resources have changed — from scrolls and codices; to LPs and LaserDiscs; to e-books, electronic databases and open data sets. Libraries have had at least to comprehend, if not become a key node within, evolving systems of media production and distribution. Consider the medieval scriptoria where manuscripts were produced; the evolution of the publishing industry and book trade after Gutenberg; the rise of information technology and its webs of wires, protocols and regulations. 1 At every stage, the contexts — spatial, political, economic, cultural — in which libraries function have shifted; so they are continuously reinventing themselves and the means by which they provide those vital information services.

Libraries have also assumed a host of ever-changing social and symbolic functions. They have been expected to symbolize the eminence of a ruler or state, to integrally link “knowledge” and “power” — and, more recently, to serve as “community centers,” “public squares” or “think tanks.” Even those seemingly modern metaphors have deep histories. The ancient Library of Alexandria was a prototypical think tank, 2 and the early Carnegie buildings of the 1880s were community centers with swimming pools and public baths, bowling alleys, billiard rooms, even rifle ranges, as well as book stacks. 3 As the Carnegie funding program expanded internationally — to more than 2,500 libraries worldwide — secretary James Bertram standardized the design in his 1911 pamphlet “Notes on the Erection of Library Buildings,” which offered grantees a choice of six models, believed to be the work of architect Edward Tilton. Notably, they all included a lecture room.

In short, the library has always been a place where informational and social infrastructures intersect within a physical infrastructure that (ideally) supports that program.

Now we are seeing the rise of a new metaphor: the library as “platform” — a buzzy word that refers to a base upon which developers create new applications, technologies and processes. In an influential 2012 article in Library Journal, David Weinberger proposed that we think of libraries as “open platforms” — not only for the creation of software, but also for the development of knowledge and community. 4 Weinberger argued that libraries should open up their entire collections, all their metadata, and any technologies they’ve created, and allow anyone to build new products and services on top of that foundation. The platform model, he wrote, “focuses our attention away from the provisioning of resources to the foment” — the “messy, rich networks of people and ideas” — that “those resources engender.” Thus the ancient Library of Alexandria, part of a larger museum with botanical gardens, laboratories, living quarters and dining halls, was a platform not only for the translation and copying of myriad texts and the compilation of a magnificent collection, but also for the launch of works by Euclid, Archimedes, Eratosthenes and their peers."

…

"Partly because of their skill in reaching populations that others miss, libraries have recently reported record circulation and visitation, despite severe budget cuts, decreased hours and the threatened closure or sale of “underperforming” branches. 9 Meanwhile the Pew Research Center has released a series of studies about the materials and services Americans want their libraries to provide. Among the findings: 90 percent of respondents say the closure of their local public library would have an impact on their community, and 63 percent describe that impact as “major.”"

…

"Again, we need to look to the infrastructural ecology — the larger network of public services and knowledge institutions of which each library is a part. How might towns, cities and regions assess what their various public (and private) institutions are uniquely qualified and sufficiently resourced to do, and then deploy those resources most effectively? Should we regard the library as the territory of the civic mind and ask other social services to attend to the civic body? The assignment of social responsibility isn’t so black and white — nor are the boundaries between mind and body, cognition and affect — but libraries do need to collaborate with other institutions to determine how they leverage the resources of the infrastructural ecology to serve their publics, with each institution and organization contributing what it’s best equipped to contribute — and each operating with a clear sense of its mission and obligation."

…

"Libraries need to stay focused on their long-term cultural goals — which should hold true regardless of what Google decides to do tomorrow — and on their place within the larger infrastructural ecology. They also need to consider how their various infrastructural identities map onto each other, or don’t. Can an institution whose technical and physical infrastructure is governed by the pursuit of innovation also fulfill its obligations as a social infrastructure serving the disenfranchised? What ethics are embodied in the single-minded pursuit of “the latest” technologies, or the equation of learning with entrepreneurialism?

As Zadie Smith argued beautifully in the New York Review of Books, we risk losing the library’s role as a “different kind of social reality (of the three dimensional kind), which by its very existence teaches a system of values beyond the fiscal.” Barbara Fister, a librarian at Gustavus Adolphus College, offered an equally eloquent plea for the library as a space of exception:

<blockquote>Libraries are not, or at least should not be, engines of productivity. If anything, they should slow people down and seduce them with the unexpected, the irrelevant, the odd and the unexplainable. Productivity is a destructive way to justify the individual’s value in a system that is naturally communal, not an individualistic or entrepreneurial zero-sum game to be won by the most industrious.</blockquote>

Libraries, she argued, “will always be at a disadvantage” to Google and Amazon because they value privacy; they refuse to exploit users’ private data to improve the search experience. Yet libraries’ failure to compete in efficiency is what affords them the opportunity to offer a “different kind of social reality.” I’d venture that there is room for entrepreneurial learning in the library, but there also has to be room for that alternate reality where knowledge needn’t have monetary value, where learning isn’t driven by a profit motive. We can accommodate both spaces for entrepreneurship and spaces of exception, provided the institution has a strong epistemic framing that encompasses both. This means that the library needs to know how to read itself as a social-technical-intellectual infrastructure."

…

"In libraries like BiblioTech — and the Digital Public Library of America — the collection itself is off-site. Do patrons wonder where, exactly, all those books and periodicals and cloud-based materials live? What’s under, or floating above, the “platform”? Do they think about the algorithms that lead them to particular library materials, and the conduits and protocols through which they access them? Do they consider what it means to supplant bookstacks with server stacks — whose metal racks we can’t kick, lights we can’t adjust, knobs we can’t fiddle with? Do they think about the librarians negotiating access licenses and adding metadata to “digital assets,” or the engineers maintaining the servers? With the increasing recession of these technical infrastructures — and the human labor that supports them — further off-site, behind the interface, deeper inside the black box, how can we understand the ways in which those structures structure our intellect and sociality?

We need to develop — both among library patrons and librarians themselves — new critical capacities to understand the distributed physical, technical and social architectures that scaffold our institutions of knowledge and program our values. And we must consider where those infrastructures intersect — where they should be, and perhaps aren’t, mutually reinforcing one another. When do our social obligations compromise our intellectual aspirations, or vice versa? And when do those social or intellectual aspirations for the library exceed — or fail to fully exploit — the capacities of our architectural and technological infrastructures? Ultimately, we need to ensure that we have a strong epistemological framework — a narrative that explains how the library promotes learning and stewards knowledge — so that everything hangs together, so there’s some institutional coherence. We need to sync the library’s intersecting infrastructures so that they work together to support our shared intellectual and ethical goals."]]></description>
<dc:subject>shannonmattern 2014 libraries infrastructure access accessibility services government civics librarians information ethics community makerspaces privacy safety learning openstudioproject education lcproject zadiesmith barbarafister seattle nyc pittsburgh culture google neoliberalism knowledge diversity inequality coworking brooklyn nypl washingtondc architecture design hackerlabs hackerspaces annebalsamo technology chicago ncsu books mexicocity mexicodf davidadjaye social socialinfrastructure ala intellectualfreedom freedom democracy publicgood public lifelonglearning saltlakecity marellusturner partnerships toyoito refuge cities ericklinenberg economics amazon disparity mediaproduction readwrite melvildewey df publicgoods</dc:subject>
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<item rdf:about="http://thegoodschoolnyc.com/">
    <title>The Good School | Animating Art Education</title>
    <dc:date>2014-09-29T23:59:14+00:00</dc:date>
    <link>http://thegoodschoolnyc.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Good School is a mobile arts education school that cultivates commercial and traditional art making skills and technological understanding via stop motion animation filmmaking.

Our classes range from customized stop motion animation workshops to New Method Master Classes taught by working artist professionals. Integrating drawing, painting, sculpting, and design with technology, students learn by doing in a collaborative environment. TGS brings all necessary equipment and supplies to each lesson, enabling us to accomplish any project within varied spaces and flexible time frames.

We are committed to working with our clients to provide customized, personal animation workshop experiences that meet the artistic and educational goals of everyone with which we work.

The Good School believes in a wholistic art making experience that utilizes the cooperative process of stop motion animation film making. This allows participants of all ages to experience the roles of artist, teacher and professional.

Not only do we celebrate art education as a means of teaching traditional art making skills but we also emphasize its ability to impart creative thinking and strategic problem solving skills needed to participate, collaborate and innovate in the global community today and tomorrow.

Our clients include children, ages 5 to 18, students with special needs, home school co-ops, educators, creative agers and veterans. Scroll down to meet The Good School’s founders and teaching artists!"]]></description>
<dc:subject>art education learning nyc brooklyn lcproject openstudioproject</dc:subject>
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<item rdf:about="http://beamcenter.org/">
    <title>Beam Center</title>
    <dc:date>2014-09-29T23:57:02+00:00</dc:date>
    <link>http://beamcenter.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Beam Center is a Brooklyn-based community of learning where artists guide young creators aged 6 to 18. Our hands-on programs in technology, imagination and craft help young people build their character, courage to think for themselves, and capacity for collaboration and invention. 

The Beam Center grew out of the Inventgenuity Festival, which we first held in 2010 at Brooklyn's Invisible Dog Art Center to introduce families to Beam Camp.  The popularity of that event led us to build a set of interconnected programs in New York that all share the basic philosophy of Beam, which celebrates the special alchemy between instructors who are passionate experts in their craft and young people who are given space and encouragement to invent and create.

Beam Center's core programs are  Inventgenuity Workshops, after-school programs for young people in grades 2-6; BeamWorks, in which teams of high school students collaborate with master practitioners of design, craft and engineering; and the  WindowShop Residency, which offers artists both a high-visibility storefront space and an opportunity to share how they make things with the kids of the Beam Center community. We also host community events where kids and artists learn from each other.

Most programs take place at our large street-level space at 47 Bergen Street in Brooklyn, between Smith and Boerum Streets. We're half a block from the F and G at Bergen Street, and a ten-minute walk from the 2/3/4/5/N/R at Borough Hall."

[See also: http://www.beamcamp.com/

"Beam Camp is a place where kids collaborate, build, and engage with adults who are passionate about their craft, and it has since inspired their founding of the Beam Center and BeamWorks.  Brian now devotes his full energies to the running of all things Beam, including overseeing the Center’s strategic vision with Danny, fostering community partnerships, and directing the BeamWorks Internship Program." ]]]></description>
<dc:subject>brooklyn nyc lcproject openstudioproject art design beamcenter colearning invention learning education makers via:blubirding</dc:subject>
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<item rdf:about="http://motherboard.vice.com/read/the-hunt-for-brooklyns-hidden-creeks">
    <title>The Hunt for Brooklyn's Hidden Creeks | Motherboard</title>
    <dc:date>2014-08-30T04:10:57+00:00</dc:date>
    <link>http://motherboard.vice.com/read/the-hunt-for-brooklyns-hidden-creeks</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The morning's goal is get pictures of the whole lawn and then to look at the vegetation. Nature can be built over, but it can't be stopped, and the long-buried waterways are still written on the surface in grass. The type of grass growing reveals the soil below, where the patterns of the historic streams persist. Although unseen, they're still adding to the Gowanus watershed through combined sewers, much to the detriment of the water and the health of those who would enjoy it.

“Combined sewers have limited capacities, and when it rains, they overflow poop and condoms into our Canal where we canoe,” he says. “By getting clean stream water out of the sewers, and diverting them to parks, and Street Creeks, we can improve the water quality.”

So Eymund has been mapping Brooklyn's cryptocreeks upstream from the canal, a David Livingstone venturing into the past. Instead of working for the crown, he's working with the New York City Department of Environmental Protection, helping them find places to implement their Green Infrastructure Plan. He wants to bridge the local expertise, which in this case is property owners whose basements are always flooding, with the EPA's clean-up efforts in Gowanus. As the canal is paying for the whole borough, the clean-up has to involve the whole borough, creating a more sustainable, greener Brooklyn."

…

"That day's plan is to send the balloon aloft carrying two regular point-and-shoot digital cameras, like everyone had before smartphones, that are hacked to take pictures every 10 seconds. Though the whole endeavor is designed to be both cheap and sustainable—the eight- and 12-megapixel cameras were ten-buck rescues from the e-waste warehouse on Nevin Street, by the canal—Eymund excitedly tells us we'll be using a new balloon to look for where the creeks were buried."]]></description>
<dc:subject>maps mapping nature urban urbanism 2014 brooklyn gowanus aerialphotography balloons classideas projectideas nyc</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.snarkitecture.com/">
    <title>Snarkitecture</title>
    <dc:date>2014-08-21T05:42:13+00:00</dc:date>
    <link>http://www.snarkitecture.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Snarkitecture is a collaborative practice operating in territories between the disciplines of art and architecture. Working within existing spaces or in collaboration with other artists and designers, the practice focuses on the investigation of structure, material and program and how these elements can be manipulated to serve new and imaginative purposes. Searching for sites within architecture with the possibility for confusion or misuse, Snarkitecture aims to make architecture perform the unexpected.

Snarkitecture was established by Alex Mustonen and Daniel Arsham."]]></description>
<dc:subject>architecture art design snarkitecture alexmustonen danielarsham brooklyn nyc</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:eadc330bb202/</dc:identifier>
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<item rdf:about="http://vsco.co/features/workspace-of-makeshift-society-in-nyc">
    <title>Workspace of: Makeshift Society in NYC | VSCO</title>
    <dc:date>2014-06-02T22:15:33+00:00</dc:date>
    <link>http://vsco.co/features/workspace-of-makeshift-society-in-nyc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Makeshift Society provides multi-faceted workspaces in both San Francisco and New York City that are geared towards entrepreneurs, creatives, and freelancers. A little while back, we featured Makeshift Society’s San Francisco location on the Journal, which you can view here. Since then, they successfully funded a Kickstarter of $30,000 for seeding a New York coworking space, and just recently, they finished building out the gorgeous 4,000 square foot workspace, which is located in a hundred year old pencil factory in Brooklyn.  

For the configuration of their New York workspace, Makeshift Society created an open, airy, and bright layout that utilizes the large warehouse windows and vaulted ceilings. There are plenty of cozy corners, quiet areas, and meeting rooms where members can discuss privately with clients and collaborators. A range of options for membership, from a single day pass up to a full-time, 5 day a week plan, allows for individuals to create a schedule suitable to their needs. 

In celebration of the completion of their New York workspace, Makeshift Society is throwing an open house with refreshments, demos, and talks on Wednesday, June 4th from 9am - 6pm. This event is free and open to the public. If you would like to attend the event, make sure to reserve a spot here as spaces are limited.  

We were very excited to interview Makeshift Society regarding their beautiful and functional new space. Read on below to learn more about the differences between their New York and San Francisco spaces and the types of creatives they house. All of the wonderful images documenting their simple, inspiring, and warm workspace were taken by Noah Sahady and processed using VSCO Film 04."]]></description>
<dc:subject>makeschiftsociety nyc brooklyn coworking workplace design interiors lcproject openstudioproject 2014 via:nicolefenton furniture workspace workspaces</dc:subject>
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<item rdf:about="http://www.aljazeera.com/indepth/opinion/2014/05/peril-hipster-economics-2014527105521158885.html">
    <title>The peril of hipster economics - Opinion - Al Jazeera English</title>
    <dc:date>2014-05-29T23:00:54+00:00</dc:date>
    <link>http://www.aljazeera.com/indepth/opinion/2014/05/peril-hipster-economics-2014527105521158885.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In a sweeping analysis of displacement in San Francisco and its increasingly impoverished suburbs, journalist Adam Hudson notes that "gentrification is trickle-down economics applied to urban development: the idea being that as long as a neighbourhood is made suitable for rich and predominantly white people, the benefits will trickle down to everyone else". Like trickle-down economics itself, this theory does not play out in practice.

Rich cities such as New York and San Francisco have become what journalist Simon Kuper calls gated citadels: "Vast gated communities where the one percent reproduces itself."

Struggling US cities of the rust belt and heartland lack the investment of coastal contemporaries, but have in turn been spared the rapid displacement of hipster economics. Buffered by their eternal uncoolness, these slow-changing cities have a chance to make better choices - choices that value the lives of people over the aesthetics of place.

In an April blog post, Umar Lee, a St Louis writer and full-time taxi driver, bemoaned the economic model of rideshare services, which are trying to establish themselves in the city. Noting that they hurt not only taxi drivers but poor residents who have neither cars nor public transport and thus depend on taxis willing to serve dangerous neighbourhoods, he dismisses Uber and Lyft as hipster elitists masquerading as innovators:

"I've heard several young hipsters tell me they're socially-liberal and economic-conservative, a popular trend in American politics," he writes. "Well, I hate to break it to you buddy, but it's economics and the role of the state that defines politics. If you're an economic conservative, despite how ironic and sarcastic you may be or how tight your jeans are, you, my friend, are a conservative …"

Lee tells me he has his own plan to try to mitigate the negative effects of gentrification, which he calls "50-50-20-15". All employers who launch businesses in gentrifying neighbourhoods should have a workforce that is at least 50 percent minorities, 50 percent people from the local neighbourhood, and 20 percent ex-offenders. The employees should be paid at least $15 per hour.

Gentrification spreads the myth of native incompetence: That people need to be imported to be important, that a sign of a neighbourhood's "success" is the removal of its poorest residents. True success lies in giving those residents the services and opportunities they have long been denied.

When neighbourhoods experience business development, priority in hiring should go to locals who have long struggled to find nearby jobs that pay a decent wage. Let us learn from the mistakes of New York and San Francisco, and build cities that reflect more than surface values."]]></description>
<dc:subject>cities class gentrification hipsters race economics inequality redevelopment sanfrancisco nyc brooklyn poverty adamhudson sarahkendzior spikelee katharinagrosse whitewashing simonkuper segregation rustbelt</dc:subject>
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</item>
<item rdf:about="http://tmagazine.blogs.nytimes.com/2014/02/25/in-his-words-stillness-in-the-move/">
    <title>In His Words | Stillness in the Move</title>
    <dc:date>2014-02-28T07:41:39+00:00</dc:date>
    <link>http://tmagazine.blogs.nytimes.com/2014/02/25/in-his-words-stillness-in-the-move/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I love dancing, and I especially love being in a club at 2 a.m., when one or three drinks, good company and a gifted D.J. collectively liberate me into my body. The place could be Barbès in Park Slope, where old-school Guinean grooves silver the air, or perhaps I’m at Windfall in Midtown, enjoying the latest Nigerian Afrobeats and Congolese ndombolo. Wherever it is, I stop my habitual overthinking and become, quite simply, a body in the half-dark.

But this is not the highlight of such evenings, for afterward is the journey home to Brooklyn. From the back seat of a taxi, the city unfurls before me as a series of illuminated sights. If we go down the West Side Highway, we’ll pass by the apparition of One World Trade and enter the Tarkovsky-like glow of the Battery Tunnel. If we take the F.D.R., there’s the jeweler’s display of the bridges: Williamsburg, Manhattan, Brooklyn, all those dreamy rows of diamonds. At such moments, the city is mine alone: its immensity, its beauty, its clear streets, its silent waterways. It is open in a way daylight would never permit. I lose myself in it and belong to it, a happiness no less real for being so fleeting."]]></description>
<dc:subject>2014 tejucole happiness music nyc brooklyn night thinking overthinking slow ephemeral ephemerality</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ee480732f9f7/</dc:identifier>
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</item>
<item rdf:about="http://ushkadj.wordpress.com/">
    <title>DJ Ushka | deejay, global bass, one half of iBomba (Brooklyn), Dutty Artz</title>
    <dc:date>2014-02-28T07:28:54+00:00</dc:date>
    <link>http://ushkadj.wordpress.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ushka is a Sri Lankan-born, Thailand-raised, Brooklyn-living migrant. She is an activist, cultural organizer, and deejay re-defining the boundaries between global bass music, culture, and organizing.

As an organizer and cultural activist, she put together the Beyond the Block festival as part of Dutty Artz in 2012, which brought together community leaders, youth, immigrant organizations, artists and DJs in a block party-style vibe in Sunset Park, Brooklyn. In a months-long process, Ushka facilitated the creation of a space difficult to find in immigrant neighborhoods often ignored by New York City, providing a means for some of Brooklyn’s Sunset Park and Bayridge residents (Chinese, Arab, Mexican, and more) to access important information around current immigration policies, as well as  know-your-rights and housing resources while at the same time creating an artistic and musical environment for cross-community interaction.

As a deejay, she is one half of iBomba – one of NYC’s premiere destinations for global bass every second Thursday of the month at Bembe (81 South 6th St, Brooklyn). She is also a part of the Dutty Artz label + crew, a collective of djs + producers creating sonic cultural production and events in NYC. Having grown up in several parts of the world, her musical influences are as transnational as she is. She deejays from the perspective of a dancer, blending a wide range of music from soca to cumbia, hip hop to south asian rhythms, kuduro and other african styles to samba, for a wide audience. She does so with the philosophy that global genre-blending connects cross-cultural struggles and tells important stories between communities but most importantly, she translates this onto dancefloors.
Her debut mixtape, entitled ‘Foreign Brown‘ was well received, reaching over 6,300 listens in a few months. It was profiled in Sounds and Colours reaching audiences in North America, South America, and the United Kingdom.

Ushka has deejayed at iBomba at Bembe, Dutty Artz Change the Mood at Glasslands Gallery, Azucar at One Last Shag, Anthology of Booty’s Backdoor party at Tropicalia, D.C. and Que Bajo at Tammany Hall. She was also an opening DJ for Q-Tip at SRB Brooklyn. Other venues she has deejayed at include SOBs in Manhattan, Gallery Bar in the Lower East Side, Public Assembly in Williamburgs, and Caracas Arepas Bar in the Rockaways. She is expected to perform in Boston and Chicago in the coming months."

[See also:
https://twitter.com/ty_ushka
https://soundcloud.com/djushka
http://djushka.tumblr.com/
http://opencitymag.com/always-foreign-always-brown/
http://www.duttyartz.com/blog/mixes/6-years-deep-what-edward-said-ep-mix/ ]]]></description>
<dc:subject>djushka music nyc ibomba brooklyn</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:534e2344d700/</dc:identifier>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/The_KIDflix_Film_Fest_of_Bed-Stuy">
    <title>The Kidflix Film Fest of Bed-Stuy - Wikipedia</title>
    <dc:date>2014-01-11T06:42:52+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/The_KIDflix_Film_Fest_of_Bed-Stuy</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>brooklyn children film events kidflix bed-stuy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:94f221761cae/</dc:identifier>
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</item>
<item rdf:about="http://ellieirons.com/">
    <title>Ellie Irons</title>
    <dc:date>2013-10-27T22:02:40+00:00</dc:date>
    <link>http://ellieirons.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am an interdisciplinary artist exploring the interplay of humanity and ecology through drawings, environmental sculpture, and electronic media.  Born in rural Northern California, I went to college in Los Angeles, where I studied art and environmental science.  After falling in love with biology field work, I began combining ecology with art.  I relocated to New York City in 2005, and completed my MFA at Hunter College in fall 2009. I now teach and keep a studio in Bushwick, Brooklyn."]]></description>
<dc:subject>art artists biology ecology brooklyn interdisciplinary</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:01a460cfc0c2/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:biology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ecology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brooklyn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interdisciplinary"/>
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</item>
<item rdf:about="http://www.dukeriley.info/">
    <title>Duke Riley :: Artist + Patriot</title>
    <dc:date>2013-10-18T04:37:34+00:00</dc:date>
    <link>http://www.dukeriley.info/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My work addresses the prospect of residual but forgotten unclaimed frontiers on the edge and inside overdeveloped urban areas, and their unsuspected autonomy. I am interested in the struggle of marginal peoples to sustain independent spaces within all-encompassing societies, the tension between individual and collective behavior, the conflict with institutional power. I pursue an alternative view of hidden borderlands and their inhabitants through drawing, printmaking, mosaic, sculpture, performative interventions, and video structured as complex multimedia installations.

I often work in the tradition of field naturalists, seeking and gathering data, artifacts, and specimens outdoors, transporting them inside for closer observation and study, displaying them in museum-like diorama settings. I combine populist myths and reinvented historical obscurities with contemporary social dilemmas, connecting past and present, drawing attention to unsolved issues. Throughout my projects I profile the space where water meets the land, traditionally marking the periphery of urban society, what lies beyond rigid moral constructs, a sense of danger and possibility."

[via: http://www.nytimes.com/2013/10/17/arts/design/avian-artistry-with-smuggled-cigars.html ]]]></description>
<dc:subject>art artists brooklyn dukeriley outdoors frontiers borders urban autonomy margins macollectivebehavior borderlands</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fe4879d756f8/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:macollectivebehavior"/>
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</item>
<item rdf:about="http://bklynr.com/block-by-block-brooklyns-past-and-present/">
    <title>BKLYNR | Block by Block, Brooklyn’s Past and Present</title>
    <dc:date>2013-08-06T06:39:43+00:00</dc:date>
    <link>http://bklynr.com/block-by-block-brooklyns-past-and-present/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>brooklyn history maps nyc opendata mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1890ad287867/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brooklyn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:opendata"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://occupationalartschool.com/post/32314403426/black-mountain-buckminster-fuller-oasn1">
    <title>Occupational Art School • Please join us Wednesday, September 26th at...</title>
    <dc:date>2013-08-05T05:05:37+00:00</dc:date>
    <link>http://occupationalartschool.com/post/32314403426/black-mountain-buckminster-fuller-oasn1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Occupational Art School (OAS) is a start up art school in Bushwick, Brooklyn, born out of the arts and culture committee at the hieght of  the occupy movement. The overall approach is to combine a self-educational salon with some of the sustainable urban strategies expressed in the Buckminster Fuller Challenge. After doing a visioning process and researching similar endeavors like Black Mountain College, 3rd Ward, Eyebeam and Bruce High Quality, it became clear that there is no single place that allows one to develop a holistic approach to being an artist in the city in the way we are envisioning. You do your urban farming in one neighborhood, showcase and sell your handmade wares in another and go back to your studio to produce your artwork for a gallery showing, all disconnected. OAS is a one-stop shop for integrating art practice and a sustainable lifestyle in such a way that is regenerative – an artist centric enterprise with a strong educational component provided by its members/participants. Influencing projects from the Buckminster Fuller Challenge include Plant Chicago, Brooklyn Farm Yards and Santa Fe Innovation Park. Courses started in August 2012."

[See also: http://occupationalartschool.com/post/32344560754/oas-conference-call-notes-september2012 ]]]></description>
<dc:subject>oas occupationalartschool ows occupywallstreet altgdp arteducation nyc brooklyn jenjoyroybal bmc blackmountaincollege</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:514eb5efe921/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jenjoyroybal"/>
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</item>
<item rdf:about="http://greenehillschool.org/">
    <title>Progressive Elementary and Middle School | Brooklyn, NY | Greene Hill School</title>
    <dc:date>2013-08-01T04:07:27+00:00</dc:date>
    <link>http://greenehillschool.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Founded in 2009, Greene Hill School is an independent elementary and middle school serving the need of the Fort Greene/Clinton Hill and surrounding Brooklyn communities for progressive and affordable education."]]></description>
<dc:subject>schools brooklyn fortgreen clintonhill education via:maryannreilly progressive nyc</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6967035ec9cc/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fortgreen"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:progressive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
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</item>
<item rdf:about="http://interferencearchive.org/">
    <title>Interference Archive</title>
    <dc:date>2013-07-22T01:30:06+00:00</dc:date>
    <link>http://interferencearchive.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Interference Archive explores the relationship between cultural production and social movements. This work manifests in public exhibitions, a study and social center, talks, screenings, publications, workshops, and an online presence. The archive consists of many kinds of objects that are created as part of social movements by the participants themselves: posters, flyers, publications, photographs, books, T-shirts and buttons, moving images, audio recordings, and other materials. Through our programming, we use this cultural ephemera to animate histories of people mobilizing for social transformation. As an archive from below, we are a collectively run space that stresses the use of our collection over its preservation, offers open stacks and accessibility for all, works in collaboration with like-minded projects, and encourages critical as well as creative engagements with our own histories.

The archive is all volunteer and relies on the help of many people. We welcome you to get involved.

Core collective:
Kevin Caplicki,  Molly Fair, Josh MacPhee, Cindy Milstein, and Blithe Riley"

[Profiled in the NY Times: http://www.nytimes.com/2013/07/21/nyregion/the-activism-files.html?pagewanted=all ]]]></description>
<dc:subject>interferencearchive posters archives resistance socialmovements activism gowanus brooklyn kavincaplicki mollyfair joshmacphee cindymilstein blitheriley culture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b70937b5ca80/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kavincaplicki"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mollyfair"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joshmacphee"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cindymilstein"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blitheriley"/>
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</item>
<item rdf:about="http://explorecreateshare.org/">
    <title>Hive NYC Learning Network</title>
    <dc:date>2013-07-20T20:45:13+00:00</dc:date>
    <link>http://explorecreateshare.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[From the about page, which also includes a great directory of organizations.]

"Hive NYC Learning Network is a Mozilla project that was founded through The MacArthur Foundation’s Digital Media and Learning initiative to fuel collaborations between cultural organizations to create new learning pathways and innovative education practices together. Hive NYC is composed of fifty-six non-profit organizations—museums, libraries, after-school clubs and informal learning spaces—that create Connected Learning opportunities for youth. Network members have access to funding to support this work through The Hive Digital Media Learning Fund in The New York Community Trust.

Core Beliefs:
• School is not the sole provider in a community’s educational system
• Youth need to be both sophisticated consumers and active producers of digital media
• Learning should be driven by youth’s interests
• Digital media and technology are the glue and amplifier for connected learning experiences
• Out-of-school time spaces are fertile grounds for learning innovation
• Organizations must collaborate to thrive

Hive NYC operates as a city-based learning lab, where members network with each other, share best practices and pedagogies, learn about and play with new technologies, participate in events, and most importantly, collaborate to create learning opportunities for NYC youth. As part of the network, members have access to the following support and services:

• Strategic guidance in seeking funding through the Hive Digital Media Learning Fund in the New York Community Trust
• Brokered connections between member organizations based on shared ideas and potential programs
• Participation in events in and beyond New York City that illustrate the work of network members and promote Connected Learning principles, digital literacy AND webmaking skills
• Access to involvement with the NYC Department of Education and others seeking to build experimental and/or sustainable partnerships with Hive NYC
• Opportunity to promote new, programs and events through Hive NYC communications channels (blog, Facebook, Twitter, etc.), as well as youth and volunteer recruitment
• A knowledge exchange for members to share models, ideas, content, tools and best-practices with each other
• Professional Development sessions that develop staff through network peer mentoring, modeling and sharing
• Monthly, in-person meet-ups and conference calls that allow for members to share program updates, best practices, and learn about new opportunities
• Additional seed funding for technology development, research, etc.

Each year, more than 6,000 tweens and teens across NYC directly engage with Hive NYC. These youth take part in projects funded by the Hive Digital Media Learning Fund in The New York Community Trust, private and community events, and programs resulting from network partnerships. Another 330,000 youth are indirectly impacted by these efforts, and through the broad dissemination of innovations and programs developed within the network."

[See also: http://hiveresearchlab.org/ ]]]></description>
<dc:subject>nyc hivenyclearning mozilla informallearning self-directed self-directedlearning unschooling deschooling learning youth openstudioproject lcproject macarthurfoundation homago museums ncmideas afterschool clubs learningspaces funding professionaldevelopment bestpractices digitalliteracy networkedlearning networks collaboration digitalmedia newmedia technology interestdriven amnh bankstreetcollege beamcenter brooklynmuseum brooklynpubliclibrary carnegiehall centerforurbanpedagogy citylore children'smuseumofthearts coderjojo dreamyard exposurecamp eyebeam facinghistoryandourselves glovbalkids grilswritenow maketheroad thelamp nycsalt parsons reelworks wagnercollege worldup wnyc wnycradiorookies urbanword toked thepoint rubinmuseum momi nypl moma iridescentlearning habitatmap cooper-hewitt commonsensemedia brooklyn bronx manhattan groundswell mouse downtowncommunitytelevision globalactionproject globalkids instituteofplay joanganzcooneycenter people'sproductionhouse radiorookies stoked queens statenisland cooperh</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://www.we-find-wildness.com/2010/07/wangechi-mutu/">
    <title>We Find Wildness</title>
    <dc:date>2013-06-04T21:05:56+00:00</dc:date>
    <link>http://www.we-find-wildness.com/2010/07/wangechi-mutu/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Particularly interested in myths about gender and ethnicity that have long circulated in Africa and the West, WANGECHI MUTU has adopted the medium of collage — which by its nature evokes rupture and collision — to depict the monstrous, the exotic, and the feminine.

Manipulating ink and acrylic paint into pools of colour she carefully applies to her surfaces imagery sampled from disparate sources- Vogue, National Geographic, hunting, motorbike and porn magazines. The resulting works process mimics amputation, transplant operations and torturous prosthetics. Her figures become parody mutilations, their forms grotesquely marred through perverse modification, echoing the atrocities of war or self-inflicted improvements of plastic surgery.

She also uses materials which make reference to African identity and political strife: her dazzling black glitter is an abyss of western desire, which allude to the illegal diamond trade and its consequences of oppression and war.

WANGECHI MUTU (b.1972, Nairobi, Kenya) is an artist who lives and works in Brooklyn, New York. On February 23, 2010 she was honored by Deutsche Bank as their first Artist of the Year. The prize included a solo exhibition at the Deutsche Guggenheim in Berlin. Titled My Dirty Little Heaven, the show traveled in June 2010 to Wiels Center for Contemporary Art in Brussels, Belgium. Her first one person show at Barbara Gladstone Gallery opens October 29, 2010."

[via: http://thenewinquiry.com/essays/silence-is-a-woman/ ]]]></description>
<dc:subject>art artists brooklyn wangechimutu kenya nyc collage rupture collision gender ethnicity prosthetics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0475afe2556d/</dc:identifier>
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<item rdf:about="http://guildisgood.com/">
    <title>The Guild</title>
    <dc:date>2013-06-01T22:33:56+00:00</dc:date>
    <link>http://guildisgood.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the beginning it was a welder, a wood buringin stove and fifteen hundred bucks. 

FRANKLY, WE COULDN'T EVEN AFFORD A PROPER COMPUTER OR SAW. We picked up the phone and called everyone we knew and told them we could make stuff. 

Some stuff turned into more stuff. More stuff turned into our first employee. Our first employee got a graphic novel book deal and left us which led us to our second employee. Don't worry Sarah, we still love you a ton and own all your books! 

From there we have grown bit by painstaking bit. We work through the nights and ask the people who love us to understand that it won't always be like this. There are days we don't get to go home for days. We take comfort in a cup of strong coffee with a splash of pride in a job well done. 

Our generous and creative clients give us opportunities to prove ourselves. They continue to believe in our good thoughts and hard work, and we continue to think well and work hard for them. 

Today the Guild is a broad collection of artists, designers, architects, project managers, developers, carpenters and painters. We come together to lend our talents to making dynamic environments and unique experiences. 

There are changes we would make if we had to do it again. The learning curve is sharp at times and the growing pains hurt like hell. In spite of proverbial skinned knees, we absolutely love what we do and are glad that it shows. "]]></description>
<dc:subject>design theguild losangeles brooklyn miami making environmentaldesign projectmanagement architecture art construction portland oregon</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1f868242de78/</dc:identifier>
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<item rdf:about="http://craftcouncil.americancraftmag.org/post/jimmy-mcbrides-interstellar-quilts">
    <title>Jimmy McBride's Interstellar Quilts | American Craft Council</title>
    <dc:date>2013-04-02T18:00:34+00:00</dc:date>
    <link>http://craftcouncil.americancraftmag.org/post/jimmy-mcbrides-interstellar-quilts</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jimmy McBride's art quilts are really out of this world. Made from salvaged textiles (collected while working for a salt and vinegar shipping company called Intergalactic Transport), the quilts are hand-stitched and hand-quilted. As McBride puts it: "There's no log cabins or poinsettias around, so I just stare out the window until something catches my eye."

Back on Earth, McBride is based in Brooklyn, and also recently launched a line of Roycroft Quilts. If you'd like to see him talk more about his intergalactic travels, make sure to check out this video."

[See also: http://jimmymcbride.com/home.html
http://intergalactictransport.blogspot.co.nz/search/label/quilt
http://www.etsy.com/blog/en/2011/handmade-portraits-stellarquilts/ 
https://vimeo.com/18669372 ]

[Related: "1876 Ellen Harding Baker's "Solar System" Quilt" http://americanhistory.si.edu/collections/search/object/nmah_556183 ]]]></description>
<dc:subject>via:annegalloway 2013 quilts quilting sewing glvo astronomy space art textiles brooklyn sciencefiction video</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3a2574af7cca/</dc:identifier>
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</item>
<item rdf:about="http://fortmakers.com/wordpress/">
    <title>Fort Makers</title>
    <dc:date>2013-03-30T18:01:27+00:00</dc:date>
    <link>http://fortmakers.com/wordpress/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Fort Makers is a Brooklyn based collaborative art group that aims to launch emerging artists’ careers through unconventional means of exposure. We are a gang of friends who are also artists. We travel, play, explore and make art together. We learn from each other and push each other forward as artists. Fort Makers was founded in Brooklyn during the summer of 2008."

[via: http://tmagazine.blogs.nytimes.com/2013/03/28/fort-makers/ via @sldistin ]]]></description>
<dc:subject>art brooklyn artists collectives collaborative collaboration cv interdisciplinary nanaspears noahjamesspencer naomiclark fabric textiles elizabethwhitcomb fabrics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:839602f519a6/</dc:identifier>
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</item>
<item rdf:about="http://www.extrapolationfactory.com/">
    <title>The Extrapolation Factory &amp; 99¢ Futures</title>
    <dc:date>2013-03-05T20:19:45+00:00</dc:date>
    <link>http://www.extrapolationfactory.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["..is an imagination-based assembly line for developing snapshots of future scenarios- embodied as artifacts for sale in a local store. In this 'workshop,' participants use our future-scope to cast present-day news, statistics and developments into future products to be exhibited in these nearby stores."]]></description>
<dc:subject>extrapolationfactory chriswoebken nyc brooklyn futures rapidprototyping elliottmontgomery studio-x</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8c03ab4668a8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:extrapolationfactory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chriswoebken"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brooklyn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:futures"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rapidprototyping"/>
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</item>
<item rdf:about="http://www.npr.org/2013/01/20/169634196/red-baraat-a-bhangra-powered-party-starter">
    <title>Red Baraat: A Bhangra-Powered Party Starter : NPR</title>
    <dc:date>2013-01-23T04:07:05+00:00</dc:date>
    <link>http://www.npr.org/2013/01/20/169634196/red-baraat-a-bhangra-powered-party-starter</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Red Baraat is wild — and loud. It's also a genre unto itself. The Brooklyn ensemble self-identifies as "dhol 'n' brass," a hybrid of Indian bhangra and New Orleans big-band music.

The group has played everywhere from the White House to the Bonnaroo festival, and its marathon live shows have become the kind of sweaty sensation that packs rock clubs. Limited to horns and percussion, Red Baraat is led by Sunny Jain on the dhol, a barrel-shaped Punjabi drum that's played on both sides. Jain says he's never found himself wishing for a guitar solo to fill space."]]></description>
<dc:subject>tolisten music 2013 bigband bhangra nyc redbaraat brooklyn</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:20284b9c0cde/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tolisten"/>
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</item>
<item rdf:about="http://www.cobblehillthinktank.com/">
    <title>Cobble Hill Think Tank</title>
    <dc:date>2012-12-20T20:30:02+00:00</dc:date>
    <link>http://www.cobblehillthinktank.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our philosophy and approach is student-centered. We believe  that if we develop self-confident and self-motivated students, everything else will fall into place.

Our priorities:
 student confidence
a solid understanding of the academic material 
providing tools with which student will thrive and grow
We have assembled a diverse team of specialists in a wide variety of subjects and skills. All of our staff has passed a Dept of Education background check, as well as regular in-house training."]]></description>
<dc:subject>workshops tutoring testprep lcproject nyc brooklyn education</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5881ed1b04c8/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tutoring"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:testprep"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brooklyn"/>
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</item>
<item rdf:about="http://www.thebrooklynstrategist.com/">
    <title>The Brooklyn Strategist - Game Center, Cafe, Social Club - New York</title>
    <dc:date>2012-12-20T20:28:20+00:00</dc:date>
    <link>http://www.thebrooklynstrategist.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At The Brooklyn Strategist, we love games! Our unique atmosphere is a great place to enjoy strategy, community and competition through interactive board- and card-games. It is a place to play, learn, think creatively, socialize and strategize against an opponent or with team members. We are pleased to offer afternoon clubs to kids (7+ years old), tweens, teens and adults and look forward to providing our community with a space that promotes fun, interaction and learning."]]></description>
<dc:subject>strategy learning nyc gaming boardgames games brooklyn</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d15b49c5351c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:boardgames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
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</item>
<item rdf:about="http://www.brooklynwriters.com/">
    <title>Brooklyn Writers Space</title>
    <dc:date>2012-12-20T20:27:57+00:00</dc:date>
    <link>http://www.brooklynwriters.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["All spaces provide writers with a desk, a lamp and a chair on a first come first serve basis. Coffee is always on hand, as well as provide your own paper printing, wi-fi(but if you are trying to get away from the internet we can help you with that too), storage ($30 per quarter), and kitchenette lounge areas for socializing. 

Each space is unique by location and by services, the Garfield location has a roof deck with monster tomato plants, Room 58 has a beautiful art gallery and a lounge with really comfy couches, and the Court Street location has plenty of books and very comfy reading area. All spaces are accessible 24/7."]]></description>
<dc:subject>writers coworking community nyc brooklyn writing</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4ff4b11c4d9b/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coworking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brooklyn"/>
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</item>
<item rdf:about="http://www.travelchannel.com/tv-shows/anthony-bourdain/episodes/brooklyn">
    <title>No Reservations | Brooklyn</title>
    <dc:date>2012-11-13T20:57:00+00:00</dc:date>
    <link>http://www.travelchannel.com/tv-shows/anthony-bourdain/episodes/brooklyn</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the last leg of his final No Reservations tour, Tony travels just across the river to Brooklyn, a part of New York that he's barely visited. Tony explores the cutting edge food, music, and people that the area offers, but also meets the nostalgic characters and stalwarts of the old days who co-exist with the new Brooklyn."]]></description>
<dc:subject>noreservations 2012 food nyc brooklyn anthonybourdain</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:10066003f3df/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:food"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brooklyn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anthonybourdain"/>
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