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    <title>Whatever Happens to Music Will Happen to AI (2026) | by Bruce Sterling | Mar, 2026 | Medium</title>
    <dc:date>2026-04-08T06:55:53+00:00</dc:date>
    <link>https://bruces.medium.com/whatever-happens-to-music-will-happen-to-ai-2026-9a4482a2a012</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>brucesterling 2026 ai artificialintelligence future music art technology trends jazzage aiethics</dc:subject>
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<item rdf:about="https://thejaymo.net/2025/07/05/2517-its-beginning-to-feel-a-bit-like-the-future/">
    <title>It's Beginning to Feel a Bit Like The Future | 2517 - thejaymo</title>
    <dc:date>2025-07-05T16:51:57+00:00</dc:date>
    <link>https://thejaymo.net/2025/07/05/2517-its-beginning-to-feel-a-bit-like-the-future/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I turn 40 in a few weeks, and I’ve realised something.

That it’s beginning to feel a bit like the future.

Looking around in 2025, the future I was sold as a turn of the millennium teen has arrived: pocket supercomputers, wireless internet, AR glasses, VR goggles, and synthetic minds [https://thejaymo.net/category/ai/ ]. Yet, the part I needed: an affordable home, a stable climate, data privacy, and fresh water free of microplastic, never really showed up.

The future worth growing old in was drowned in a bucket in the name of profit.

It feels like the future has run out of road. 

Vanessa Andreotti calls this moment [https://decolonialfutures.net/hospicingmodernity/ ] “the storm where ways of knowing are dying”. Where the tarmac ends, the work of hospicing modernity begins. We must stay by the bedside of a story that can no longer walk. 

Dougald Hine [https://dougald.substack.com/ ] says that the condition of modernity can be measured by a society’s proximity to the future. How close it feels and how much of it is sensed ahead. Bruce Sterling made a similar point in his closing keynote at Interaction 2011 [https://web.archive.org/web/20110306171125/http://www.ixda.org/resources/bruce-sterling-closing-keynote ], noting how, for the Victorians, media was full of future: in postcards, Jules-Verne and world-fair dioramas etc.

“You could hardly open a magazine in the 1890s without stumbling over a chrome-and-steam vision of the year 2000” he said.

Late-Victorian culture was an era of high colonial modernity, and as a consequence of that worldview, they lived with a surplus of future. Their future’s horizon was more than a century ahead. We, meanwhile, struggle to even picture five years ahead, we have mislaid our sense of the long now.

The Victorians overdosed on a ‘single story of forward’ and it influenced all that came after. Our task is to hospice their dying stories and midwife what may come next.

I was in my twenties when I fell into Solarpunk [https://thejaymo.net/solarpunk/ ], and I’ve spent much of the last decade arguing that we must re-future society [https://thejaymo.net/2024/06/21/solarpunk-means-dreaming-green-human-entities-2024/ ]. Imagine new possibilities, new ways of living and being in the world [https://thejaymo.net/long-form/solarpunk-rusted-chrome/ ]. It’s not, and has never been, a call to rekindle the logic of modernity, or to push back the future’s horizon. But instead it’s an invitation to sketch out the landscape on the other side, to speculate on whatever’s coming.

We need to reconnect our 2000 year old eschatological hunger and obsession with teleological progress – the sense of movement along a timeline – back into culture. We don’t need a single straight line, nor to make predictions. Instead we must refill the future with possibility. 

On July the 2nd we passed a midpoint; every sunrise now places us closer to 2050 than to 2000. 

I’ve been reading Colette Shade’s book: Y2K: How the 2000s Became Everything [https://bookshop.org/p/books/y2k-how-the-2000s-became-everything-essays-on-a-future-that-never-was-colette-shade/21416954 ]. Essays on the Future That Never Was, and having lived through that era, I realise the year 2000 now feels as distant as 1975 did at the time. forever ago. 

Perhaps this distance explains the resurgence of Y2K [https://thejaymo.net/2023/11/12/301-2337-like-we-did-in-y2k/ ].

Since the crash of 2008 our culture has swung on a Janus-shaped hinge: once future-oriented, it pivoted towards the past. But now box-office returns for Marvel films are sliding; Star Wars soon turns fifty; and corporate media continues to culturally frack the last millennium [https://thejaymo.net/tag/cultural-fracking/ ] while fashion loops nostalgia ever faster.

Hardly anyone is talking about 2050, let alone 2100.

In my adult lifetime we’ve become a civilisation that looks backwards, and this pivot from future to past is (I think) a consequence of fraying narratives and ossified economic structures. 

We stopped looking toward the future, and instead stare at the past because we cannot bear to face the present.

Yet it is precisely from the now—from an honest reckoning with the present—that possible new futures emerge. And we must fill them with spirit and story, and both can only arise from living ground.

In the book of Genesis, Lot’s wife looks back at Sodom, and is struck down by God, turned into a pillar of salt. I have always read this as an allegory for nostalgia. A gaze turned toward a past robbed of vitality. Salt, inert and crystalline, entombs her longing; she does not perish by fire but by inertia. 

Nostalgia evokes history without life. It treats the past as though it were no longer alive, yet in reality, the present is nothing but the living outcome of that past. And if we linger too long on an inert yesterday, we too risk sharing Lot’s wife’s fate.

Sterling’s 2011 challenge still stands: “try to find a picture of 2100 today and the page is blank.”

Which is why we must at least attempt to reclaim some proximity to the future. We must try to fully inhabit possible futures. We have to stop strip-mining yesterday and act as though the future is already here, because in many ways it is.

We do not need 2100’s chrome skylines sketched out in neon; we need conversation, and kitchen gardens, and mutual aid that practises 2100’s ethics today. We must also try to midwife the not-yet future without suffocating it with recycled utopias. 

Every morning now tips us further into the un-imagined. Possibility is underfoot, not over the horizon.

Solarpunk [https://thejaymo.net/solarpunk/ ], at its best, is part of this midwifery: a seed catalogue rather than a master plan."]]></description>
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    <title>Goodbye Internet: Infinite Detail - YouTube</title>
    <dc:date>2021-11-25T19:55:06+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=D16xz_tXWC4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tim Maughan’s (UK/CA) science fiction novel Infinite Detail (2019) tells the story of a near future Bristol where activists and artists have set up their own alternative digital network in the area of Stokes Croft, cutting off all connections to Big Tech. But when an anonymous group of hackers pulls out the plug of the internet worldwide, chaos ensues. In Infinite Detail, Tim Maughan outlines a possible future when the internet stops working and the impact it has on our hypernetworked world.  

During this event, the author will get into conversation with artist and researcher Ingrid Burrington (US). Ingrid Burrington’s work focuses on mapping, documenting and identifying digital networks while pointing out hidden elements of the internet. By researching the geographical context and material reality of the network she wants to unravel this system as well as underlying power structures. In 2016 she published Networks of New York, exploring the question of what the internet actually looks like.  

Together they will discuss science fiction, hidden digital infrastructures and the impact of unmeasurable late capitalist systems."]]></description>
<dc:subject>timmaughan ingridburrington liekewouters 2021 infinitedetail internet complexity infrastructure meshnetworks systems sciencefiction scifi economics capitalism capital systemsthinking colonialism expectations entitlement jgballard williamgibson davidgraeber brucesterling democracy anarchism anarchy mutualaid climatechange future nearfuture present adjacentfuture parallelfuture fiction exploitation optimism pessimism utopia dystopia superflux anabjain cyberpunk snowcrash neuromancer nealstephenson play networkedculture prediction online love grief neoliberalism brendanbyrne howwewrite writing howwethink alternatehistory inevitability malleability history change speculativefiction speculativedesign supplychains bleakness globalization precarity resilience astrataylor activism art organizing politicalchange culture smartphones corydoctorow davidbyrne narrative ursulaleguin hope hopefulness technology bigtech metaverse ursulakleguin</dc:subject>
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<item rdf:about="https://www.technologyreview.com/s/615190/how-big-tech-hijacked-its-sharpest-funniest-critics/">
    <title>How big tech hijacked its sharpest, funniest critics - MIT Technology Review</title>
    <dc:date>2020-02-25T12:08:32+00:00</dc:date>
    <link>https://www.technologyreview.com/s/615190/how-big-tech-hijacked-its-sharpest-funniest-critics/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Without design fiction, critical hits like Black Mirror would look very different."]]></description>
<dc:subject>designfiction design speculativedesign 2020 timmaughan julianbleecker brucesterling scifi sciencefiction prototyping capitalism superflux anabjain art saschapohflepp nearfuturelaboratory</dc:subject>
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<item rdf:about="http://blog.nearfuturelaboratory.com/2019/10/23/on-design-fiction-close-but-no-cigar/">
    <title>On Design Fiction: Close, But No Cigar - Near Future Laboratory</title>
    <dc:date>2020-01-10T21:53:40+00:00</dc:date>
    <link>http://blog.nearfuturelaboratory.com/2019/10/23/on-design-fiction-close-but-no-cigar/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here: https://mailchi.mp/nearfuturelaboratory/seldom-dispatch-6-from-the-near-future-laboratory-2969593 ]

“We are super excited and thrilled that the term “Design Fiction” is being heard beyond the relatively small community of designers who have been practicing it over the last decade or so. More organizations and teams are now coming to us looking for a fresh and different approach to addressing their needs, concerns, fears, failures and ambitions that the old PowerPoint and Post-it Design Processes simply cannot handle.

This is encouraging for us as we believe the practice of Design Fiction has enormous potential.

We are also concerned — concerned for the many perspectives that present a misconstrued perspective on Design Fiction.

We appreciate the take on Design Fiction by IDEO in their Prototype the Future of Your Business With This 4-Step Design Exercise podcast. We’re fans of their work and have many friends there, so this is encouraging for us as we believe the practice of Design Fiction has enormous potential.

However, IDEOs discussion and description do not embrace the sensibilities of the canonical Design Fiction treatise, “Design Fiction: A Short Essay on Design, Science, Fact and Fiction.” We feel the need to add a few notes to rectify some of the most common confusion about Design Fiction.

[image]

Note #1: Design Fiction is about understanding implications of decision making. Design Fiction is like a design-based A/B test.

— Have an idea or a range of possible ideas?

Run it through the Design Fiction process to understand how these ideas might play themselves out. Design Fiction allows you to engage the implications of your ideas deeply by creating some possible/probable outcomes. In those engagements you are actually creating artifacts that exist in those possible/probable futures. The artifacts you create are things from the future. When you do Design Fiction, you are like some kind of time traveling anthropologist bringing back things you’ve found. When you create these artifacts, you are engaging the context of its existence — why does this exist? what kind of world surrounds it? who are the people and what are their goals and ambitions?

In this kind of Design Fiction process, the discussions with your team and other stakeholders are bound to yield new ideas. The primary activity though, is to work with your team and stakeholders to understand the implications of decision making. Implications come first. New ideas follow.

Yes, we know that organizations often want to be told the solution to their problems and Design Fiction can certainly help here, as just described. Design Fiction is about studying possible implications — not all of them ‘preferred’, but they are always pragmatic and aligned with reality — not reality distorted.

— How do we do this?

Through the Design Fiction process we create design-based tangible artifacts that represent those implications. Sometimes we refer to these artifacts as props, as if they were the objects from that future, brought back to today to be considered, discussed, mulled over, debated and reflected upon.

With Design Fiction so may get your ’new possibilities’, but you will get something more valuable: a richer understanding of the results of your ideas, good, bad, normal. This ultimately better prepares you for what happens when your idea is in the world. It allows you to de-risk based on the unexpected outcomes (which always happen). 

Design Fiction does something no other design process does — it analyzes the outcomes of decision making today, so you have a clearer perspective and understanding of your possible/probable futures.

[video: TBD, A Design Fiction Intervention https://vimeo.com/107034605 ]

Note #2: The Design Fiction process produces tangible future artifacts. It does not produce written stories about a future state. This is a common and understandable misconception, probably based on the fact that the word “Fiction” is in the name.

Design Fiction is not a literary style, nor a purely dystopian visual style, despite its roots in Science Fiction and more specifically the important work of Near Future Laboratory Ambassador, His Eminence, Bruce Sterling, one of the founding fathers of the cyberpunk genre and aesthetic.

If you end up with a draft of a short story or a few paragraphs of a typical UX interaction scenario, or a storyboard, or a little film of someone swiping on a screen to show how your App idea would work — you have not done Design Fiction. 

What you’ve done is write a short story, which can only possibly be read as a short story. You haven’t created a designed artifact that is the result — an implication — of a set of decisions, current conditions and other inputs, and wrote something down about it.

What you should ideally produce is something a casual observer may mistake for a contemporary artefact, but which only reveals itself as a fiction on closer inspection. It should be very much “as if..” this thing really existed. It should feel real, normal, not some fantasy. Nor should it be construed as a representation of the future — like a short story, or an illustration of some kind of interaction. (My favorite example of an artifact based on a recent workshop? A pizza menu — from the near future. An actual menu that describes a future state of food tastes, ingredients, means of payment, etc.)

[image]

Note #3: Creating an artifact forces you to get into the details of your future world in a way that writing a story does not. When writing, it is easy to skip over uncomfortable details in favor of the “big picture”. Design Fiction makes you sweat the details. For example, if you create a Quick Start Guide for a Self Driving Car there are myriad topics that would need to be addressed to describe how to activate, switch into Uber mode, upgrade firmware, etcetera.

 — What should you do then if Design Fiction is more than writing stories? 

You should be creating artifacts from that world and going through the work of actually making them — not writing about them. 

If you’re exploring a future of self-driving cars and the implications for urban policy, create a physical map for a city as might be given out to the local public, or tourists. What would be in the map and why? Have debates with stakeholders about the challenges that would be faced, the failures that might occur, the brand names of services, new kinds of signage, etcetera. Now you’re doing Design Fiction. 

[image]

[video: #m3k – Design Museum Design Fiction https://vimeo.com/305574698 ]

Note #4: Creating artifacts happens early.

Design Fiction is called Design Fiction because it adheres to the principle of making-things-with-which-to-think. If you do this at the end, you’ve missed the point of Design Fiction. You have missed the opportunity to discuss, discover with your team and stakeholders the implications of decision making.

[image]

[video: Lost AI Notice – Design Museum Design Fiction https://vimeo.com/305574970 ]

Note #5: Design Fiction does not bias towards “perfect” or preferred outcomes — not because we wouldn’t like these, but because we’re pragmatic.

We are skeptical optimists. We have been doing this long enough to know that such things are always mired in the intractably complicated ways in which earnestly naive ideas (particularly from Silicon Valley) are disconnected from the way they are received and reacted to in the real world.

Most design processes fail to indicate the risks and challenges of decision making today. They are all “Blue Team” exercises that can only imagine the perfect outcomes. The world does not work this way. Decisions today never lead to ideal outcomes. Design Fiction allows you to run through multiple perspectives, multiple outcomes (Good. Neutral. Bad. Ugly.) It’s your “Red Team” exercise that goes along with the hopeful, optimistic outcome that explore a rich, wide, fulsome set of outcomes represented in tangible artifacts — Instagram Stories, YouTube Unboxing Videos, Customer Testimonial Videos (good ones, bad ones), a lower-thirds chyron crawl describing some epic fail of your idea as shown on Fox News, A Quick Start Guide that forces you to figure out how your “idea” would actually work so you can discover that even you can’t (yet) describe how it would actually work. These truly tangible futures help decision makers assess not only their “ideal” outcomes (which we always hope for and, if you’re honest, rarely get perfectly) but the neutral and completely failed outcomes.

This is also one of the reasons why we have pioneered a perspective on the future that we call “The Future Mundane”. There’s too much richness to summarize here but you can hear Nick Foster talk about Future Mundane at dConstruct. Here is Nick’s original essay on the Future Mundane.

[video: The Future Mundane https://vimeo.com/139358108 ]

3 Main “Take Aways”: 

1. Design Fiction isn’t a literary form. 

2. Design Fiction creates a range of possible future implications of decisions made today. 

3. If you want to do Design Fiction, you should come to the folks who pioneered it — the Near Future Laboratory.”
]]></description>
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<item rdf:about="https://iasext.wesleyan.edu/regprod/!wesmaps_page.html?crse=015295&amp;term=1189">
    <title>Critical Design Fictions CSPL 225</title>
    <dc:date>2018-05-19T21:31:48+00:00</dc:date>
    <link>https://iasext.wesleyan.edu/regprod/!wesmaps_page.html?crse=015295&amp;term=1189</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Design fiction involves the deliberate use of diegetic prototypes to suspend disbelief about change. Through practices of estrangement and defamiliarization, and through the use of carefully chosen design methods, this course experiments with the creation of provocative scenarios and imaginative artifacts that can help us envision different ways of inhabiting the world. The choices made by designers are ultimately choices about the kind of world in which we want to live--expressions of our dreams, fantasies, desires, and fears. As an integrated mode of thought and action, design is intrinsically social and deeply political. In conversation with science fiction, queer and feminist theories, indigenous discourses, drag and other performative interventions, this course explores speculative and critical approaches to design as catalysts for imagining alternate presents and possible futures. We examine a number of environmental and social issues related to climate change, incarceration, gender and reproductive rights, surveillance, emerging technologies, and labor."

…

"Readings include: Anthony Dunne & Fiona Raby, SPECULATIVE EVERYTHING: DESIGN, FICTION, AND SOCIAL DREAMING and Patrick Parrender (ed.) LEARNING FROM OTHER WORLDS: ESTRANGEMENT, COGNITION, AND THE POLITICS OF SCIENCE FICTION AND UTOPIA, along with selections from Carrie Lambert-Beatty, Julian Bleeker, Paul Preciado, Bruce Sterling, Darko Suvin, Samuel Delany, Elizabeth Grosz, José Esteban Muñoz, Ursula LeGuin, and Octavia Butler, among others.

Examination and Assignments: 
Participation and collaboration, short assignments in conversation with readings, midterm and final projects. Students will design and prototype a series of objects, scenarios, and characters as devices to explore alternate presents and possible futures."

[see also: 
https://www.are.na/barbara-adams/
https://www.are.na/barbara-adams/channels
https://www.are.na/barbara-adams/speculative-design-1519962911
https://www.are.na/barbara-adams/misc-design-1519956499
https://www.are.na/barbara-adams/sensory-ethnography
https://www.are.na/barbara-adams/ethnographic-design-films
https://www.are.na/barbara-adams/design-methods-1519961030

http://www.wesleyan.edu/academics/faculty/baadams/profile.html
http://newsletter.blogs.wesleyan.edu/2017/10/23/taylor-07-teaches-design-thinking-workshop-at-wesleyan/
http://wesleyanargus.com/2018/02/02/fellow-barbara-adams-talks-design-ideas-minor/
http://www.wesleyan.edu/ideas/faculty.html
http://www.wesleyan.edu/ideas/index.html
http://www.gidest.org/barbara-adams/
https://www.bloomsbury.com/uk/design-as-future-making-9780857858399/
https://nssr.academia.edu/BarbaraAdams ]]]></description>
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<item rdf:about="https://www.dezeen.com/2016/12/29/new-years-resolutions-architecture-design-2017-will-wiles-opinion/">
    <title>New Year's resolutions for architecture and design in 2017 by Will Wiles</title>
    <dc:date>2017-01-01T23:36:33+00:00</dc:date>
    <link>https://www.dezeen.com/2016/12/29/new-years-resolutions-architecture-design-2017-will-wiles-opinion/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With 2016 coming to an end, Will Wiles doses out his New Year's resolutions for architecture and design in 2017, which include resisting the hygge trend and finally taking responsibility for the climate.

I suggested New Year's Resolutions for architecture and design at the end of 2015, and the response was great. So, one year later, I've made some more:

1. An end to TED's glib solutionism

Consider president-elect Donald Trump's proposed wall to keep out Mexico. It was the most consistent pledge he made during his precedent-smashing election campaign. Trump admitted that it was his secret rhetorical weapon for when he sensed a crowd was getting bored: "I just say, 'We will build the wall!' and they go nuts," he told the New York Times.

The wall is a strong pledge to make: it's a simple, easy-to-understand design solution to a perceived problem. It's also crass, offensive and impractical in the extreme, but that didn't matter to the target audience. They got it. They went nuts.

There was a lot of this in 2016, the year zealots of various stripes promised to sweep away the knotted, stifling problems of globalisation with no more than a wave of the tiny hand. Build the wall, make America great again, drain the swamp, vote leave, take back control.

Architecture and design, which is well populated with experts and systems-thinkers, might regard itself as being apart from all this. But, in fact, one of the throbbing nerve centres of the post-expert, hand-wave era lies closer than you might think: TED, the wildly popular talks series.

TED, of course, presents itself as a hub of expertise and intelligence. And in criticising TED, I don't mean to denigrate the vast majority of its speakers, or to imply that TED equals Trump, or anything so dim. It's the format that's the problem, and the kind of intellectual legerdemain it encourages.

TED is the golden cap of the yaddering pyramid of hackism: that every wicked problem has a nifty workaround or backdoor, that it's all got a glib little design solution that'll bypass all the waffle and the smoke, and make everything OK. Ted Everyman, outsider genius, has cracked the problem that has the eggheads stumped, and it was so simple.

Trump's wall is very TED. So is his insistence that generic "smartness" on his part means that he can do without the expert advice previous presidents have relied upon, such as intelligence briefings.

The trouble for democratic opposition to these forces is that complexity and intractability make for very unenticing messages. Even more problematic is the fact that "it's complicated, let us experts handle it" is the way the globalist managerial class has ushered in many of the problems that Trump and others now claim to have solved.

Where architecture and design might be able to make a difference in the coming months is by shunning hackism and solutionism, and demonstrating instead its remarkable ability to research, explore and expose.

2. Take personal responsibility for the climate

With Trump's administration stuffed full of climate-change deniers and oil men, concerted international state action to address the warming planet looks unlikely. Worse, existing measures, such as the Paris Agreement that came into force this year, might be in peril. American leadership isn't essential for progress on the climate, but its active obstruction and wrecking of vital research could be a disastrous setback when renewed effort is needed.

The abdication of governments from climate action serves, at least, as a reminder that they can't be relied upon to enforce change. The long-awaited economic breakthrough of renewable energy has at last arrived: solar is now the word's cheapest form of energy. Simple economic forces might now drive down carbon emissions while national governments are preoccupied. Texas, a place strongly associated with oil and gas, now gets as much as half of its electricity from wind, and is anticipating a solar boom. China may also be a source of surprises.

These are changes that may yet halt the incipient climate catastrophe: not grandiose treaty-signing, but aggregated individual decisions. Be part of it in what you make and build.

3. Health warnings for the whimsy

Another Trump-related one, sadly. Trump's victory has also sparked a debate over so-called "fake news": the growing welter of misinformation, disinformation and scurrilous falsehood online. This risks crowding out more reliable sources of information and overwhelming civil society's already overtaxed critical faculties.

Again, you might wonder what that has to do with architecture and design. But of course architecture and design has a long history of generating its own "fake news" in the form of the more fanciful speculative proposals and vapourware.

There's nothing wrong with speculation, paper architecture and design fictions, of course – they're all useful endeavours and we'd be hugely poorer without them. It suits architecture and design to propose their own forms, as well as to simply deliver the proposals of others.

Even the grubbier end of that kind of activity isn't inherently bad. Here I'm talking about the completely senseless floating lilypad cities or vertical farms that get pitched out as blog-fodder for no practical purpose than showing off a designer's rendering skills and get their name about. They probably belong on Deviantart rather than Dezeen, but no one's harmed.

Really what's needed is appropriate labelling: making it clear what is speculation for the purposes of debate, what's a real proposal that's seeking backers, what might actually have a chance of actually appearing, and what's just a bit of hey-look-at-me fun. That's where the ethics get murky. Remember that Chinese straddling bus concept that turned out to be little more than a scam? Or that kooky London Garden Bridge concept that also turned out to be little more than a scam. Whimsy can be costly, people!

But seriously, knock it off with the floating cities and the vertical farms.

4. Leave "hygge" in 2016

Financial Times critic Edwin Heathcote has already done a sterling job of debunking hygge, the ubiquitous pseudo-Scandinavian lifestyle craze. Like many ubiquitous lifestyle crazes, it's a subtle blend of total common sense (fires are nice in winter) and complete balderdash.

Anyway, it's upon us now and resistance is futile – the tie-in books have already been given as presents, and they already sit amid the Christmas wreckage of many, many living rooms. And I'm sure they look harmless enough. So it's time for a word of warning.

The Guardian's Charlotte Higgins has already shown how hygge was confected within the publishing industry. I think the part played by architecture and design has been understated, though. For a start, the sector has done much to import interest in Scandinavian lifestyles by importing lots of Scandinavian people. No one in their right mind would think this was anything other than a tremendous boon, and I can only apologise to my Scandinavian friends and colleagues for the way Britain is presently making a travesty of their culture. That, and Brexit.

Let's not do hygge urbanism. The temptation will be strong, and you must resist
It truly has been a terrible year. Architecture – specifically, architecture publishing – was also making something of a fetish of things hygge before hygge was a thing, with its recent boom in cabins and log piles. I attribute this more to an interest in consumer survivalism, rather than Danish culture, but nevertheless "cabin porn" was very much the gateway.

Anyway, here's the warning. Already, thoughts will be turning to next year's endeavours, and fun ways to present them to the public. The eye will blearily cast around the living room for ideas. Thanks to architects from Jan Gehl to Bjarke Ingels, the Danish way of making cities is already rightly praised and emulated. But let's not do hygge urbanism. The temptation will be strong, and you must resist. No hygge placemaking. I beg of you. Just don't."

[via "These resolutions from @WillWiles are all worth considering, especially the one that equates Speculative Design and Fake News."
https://twitter.com/sevensixfive/status/815242847095951361

"There's a subtle but not so subtle difference between projects that are intended as critique, click bait, or outright hoax.

The hoax, as @bruces says, is in the territory of the Black Arts, and almost always maliciously and dangerously deployed.

I say this as someone whose proposal to launch manatees into space was reposted w/ straight seriousness by the Daily Mail & their commenters

The project, intended as critique (&, to be honest, clickbait!) was weaponized by DM, in the genre of "goofy eggheads wasting tax dollars""]]></description>
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<item rdf:about="https://jentery.github.io/syracuse/#/title">
    <title>Making Things, Writing Things| Prototyping as a Compositional Strategy | Syracuse University | 3 March 2016 | Jentery Sayers</title>
    <dc:date>2016-03-06T01:30:28+00:00</dc:date>
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<item rdf:about="https://jentery.github.io/508/">
    <title>English 508 (Spring 2016)</title>
    <dc:date>2016-02-18T20:39:54+00:00</dc:date>
    <link>https://jentery.github.io/508/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://jentery.github.io/508/notes.html ]

[From the description page:
https://jentery.github.io/508/description.html

"In both theory and practice, this seminar brushes against four popular assumptions about digital humanities: 1) as a service to researchers, the field merely develops digital resources for online discovery and builds computational tools for end-users; it does not interpret texts or meaningfully engage with “pre-digital” traditions in literary and cultural criticism; 2) digital humanities is not concerned with the literary or aesthetic character of texts; it is a techno-solutionist byproduct of instrumentalism and big data; 3) digital humanities practitioners replace cultural perspectives with uncritical computer vision; instead of privileging irony or ambivalence, they use computers to “prove” reductive claims about literature and culture, usually through graphs and totalizing visualizations; and 4) to participate in the field, you must be fluent in computer programming, or at least be willing to treat literature and culture quantitatively; if you are not a programmer, then you are not doing digital humanities.

During our seminar meetings, we will counter these four assumptions by examining, historicizing, and creating “design fictions,” which Bruce Sterling defines as “the deliberate use of diegetic prototypes to suspend disbelief about change.” Design fictions typically have a futurist bent to them. They speculate about bleeding edge technologies and emerging dynamics, or they project whiz-bang worlds seemingly ripped from films such as Minority Report. But we’ll refrain from much futurism. Instead, we will use technologies to look backwards and prototype versions of texts that facilitate interpretative practice. Inspired by Kari Kraus’s conjectural criticism, Fred Moten’s second iconicity, Bethany Nowviskie and Johanna Drucker’s speculative computing, Karen Barad’s notion of diffraction, Jeffrey Schnapp’s small data, Anne Balsamo’s hermeneutic reverse-engineering, and deformations by Lisa Samuels, Jerome McGann, and Mark Sample, we will conduct “what if” analyses of texts already at hand, in electronic format (e.g., page images in a library’s digital collections).

Doing so will involve something peculiar: interpreting our primary sources by altering them. We’ll substitute words, change formats, rearrange poems, remediate fictions, juxtapose images, bend texts, and reconstitute book arts. To be sure, such approaches have vexed legacies in the arts and humanities. Consider cut-ups, constrained writing, story-making machines, exquisite corpses, remixes, tactical media, Fluxkits, or détournement. Today, these avant-garde traditions are ubiquitous in a banal or depoliticized form, the default features of algorithmic culture and social networks. But we will refresh them, with a difference, by integrating our alterations into criticism and prompting questions about the composition of art and history today.

Instructor: Jentery Sayers
Office Hours: Monday, 12-2pm, in CLE D334
Email: jentery@uvic.ca
Office Phone (in CLE D334): 250-721-7274 (I'm more responsive by email)
Mailing Address: Department of English | UVic | P.O. Box 3070, STN CSC | Victoria, BC V8W 3W1

Philosophers have hitherto only interpreted the world in various ways; the point is to change it. —Karl Marx"]

[via: "when humanities start doing design without designers because design's too self-absorbed to notice being appropriated"
https://twitter.com/camerontw/status/700175377197563904
includes screenshot of Week 7 note from https://jentery.github.io/508/notes.html ]]]></description>
<dc:subject>jenterysayers text prototyping digitalhumanities speculativedesign design english syllabus maryanncaws johannadrucker wjtmitchell jeffreyschnapp evekosofskysedgwick technosolutionism brucesterling fredmoten karenbarad jeromemcgann marksample bethanynowviskie fluxkits detournement poetry exquisitecorpses algorithms art composition rosamenkman anthonydunne fionaraby dunne&amp;raby syllabi détournement</dc:subject>
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<item rdf:about="https://medium.com/@andrewdhudson/on-the-political-dimensions-of-solarpunk-c5a7b4bf8df4#.582nkilfq">
    <title>On the Political Dimensions of Solarpunk — Medium</title>
    <dc:date>2015-10-27T04:53:27+00:00</dc:date>
    <link>https://medium.com/@andrewdhudson/on-the-political-dimensions-of-solarpunk-c5a7b4bf8df4#.582nkilfq</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://solarpunks.tumblr.com/post/131978924858/dont-ask-permission-from-a-state-beholden-to]

"Don’t ask permission from a state beholden to oligarchs, and definitely don’t expect those oligarchs to do any of this for you. Guerilla gardening is the model, but look further. Guerilla solar panel installation. Guerilla water treatment facility restoration. Guerilla magnificent temple to the human spirit construction. Guerilla carbon sequestration megastructure creation.

Figure out what a community needs to be prosperous, peaceful and sustainable in as long a term as you can wrap your head around, and start building whatever piece is most in reach before the absent state notices. Doing so just might create pockets of more effective, horizontal politics. As the state wanes, these pockets can grow in size and influence, creating a better world even if some government claims the authority of law and holds a monopoly on violence.

Now, political choices got us into this mess, and political choices could get us out. I for one argue for a comprehensive set of reforms that were inspired by the discussions held around the world during Occupy: a global debt jubilee to free both countries and individuals from debts that impoverish and enslave them; a tax on extreme wealth to control inequality and rein in the power of oligarchs; a guaranteed basic income to provide for the poor, the infirm and those more useful as caregivers, artists and thinkers than employees of businesses; a dramatic reduction in the workweek to slow down unsustainable levels of economic expansion and to eliminate the countless “bullshit jobs” that serve no function but to bore those who hold them; the regulation or even abolition of usury (once considered as great a sin as slavery), so that investments in sustainable infrastructure that will pay off in cathedral time are not hampered by interest payments that will eventually exceed principal."

…

"As I argued in my discussion of cities, solarpunk should be careful not to idealize either the gothic high tech or the favela chic. No matter how many High Line-style parks or vertical farms they build, Manhattan will be useless if it is only filled with the luxury condos of absentee financiers. And favelas may be full of jugaad-innovation and dense with diverse entrepreneurialism, but they feature a fatal flaw: no fire codes. Slums are fascinating from a design perspective right up until they burn down or wash away. In a world of more extreme weather, disasters will strike down favelas before their recycling-centric, low-carbon lifestyles can save the climate.

Instead, I like the idea of focusing on large-scale infrastructure projects that will provide value for communities into the long term. A seed bank; a hyper-dense vertical permaculture farm engineered for carbon fixing; a massive, low-maintenance desalination system; a space elevator. These projects could themselves be the organizing principle around which unique solarpunk communities are organized."

…

"I’ve seen many people describe solarpunk as optimistic. My last suggestion is this: don’t be optimistic, be hopeful. As Vaclav Havel explained: “Hope is definitely not the same thing as optimism. It is not the conviction that something will turn out well, but the certainty that something makes sense, regardless of how it turns out.” Havel, an artist turned activist turned statesman who led his nation out of a time of crisis, in many ways embodies the transformational power of ideas and aesthetics — and thus the potential of a movement like solarpunk to do real good in the world.

This essay has been long, and it has discussed many troubling situations and possibilities. I wrote these things because I think it is important for any cohesive body of political thought to contrast what it wants with what it opposes: for transparency and privacy, against surveillance and deception; for conservation and abundance, against hoarding and exploitation; for neighborhoods and collaboratives, against gangs and police.

I also wrote this because I believe the enormity of our problems doesn’t have to paralyze us. Quite the opposite: seeing the world as it is is vital if you are going to figure out how it could be. Now is the moment to be galvanized, to know that we are on to something, and to make acting on these ideas a real part of our lives."]]></description>
<dc:subject>solarpunk 2015 andrewdanahudson politics favelachic gothichightech recycling diy optimism hopefulness scale activism jugaad infrastructure organization horizontality sustainability solar water climatechange gardening hope refugees longnow longnowfoundation williamgibson madmax paolobacigalupi bladerunner overconsumption overpopulation thecomingrevolution cities urban urbanism brucesterling drought blackswans</dc:subject>
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<item rdf:about="https://soundcloud.com/officialsxsw/bruce-sterling-closing-talk">
    <title>Bruce Sterling Closing Talk by SXSW on SoundCloud - Hear the world’s sounds</title>
    <dc:date>2015-03-21T13:56:04+00:00</dc:date>
    <link>https://soundcloud.com/officialsxsw/bruce-sterling-closing-talk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["World traveler, science fiction author, journalist, and future-focused design critic Bruce Sterling spins the globe a few rounds as he wraps up the Interactive Conference with his peculiar view of the state of the world. Always unexpected, invented on the fly, a hash of trends, trepidations, and creative prognostication. Don't miss this annual event favorite. What will he covered in 2015?"]]></description>
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<item rdf:about="http://www.boomcalifornia.com/2015/03/the-boom-interview-alex-steffen/">
    <title>What Use Is the Future? | Boom: A Journal of California</title>
    <dc:date>2015-03-10T00:34:46+00:00</dc:date>
    <link>http://www.boomcalifornia.com/2015/03/the-boom-interview-alex-steffen/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["California is a set of circumstances that I don’t think can happen again: this weird thing, a place, sort of without history—and “without history” in air quotes here, because our history was erased; it was ripped out by the roots—a place without history, made vastly wealthy then suddenly landed right in the middle of the global cultural discussion and the global economic future, and it has been there for eighty years, arguably more. That, I don’t think, is a thing that can happen again, because there’s nowhere left without history. There’s nowhere left where there’s a fresh start, with “fresh start,” again, in air quotes.

California is, by its very nature, the end of one kind of possibility. We got to the coast and we ran out of frontier. That means that California has stayed the frontier for a very, very, very long time. In fact, the frontier is a thing of our past, everywhere on Earth. You won’t find it in the Arctic or Antarctica or the deepest Amazon or the Sahara. They’re not landscapes of human possibility. They’re simply the most remote places left."

…

"But failure is not our only future. We might, instead, choose to reinvent ourselves again, to become the people who can reconcile prosperity, sustainability, and dynamism. We could raise our vision to take in the whole state and imagine for it and ourselves new ways of life that fit its realities and our own. Because failing exurbs and potholed freeways, government bankruptcies and climate chaos, eroding clear-cuts, dwindling salmon runs and drought-ravaged crops, a permanent underclass and a massive housing crisis—these aren’t the only way to live. We know enough to know that remaking all of that is at least possible. We could rebuild our cities with lots of new green housing and new transit and infrastructure, run our state on clean energy, remake forestry and farming, and look at water in a more sane way. We might even find a future for the suburbs, because if the twenty-first century has a frontier, it will be, as Bruce Sterling says, in the ruins of the unsustainable. All of these things would make us richer, and done properly they would actually become an export industry, because the whole wealthy world needs to figure out all this stuff, too. So those who figure it out can sell it, and should. We need the scale and speed of change that comes with a boom, and the self-transformation you see unleashed in democratic revolutions.

The practicalities of how we build a bright green state are tough, but even tougher is the cultural question: Who are “we” when we talk about ourselves as a group? The questions of who we are together are thorny and deep-rooted here in California, and we need a new and better answer."]]></description>
<dc:subject>california future 2015 alexsteffen jonchristensen green sustainability reinvention brucesterling democracy transformation change systems systemsthinking history 2115 environmentalism environment westcoast aldoleopold futurism culture society poverty inequality</dc:subject>
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<item rdf:about="http://www.p-o-u.be/fleet/?p=612">
    <title>Asylum center phonecard party | Princes of Ubiquity</title>
    <dc:date>2014-11-03T02:53:29+00:00</dc:date>
    <link>http://www.p-o-u.be/fleet/?p=612</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Friday October 31st, 2014. Refugees at the belgian federal asylum seekers center Klein Kasteeltje/Petit Chateau in Brussels were invited to gather in a so called ‘phonecard party’, initiated by Recyclart at the asylum center. The people from Syria, Afganistan, Albania, Palestine, Senegal.. were helped by the dj to plug-in their phones in the mixing table and play the favourite songs they stored on their device.

The result was an at least sweaty and astonishing event, with a hard to grasp atmosphere. The festive and somehow cosmopolitan mixing of local and often unshazamable mp3 hits had a dark and hysterical side to it. Nostalgia, hope, despair, trauma, adventure, melancholy, excitement and pride,.. all this was part of the melting pot and shared in a single room.

The disco gathering was loud in every aspect: the music, the cheering and the clapping, the way people danced, laughed and sweated or sat idle on a stool and stared. Loud.

Mixed groups of arab adolescent men, african women, eastern european families with childeren and elderly people all participated in what resembled an unfamiliar wedding party. Each new song that was played introduced a different traditional or less traditional dance to the floor, which was then interpreted by the others, or simply denied in favour of cheerful improvisation.

Apart maybe from my own presence, there was nothing exotic to this confusing reality of a hysterically loud transit zone.

[Soundcloud: https://soundcloud.com/bcrevits/asylum-seekers-phonecard-party ]

About the tracklist:

Not all songs could be recognized by Shazam. Actually, the most beautiful and mainly Arab songs were not. I’m still looking for people who could help identifying them.

For the tracks I could find, a quick research often showed a direct link between the status and quest of a refugee and either the lyrics or the biography of the singer: “European gipsy”, the Palestinian winner of Arab Idol 2013 singing “Raise your keffiea”, “I’m titanium, I’m bulletproof”, the Iraqi singer Hussam Al Rassam (a singer banned from Iraq by Muslim fundamentalists), Meda (an Albanian singer born in Kosovo and living in Stuttgart) etc, “taste the money – testimony” and the international polyglot release Shiki Riddim…

It is very clear however that this tracklist shows something else as well. Unsurprisingly, we a see what Henry Jenkins called pop cosmopolitanism through monocultural ‘urban’ music mixed with Bruce Sterling’s favela chic reflected by the phablets – you have lost everything material, no job or prospects, but you are wired to the gills and potentially big on facebook. And add to that a twist of cyberbalkanization.

Taste the money (Testimony) – P-Square
La Nueva y La Ex – Daddy Yankee
European Gipsy (Balkan Cigeni) – Koddok
Ala El Koufiea – Mouhammad Assaf
Gili Gili – Sinan Hoxha
Shaki Riddim – Sir Lewis
Edhe Pak – Dhurata Dora Feat. & Lumi B
Alef Mabrook – Hussam Al Rassam
Kar E Don, E Don – Meda
Titanium (Alesso remix) Lyrics – David Guetta feat. Sia

[YouTube playlist: https://www.youtube.com/watch?v=LFBZkWA4dTE&list=PLMEpByAUUDHHfJaLjKMVpw8PFq8XAJJWN "]]></description>
<dc:subject>music culture refugees mobile phones digital henryjenkins popcosmopolitanism brucesterling favelachic cyberbalkanization sharing cosmopolitanism projectideas playlists</dc:subject>
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<item rdf:about="http://blog.longnow.org/02014/09/29/science-fiction-authors-manual-for-civilization/">
    <title>David Brin, Bruce Sterling &amp; Daniel Suarez – Manual for Civilization Lists — Blog of the Long Now</title>
    <dc:date>2014-09-30T04:47:53+00:00</dc:date>
    <link>http://blog.longnow.org/02014/09/29/science-fiction-authors-manual-for-civilization/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sciencefiction scifi booklists davidbrin brucesterling danielsuarez 2014</dc:subject>
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<item rdf:about="http://penguinrandomhouse.ca/hazlitt/feature/novel-and-future-near-future">
    <title>The Novel and the Future of the Near Future | Hazlitt Magazine | Hazlitt</title>
    <dc:date>2014-09-21T01:55:30+00:00</dc:date>
    <link>http://penguinrandomhouse.ca/hazlitt/feature/novel-and-future-near-future</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Writers hoping to transport readers only a short distance into the future are in danger of being outfutured by reality itself. So-called “design fiction” may present creators with a more viable alternative."

…

"Of course, in the world of fiction a “minimum viable future” is more commonly referred to as a “shitty first draft.” It’s no surprise that Bruce Sterling is a fan of design fiction, and I can easily picture digitally-savvy Margaret Atwood hunched over a 3D printer. But an iterative approach to the future is often at odds with the slow, deliberate process of creating and populating a fictional universe. And given the clumsiness of the physical world, it’s easy to understand why writers would prefer to craft perfect sentences instead of generate imperfect vending machine novelties.

Still, if you want to see what happens when design fiction gets a bigger budget and a mass audience, check out the uncanny and discomforting BBC show Black Mirror. Featuring glimpses of our terrible (and terribly plausible) near future(s), it’s not a show that lends itself to binge watching, even with only two seasons, at three episodes per.

That’s because each episode of Black Mirror hits the reset button, taking place in a unique future universe with a fresh set of actors. Creator Charlie Brooker likes to start with a provocative but recognizable piece of design fiction and then guides the viewer toward a trapdoor labeled unintended consequences. In the episode “The Entire History of You” we watch a jealous husband unable to stop himself from discovering a secret he might be better off not knowing. It’s an effective critique of where lifelogging and Facebook might take us, in part because Brooker is able to make such a vivid emotional argument. Meanwhile, in “Be Right Back,” the dead are able to speak with the living thanks to an artificial intelligence service that scrapes the emails, tweets and Facebook posts of the deceased.

Instead of the overbearing technological determinism common to many speculative novels, Black Mirror tends to favour “slight futures”—the term Wired recently used to describe the film Her. As in, “technology hasn’t disappeared … it’s dissolved into everyday life.”

I acknowledge there’s a danger that design fiction could become another buzzword ruined by overzealous ad agencies. And by its very format, design fiction subconsciously reinforces the object fetish of the Kickstarter generation. It’s hard to attack the pernicious logic of planned obsolescence when your critique is delivered in the form of yet another gadget.

But I would insist that any novelist contemplating the near future invest in some foamcore and Post-it Notes. Because I refuse to wait another half-decade for the definitive novel about the Oculus Rift."]]></description>
<dc:subject>ryanbigge designfiction speculativefiction speculativedesign blackmirror 2014 brucesterling charliebrooker</dc:subject>
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<item rdf:about="http://boingboing.net/2009/02/24/bruce-sterlings-the.html">
    <title>Bruce Sterling's The Caryatids, my pick for best book of 2009, a novel of clear-eyed hope for the future - Boing Boing</title>
    <dc:date>2014-09-03T04:47:13+00:00</dc:date>
    <link>http://boingboing.net/2009/02/24/bruce-sterlings-the.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In The Caryatids, global warming has melted practically every government in the world (except China) -- leaving behind a slurry of refugees, rising seas, and inconceivable misery. But there are two stable monoliths sticking out of the chaos, a pair of "civil society groups" that embody the two major schools of smart green thought today: the Dispensation are Al Gore green capitalists based out of California who understand that glamor and profits, properly aimed, achieve more than any amount of stern determination and chaste conservation; their rivals are the Aquis, mostly European anarcho-techno-geeks who have abandoned money in favor of technologically mediated communal life where giant, powerful, barely controlled machines are deployed to save the refugees and heal the Earth.

The titular Caryatids are the seven clone-sisters of a Balkan war criminal (who is hiding out in orbit in a junk satellite), raised as part of a terrible fin-de-siecle plan to create a cadre of superwoman generals who would lead a militarized guerrilla force after the environmental catastrophe reached scale. Now they are scattered to the winds and divided among the world's superpowers, and the only thing they hate more than their "mother" is each other.

And the story unfolds, taking us on a tour of a 2060 Earth where the worst imaginable things have happened and yet humanity has survived. Is thriving. Not a perfect utopia, but not a tormented post-apocalyptic chaos either. Sterling's future is one in which the human race's best and most important and most deadly machine -- civilization -- survives its own meltdown.

More importantly, the future of The Caryatids is one in which human beings confront the terrible reality that technology favors attackers -- favors those who would disrupt the status quo because it gives them force-multiplier power, and undermines defenders because the complexity of a technological society always creates potential fault-lines that attackers can exploit. And in that society, Sterling's civil society types -- who care about saving the planet, even though they disagree about the best way to do this -- do their damnedest to build stable technological societies. Because in Earth's future -- and in Sterling's -- there's no going back to the land for us. Not because the land is too poisoned, but because billions of charcoal-burning hunter-gatherers are far more hazardous to the planet than a neatly ordered world of cities in which technology is used to minimize our footprints by giving us smarter handprints.

Most importantly, the future of The Caryatids is one in which there is hope. Not naive, wishful thinking hope. Hard-nosed, utterly plausible hope, for a future in which the human race outthinks its worse impulses and survives despite all the odds."]]></description>
<dc:subject>climatechange brucesterling hope future 2009 corydoctorow technology technosolutionism environmentalism sustainability novels globalwarming disruption society civilization collapse 2060</dc:subject>
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<item rdf:about="https://medium.com/@thejaymo/colonising-the-clouds-4405d2d590b5">
    <title>Colonising the Clouds  — Medium</title>
    <dc:date>2014-07-15T22:18:52+00:00</dc:date>
    <link>https://medium.com/@thejaymo/colonising-the-clouds-4405d2d590b5</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video at 28:20: https://www.youtube.com/watch?v=BtEXcp3p-tM ]]]></description>
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<item rdf:about="http://matthewbattles.tumblr.com/post/72977669629/social-media-surely-change-identity-performance">
    <title>Urge of the Letter: Social media surely change identity performance....</title>
    <dc:date>2014-01-12T05:26:27+00:00</dc:date>
    <link>http://matthewbattles.tumblr.com/post/72977669629/social-media-surely-change-identity-performance</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Often, the critique of device dependence in connected life today turns on forms of etiquette that emerge or change in the context of technology. Sherry Turkle is perhaps the best-known and most grounded of such critics—and yet I often find myself wondering whether she gets the moral and psychological import of such social forms precisely backward. “I talk to young people about etiquette when they go out to dinner,” she writes in a recent op-ed, “and they explain to me that when in a group of, say, seven, they make sure that at least three people are ‘heads up’ in the ‘talking’ conversation at any one time.” For Turkle, this is evidence of how “[t]echnology doesn’t just do things for us. It does things to us, changing not just what we do but who we are.” But isn’t this evidence instead of our social malleability and adaptability, our capacity for incorporating devices and signals into new modes of address? And as Jurgenson points out in the quote above, it isn’t as though devices arrived in the midst of a sociable utopia of autonomous persons engaged in exchanges of authenticity—for we humans always have deployed rituals and discursive forms to discipline, mediate, and construct social selves.

On the other hand, I’m reminded of Bruce Sterling’s observations about disconnection, in which device-independence becomes a kind of luxury practice akin to boutique poultry farming and meditation retreats—an indulgence of those wealthy enough to afford assistance in human form, or can avoid those dependencies of work, social, and civic life that increasingly require us to maintain our tech-mediated connectivity. Devices can make us susceptible to surveillance and control in insidious and comprehensive ways. It’s important to remember, however, that such control is not a thing technology does to us out of some inherent hegemonic impulse, but the result of choices we make about its design and use."]]></description>
<dc:subject>2014 matthewbattles digitaldualism nathanjurgenson sherryturkle brucesterling nuance disconnection socialmedia identity performance etiquette context technology morality psychology malleability behavior adaptability society social mediation discipline connectivity surveillance control design choice</dc:subject>
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<item rdf:about="http://blog.tobiasrevell.com/2013/12/critical-design-design-fiction-lecture.html">
    <title>Workalong: Critical Design / Design Fiction lecture finally written up. (loooooong)</title>
    <dc:date>2013-12-03T20:15:13+00:00</dc:date>
    <link>http://blog.tobiasrevell.com/2013/12/critical-design-design-fiction-lecture.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[A very thorough catalog of "design fiction" examples]

"So futures. Design fiction, critical design, speculative design and all that stuff tends to be based in the future, or a futures, or futures. Why? Because it's a fertile playground and fair game. We're open to the suggestion of future images. It's how advertising works. It's evocative, it compounds hopes and fears and it's malleable. Most work isn't about the future, it's about now, but you can explode the now into the future to make it much more visible and understandable.

The archetypal quote. [WILLIAM GIBSON] This is one of the cornerstones of futures work. Somewhere, someone else has your future, and right now, your iPhone is someone else's future.We have to understand there's no kind of absolute rule for 'the' future. There is no 'the' future. There's just a bubbling and propagating mess of technologies and hopes and fears that sometimes arrange themselves into 'a' future.

So this is kind of where you aim at when thinking about the future. This is the futures cone, another one of those tools or symbols that comes up and over and over again. Uncertainty tells us that the future opens up to possibilities. The Google Glass future vision sits in that green preferable part but is unlikely to happen. Where it becomes interesting is exploring some of those wild cards that sit right on the outside. You lend that perspective to people and you can blow their minds. 'Hey there's this new technology and they say it'll do this, but what if it did this instead.'"

…

"Right, so this is the end and I want to leave you with some questions that I don't have answers to, having seen all of that stuff.

First up, 'Yes, but is it art?' Most of the projects I showed end up in a gallery. They're not sold in shops or made into real products, so how is this not art? There are cleverer people than I that could answer that question. I believe on some fundamental level that it's design because it uses the language of design to try and attract an audience. Because like I said earlier, it rearranges existing phenomena we can understand to give them new meaning and because it's for other people, not for the creator. 

Secondly 'What if? ... Then what?' Critical design poses difficult questions and forces us to confront them, but then what? Once we have the questions and we have the provocation how do we deal with it, individually and societally? I don't know, I'm trying to figure that out.

'How do you measure success?' A question that is coming up more and more. You can measure the success of a normal design project by it's kickstarter funding or by units sold, but here we're not selling units or launching startups, we're trying to get people to deal with difficult things so how do you measure if that works? Well, there's a good spread of projects that get a lot of media attention so I guess that's a success, but is it enough?"]]></description>
<dc:subject>tobiasrevell designfiction speculativefiction criticaldesign design futurism 2013 fionaraby hertziantales robots superstudio williamgibson bigdog saschapohflepp goldeninstitute power normalcy venkateshrao anabjain superflux nickfoster brucesterling stanleykubrick childrenofmen diegetics diegeticdesign davidkirby revitalcohen prophecyprogram stanleymilgram phillippronnenburg jamesbridle berg berglondon littleprinter newaesthetic liamyoung vincentfournier josephpopper larissasansour peckhamouterspaceinitiative cristinademiddel hefinjones welshspaceprogram materials 3dprinting markuskayser thomasthwaites toasterproject jeremyhutchinson cohenvanbalen stelarc choykafai sputniko agathahaines unnaturalhistory aihasegawa synthetics georgetremmel shihofukuhara art canon davidbenque geopolitics yosukeushigome zoepapadopoulou stacktivism julianoliver dunne&amp;raby anthonydunne posthumanism</dc:subject>
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<item rdf:about="http://www.wired.co.uk/magazine/archive/2013/10/play/patently-untrue">
    <title>Patently untrue: fleshy defibrillators and synchronised baseball are changing the future (Wired UK)</title>
    <dc:date>2013-11-25T21:16:37+00:00</dc:date>
    <link>http://www.wired.co.uk/magazine/archive/2013/10/play/patently-untrue</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Design fiction unravels. 
https://twitter.com/annegalloway/status/405110546225061888
https://twitter.com/annegalloway/status/405111061268819969
https://twitter.com/annegalloway/status/405111820903387136
https://twitter.com/matthewward/status/405116759340249088 ]

"A design fiction is not real. This seems like a severe limitation. However, "real things" aren't absolutely and permanently real, either. Objects are designed, made, and then pass out of existence all the time.

The objects offered to us in a capitalist marketplace have three basic qualities: they are buildable, profitable and desirable. They have to be physically feasible, something that functions and works. They need some business model that allows economic transactions. And they have to provoke someone's consumer desire.

Outside of these strict requirements is a much larger space of potential objects. And those three basic limits all change with time. Through new technology, new things become buildable. Business models collapse or emerge from disruption. People are very fickle. That's how it works out -- and the supposed distinction between "real" and "not-real" is pretty small.

Most patents are never manufactured. Most startups fail and vanish. Product advertisements are fantastic -- and full of blatant lies. Most military technologies are theatrical, there to scare and intimidate and overawe people, rather than to kill them with maximum efficiency. Companies
commonly launch "vapourware" campaigns that pledge to build things they have no intention of actually building. There's a lot of fantasy and pretence in all technologies.

People who are good at design fiction are very keen on these little weaknesses in the Emperor's New Clothes. The adept of design fiction comes to realise that every object, even a common fork or dad's boring tie, is "diegetic". They're all background props in some grander story.

A fork exists so that aristocrats could avoid staining their fingers with gravy. The fork is a tool for class distinction. We use forks today not because forks are "practical", but because we're a feudal society that became democratic. Dad's boring tie was originally a Croatian "cravat" -- a coloured war scarf around the neck of a Balkan cavalryman. Ties are said to have been imported into Britain by Charles II when he returned from his exile in France, having picked up the fashion from Croatian mercenaries in the service of Louis XIII. That story is quite exotic, far-fetched and amazing -- but who cares? Ties are still boring, even despite the rhetorical stunt I just pulled where I made them seem amazing for a while.

Design fiction plays games with these transitions of the amazing and the boring, the transitions of the believable and the incredible.

If you understand that -- and if you know a lot about design, and also something about internet razzle-dazzle -- you can really mess with people's heads nowadays. With design fiction you can pull coins from their ears and rabbits out of their hats. Who couldn't like that?"

[Also here: http://www.wired.com/beyond_the_beyond/2013/11/design-fiction-patently-untrue-by-bruce-sterling/ ]]]></description>
<dc:subject>brucesterling julianbleecker 2013 fiction design transitions diegetic designfiction</dc:subject>
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<item rdf:about="http://www.wired.com/beyond_the_beyond/2013/11/bruno-munaris-manifesto-del-macchinismo-1938/">
    <title>Bruno Munari's &quot;Manifesto del Macchinismo&quot; (1938) | Beyond The Beyond | Wired.com</title>
    <dc:date>2013-11-22T00:32:01+00:00</dc:date>
    <link>http://www.wired.com/beyond_the_beyond/2013/11/bruno-munaris-manifesto-del-macchinismo-1938/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["*This seventy-five-year-old declaration sounds remarkably New Aesthetic. It’s an argument: machines surround us now, we spend all our time with machines, more and more are coming along faster and faster, and it’s old-fashioned not to recognize that. Creatives should get on with accustoming themselves to the new realities of vision and production. If you took out the term “machine” and substituted “software,” you’d almost be there.

*The emphasis on glitching — “re-route them into functioning in irregular ways” — and the projection of animism and vitalism onto non-human things, that’s an especially New Aesthetic attitude. The bit about machines as reproducing insects sounds rather Singularitarian.

*It’s of interest that, during his entire lifetime, nobody was ever able to figure out what Bruno Munari was really doing, or what Munari was quite getting at. Munari was famous, busy, productive and even quite popular, but always remained somehow indefinable.

http://en.wikipedia.org/wiki/Bruno_Munari

Manifesto del Macchinismo
Manifesto of Machinism

Bruno Munari, 1938

“Today’s world is a world of machines.

“We live among machines, they help us with everything we do in our work and recreation. But what do we know about their moods, their natures, their animal defects, if not through arid and pedantic technical knowledge?

(((In English that sentence may sound like a train wreck, but in Italian it goes down like gelato. “Ma cosa sappiamo noi dei lore umori, della lore nature, dei lore difetti animali, se non attraverso cognizioni tecniche, aride e pedanti?”)))

“Machines reproduce themselves faster than mankind, almost as fast as the most prolific of insects; they already force us to busy ourselves with them, to spend a great deal of time taking care of them; they have spoiled us; we have to keep them clean, provide them with nourishment and rest, continually attend to them and meet their every need. In a few years’ time we will become their little slaves.

“Artists are the only ones who can save mankind from this danger. Artists have to be interested in machines, have to abandon their romantic paint-brushes, their dusty palettes, their canvases and easels. They have to start understanding the anatomy of machines, the language of machines, their nature, and to re-route them into functioning in irregular ways to create works of art with the machines themselves, using their own means.

“No more oil paints but blowtorches, chemical reagents, chroming, rust, coloring by anodes, thermal alterations.

“No more canvases and stretchers, but metals, plastics, synthetic rubbers and resins.

“The form, color, movement, noise of the world of machines no longer viewed from without and deliberately reproduced, but harmoniously composed.

“Machines today are monsters!

“Machines must become works of art!

“We shall discover the art of machines!”"]]></description>
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<item rdf:about="https://medium.com/p/e2d93386555f">
    <title>They may have the money, but we have the tools of technology. — Medium</title>
    <dc:date>2013-10-26T08:24:41+00:00</dc:date>
    <link>https://medium.com/p/e2d93386555f</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I went to a London comprehensive, called Woodbridge High School. OFSTED reports had it hovering around ‘average’ among similar schools. That’s about 60% of students getting 5 A-Cs at GCSE. Put frankly, the education was awful. I can list everything I learnt from the curriculum in my time there: a little bit about the war poets from a teacher who was quickly seduced into the private education sector, some cold war history, and that using your year 8 speech to speak out against homophobia gets you beaten up. I looked forward to being a grown up, being my own boss, and playing with the real world.

I was incredibly fortunate. At the age of 13, from my comfortable bedroom I began to tinker with computers. I got interested in a new technology called Ruby on Rails, an opinionated framework for making interactive websites, around which more intelligent and experienced people openly discussed and shared best practices and code. I learnt along with them, and within a couple of years, it turned out that knowledge was very profitable. Working as a programmer enabled me to drop out of my A levels, sidestep the recession, the generational debt and the joblessness being handed to all of my peers and was able to work in whatever industry or company intrigued me. By the time I was 23, I had worked in Business Continuity, the Music industry, Media, Advertising and Design. It was like industrial tourism: a never ending series of internships, except I was valued and got paid, sometimes very well.

You might think the BBC news website article narrative here charts how a boy in his twenties taught himself to code, left school and founded a dynamic startup. It could have been an iPhone app that sold a few million copies, an industry disrupting platform for whatever, or (if I was feeling fluffy and socially conscience) a social innovation startup, perhaps enabling homeless people to become just like me, a self-reliant self-starting entrepreneur!

All very tempting, but these saccharin narratives of geek boy done good carry a political message that I’m not comfortable with. People are incredibly excited in and outside of tech and in the mainstream media about specific aspects of the tech world. They are fascinated by profits, newness and the political issues of data protection and surveillance. But beyond this there is a severe lack of debate about how the tech community participates in our socio economic context. Because for all the excitement around the new powers of technology, the tech community became one of the most powerful practitioners of the neo liberal agenda, with only some of us noticing.

…

Many developers I speak to shy away from politics. They comfort themselves with ideas of our community being meritocratic, that the good guys will win out over partisan and agenda based politics because we are working towards a more logical, educated society. This is, of course, the same lie as the fully informed rational consumer of market liberalisation. They shrug when it’s pointed out that we’re nearly all white middle class men. The discussions around women in technology have only just started, and boy do they get defensive about it, and we haven’t even begun discussing class based privilege, so repellant is the idea of discussing something as political in our rational meritocratic nirvana. ‘Check your privilege’ is an idea that flies directly in the face of our self narratives of the underdog nerd proving himself with his intelligence and well meaning intentions.

Our generation is generally adverse to ideologies. I don’t have too much of a problem with this. I find that Ideologies often cause nothing but obstacles to those people who are actually getting things done. But as developers we are both close to the ground, and have real power. In his new short book “The new Kingmakers”, Stephen O’Grady very effectively makes the case that software developers are just that. It’s time we stopped making toys for quite rich people to make very rich people even richer."

…

"I have a suspicion. I suspect that the idea of the public sector not only doing something well but better than most of the private sector offends them. Turns out the best way to piss off market libertarians is to make government work.

Sure, I hear moans from Silicon Roundabout that the government is sucking up all the best talent in London, but while they’re saying that, GOV.UK increased signups to the organ donations register by 10,000 every month with just a bit of clever A/B testing as a side project. I could be working on your socially network website that tries to convince parents that fruitshoot isn’t awful for their kids (I have actually done that), or I could be doing what I’m doing now, helping bring real change to the office of the public guardian so they can do their job better. They provide support for those caring for someone who has lost mental capacity, whilst checking that the carer isn’t abusing their position.

Now don’t get me wrong. I love the software developer community. I love being a part of it and I’m constantly excited about what we are doing. But I’m also frustrated. We seemed to have been coerced into working for a future that we didn’t sign up for. But hopefully, as anger amongst my generation grows at the world that has been handed to us, maybe more of us will realise that they may have the money, but we have the tools of technology."]]></description>
<dc:subject>design government politics 2013 ideology technology designfiction brucesterling elitism privilege meritocracy gov.uk jamesdarling</dc:subject>
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<item rdf:about="https://medium.com/5-viridian-years/">
    <title>5 Viridian Years — Medium</title>
    <dc:date>2013-10-16T21:57:25+00:00</dc:date>
    <link>https://medium.com/5-viridian-years/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Over the next month, several dozen writers, artists, and thinkers will be reconsidering the Viridian project and its principles. It is rich territory and our contributions will include historical overviews, critical examinations, close readings, futurist extensions, and a panoply of offshoots and strange tangents."

[ https://medium.com/5-viridian-years/84f454e7aa7f ]

[ https://medium.com/5-viridian-years/aade6358664b ]]]></description>
<dc:subject>timmaly brucesterling viridianmovement 2013 sustainability environment viridiannote</dc:subject>
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<item rdf:about="https://medium.com/5-viridian-years/1cfd5f3d3887">
    <title>The Past Will Not Be Flat — 5 Viridian Years — Medium</title>
    <dc:date>2013-10-16T21:37:34+00:00</dc:date>
    <link>https://medium.com/5-viridian-years/1cfd5f3d3887</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The network that was supposed to abolish space ended up moving to abolish time instead. Although we once dreamt of cyberspace as a frictionless grid, the network we ended up with needs the x, y, z of realspace. It reminds us of it constantly; it wants to reside in the spaces we inhabit, rather than the other way round. Space is the network’s chief uncanny affordance, lending it a kind of cultural potential energy, a latency of meaning.

When I was young, I had a newspaper route. One morning while walking and flipping the folded papers onto porches, I had a sudden realization that the road I walked along was connected to every other road. There was only the one big road, really—a single surface to comprehend a continent.

What struck me with special force, however, was the authority of time over that space. Leaning down to place a palm on the asphalt that morning, feeling its cool and the bite of its grit, I touched that single surface—and yet its remotest parts remained absolutely alienated from me by sheer walls of time. I can’t get there from here—not without time’s transforming consent.

This time-bounded webwork of roadway is very nearly the opposite kind of network from the one we call the internet. Of course, time plays its role online. Information flows in arteries, where it remains subject everywhere to materiality—indeed it thrives on that materiality, that texture of flow and impedance. That we don’t see it thusly—even when the page-load wheel appears with its spinning memento mori—is merely a trick of ideology. No, we find that everywhere we look, the internet makes light of time. Time is the internet’s too-cheap-to-meter cultural resource, and it’s only just begun burning through it, generating a storm of atemporal media traces that pile up before us as our wings beat furiously."

…

"Elsewhere in “On the Concept of History,” Benjamin acknowledges that an event is not historic by nature, but instead “becomes this, posthumously, through eventualities which may be separated from it by millennia.” Acknowledging this, the historian “ceases to permit the consequences of eventualities to run through the fingers like the beads of a rosary,” preferring to record “the constellation in which his own epoch comes into contact with that of an earlier one.” The past isn’t one damn thing after another, but a constellation — a network. It’s only through the interface of this network, Benjamin seems to be saying, that we are rendered a sense of the “here-and-now” — a moment, “in which splinters of messianic time are shot through.”

Finally (but never finally), this: history is not another country, not the not-even-past, not even that which we are condemned to repeat. History is everywhere, rather; you’re soaking in it. And yet we’re not angels: our faces are turned away, and we’re trailing history in our wakes. Each wake swerves as it unfolds; they swerve in groups, as nations and populations and assemblages yet unknown (but already in potential). And at every scale — from the single missed mixed message to whole constellations of the here-and-now — history, as it escapes from the box a trace at a time, is precisely this multiple and individual.

Meanwhile at every second, Benjamin concludes, the future offers “the narrow gate, through which the Messiah could enter.”"]]></description>
<dc:subject>walterbenjamin 2013 matthewbattles time atemporality constellationalthinking thinking viridiannote environment sustainability networks space brucesterling leomarx benjaminfranklin context storytelling internetasliterature history memory past present future internetasfavoritebook</dc:subject>
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<item rdf:about="http://blog.postarchitectural.com/15-Eyeo-Talk-Notes-and-References">
    <title>15. Eyeo Talk: Notes and References - postarchitectural</title>
    <dc:date>2013-08-30T20:19:56+00:00</dc:date>
    <link>http://blog.postarchitectural.com/15-Eyeo-Talk-Notes-and-References</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Video of the talk is here: https://vimeo.com/80501891 ]]]></description>
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<item rdf:about="https://medium.com/geek-empire-1/a1ebd2b4a0e5">
    <title>The Ecuadorian Library — Geek Empire — Medium</title>
    <dc:date>2013-08-10T00:17:20+00:00</dc:date>
    <link>https://medium.com/geek-empire-1/a1ebd2b4a0e5</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cablegate merely kicked the kneecap of the archaic and semi-useless US State Department. But Edward Snowden just strolled out of the Moscow airport, with his Wikileaks personal escort, one month after ripping the pants off the National Security Agency.

You see, as it happens, a good half of my essay “The Blast Shack” was about the basic problem of the NSA. Here was the takeaway from that essay back in 2010:

<blockquote>One minute’s thought would reveal that a vast, opaque electronic spy outfit like the National Security Agency is exceedingly dangerous to democracy. Really, it is. The NSA clearly violates all kinds of elementary principles of constitutional design. The NSA is the very antithesis of transparency, and accountability, and free elections, and free expression, and separation of powers ― in other words, the NSA is a kind of giant, grown-up, anti-Wikileaks. And it always has been. And we’re used to that. We pay no mind.
Well, dear readers, nowadays we do pay that some mind. Yes, that was then, while this is now.</blockquote>

So, I no longer feel that leaden discontent and those grave misgivings that I felt in 2010. The situation now is frankly exhilarating. It no longer has that look-and-feel of the Edgar Allen Poe House of Usher. This scene is straight outta Nikolai Gogol.

This is the kind of comedic situation that Russians find hilarious. I mean, sure it’s plenty bad and all that, PRISM, XKeyScore, show trials, surveillance, threats to what’s left of journalism, sure, I get all that, I’m properly concerned. None of that stops it from being hilarious.

Few geopolitical situations can ever give the Russians a full, free, rib-busting belly laugh. This one sure does.

If Snowden had gotten things his own way, he’d be writing earnest op-ed editorials in Hong Kong now, in English, while dining on Kung Pao Chicken. It’s some darkly modern act of crooked fate that has directed Edward Snowden to Moscow, arriving there as the NSA’s Solzhenitsyn, the up-tempo, digital version of a conscience-driven dissident defector.

But Snowden sure is a dissident defector, and boy is he ever. Americans don’t even know how to think about characters like Snowden — the American Great and the Good are blundering around on the public stage like blacked-out drunks, blithering self-contradictory rubbish. It’s all “gosh he’s such a liar” and “give us back our sinister felon,” all while trying to swat down the jets of South American presidents.

These thumb-fingered acts of totalitarian comedy are entirely familiar to anybody who has read Russian literature. The pigs in Orwell’s “Animal Farm” have more suavity than the US government is demonstrating now. Their credibility is below zero.

The Russians, by contrast, know all about dissidents like Snowden. The Russians have always had lots of Snowdens, heaps. They know that Snowden is one of these high-minded, conscience-stricken, act-on-principle characters who is a total pain in the ass.

Modern Russia is run entirely by spies. It’s class rule by the “siloviki,” it’s Putin’s “managed democracy.” That’s the end game for civil society when elections mean little or nothing, and intelligence services own the media, and also the oil. And that’s groovy, sure, it’s working out for them.

When you’re a professional spy hierarch, there are few things more annoying than these conscience-stricken Winston Smith characters, moodily scribbling in their notebooks, all about how there might be hope found in the proles somehow. They’re a drag."

…

"But Snowden sure is a dissident defector, and boy is he ever. Americans don’t even know how to think about characters like Snowden — the American Great and the Good are blundering around on the public stage like blacked-out drunks, blithering self-contradictory rubbish. It’s all “gosh he’s such a liar” and “give us back our sinister felon,” all while trying to swat down the jets of South American presidents.

These thumb-fingered acts of totalitarian comedy are entirely familiar to anybody who has read Russian literature. The pigs in Orwell’s “Animal Farm” have more suavity than the US government is demonstrating now. Their credibility is below zero.

The Russians, by contrast, know all about dissidents like Snowden. The Russians have always had lots of Snowdens, heaps. They know that Snowden is one of these high-minded, conscience-stricken, act-on-principle characters who is a total pain in the ass.

Modern Russia is run entirely by spies. It’s class rule by the “siloviki,” it’s Putin’s “managed democracy.” That’s the end game for civil society when elections mean little or nothing, and intelligence services own the media, and also the oil. And that’s groovy, sure, it’s working out for them.

When you’re a professional spy hierarch, there are few things more annoying than these conscience-stricken Winston Smith characters, moodily scribbling in their notebooks, all about how there might be hope found in the proles somehow. They’re a drag."

[See also the response by Cory Doctorow: http://boingboing.net/2013/08/05/how-sterlings-the-ecuadori.html ]

[And this related NPR segment: "Classic Russian Literature Sheds Light On Putin’s Russia" http://hereandnow.wbur.org/2012/05/10/putin-chekhov-dostoyevsky ]

[Something else that comes to mind:
The recent revelations by the whistleblower Edward Snowden were fascinating. But they - and all the reactions to them - had one enormous assumption at their heart.

That the spies know what they are doing.
http://www.bbc.co.uk/blogs/adamcurtis/posts/BUGGER ]]]></description>
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<item rdf:about="http://nextberlin.eu/2013/05/smart-citizens-make-smart-cities/">
    <title>Smart citizens make smart cities | NEXT Berlin</title>
    <dc:date>2013-06-04T05:09:43+00:00</dc:date>
    <link>http://nextberlin.eu/2013/05/smart-citizens-make-smart-cities/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“We have the technology to do anything. To make things happen you need to turn to design and redesign the context, the decision making and the question.” – Dan Hill, CEO of Fabrica, figured out that smart citizens are necessary to make smart cities. The institutions are collapsing, we have to decide on our own!"

[See also: http://www.cityofsound.com/blog/2013/02/on-the-smart-city-a-call-for-smart-citizens-instead.html ]]]></description>
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<item rdf:about="http://nextberlin.eu/2013/07/bruce-sterling-fantasy-prototypes-and-real-disruption/">
    <title>Bruce Sterling on Fantasy prototypes and real disruption | NEXT Berlin</title>
    <dc:date>2013-04-29T17:46:54+00:00</dc:date>
    <link>http://nextberlin.eu/2013/07/bruce-sterling-fantasy-prototypes-and-real-disruption/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video here: https://www.youtube.com/watch?v=M7KErICTSHU ]

"In the closing keynote of NEXT Berlin 2013, acclaimed science-fiction author and journalist Bruce Sterling tackled a variety of topics like design fiction, start-up culture, and the mass adoption of disruptive technology. He sees science fiction as a form of design – design fiction that is part of the start-up world."]]></description>
<dc:subject>brucesterling anabjain superflux nearfuturelaboratory designfiction disruption design networkedsociety 2013 nextberlin nextberlin2013 protoyping future sciencefiction scifi capitalism startups money culture startup</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://undertomorrowssky.liamyoung.org/">
    <title>UNDER TOMORROWS SKY</title>
    <dc:date>2013-04-25T20:13:05+00:00</dc:date>
    <link>http://undertomorrowssky.liamyoung.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["UNDER TOMORROWS SKY IS A FICTIONAL, FUTURE CITY. SPECULATIVE ARCHITECT LIAM YOUNG OF THE LONDON BASED TOMORROWS THOUGHTS TODAY HAS ASSEMBLED A THINK TANK OF SCIENTISTS, TECHNOLOGISTS, FUTURISTS, ILLUSTRATORS, SCIENCE FICTION AUTHORS AND SPECIAL EFFECTS ARTISTS TO COLLECTIVELY DEVELOP THIS IMAGINARY PLACE, THE LANDSCAPES THAT SURROUND IT AND THE STORIES IT CONTAINS. ACROSS THE COURSE OF THE EXHIBITION INVITED GUESTS WILL WORK WITH THE CITY AS A STAGE SET TO DEVELOP A COLLECTION OF NARRATIVES, FILMS AND ILLUSTRATIONS. WANDER THROUGH THIS NEAR FUTURE WORLD AND EXPLORE THE POSSIBILITIES AND CONSEQUENCES OF TODAY’S EMERGING BIOLOGICAL AND TECHNOLOGICAL RESEARCH. THE EXHIBITION OPENS FOR DUTCH DESIGN WEEK ON OCTOBER 20TH. THE UNDER TOMORROWS SKY PUBLIC THINK TANK WITH LIAM YOUNG, BRUCE STERLING, WARREN ELLIS, RACHEL ARMSTRONG, PAUL DUFFIELD, BLDGBLOG, EDIBLE GEOGRAPHY, NEXT NATURE, THE CENTRE FOR SCIENCE AND IMAGINATION AND NEW SCIENTIST WAS HELD AT MU ON JUNE 16/17. YOU CAN WATCH THE VIDEOS OF THE EVENT HERE. IN COLLABORATION WITH MU ART SPACE, EINDHOVEN AND THE 2013 LISBON ARCHITECTURE TRIENNALE. GET IN CONTACT FOR MORE INFORMATION"]]></description>
<dc:subject>liamyound architecture art designfiction scifi urbanism sciencefiction warrenellis brucesterling rachelarmstrong paulduffield bldgblog geoffmanaugh nicolatwilley ediblegeography cities 2013 future urban technology futurism illustration writing thinking thinktank landscapes landscape</dc:subject>
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</item>
<item rdf:about="http://playgallery.org/stories/tbd/">
    <title>PLAY Stories: To Be Designed</title>
    <dc:date>2013-04-25T20:09:00+00:00</dc:date>
    <link>http://playgallery.org/stories/tbd/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On Oct. 1st- 3rd, 2012, a group of designers, makers and technologists gathered in Detroit to collectively imagine and produce a piece of design fiction: a catalog of products from the future."

[See also: http://tobedesigned.nearfuturelaboratory.com/ ]]]></description>
<dc:subject>design designfiction tobedesigned tbd aaronstraupcope brucesterling cezannecharles chriswoebken christiansvaneskolding emmetbyrne jamesbridle johnmarshall julianbleecker karldaubmann marcgreuther marcusbleecker mokapantages mickfoster micolasnova raphaelgrignani tombray maganmulholland zackjacobson-weaver 2012 nearfuturelaboratory</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:12859240a136/</dc:identifier>
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</item>
<item rdf:about="http://justinpickard.net/2011/06/venture-ethnography-1-a-bibliography/">
    <title>Venture Ethnography 1: a bi(bli)ography « Justin Pickard</title>
    <dc:date>2012-11-25T08:10:38+00:00</dc:date>
    <link>http://justinpickard.net/2011/06/venture-ethnography-1-a-bibliography/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Project Cascadia is the test-case for a cluster of ideas I’ve been playing with for the best part of five years. A chance to break out my signature obsessions …

Hauntings, world expos, gonzo journalism, science fiction, systems, geopolitics, utopianism, virtuality, globalisation, the sublime, resilience, collapsonomics, aesthetics, architecture, environmentalism, infrastructure, design, futures studies, sovereignty, atemporality, risk, the nation-state, the uncanny, Americana, technoscience, cyberpunk, multispecies ethnography, fiction, capitalism, the human senses, counterfactual history, media and cyborgs (and media cyborgs)

… and nail them to the mast of a weird and interstitial sort of boat; a soupy, hybrid writing practice that would combine the best of ethnography, journalism and science fiction.

In lieu of a biography, then, I’m offering a bibliography. Five years of my brain, in books, articles, essays, and blog posts…"]]></description>
<dc:subject>urbanism jgballard richardbarbrook marcaugé warrenellis jenniferegan bradleygarrett donnaharaway naomiklein brunolatour ursulaleguin ianmacdonald suketumehta chinamieville jimrossignol michaeltaussig huntersthompson adamgreenfield brucesterling thomaspynchon bldgblog geoffmanaugh cityofsound danhill davidgraeber matthewgandy williamgibson corydoctorow douglascoupland michaelchabon jamaiscascio laurenbeukes journalism mediacyborgs cyborgs geopolitics aesthetics utopianism risk atemporality sovereignty sciencefiction cyberpunk technoscience ethnography capitalism globalization collapsonomics resilience writing projectcascadia bibliographies 2011 justinpickard bibliography chinamiéville ursulakleguin</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cyberpunk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technoscience"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:capitalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:globalization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collapsonomics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:resilience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:projectcascadia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bibliographies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:justinpickard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bibliography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chinamiéville"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ursulakleguin"/>
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</item>
<item rdf:about="http://tobedesigned.nearfuturelaboratory.com/">
    <title>TO BE DESIGNED</title>
    <dc:date>2012-10-02T12:31:04+00:00</dc:date>
    <link>http://tobedesigned.nearfuturelaboratory.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A multidisciplinary group of thinkers, makers and near future speculators will spend three days in Detroit to “do” science fiction: tangle up in fact and fiction and engage in curious crosstalk about the things that could be. The goal, then, is to Design Fiction and turn talk into deliberate actions and artifacts; to swerve the present by telling the story of a near future we imagine can be possible.

What we aim to create — to spur conversations about the things that will matter in the near future — is a near future product catalog. For example, a SkyMall, or Sears Wish Book or McMaster-Carr catalog for the near future. Think of it as a near future science fiction sourcebook of products. It’s a collection of stuff , as if that collection of stuff existed as routinely as Sasquatch garden statuettes, inflatable neck pillows, combination USB thumb drive nail clipper laser pointers, battery-powered screwdrivers, allen wrench sets and flat tire repair kits…"]]></description>
<dc:subject>production conversation artifactsfromthefuture artifacts storytelling detroit catalogs skymall nearfuture sciencefiction crossdisciplinary multidisciplinarythinking multidisciplinary interdisciplinarity aaronstraupcope cezannecharles chriswoebken johnmarshall jamesbridle emmetbyrne christiansvkolding karldaubman marcgreuther tombray mokapantages nickfoster raphaelgrignani marcusbleecker nicolasnova julianbleecker brucesterling designfiction nearfuturelaboratory</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:17d2113f49b3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:production"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conversation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artifactsfromthefuture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artifacts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:detroit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:catalogs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:skymall"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nearfuture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sciencefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:crossdisciplinary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multidisciplinarythinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multidisciplinary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interdisciplinarity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aaronstraupcope"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cezannecharles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chriswoebken"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johnmarshall"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jamesbridle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emmetbyrne"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:christiansvkolding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:karldaubman"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tombray"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nickfoster"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nicolasnova"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:designfiction"/>
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</item>
<item rdf:about="http://www.theatlantic.com/technology/archive/12/09/detroits-gleaming-startup-tower/262730/">
    <title>Detroit's Gleaming Start-Up Tower - Alexis C. Madrigal - The Atlantic</title>
    <dc:date>2012-09-24T03:32:48+00:00</dc:date>
    <link>http://www.theatlantic.com/technology/archive/12/09/detroits-gleaming-startup-tower/262730/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[For me, the narrative of Detroit has outstripped at least what I could see of Detroit. Good things are clearly happening, but the lack of connective tissue is a bigger problem than you might imagine. Between downtown and an area like Corktown, which has an excellent coffee shop, the oft-applauded Slow's BBQ, Arbor and Folly, and a couple other bars, there's just nothing. When we left Slow's on a Thursday night at 9pm to drive the couple miles to our hotel, we got about halfway when I looked in my rearview mirror and realized that there wasn't a single other car behind us, nor approaching. There were no bikes or pedestrians, either…

But I do not know that I have that sense of euphoria. The story requires a fairy tale ending. And the reality is so daunting. I can practically hear Linkner reading this and saying, "He's soft. He's not made for Detroit." And that's probably true."]]></description>
<dc:subject>rebirth density nathanlabenz jaygierak stik joshlinkner detroitventurepartners dvp dangilbert darkeuphoria brucesterling cities detroit alexismadrigal 2012</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ed8f46da4e54/</dc:identifier>
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</item>
<item rdf:about="http://www.wired.com/beyond_the_beyond/2012/06/turing-centenary-speech-new-aesthetic/">
    <title>Bruce Sterling's Turing Centenary Speech | Beyond The Beyond | Wired.com</title>
    <dc:date>2012-07-08T00:01:42+00:00</dc:date>
    <link>http://www.wired.com/beyond_the_beyond/2012/06/turing-centenary-speech-new-aesthetic/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Discussed: weirdness, femininity, AI skepticism, the aesthetics of computational art. Sort of a mess but consistently interesting.]]></description>
<dc:subject>ai technology gender via:jbushnell brucesterling newaesthetic art alanturing artificialintelligence</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b1683b86e7b5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ai"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gender"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:jbushnell"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newaesthetic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alanturing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artificialintelligence"/>
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</item>
<item rdf:about="http://www.theatlantic.com/technology/archive/2012/04/the-new-aesthetic-needs-to-get-weirder/255838/">
    <title>The New Aesthetic Needs to Get Weirder - Ian Bogost - Technology - The Atlantic</title>
    <dc:date>2012-04-14T04:29:08+00:00</dc:date>
    <link>http://www.theatlantic.com/technology/archive/2012/04/the-new-aesthetic-needs-to-get-weirder/255838/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The New Aesthetic is an art movement obsessed with the otherness of computer vision and information processing. But Ian Bogost asks: why stop at the unfathomability of the computer's experience when there are airports, sandstone, koalas, climate, toaster pastries, kudzu, the International 505 racing dinghy, and the Boeing 787 Dreamliner to contemplate?"

[Nice selection of quotes chosen and comment by @litherland below]

Yes.
<blockquote>Rather than wondering if alien beings exist in the cosmos, let's assume that they are all around us, everywhere, at all scales.</blockquote>

<blockquote>Why should a new aesthetic [be] interested only in the relationship between humans and computers, when so many other relationships exist just as much? Why stop with the computer, like Marinetti foolishly did with the race car? </blockquote>

<blockquote>Being withdraws from access. There is always something left in reserve, in a thing.</blockquote>

Cf. Derrida, e.g., “L'annihilation des restes, les cendres peuvent parfois en témoigner, rappelle un pacte et fait acte de mémoire.”]]></description>
<dc:subject>thinking via:litherland futuristmanifesto filippomarinetti thecreatorsproject gregborenstein levibryant grahamharman brucesterling aggregation ontography carpentry dada futurism surprise disruption ubicomp georgiatech awarehome michaelmateas zacharypousman marioromero tableaumachine robots robotreadableworld timoarnall alienaesthetic nataliabuckley avant-garde craftwork craft art design intentionality jamesbridle computing computers davidmberry philosophy technology thenewaesthetic newaesthetic 2012 ianbogost ooo object-orientedontology objects timothymorton filippotommasomarinetti marinetti</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:852ba7c50c6a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filippomarinetti"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thecreatorsproject"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:grahamharman"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:disruption"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:awarehome"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:michaelmateas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:zacharypousman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marioromero"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tableaumachine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robots"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robotreadableworld"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timoarnall"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alienaesthetic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nataliabuckley"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:avant-garde"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:craftwork"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:craft"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thenewaesthetic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newaesthetic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ianbogost"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ooo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:object-orientedontology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:objects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timothymorton"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filippotommasomarinetti"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marinetti"/>
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</item>
<item rdf:about="http://metalab.harvard.edu/2012/04/but-it-moves-the-new-aesthetic-emergent-virtual-taste/">
    <title>But it moves: the New Aesthetic &amp; emergent virtual taste | metaLAB (at) Harvard</title>
    <dc:date>2012-04-12T18:11:38+00:00</dc:date>
    <link>http://metalab.harvard.edu/2012/04/but-it-moves-the-new-aesthetic-emergent-virtual-taste/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s not totally unreasonable to suppose that *something* is going on in nature, that its constituent objects have some kind of motivation, even if they’re composed of mere chemical gradients or pressure differentials or quantum states. The computer opens up a special case because we made it, and yet it manifests itself in all kinds of ways that seem like a nature—another nature—a little nature, perhaps. There is a strong sense that with computers and their networks, something is going on in there, something emergent and radically other, which nonetheless does begin to infiltrate our edges."

"I don’t think the New Aesthetic is heralding the approach of the Singularity’s event horizon, where computers will vault into consciousness and begin writing a sui-generis literature that drops fully formed from the brow of Stanislaw Lem. The New Aesthetic is making a much humbler move: pointing out these feral phenomena erupting into our midst and saying, but they move."]]></description>
<dc:subject>galileo jgballard berg metalab theory technology 2012 jamesbridle brucesterling matthewbattles newaesthetic thenewaesthetic</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f0d4f1019223/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jgballard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:metalab"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jamesbridle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:matthewbattles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newaesthetic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thenewaesthetic"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.iconeye.com/read-previous-issues/icon-078-%7C-december-2009/design-fiction">
    <title>ICON MAGAZINE ONLINE | Design Fiction | the most comprehensive archives of architecture and design content on the web</title>
    <dc:date>2012-04-08T21:32:30+00:00</dc:date>
    <link>http://www.iconeye.com/read-previous-issues/icon-078-%7C-december-2009/design-fiction</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["process in which they’re working is a bit like a scientific process where you have a hypothesis & you try to experiment not knowing what the outcome is going to be."

"…how can I say anything which someone will be able to see in 20 years in the form in which it was created…serious…new contemporary problem, how do we make something work in a situation where the means of production are in a maelstrom or things are politically or financially falling apart? I don’t expect bookstores…libraries…Google, Facebook, Yahoo or Twitter…Microsoft to survive 20 years, I don’t expect NATO to survive. I don’t know about the EU. This is not like a gospel of despair or anything I just really think we could do something magnificent by just rising to the scale of the actual problem."

"Experience design is the first school of design that can actually encompass literature as a wing of itself."

"[I]t would be a shame if everything was virtual or written in a way that precludes the tangibility of things."]]></description>
<dc:subject>sciencefiction speculative research future culture speculativedesign ephemerality uncertainty process imagination creativity literature tangibility permanence futurism fionaraby anthonydunne interviews 2012 experiencedesign designfiction design brucesterling ephemeral dunne&amp;raby</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:caba8d2049af/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:research"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:speculativedesign"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:uncertainty"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:process"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:imagination"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:creativity"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tangibility"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:futurism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fionaraby"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anthonydunne"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interviews"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experiencedesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:designfiction"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ephemeral"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dunne&amp;raby"/>
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</item>
<item rdf:about="http://www.wired.com/beyond_the_beyond/2012/04/an-essay-on-the-new-aesthetic/">
    <title>An Essay on the New Aesthetic | Beyond The Beyond | Wired.com</title>
    <dc:date>2012-04-08T18:56:38+00:00</dc:date>
    <link>http://www.wired.com/beyond_the_beyond/2012/04/an-essay-on-the-new-aesthetic/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[New URL: http://www.wired.com/2012/04/an-essay-on-the-new-aesthetic/ 
See also: http://booktwo.org/notebook/sxaesthetic/
http://www.aaronland.info/weblog/2012/03/13/godhelpus/#sxaesthetic
http://www.joannemcneil.com/new-aesthetic-at-sxsw/
http://noisydecentgraphics.typepad.com/design/2012/03/sxsw-the-new-aesthetic-and-commercial-visual-culture.html
http://russelldavies.typepad.com/planning/2012/03/sxsw-the-new-aesthetic-and-writing.html ]

"The “New Aesthetic” is a native product of modern network culture. It’s from London, but it was born digital, on the Internet. The New Aesthetic is a “theory object” and a “shareable concept.”

The New Aesthetic is “collectively intelligent.” It’s diffuse, crowdsourcey, and made of many small pieces loosely joined. It is rhizomatic, as the people at Rhizome would likely tell you. It’s open-sourced, and triumph-of-amateurs. It’s like its logo, a bright cluster of balloons tied to some huge, dark and lethal weight.

There are some good aspects to this modern situation, and there are some not so good ones."

"That’s the big problem, as I see it: the New Aesthetic is trying to hack a modern aesthetic, instead of thinking hard enough and working hard enough to build one. That’s the case so far, anyhow. No reason that the New Aesthetic has to stop where it stands at this moment, after such a promising start. I rather imagine it’s bound to do otherwise. Somebody somewhere will, anyhow."]]></description>
<dc:subject>machinevision glitches digitalaccumulation walterbenjamin socialmedia bots uncannyvalley surveillance turingtest renderghosts imagerecognition imagery beauty cern postmodernity hereandnow temporality pixels culturalagnosticism london theory networkculture theoryobjects smallpieceslooselyjoined collectiveintelligence digitalage digital modernism aesthetics vision robots cubism impressionism history artmovements machine-readableworld russelldavies benterrett siliconrounsabout art marcelduchamp joannemcneil jamesbridle sxsw brucesterling 2012 newaesthetic crowdsourcing rhizome aaronstraupcope thenewaesthetic largehadroncollider</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4bee8c13dea8/</dc:identifier>
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</item>
<item rdf:about="http://news.noahraford.com/?p=1313">
    <title>Noah Raford » On Glass &amp; Mud: A Critique of (Bad) Corporate Design Fiction</title>
    <dc:date>2012-03-03T22:59:22+00:00</dc:date>
    <link>http://news.noahraford.com/?p=1313</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sophisticated clients such as Corning and others who commission this work should take note: despite the widespread attention given to videos like this, consumers see right through the special effects and glitzy production to the substance beneath. If there is no real substance beneath, it will come back to haunt you…

That said, we still need more video in futures work and more futures work in product design.  So instead of discouraging the use of video to engage and communicate, designers and futurists working on these projects should consider the follow criteria for making high-quality futures videos that are also profound and thoughtfully reflective of future change.

1. Don’t stare at your navel: …

2. Don’t extrapolate to infinity: …

3. Don't fetishize technology: …

4. Don't ignore what people care about: …

5. Don't dumb it down: …"]]></description>
<dc:subject>komusa futures susanvogel africa 2012 reality grittiness futurism aspergers video corning galss mud brucesterling noahradford design timbuktu mali designfiction</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:33700b485d18/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:susanvogel"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aspergers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:corning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:galss"/>
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</item>
<item rdf:about="http://www.slate.com/blogs/future_tense/2012/03/02/bruce_sterling_on_design_fictions_.html">
    <title>Bruce Sterling on design fictions.</title>
    <dc:date>2012-03-03T22:21:24+00:00</dc:date>
    <link>http://www.slate.com/blogs/future_tense/2012/03/02/bruce_sterling_on_design_fictions_.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Slate: So what is a design fiction?
Sterling: It’s the deliberate use of diegetic prototypes to suspend disbelief about change. That’s the best definition we’ve come up with.  The important word there is diegetic. It means you’re thinking very seriously about potential objects and services and trying to get people to concentrate on those rather than entire worlds or political trends or geopolitical strategies. It’s not a kind of fiction. It’s a kind of design. It tells worlds rather than stories.

Slate: Can you give an example?
Sterling: I think the most effective design fictions to date have been videos. They’re not science-fiction films; they don’t have any Avatar-style heroics. They’re mostly vignettes of people interacting with objects and services. There’s some element of intellectual sex appeal that makes people forward them to other people. "
]]></description>
<dc:subject>2012 fiction design nearfuture brucesterling designfiction</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:04a87b84a060/</dc:identifier>
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</item>
<item rdf:about="https://vimeo.com/33532853">
    <title>Bruce Sterling - Symposium Playful Post Digital Culture (STRP 2011). on Vimeo</title>
    <dc:date>2012-02-20T08:51:27+00:00</dc:date>
    <link>https://vimeo.com/33532853</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>music renaissance science culture post-digital appleboutiqueworld cyberwarworld piracy softpower pepperspray drones robots china brasil india bollywoodcarnavalworld painting slumdogmillionaire dictatorchic streetart carart favelachic narco sweatshopworld hightech lowtech highart lowart speculative futurism futures technology art techart 2011 brucesterling brazil low-tech</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:370a3dafd547/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:renaissance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:post-digital"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cyberwarworld"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:piracy"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robots"/>
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</item>
<item rdf:about="https://vimeo.com/34947834">
    <title>Timeless on Vimeo</title>
    <dc:date>2012-02-19T23:23:52+00:00</dc:date>
    <link>https://vimeo.com/34947834</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The digital settles in as background. We remember less and query more. Our identity play would be considered schizophrenic in the last century. We have more friends than ever before yet know new frontiers of isolation. The quantification of our experience haunts us in the form of a persistent history. And we are distracted more than we ever knew possible. These circumstances are paradoxically a description of the near future and a diagnosis of the current state of affairs. The truly timeless is redefined – it has transcended that which is classic; it has become that which is never finished."
]]></description>
<dc:subject>timlessness future 2012 experience quantification isolation persistenthistory robversteeg angeliquespaninks karencifarelli ks12 patriziakommerell gabrialshalom maryflanagan tobybarnes vivianvangaal elskevanderputten markuskayser jorienkemerink peterkirn rafaëlrozendaal bernhardherrmann technology design brucesterling designfiction</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8e6cdd027585/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robversteeg"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vivianvangaal"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:markuskayser"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:peterkirn"/>
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</item>
<item rdf:about="http://bldgblog.blogspot.com/2012/02/object-cancers.html">
    <title>BLDGBLOG: Object Cancers</title>
    <dc:date>2012-02-06T03:11:46+00:00</dc:date>
    <link>http://bldgblog.blogspot.com/2012/02/object-cancers.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In any case, what seems more provocative here, on the level of design, would be to appropriate this protective stance and reuse it in the design of future objects, but emphasizing the other end: to allow for the scanning of any object designed or manufactured, but to to insert, in the form of watermarks, small glitches that would only become visible upon reprinting.

We might call these object cancers: bulbous, oddly textured, and other dramatically misshapen errors that only appear in 3D-reprinted objects. Chairs with tumors, mutant silverware, misbegotten watches—as if the offspring of industrial reproducibility is a molten world of Dalí-like surrealism.

Put another way, the inadvertent side-effect of the attempted corporate control over objects would be an artistic potlatch of object errors: object cancers deliberately reprinted, shared, and collected for their monstrous and unexpected originality."]]></description>
<dc:subject>2012 errors mutations brucesterling objectcancers 3dprinting objects geoffmanaugh bldgblog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4e1c8bb9e850/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:errors"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:objectcancers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:3dprinting"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geoffmanaugh"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bldgblog"/>
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<item rdf:about="http://russelldavies.typepad.com/planning/2011/09/what-i-meant-to-say-the-internet-with-things.html">
    <title>russell davies: talking on the radio / the internet with things</title>
    <dc:date>2011-12-02T04:37:23+00:00</dc:date>
    <link>http://russelldavies.typepad.com/planning/2011/09/what-i-meant-to-say-the-internet-with-things.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This makes me feel like we're on the edge of something interesting; something Andy Huntington has called 'the GeoCities of Things' - the moment when it's as easy to make personal technology objects as it was to make a GeoCities page.

So I wonder whether the 'Internet With Things' is a more useful term than the 'Internet Of Things'. As Matt Jones has said "The network is as important to think about as the things" and the network has people in it. We're in there with the things. And people are looking for more than just sleek efficiency, they're after something else, something unexpected."]]></description>
<dc:subject>geocities geocitiesofthings internetofthings russelldavies arduino shapingthings brucesterling andyhuntington making makers hacking 2011 spimes post-digital iot</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e5a7070ab34f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spimes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:post-digital"/>
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<item rdf:about="http://russelldavies.typepad.com/planning/2011/11/i-first-talked-about-post-digital-at-an-event-called-thinking-digital-in-2009-in-gateshead-looking-back-thats-probably-wh.html">
    <title>russell davies: again with the post digital</title>
    <dc:date>2011-11-28T07:27:31+00:00</dc:date>
    <link>http://russelldavies.typepad.com/planning/2011/11/i-first-talked-about-post-digital-at-an-event-called-thinking-digital-in-2009-in-gateshead-looking-back-thats-probably-wh.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And then, this morning, when struggling to think of a good ending to this, I heard a brilliant talk by George Dyson – describing the early history of computing unearthed from correspondence between Turing and Von Neumann. And I thought I heard him cite this quote from Turing. I wasn’t quite fast enough with my pen to be 100% sure and I can’t find it on Google, but I think this is what he said. And, if it is, it’s exactly what I mean and we can leave it at that. What I think he said is this: “being digital should be more interesting than just being electronic”. I’m sure that meant something slightly different in the middle of the last century but the words are useful and simple now, they’ll do for me as a tiny rallying cry; being digital should be more interesting than just being electronic."]]></description>
<dc:subject>russelldavies 2011 alanturing georgedyson andyhuntington papernet internetofthings brucesterling mattjones screenfatigue newspaperclub boredom materials physical digital embodiment embodieddata spimes post-digital iot</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6a79426f6fb5/</dc:identifier>
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<item rdf:about="http://www.frieze.com/issue/article/twenty-years-fore-aft/">
    <title>Frieze Magazine | Archive | Twenty Years Fore &amp; Aft</title>
    <dc:date>2011-11-25T20:20:37+00:00</dc:date>
    <link>http://www.frieze.com/issue/article/twenty-years-fore-aft/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["People are never scared by the commonplaces of daily life, no matter how risky they are; in 2031, people choose to be alarmed by exotic, eye-catching stuff, like rare diseases and psycho serial killers…

There are no political parties. They were entirely hollowed-out and disrupted by social networks. That happened fast.…

Suburbs are the new favelas, while the prosperous live cheek-by-jowl in repurposed downtowns. Architecture guts entire city blocks, preserving the historicized skins around flats packed to Hong Kong densities. Cars are rental-shared. Furniture is mobile. Most objects have IDs…

Nothing can be ‘innovative’ unless you are convinced that change makes a difference. Without the magic patter, the semantic context that sets expectations, a rabbit in a hat is not a wonder, it’s just a weird accident. A true network society cannot progress, because it reticulates; it’s all snakes and ladders, rockets and potholes, mash-ups and short circuits."]]></description>
<dc:subject>brucesterling 2031 futurism favelachic cities risk commonplace magic mystery technology future fiction speculativerealism designfiction scifi sciencefiction 2011 nostalgia atemporality books publishing film reality chernobyl fear life art glvo classideas projectideas</dc:subject>
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<item rdf:about="http://marks.dk/living-with-100-items-no-50-no-only-15-screw-it-just-get-beautiful-useful-things">
    <title>Living with 100 items. No, 50. No, only 15. Screw it, just get beautiful, useful things – marks.dk</title>
    <dc:date>2011-11-24T16:58:18+00:00</dc:date>
    <link>http://marks.dk/living-with-100-items-no-50-no-only-15-screw-it-just-get-beautiful-useful-things</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bruce Sterling’s “Last Viridian Note”…puts things into the following categories:

1. Beautiful things.
2. Emotionally important things.
3. Tools, devices, and appliances that efficiently perform a useful function.
4. Everything else.

There are no numbers, no set rules for how much stuff you “must” own. I like the idea some have of only owning 100 things, or even just 50 things. But it’s only an idea. I couldn’t do it myself but I can, however, cut down on the stuff that I already own and don’t use.

DVDs go category 4…espresso machine in 3…couch, bed & chair in 3 as well…Half my clothes go in 4…& I need to buy after a pattern of 1 & 3 from now on.

…don’t think you can even buy after category 2 most of the time. That’s the kind of stuff that evolves over time…

Question yourself with everything you are about to buy; if there is a reasonable chance it will be placed in category 4 anytime soon, don’t buy it."]]></description>
<dc:subject>brucesterling markjensen possessions consumption minimalism 2011 lastviridiannote things simplicity sustainability consumerism stuff qualityoverquantity viridianism nomads neo-nomads materialism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ce0aba8d23b6/</dc:identifier>
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<item rdf:about="http://berglondon.com/blog/2011/11/21/sometimes-the-stories-are-the-science%e2%80%a6/">
    <title>“Sometimes the stories are the science…” – Blog – BERG</title>
    <dc:date>2011-11-23T03:24:12+00:00</dc:date>
    <link>http://berglondon.com/blog/2011/11/21/sometimes-the-stories-are-the-science%e2%80%a6/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["About a decade ago – I saw Oliver Sacks speak at the Rockerfeller Institute in NYC, talk about his work.

A phrase from his address has always stuck with me since. He said of what he did – his studies and then the writing of books aimed at popular understanding of his studies that ‘…sometimes the stories are the science’.

Sometimes our film work is the design work.

Again this is a commercial act, and we are a commercial design studio.

But it’s also something that we hope unpacks the near-future – or at least the near-microfutures – into a public where we can all talk about them."]]></description>
<dc:subject>oliversacks learning deschooling unschooling education berg berglondon mattjones timoarnall storytelling design understanding newgrammars conversation meaning meaningmaking glvo tcsnmy classideas art paulklee domains interdisciplinarity interdisciplinary crossdisciplinary multidisciplinary crosspollination perspective mindset wbrianarthur jackschulze mattwebb technology future dansaffer rulespace simulation believability materialquality film video invention creativity time adamlisagor brucesterling vernacularvideo victorpapanek jasonkottke andybaio johnsculley apple stevejobs knowledgenavigator prototypes prototyping iteration process howwework howwelearn communication simulations kottke</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:375a7d45e33b/</dc:identifier>
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<item rdf:about="http://www.aaschool.ac.uk//VIDEO/lecture.php?ID=1695">
    <title>AA SCHOOL OF ARCHITECTURE - Lectures Online: Thrilling Wonder Stories 3 (3 of 3)</title>
    <dc:date>2011-11-14T17:45:29+00:00</dc:date>
    <link>http://www.aaschool.ac.uk//VIDEO/lecture.php?ID=1695</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We have always regaled ourselves with speculative stories of a day yet to come. In these polemic visions we furnish the fictional spaces of tomorrow with objects and ideas that at the same time chronicle the contradictions, inconsistencies, flaws and frailties of the everyday. Slipping suggestively between the real and the imagined these narratives offer a distanced view from which to survey the consequences of various social, environmental and technological scenarios.

Thrilling Wonder Stories chronicles such tales in a sci fi storytelling jam with musical interludes, live demonstrations and illustrious speakers from the fields of science, art and technology presenting their visions of the near future. Join our ensemble of mad scientists, literary astronauts, design mystics, graphic cowboys, mavericks, visionaries and luminaries for an evening of wondrous possibilities and dark cautionary tales."]]></description>
<dc:subject>mattjones vincenzonatali liamyoung brucesterling andylockley philipbeesley christianlorenzscheurer charlietuesdaygates roderichfross naturalroboticslab gavinrothery gustavhoegen radioscienceorchestra spov zeligsound geoffmanaugh bldgblog harikunzru chriswoebken davegracer simoneferracina jaceclayton lindsaycuff nettle andrewblum jamesfleming davidbenjamin thrillingwonderstories scifi sciencefiction art technology julianbleecker storytelling designfiction 2011 kevinslavin towatch debchachra</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:72a4daa2e1ae/</dc:identifier>
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<item rdf:about="http://adam.vllm.net/everyday-brokenness/">
    <title>adam.vllm.net — Everyday Brokenness</title>
    <dc:date>2011-10-03T02:36:29+00:00</dc:date>
    <link>http://adam.vllm.net/everyday-brokenness/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[This is the intro/explanation/something to a new site I’m working on about my relationship with the objects around me.]"]]></description>
<dc:subject>adammathes brokenness objects 2011 brucesterling carlsteadman obsolescence design</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a808775e8eca/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
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</item>
<item rdf:about="http://magicalnihilism.com/2011/08/18/my-problem-with-the-internet-of-things/">
    <title>My problem with the “Internet Of Things” « Magical Nihilism</title>
    <dc:date>2011-08-19T10:21:42+00:00</dc:date>
    <link>http://magicalnihilism.com/2011/08/18/my-problem-with-the-internet-of-things/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The network is as important to think about as the things.

The flows & the nodes. The systems & the surface. The means & the ends.

The phrase “Internet Of Things” will probably sound as silly to someone living in a spime-ridden future…

In that sense it is useful – as a provocation, and a stimulus to think new thoughts about the technology around us. It just doesn’t capture my imagination in the same way as the Spime did.

You don’t have to agree. I don’t have to be right. There’s a reason I’ve posted it here on my blog rather than that of my company. This is probably a rambling rant useless to all but myself. It’s a bit of summing-up and setting-aside and starting again for me. This is going to be really hard and it isn’t going to be done by blogging about it, it’s going to be done by doing.

This is just what I what I want to help do. Still.

Better shut-up and get on with it."]]></description>
<dc:subject>spimes 2011 mattjones berg berglondon internetofthings doing making cv lcproject glvo mindchanges brucesterling future iteration systems unproduct russelldavies physical digital seamlessness beautifulseams mujicomp fabbing seams iot mindchanging</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:19fee79e440e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seamlessness"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mujicomp"/>
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</item>
<item rdf:about="http://places.designobserver.com/feature/implausible-futures-for-unpopular-places/28738/">
    <title>A Brief History of Architecture Fiction: Implausible Futures for Unpopular Places: Places: Design Observer</title>
    <dc:date>2011-07-27T07:28:25+00:00</dc:date>
    <link>http://places.designobserver.com/feature/implausible-futures-for-unpopular-places/28738/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["First, we identify a suitable building: Something that appears neglected, and seems to have no immediate prospects for a future use. In short, we choose an unpopular place. Next we devise a hypothetical future for that structure. Specifically, we strive to make this future blatantly implausible: maybe provocative, maybe funny; above all engaging. Then an artist creates a rendering based on the imaginary concept. This is printed onto a 3' x 5' sign, modeled on those used by real developers. That sign, finally, goes onto the building."

"Our neighborhood is the sort that people describe as "transitional," and some of the property…is vacant. On one nearby commercial structure…I noticed a sign…You've seen similar signs…It was a rendering of a development, a future, involving a small, empty building. It suddenly struck me that, given how long this sign has been here, what it depicted was, at best, a hypothetical future — and arguably a fictitious one."]]></description>
<dc:subject>design architecture writing fiction designfiction robwalker classideas architecturefiction archigram creativity jgballard brucesterling hypotheticdevelopmentorganization writingprompts geoffmanaugh bldgblog carlzimmerman brettsnyder phantomcity nyc nola neworleans losangeles cities urban urbapotential foundfutures honolulu stuartcandy packardjennings stevelambert genre storytelling benkatchor detroit dreams seeing noticing</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seeing"/>
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</item>
<item rdf:about="http://www.amazon.com/gp/product/0979349508">
    <title>Amazon.com: The New Ecology of Things (NET) (9780979349508): Philip van Allen: Books</title>
    <dc:date>2011-05-24T17:01:52+00:00</dc:date>
    <link>http://www.amazon.com/gp/product/0979349508</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What happens when every object and space has a life of its own? That's the question taken up by The New Ecology of Things (NET). In an era of ubiquitous computing, The New Ecology of Things provides a framework for addressing the complex challenges of a world of networked, computational things. The call for interesting ideas in the realm of pervasive computing is frequently directed at designers. The New Ecology of Things answers that call by going beyond the limited vision of 'smart things that think for you' and moving toward the design of meaningful interactions that make the most of our very human experience in the world.

The New Ecology of Things is more than a book, however. It is the physical portal to a transmedia publication that includes essays, a glossary, forums, interactive works, video and a provocative story by postcyberpunk author Bruce Sterling."]]></description>
<dc:subject>books toread ecologyofthings internetofthings spimes philipvanallen brucesterling pervasivecomputing ubicomp smartobjects accd transmedia ubiquitousnetworks iot</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:30c623e05eab/</dc:identifier>
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</item>
<item rdf:about="http://www.wired.com/beyond_the_beyond/2011/05/network-society-as-high-decadence/">
    <title>Network Society as ‘high decadence’ | Beyond The Beyond</title>
    <dc:date>2011-05-10T13:45:30+00:00</dc:date>
    <link>http://www.wired.com/beyond_the_beyond/2011/05/network-society-as-high-decadence/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["*Now that we’ve actually got a network society, we’re gonna see a lot of harrowing-critical-reassessment material of this kind. Mostly because we’re not happier for it and the general situation stinks.

*Nicholas Carr, Jaron Lanier, Andrew Keen, these guys were like the first robins in spring. Note that this kind of criticism is NOT the same as those who opposed digitalization in the first place; this isn’t Luddism, it’s retrospective in tone. “Look what has been lost. We don’t think the same, our capacity to act is diminished, we are reduced to components and gadgets, those in power over us lack accountability,” etc etc. In Gothic High-Tech, awe at the sublime power of Moore’s Law machinery is replaced by a perception that public life is febrile, rotten, fraudulent and decadent."]]></description>
<dc:subject>networksociety web brucesterling internet adamcurtis allwathedoverbymachinesoflovinggrace documentary jaronlanier nicholascarr andrewkeen luddism gothichightech society technology culture politics hierarchy networks networkculture well-being machineslavery machines ideology systems systemsthinking social luddites wellbeing</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6d9b23a8f938/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:networkculture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:well-being"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:machineslavery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:machines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ideology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:systems"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:social"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:luddites"/>
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</item>
<item rdf:about="http://www.wired.com/underwire/2010/09/william-gibson-interview/all/1">
    <title>William Gibson Talks Zero History, Paranoia and the Awesome Power of Twitter | Underwire | Wired.com</title>
    <dc:date>2011-04-20T03:54:37+00:00</dc:date>
    <link>http://www.wired.com/underwire/2010/09/william-gibson-interview/all/1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://twitter.com/ballardian/status/60530562850492416 ]]]></description>
<dc:subject>williamgibson wired writing interviews zerohistory twitter history sciencefiction scifi thomaspynchon brucesterling dondelillo 2010 wiredmagazine</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:18f881f56685/</dc:identifier>
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</item>
<item rdf:about="http://www.21cmagazine.com/#745841/William-Gibson-Devo-World">
    <title>21C Magazine: William Gibson: Devo World</title>
    <dc:date>2011-04-20T03:52:09+00:00</dc:date>
    <link>http://www.21cmagazine.com/#745841/William-Gibson-Devo-World</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Remembrance of Things Fast: William Gibson interviewed by Richard Metzger"<br />
<br />
[via: http://twitter.com/ballardian/status/60530562850492416 ]]]></description>
<dc:subject>interviews williamgibson brucesterling richardmetzger zerohistory scifi sciencefiction</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:02a9f02fe7bf/</dc:identifier>
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</item>
<item rdf:about="http://www.driftdeck.com/">
    <title>Drift Deck</title>
    <dc:date>2011-04-10T19:03:48+00:00</dc:date>
    <link>http://www.driftdeck.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to Drift Deck, a different sort of city guide. Think of it as a set of playing cards that help you playfully find your own, untouristy way through city streets. It's a set of simple cues, clues, actions, and provocations to see your way about the city, looking at it from a different angle. It will make you an active part of your own romp around.

Drift Deck will help you capture and share your discoveries. You'll be able to share your journey through the maps you make and the photos you take. Share your Drifts with others around the world! Be active, not passive. Enjoy."]]></description>
<dc:subject>situationist driftdeck exploration derive dérive julianbleecker dawnlozzi jonbell davidspencer brucesterling bencerveny kevinslavin katiesalen janemcgonigal ianbogost janepinckard urban urbanism ios iphone applications cities perspective noticing engagement observation interaction serendipity maps mapping photography psychogeography context context-awareness undesign design arttechnology landscape landscapeasinterface play games</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f5492938e4b0/</dc:identifier>
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<item rdf:about="http://techcrunch.com/2011/03/18/keen-on-bruce-sterling-what-comes-after-the-future-tctv/">
    <title>Keen On… Bruce Sterling: What Comes After the Future? (TCTV)</title>
    <dc:date>2011-03-20T20:09:38+00:00</dc:date>
    <link>http://techcrunch.com/2011/03/18/keen-on-bruce-sterling-what-comes-after-the-future-tctv/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So what comes after the future? I asked Bruce Sterling at SXSW.

But, for Bruce, the future is really the past. “I like narratives,” he told me, while explaining why the most “effective” futurists are good historians. So perhaps, using this logic, what comes after the future is history.

And Bruce is certainly an effective futurist as well as a good historian. Which is why when I asked him about today’s Internet obsession with “the social,” he riffed with dark euphoria about the history of socialism as well as what it’s like to be a 15-year-old kid with no knowledge of the past.

Check out yesterday’s interview with Bruce when he explains why hactivism isn’t compatible with democracy and what the difference is between gothic high tech and favela chic."]]></description>
<dc:subject>brucesterling future favelachic gothichightech 2011 hactivism sxsw sciencefiction futurism</dc:subject>
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</item>
<item rdf:about="http://platform.wk.com/?p=217">
    <title>From prop to prototype to the future NOW! | platform.wk.com</title>
    <dc:date>2011-02-28T04:33:29+00:00</dc:date>
    <link>http://platform.wk.com/?p=217</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hence, it could be argued that design fiction aims to express and implant metaphysical ideas that cannot be expressed in words.  Thus, design fiction is effectively expressed in a medium of experience. It is expressed as a combined series of moments designed to create a new actuality or at least new assumptions.

Andrew and Sitraka have been exploring the playful space between fact and fiction. They have recently put together a presentation for the agency and also submitted a proposal to the science gallery in Dublin to further explore the implication of design fiction."]]></description>
<dc:subject>2011 designfiction design brucesterling julianbleecker andrewfriend sitrakarakotoniaina stuartcandy</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9fb06422e84b/</dc:identifier>
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<item rdf:about="http://vimeo.com/18977827">
    <title>Closing Keynote: Vernacular Video on Vimeo</title>
    <dc:date>2011-01-24T04:35:48+00:00</dc:date>
    <link>http://vimeo.com/18977827</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>brucesterling media mediaenvironment vimeo video vernacularvideo future futurism andreaallen online vimeofestival saffo'slaw paulsaffo futureofvideo marytylermoore dickvandykeshow onlinevideo expressivematurity tv television history audience internet webvideo berg berglondon levmanovich caseyreas reas</dc:subject>
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<item rdf:about="http://plutopia.org/">
    <title>Plutopia 2011: The Future of Play Monday March 14, 2011 at SXSW Interactive</title>
    <dc:date>2011-01-17T02:59:38+00:00</dc:date>
    <link>http://plutopia.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Future of Play will explore the concept of play as transformative, in terms of four key aspects: Social Play (including community and communication); Action Play (sports, gaming, etc.); Mental and Emotional Play (including exploration, adventure and imagination); and Sound Play."]]></description>
<dc:subject>sxsw events technology community interactive play plutopia 2011 plutopia2011 communication social socialplay mentalplay emotionalplay soundplay actionplay sports gaming imagination adventure exploration brucesterling djspooky</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2da143505108/</dc:identifier>
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</item>
<item rdf:about="http://roryhyde.com/blog/?p=569">
    <title>RORY HYDE PROJECTS / BLOG » Blog Archive » ‘Know No Boundaries’: an interview with Matt Webb of BERG London</title>
    <dc:date>2011-01-01T22:17:37+00:00</dc:date>
    <link>http://roryhyde.com/blog/?p=569</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["we attempt to invent things and create culture. It’s not just enough to invent something and see it once, you have to change the world around you, get underneath it, interfere with it somehow, because otherwise you’re just problem solving. And I wont say that design has an exclusive hold over this – you can invent things and change culture with art, music, business practices, ethnography, market research; all of these are valid too – design just happens to be the way we do it…our things should be hopeful, and not just functional…beautiful, inventive and mainstream…you could see our work as experimental, or science-fiction, or futuristic…our design is essentially a political act. We design ‘normative’ products, normative being that you design for the world as it should be. Invention is always for the world as it should be, and not for the world you are in…Design these products and you’ll move the world just slightly in that direction."]]></description>
<dc:subject>mattwebb berg berglondon design invention hope culture change purpose innovation scifi sciencefiction designfiction beauty future inventingthefuture speculative speculativedesign fractionalai ai brucesterling evolutionarysoup storytelling isaacasimov arthurcclarke argoscatalog schooloscope behavior evocativeobjects collaboration functionalism technology architecture people structure groups experience interdisciplinary tinkering multidisciplinary play playfulness crossdisciplinary flip gamechanging artificialintelligence</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5dfb906cff66/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collaboration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:functionalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:people"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:structure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:groups"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interdisciplinary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tinkering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multidisciplinary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:playfulness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:crossdisciplinary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flip"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gamechanging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artificialintelligence"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.webstock.org.nz/blog/2010/the-blast-shack/">
    <title>The Blast Shack</title>
    <dc:date>2010-12-23T07:58:48+00:00</dc:date>
    <link>http://www.webstock.org.nz/blog/2010/the-blast-shack/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You don’t have to be a citizen of this wracked & threadbare superpower in order to sense the pervasive melancholy of an empire in decline…<br />
<br />
Well…every once in a while, a situation that’s one-in-a-thousand is met by a guy who is one in a million. It may be that Assange is, somehow, up to this situation. Maybe he’s gonna grow in stature by the massive trouble he has caused. Saints, martyrs, dissidents & freaks are always wild-cards, but sometimes they’re the only ones who can clear the general air. Sometimes they become the catalyst for historical events that somehow had to happen. They don’t have to be nice guys; that’s not the point. Julian Assange did this; he direly wanted it to happen. He planned it in nitpicky, obsessive detail. Here it is; a planetary hack.<br />
<br />
I don’t have a lot of cheery hope to offer about his all-too-compelling gesture, but I dare to hope he’s everything he thinks he is, & much, much, more.]]></description>
<dc:subject>wikileaks politics culture hacking privacy brucesterling 2010 julianassange change</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9a00c58d2d42/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wikileaks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hacking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:privacy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2010"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:julianassange"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:change"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.wired.com/beyond_the_beyond/2010/10/flipboard/">
    <title>Flipboard | Beyond The Beyond</title>
    <dc:date>2010-11-02T03:55:05+00:00</dc:date>
    <link>http://www.wired.com/beyond_the_beyond/2010/10/flipboard/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I wonder how long it will take Flipboard to realize that people don’t want to read content generated by their own social network. Because obviously it would make vastly more sense to read the content generated by someone else’s social network, some aspirational figure whom you aspire to become, like, say, Steve Jobs or Lady Gaga.

*Why not send me her Flipboard? Why not sell me that? By subscription. Then it’s magazines all over again. What fun! Of course, you destabilized the publishing industry totally and put everybody out of work, but what the heck, they were just hanging out mooching on Facebook and Freecycle anyway… Think of it as a giant and involuntary retraining class."]]></description>
<dc:subject>brucesterling darkeuphoria ipad flipboard magazines sociality socialnetworks aspirationalnetworks reading</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ed47c049be23/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:darkeuphoria"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ipad"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flipboard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magazines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sociality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialnetworks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aspirationalnetworks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.40kbooks.com/?p=1769">
    <title>Bruce Sterling: The Complete Interview « 40kBooks</title>
    <dc:date>2010-10-18T06:28:32+00:00</dc:date>
    <link>http://www.40kbooks.com/?p=1769</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Contemporary writing is loaded with strange little details of erudition that used to be expensive and difficult to research. For instance, let's consider an obscure, dusty figure like, say, Massimo d'Azeglio. Or rather, [bunch of facts about him]…  No American should properly know anything about this man. It took me 57 seconds to research that on Google, and that included cutting and pasting the text here.

The peril comes in thinking, as a modern writer, that you can truly understand something about Massimo Taparelli in just 57 seconds. No, you can't. To access facts is not to understand them. The Marquis d'Azeglio was an intelligent, creative and cultivated 19th century aristocrat. He was deep and broad and subtle and human, and very alien to us moderns. Modern writers may fail to understand him in this sudden electronic blizzard of  bland facts about him.  We may  know less of him because we seem to know  more of him."]]></description>
<dc:subject>scifi writing brucesterling search spimes technology sciencefiction texas travel culture interviews research understanding</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:220effb2c59f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scifi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:search"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spimes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sciencefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:texas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:travel"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interviews"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:research"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:understanding"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://flow.doorsofperception.com/content/">
    <title>Doors of Perception 7 on Flow: The design challenge of pervasive computing</title>
    <dc:date>2010-08-11T22:21:41+00:00</dc:date>
    <link>http://flow.doorsofperception.com/content/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Transcriptions from the event: 14, 15, 16 November 2002 in Amsterdam

"Trillions of embedded systems are being unleashed into the world. What are the implications of a world filled with all these sensors and actuators? Some of the world’s most insightful designers, thinkers and entrepreneurs will address these questions, with you, at Doors of Perception 7 in Amsterdam on 14, 15, 16 November 2002. The theme is Flow: the design challenge of pervasive computing."]]></description>
<dc:subject>2002 markoahtisaari massimobanzi joshuadavis nataliejeremijenko eziomazini brucesterling johnthackara philiptabor pervasivecomputing ubicomp pervasive flow urbancomputing urban sensors sctuators design</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1f87e2b7b4d1/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:markoahtisaari"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:massimobanzi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joshuadavis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nataliejeremijenko"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eziomazini"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johnthackara"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philiptabor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pervasivecomputing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ubicomp"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pervasive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbancomputing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sensors"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sctuators"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://nuvustudio.org/fall-2010/designfiction/">
    <title>designfiction :: NuVu studio</title>
    <dc:date>2010-08-02T02:06:12+00:00</dc:date>
    <link>http://nuvustudio.org/fall-2010/designfiction/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In “Design Fiction Studio,” we will focus on experimental ways to combine science fiction story telling w/ new forms of media production. The students will be asked to write a short science-fiction story & expected to illustrate it in an experimental book. We will explore ways to combine alternative materials–such as very basic electronic elements, conductive inks, phase-&color-changing materials– w/ new kinds of fabrication & production techniques to learn both about materials & way they can be used in different kinds of fictional products.

Topics to be covered:

—Basic scifi writing skills to develop a short story or concept that will address a problem we may have in the near future.

—Experiment w/ new kinds of smart materials, design & interaction techniques to build an interactive book to illustrate the story.

—Discuss how writing fiction & building fictional objects can contribute to our thinking & allow us to bring into attention problems before they may even emerge."

[via: http://www.nearfuturelaboratory.com/2010/07/30/design-fiction-studio-for-young-minds/ ]]]></description>
<dc:subject>designfiction education future learning design julianbleecker mit writing classideas nearfuture brucesterling scifi sciencefiction science newmedia multimedia objects fiction designfictionstudio nuvustudio nuvu</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0343ccc2d0c1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:designfiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:future"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:julianbleecker"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nearfuture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scifi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sciencefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multimedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:objects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:designfictionstudio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nuvustudio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nuvu"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.viridiandesign.org/2008/11/last-viridian-note.html">
    <title>The Viridian Design Movement</title>
    <dc:date>2010-07-25T17:16:26+00:00</dc:date>
    <link>http://www.viridiandesign.org/2008/11/last-viridian-note.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The items that you use incessantly, the items you employ every day, the normal, boring goods that don't seem luxurious or romantic: these are the critical ones. They are truly central. The everyday object is the monarch of all objects. It's in your time most, it's in your space most. It is "where it is at," & it is "what is going on."

 [I must have this bookmarked in some other way or with some other URL, but doing so again doesn't hurt. Update: Yup. Here it is: http://www.boingboing.net/2008/11/18/viridianisms-last-no.html ]]]></description>
<dc:subject>future futurism brucesterling consumerism culture design environment simplicity sustainability happiness life lifestyle technology green advice 2008 slow stuff qualityoverquantity philosophy things viridian viridiannote viridianmovement</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:148d8371d160/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:future"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:futurism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:consumerism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:environment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:simplicity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sustainability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:happiness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:life"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lifestyle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:green"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:advice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2008"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:slow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stuff"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:qualityoverquantity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:things"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:viridian"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:viridiannote"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:viridianmovement"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.wetasphalt.com/content/why-robin-sloan-future-publishing-and-science-fiction">
    <title>Why Robin Sloan is the Future of Publishing (and Science Fiction) | Wet Asphalt [Gets right to the heart of (a) why I love Robin's brand of science fiction; and (b) how the content is also related to the process of its creation.]</title>
    <dc:date>2010-06-20T21:29:03+00:00</dc:date>
    <link>http://www.wetasphalt.com/content/why-robin-sloan-future-publishing-and-science-fiction</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While Bruce Sterling & Cory Doctorow & Vernor Vinge fantasize about Singularity or augmented reality or 3D printers that can reproduce themselves (which, incidentally, all appeal heavily to juvenile power fantasies), Sloan is writing a fiction that speaks to a world in which we find ourselves not exactly emancipated by technology but simply hyper-connected by it, our identities as people redefined by the media we share, media which we embrace & deeply care about even when it leaves us bewildered, co-opted, & reduced in a thousand ways to algorithms. It isn't "hard" Science Fiction, not by a long shot, but most "hard" SF long ago stopped being able to figure out how to be relevant to most readers (as can be seen by their sales figures), with its greatest practitioners, William Gibson & Neal Stephenson, turning instead to the present day, on the one hand, & history & alternate history, on the other. Sloan, however, has found an entirely different & exciting avenue of attack."
]]></description>
<dc:subject>robinsloan sciencefiction scifi writing publishing social socialmedia kickstarter via:robinsloan future present quantumcomputing corydoctorow singularity williamgibson brucesterling vernorvinge singularitarianism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8e2fccbf3d08/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robinsloan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sciencefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scifi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:social"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kickstarter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:robinsloan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:future"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:present"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quantumcomputing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:corydoctorow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:singularity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:williamgibson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vernorvinge"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:singularitarianism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.aggregat456.com/2010/03/story-of-eye-and-another-eye-and-yet.html">
    <title>this is a456: Story of an Eye (and Another Eye, and Yet Another Eye)</title>
    <dc:date>2010-03-29T01:09:05+00:00</dc:date>
    <link>http://www.aggregat456.com/2010/03/story-of-eye-and-another-eye-and-yet.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This post was a riff on Bruce Sterling's notion of atemporality.  My purpose here was to elaborate his claim by demonstrating possible ways in which to articulate a history and a theory of atemporality.  The point was not to claim that Sterling's view about history not being a science or that his desire to locate atemporality in contemporary network culture are evidence of ahistoricity.  I would like to think that this post, though rooted in ideas about history and art history, to a certain extent aspires to be atemporal.  Can we go ahead and claim that our current existence is one predicated on atemporality?  Are we currently engaged in daily practices that amounts to "serene skepticism about ... historical narratives?"  Whether or not you buy into the idea of atemporality, let me suggest that it is something that we do all the time."
]]></description>
<dc:subject>atemporality design history representation vision brucesterling reynerbanham herbertbayer albrechtdürer leonbattistaalberti</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8725c25a1bcf/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:atemporality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:representation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vision"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reynerbanham"/>
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